Gladwell & Patterson | Winter 2017 by Gladwell & Patterson

Price Codes A: < £2,000 B: £2,000 – £5,000 C: £5,000 - £10,000 D: £10,000 - £20,000 E: £20,000 - £40,000 F: > £40,000

Painting the Present Painting the Past Painting Perfection

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Waimate Museum & Archives, New Zealand (Archive number 1910-326-001)

Winter Collection 21 November – 22 December 2017 We extend a very warm welcome to you all to our Winter Collection. We were very lucky recently, when a curator from the Waimate Museum in New Zealand contacted us about this wonderful document opposite, which they had uncovered in their archives. It is an advertising handbill created around 1880 enticing clients to consider works of art as enduring and sophisticated Christmas presents. In its’ time it was a simple advertisement, however today it provides a fascinating insight into the past. The language that Harry Gladwell uses is so very eloquent, polite and considered. The surrounding images show the profound influence of Japanese art and culture on artists of the day, one of whom would have been commissioned to create this piece. During this period, Japanese art and design were seen as something new, fresh and exciting and Harry made no mistake in aligning the opening of his new gallery with the popular cultural phenomenon of the 1880’s. As we continue our research into the document we are reminded that it was shortly before this time that Harry Gladwell was training to be an art dealer at Goupils in Paris with his friend Vincent Van Gogh, whose lodgings he shared. Vincent visited the Gladwell Gallery in Broad Street on a number of occasions and often stayed with Harry in London. It would be fascinating to know what these two thought of the changing times back then. All of the considerations so eloquently laid out in this festive message still hold true today – “The reasons for selecting a Work of Art may this be enumerated – By so doing you pay a compliment to your friend’s taste. By a happy selection almost any sentiment may be expressed, and you do credit to your own judgement. A thing of beauty is a joy for ever, and unlike a bunch of flowers, which wither, decay, and are forgotten, a Picture is always in sight – becomes a part of your home, and is therefore always a reminder of a pleasurable event. If cost be a consideration, then your expenditure may be limited to a few shillings or to many guineas. High quality does not necessarily mean large cost. Trusting to be favoured with a continuance of the patronage I have received for so many years past. I remain your obedient servant….” We hope you will find a treasure in this catalogue to spoil someone special; a painting is a truly unique gift and we hope in our own way, hand in hand with our clients, we continue to add to the history of this wonderful gallery. We look forward to welcoming you in the gallery this holiday season. The G&P Team

Painting the Present

Peter van Breda • Piccadilly in the Snow, London British, (Contemporary) • Oil on Canvas • 31½" x 39½", 80 x 100 cms • Price Code C

Peter van Breda • Evening Lights, Trafalgar Square, London British, (Contemporary) • Oil on Canvas • 15¾" x 31½", 40 x 80 cms • Price Code C

Peter van Breda is one of Britain’s leading en plein air painters. Dedicated to working outdoors, Peter’s enthusiasm for painting is driven by his excitement at capturing the light, mood and atmosphere of a scene on canvas. “The golden nuggets of light, radiating from the monumental buildings of Piccadilly, contrasted sharply with the crisp white fluttering of snow that had briefly swept the city. It’s a scene I come back to time and time again during the winter months. Early evening is full of anticipation at this magical time of year and Eros looked especially magnificent with a dusting of snow on his wings.” – Peter van Breda

Peter has recently returned from a trip to Tuscany and seized the opportunity to capture some spectacular views of Florence. “I left the Chianti hills in darkness to be able to set up my easel ready for the first light of the day in Florence. It’s a magical time to paint and unusually peaceful. I wanted to capture the warm ochre glow on the buildings, and the dancing light on the water. The darkness of the Ponte Santa Trìnita bridge contrasted dramatically with the golden glow from the ancient Ponte Vecchio beyond. And the blue tones from the distant mountains reminded me of how beautifully positioned Florence is as a city.” – Peter van Breda Peter van Breda • First Light towards Ponte Vecchio, Florence British, (Contemporary) • Oil on Canvas • 20" x 39½", 50 x 100 cms • Price Code C

Peter van Breda Rio della Misericordia, Venice British, (Contemporary) Oil on Canvas 18" x 10½", 46 x 27 cms Price Code B

Peter van Breda Via Della Condotta, Florence British, (Contemporary) Oil on Canvas 24” x 12”, 60 x 30 cms Price Code B

Peter Symonds • The Isles of Muck and Rum, Sanna Bay British, (Contemporary) • Oil on Canvas • 24” x 42”, 60 x 107 cms • Price Code D

Peter Symonds Ben Nevis from Loch Lochy British, (Contemporary) Oil on Canvas 14” x 26”, 36 x 66 cms Price Code C

Peter Symonds The Coastal Path, Lansallos, South Cornwall

Peter Symonds Polperro, Cornwall

British, (Contemporary) Oil on Canvas 10” x 12”, 25 x 30 cms Price Code B

British, (Contemporary) Oil on Canvas 11” x 14”, 28 x 36 cms Price Code B

“There is a spinney in the corner of a field near my studio in Northamptonshire where a tree stands which has an eerie quality. Its large branches like arms reach out, ivy has been growing up the side of this tree for a long while and the roots cling and twist up the trunk giving it the added dimension of growth and unity. Just before the sun sets, the light is tremendous and bursts forth, silhouetting the surroundings. On the left of the painting you can see, through the tangled branches, St .Brington Church on the horizon. The foreground underwent many changes, the surface is very textured, creating marks which are hidden by dark glazes. Works by Samuel Palmer, Edward Burne-Jones and Claude Lorraine echo the sentiments depicted here. Claude represented the sun letting its light shine straight out of the picture, dramatically opposing it to trees where the light enhanced their qualities. When finished, I came accross a poem by Elizabeth Siddal, model for the Pre-Raphaelite painters, the last line of which was ‘in that dark wood’ and there was my title.” – Martin Taylor O silent wood, I enter thee With a heart so full of misery For all the voices from the trees And ferns that cling about my knees In thy darkest shadow let me sit When the grey owls about thee flit There will I ask of thee a boon That I might not faint or die or swoon Gazing through the gloom like one Whose life and hopes are almost done Frozen like a thing of stone I sit in thy shadow but not alone Can God bring back the day when we two stood Beneath the clinging trees in that dark wood. Silent Wood by Elizabeth Siddal

Martin Taylor • Dark Wood British, (Contemporary) • Oil on Canvas • 39½" x 39½", 100 x 100 cms • Price Code D

Martin Taylor The End of the Day British, (Contemporary) Oil on Canvas 12” x 12”, 30 x 30 cms Price Code B

Martin Taylor Snowscene near Great Brington British, (Contemporary) Oil on Canvas 8” x 12”, 20 x 30 cms Price Code B

Martin Taylor • A Sussex Walk British, (Contemporary) • Oil on Canvas • 19¾" x 29½", 50 x 70.5 cms • Price Code D

Ronny Moortgat • Europa in Antarctic Waters Belgian, (Contemporary) • Acrylic on Canvas • 28” x 40”, 70 x 100 cms • Price Code D

Ronny Moortgat • In Good Company Belgian, (Contemporary) • Acrylic on Canvas • 24" x 31½", 60 x 80 cms • Price Code C

Nick Bibby • Red Deer Stags: The Duel British, (Contemporary) • Bronze (Edition of 12) • 16” x 54” x 16”, 41 x 137 x 41 cms • Price Code E

Nick Bibby Scottish Blackface Sheep (Moortown JJ) British, (Contemporary) Bronze (Edition of 12) 10½" x 6" x 12", 27 x 15 x 30 cms Price Code C

Nick Bibby Berkshire Pig (Dittisham Lady 22) British, (Contemporary) Bronze (Edition of 12) 9¼" x 5" x 12¼", 23.5 x 13 x 31 cms Price Code C

Karl Martens Kingfisher

Karl Martens Hazel Grouse II

Swedish, (Contemporary) Watercolour 21” x 14”, 53 x 35.5 cms Price Code B

Swedish, (Contemporary) Watercolour 28” x 20”, 71 x 51 cms Price Code B

Karl Martens Collared Dove

Karl Martens Hazel Grouse I

Swedish, (Contemporary) • Watercolour 15” x 22”, 38 x 56 cms • Price Code A

Swedish, (Contemporary) • Watercolour 20” x 28”, 51 x 71 cms • Price Code B

Karl Martens is one of the finest wildlife artists of his generation. Painted exclusively with watercolour, his exquisitely rendered studies of birds, in particular birds of prey, waterfowl and wildfowl, capture something of the vital essence and character of their subjects. Karl takes influence from both Eastern and Western philosophies, especially Zen Buddhist meditation and he paints entirely from memory. He applies the watercolour onto handmade paper positioned on the floor of his studio from above, using Japanese and Chinese paintbrushes. This technique results in a fluid and free style that encapsulates the movement of the birds. Gladwell & Patterson’s long association with Karl began when the gallery first set eyes upon his mesmerizing watercolors of birds of prey. Karl’s first solo exhibition in London was held in 2009 at our former Mayfair gallery W.H.Patterson and his work continues to delight and inspire our international clientele.

Simon Gudgeon Robin British, (Contemporary) Bronze (Edition of 9) 26½" x 17¼" x 3¾", 67 x 44 x 7 cms Price Code C

Simon Gudgeon Lyrebird

Simon Gudgeon Pheasant

Simon Gudgeon Hare

British, (Contemporary) Bronze 14” x 5” x 3”, 36 x 12 x 8 cms Price Code B

British, (Contemporary) Bronze 13” x 10” x 3”, 33 x 25 x 8 cms Price Code B

British, (Contemporary) Bronze (Edition of 50) 4¼" x 12" x 4¾", 11 x 31 x 12 cms Price Code B

David Mueller Emerald and White American, (Contemporary) Oil on Canvas 42” x 32”, 107 x 81 cms Price Code D

Clarissa James Spring Symphony German, (Contemporary) Oil and gold leaf on Canvas 56” x 36”, 142 x 92 cms Price Code E

Paul S. Brown • Gorgonzola American, (Contemporary) • Oil on Canvas • 18” x 18”, 46 x 46 cms • Price Code C

Paul S. Brown • Potpourri American, (Contemporary) • Oil on Panel • 24” x 36”, 61 x 92 cms • Price Code E

Paul S. Brown • Fourme d'Ambert and Crottin de Chavignol American, (Contemporary) • Oil on Canvas • 18” x 18”, 46 x 46 cms • Price Code C

Paul S. Brown • Delice de Bourgogne American, (Contemporary) • Oil on Canvas • 18” x 18”, 46 x 46 cms • Price Code C

Stewart Lees • Raspberries on a Silver Dish British, (Contemporary) • Oil on Panel • 7" x 9½", 18 x 24 cms • Price Code B

Stewart Lees Soft Fruits in a Bowl British, (Contemporary) Oil on Panel 7" x 9½", 18 x 24 cms Price Code B

Stewart Lees Garlic Cloves and Parsley British, (Contemporary) Oil on Panel 5” x 7”, 13 x 18 cms Price Code A

Willem Dolphyn • The Fruits of Summer Belgian, (1935-2016) • Oil on Canvas • 32” x 40”, 80 x 100 cms • Price Code E

Willem Dolphyn • The Decadent Spread Belgian, (1935-2016) • Oil on Canvas • 32” x 40”, 80 x 100 cms • Price Code E

Willem Dolphyn • Strawberry Jewels Belgian, (1935-2016) • Oil on Panel • 16” x 20”, 40 x 50 cms • Price Code C

Instantly recognisable as the master of still life painting in Antwerp, Willem Dolphyn has created some of the finest paintings ever produced in this historic city over the last eighty years. Demonstrating the sheer technical virtuosity in the handling of light, texture and atmosphere, his works contain a rich purity which sets them apart from others. Willem gained a great deal of experience and professional knowledge from his father Victor, who was a teacher at the Academy and the founder of the new Classic School of Traditional painting. This developed Willem’s keen understanding of composition, detail and colour. Since his first solo show in 1968, Willem’s paintings have been exhibited widely in Europe and Asia. Among his many achievements, the highlight was his appointment as Ambassador of Arts for the City of Antwerp.

Willem Dolphyn A Bountiful Harvest Belgian, (1935-2016) Oil on Panel 23’’ x 19’’, 59 x 48 cms Price Code D

Pieter Wagemans • Blossom Belgian, (Contemporary) • Oil on Canvas • 23½" x 39½", 60 x 100 cms • Price Code D

Pieter Wagemans • The Garden Symphony Belgian, (Contemporary) • Oil on Panel • 20" x 17¾", 50 x 45 cms • Price Code C

Pieter Wagemans Odontoglossum and Shells

Pieter Wagemans Paeonia Officinalis

Belgian, (Contemporary) Oil on Panel 14½" x 14½", 37 x 37 cms Price Code C

Belgian, (Contemporary) Oil on Panel 16” x 12”, 40 x 30 cms Price Code C

Pieter Wagemans • Hippeastrum and Eucalyptus Belgian, (Contemporary) • Oil on Canvas • 28” x 32”, 71 x 81 cms • Price Code E 39

Kenneth Webb • Winter’s Tale Irish, (Contemporary) • Oil on Canvas • 14” x 10”, 35.5 x 25.5 cms • Price Code B

At ninety years of age, Kenneth Webb is one of Ireland's leading painters. Brought up in post-war Britain, from a young age Kenneth was inspired by the Gloucestershire countryside where he grew up. In 1974 Kenneth purchased the Ballinaboy Studio in Connemara on the West Coast of Ireland, and this wonderful place has offered a multitude of inspiration to Kenneth for over forty years. Kenneth’s magnificent ethereal landscapes of Connemara, his colourful and textured paintings of poppies and his shimmering visions of his favoured waterlily pool are instantly recognisable for their vibrancy and gestural brushstrokes. So unique and striking are his paintings that over the past decade with our gallery, his work has amassed an international following culminating with the seminal exhibition “Kenneth Webb at 90”. Despite his ninety years, Kenneth is as prolific as ever and his work continues to explore creative boundaries.

Kenneth Webb The Ploughed Field Irish, (Contemporary) Oil on Canvas 12” x 16”, 30 x 40 cms Price Code C

Kenneth Webb Cottages by the Sea Irish, (Contemporary) Oil on Canvas 9¾" x 12", 25 x 35.5 cms Price Code B

Painting the Past

David Shepherd CBE 1931-2017 On the 19th September, the world lost one of its most loved and talented wildlife artists. A driven and dedicated conservationist, David will be sorely missed, however his enduring legacy both in his art and with his wildlife foundation will live on. David delighted in painting the wildlife that he fought so hard to protect. His subjects were painted with dignity and grandeur and his compositions allowed them to take centre stage amongst the breathtaking scenery of his beloved Africa. Using the dramatic lighting and contrasts that the strong African sun produces to great effect, David's paintings possess an energy and strength that allow them to command any space. David’s technique of combining photorealism with his broad impressionist technique and his impeccably accurate palette, instantly strike a chord with the viewer, but above all it is David’s love of the animals that shines through in his paintings creating an instant empathy for them with his audience. In 1984, David created his own wildlife foundation, The David Shepherd Wildlife Foundation, in order to ‘repay his debt’ to the animals that had given him so much success as an artist. The foundation does some incredible work and will continue to build on the legacy that David so ardently fought for. We invite you to explore more about their activities by looking at their website: www. davidshepherd.org There is so much one can say about this exceptional artist and man, however I will leave his paintings to do the rest for me while we all take a moment to consider and enjoy his beautiful work. – Glenn Fuller

David Shepherd • Elephant Haven British, (1931-2017) • Oil on Canvas • 28” x 60”, 71 x 152 cms • Price Code F

David Shepherd A Rhino Emerging from the Bush British, (1931-2017) Oil on Canvas 7¾" x 10½", 19.5 x 27 cms Price Code E

David Shepherd Hippos British, (1931-2017) Oil on Canvas 10” x 16”, 25.5 x 41 cms Price Code E

David Shepherd Cheetah in the Bush British, (1931-2017) Oil on Canvas 16” x 28”, 41 x 71 cms Price Code F

David Shepherd A Tiger in the Bush British, (1931-2017) Oil on Canvas 7” x 12”, 18 x 30 cms Price Code E

Margaret Hickson • Summer Games British, (20th Century) • Oil on Canvas • 20” x 24”, 51 x 61 cms • Price Code C

Georges Clausen Orchard Shade British, (1852-1944) Pastel on Paper 22 x 18½”, 56 x 47 cms Price Code E

Derek G. M. Gardner • U.S. Frigate ‘Constitution’ with the Sloop ‘Hornet’ at Sea, 28 October 1812 British, (1914-2007) • Oil on Canvas • 16” x 20”, 41 x 51 cms • Price Code E

George Shaw • A British Merchant and a Plymouth Cutter off Eddystone Light British, (1929-2009) • Oil on Canvas • 24” x 36”, 60 x 90 cms • Price Code B

One of the greatest marine artists of all time, Montague Dawson was drawn to the lure of the open sea and was enchanted by the romantic history and the graceful design of the old, sleek clipper ships. During his time as a young naval officer in the First World War, Dawson combined his passion with his natural talent for drawing and would spend the remainder of his life as a professional painter and illustrator. Dawson enjoyed painting magnificent clipper ships in battle scenes, in races and occasionally silhouetted alone against the horizon, almost as if he was painting a portrait of an old friend. He began exhibiting at the Royal Academy in 1917, was elected a fellow of the Royal Society of Arts in 1936 and later became a founder member of the Royal Society of Marine Artists. Dawson enjoyed the patronage of many influential figures of his day including President Lyndon B. Johnson and the British Royal Family.

Montague Dawson • The White Barque under Full Sail British, (1890-1973) • Oil on Canvas • 24” x 36”, 61 x 91.5 cms • Price Code F

Wilhelm Karl Ferdinand Arnesen • A Gentle Breeze, Venice Danish, (1865-1948) • Oil on Canvas • 18” x 28”, 46 x 70 cms • Price Code E

Gaston Boucart The Splendour of the Grand Canal French, (1878-1962) Oil on Canvas 18” x 22”, 46 x 56 cms Price Code D

Auguste Bouvard (signed Marc Aldine) The Old Boatyard French, (1882-1956) Oil on Canvas 10¾" x 13¾", 27 x 35 cms Price Code C

Georges Charles Robin • Les Bords du Loing French, (1903-2003) • Oil on Canvas • 18" x 22", 46 x 56 cms • Price Code D

Michel Robin Neige à Bougival French, (1928-2009) Oil on Canvas 23½" x 28¾", 60 x 73 cms Price Code C

Georges Charles Robin L'Indre à Loches (Porte des Cordiliers) French, (1903-2003) Oil on Canvas 18" x 21¾", 46 x 55 cms Price Code D

Alexandre Louis Jacob • Le Village au Fond de la Marne French, (1876-1972) • Oil on Canvas • 32” x 26”, 81 x 66 cms • Price Code E

Alexandre Louis Jacob • A Crisp Morning on the Seine French, (1876-1972) • Oil on Canvas • 18” x 15”, 46 x 38 cms • Price Code C

Maurice Martin Petit Village de Provence

Maurice Martin La Pointe de la Torche, Bretagne

French, (1894-1978) Oil on Canvas 25½" x 28¾", 64.5 x 73 cms Price Code C

French, (1894-1978) Oil on Canvas 21½" x 25¾", 54.5 x 65.5 cms Price Code B

Eugene Demester Golfe du Morbihan French, (1902-1985) Oil on Canvas 21” x 25”, 53 x 63.5 cms Price Code B

Eugene Demester Evening Calm French, (1902-1985) Oil on Canvas 21” x 25”, 53 x 63.5 cms Price Code B

Pierre de Clausade • Bords de Mer French (1910-1976) • Oil on Canvas • 21" x 25½", 54 x 65 cms • Price Code C

Described as a ‘painter of light’, Raymond Wintz enjoyed a reputation as one of the finest Post-Impressionist artists of the twentieth-century. He gained a firm appreciation by critics and collectors as a leading painter of landscapes, vibrant costal scenes and charming harbour views. His inspiration was the picturesque villages dotted along the Brittany coastline which he often portrayed through an open cottage door or window. As a young man Wintz had a brilliant military career before he became a key figure in the Parisian artistic circles of the early twentieth century. Wintz exhibited at the Salon des Artistes Français from 1911 and went on to receive accolades of the highest merit including both Silver and Gold Medals at the Salon. The culmination of his achievements occurred in 1953 when he was elected President of the Jury of the Salon. Raymond Wintz • Entrée de l’Aber French, (1884-1956) • Oil on Canvas • 21½" x 26", 55 x 66 cms • Price Code C

Robert Chailloux • The Suspended Oil Lamp French, (1913-2006) • Oil on Canvas • 23” x 28”, 58.5 x 71 cms • Price Code C

Robert Chailloux Autumn Harvest

Robert Chailloux Apples and Walnuts

French, (1913-2006) Oil on Panel 11” x 14”, 28 x 40 cms Price Code B

French, (1913-2006) Oil on Canvas 10” x 13”, 25 x 33 cms Price Code B

Edouard Henri Leon Cortes La Place de l'Opéra French, (1882-1969) Oil on Canvas 13” x 18”, 23 x 46 cms Price Code F

Edouard Leon Cortes Porte St. Denis, Paris French, (1882-1969) Oil on Canvas 13” x 18”, 33 x 46 cms Price Code F

Eugene Galien-Laloue • Théâtre Sarah Bernhardt French, (1854-1941) • Watercolour and Gouache • 7” x 12”, 18 x 30 cms • Price Code E

Johannes Kleijn Lodewijk • Winter’s Pleasures Dutch, (1817-1897) • Oil on Canvas • 11½" x 14", 29 x 35.5 cms • Price Code E

Jan Jacob Spohler • The Joy of Winter Dutch, (1837-1923) • Oil on Canvas • 26” x 37”, 65.5 x 93.5 cms • Price Code E

William Lionel Wyllie is regarded as one of Britain's premier marine artists of the later Victorian and early twentieth-century era. Highly proficient as a painter in both oil and watercolour, he is known for highly atmospheric paintings of vessels, big and small, in the many harbours and waterways around the British Isles and beyond. His watercolours display a deftness of touch and a rare ability to capture the effect of flickering light upon moving water. Wyllie was an enthusiastic student of the sea and a keen sailor, a passion reflected in the accuracy with which he depicted the various vessels in his work, be they long retired men-of-war from the age of Nelson, Thames barges, or the warships of Jellicoe's Grand Fleet. As a young man Wyllie spent some time living on the Thames in a barge that he converted into a floating studio and his mesmerising depictions of the Thames illustrate the busy waters at the peak of its mercantile grime and grandeur teeming with boats and enveloped in the atmospheric London smog. Wyllie was educated at the Royal Academy School of Art and exhibited regularly at the Royal Academy and Royal Institute throughout his life. He was elected an Associate of the Royal Academy in 1889 and Royal Academician in 1909. Wyllie’s paintings, watercolours and etchings can be found in numerous museums around the world, including the Tate, London and the National Maritime Museum, Greenwich which holds a vast collection of this great artist's work.

William Lionel Wyllie • The Pool of London British, (1851-1931) • Watercolour • 26½" x 37½", 67.5 x 95.5 cms • Price Code F

Henry Edward Tidmarsh The Tower of London British, (1854-1929) Watercolour 11½” x 19", 29 x 48 cms Price Code A

Emmet Brady Harbour Scene, East Coast of Scotland British, (1846-1933) Watercolour 10” x 14”, 25 x 35.5 cms Price Code A

Harry Sutton Palmer • Tranquil Waters British, (1854-1933) • Watercolour • 14” x 21”, 36 x 53 cms • Price Code B

Painting Perfection

The Impressionists and Post-Impressionists shared a special affection for the rural villages and towns in and around Île de France and hailed the modern railway that conveniently brought them to their favourite haunts along the rivers. Many artists were drawn to the medieval villages that punctuated the riverbanks of Seine, Marne and Oise, among many, and found the idyllic charm of the old mill-house, ancient bridges and churches inspiring subject matters for the plein-air canvas. Artist colonies thrived and artistic activity flourished with riverbanks and village life becoming the painters’ narrative for the expression of the seasonal changes and the ever shifting light. It became a celebration of a perceived idyll of man and nature in perfect harmony. The little town of Auvers-sur-Oise was one of the favoured destinations that attracted a number of painters, including Charles-François Daubigny, Paul Cezanne, Camille Pissarro and most famously, Vincent van Gogh, who spent the last few months of his life there in a last hope to cure his troubled mind. Situated just a few miles along the Oise and northeast of Pontoise, Auvers was Loiseau’s permanent base for most of his creative life, and therefore features in several of his works. Le Pont d’Auvers sur L’Oise appears to exude a glow that spreads further than the picture plane. The mellow golden sunshine envelopes the buildings on the far side of the bridge spreading across their mottled reflection in the gently passing river, and embracing the autumnal colours of the surrounding trees. A celebration of the seasonal changes and the spectacular colour display that nature offers; it captures the very essence of what Loiseau wished to capture as ‘honestly’ as he possibly could. Daubs of colours applied with quick, broad brushstrokes create a sense of movement and light across the scene in a true Post-Impressionist style that Loiseau skilfully developed into his own inimitable textural pictures. His palette in conjunction with his criss-cross, en trellis, brushstrokes brings life to each section of the painting. Loiseau’s use of blues, greens and turquoise paint of the rippling water in the foreground balance the autumn golds demonstrating Loiseau’s masterly skill with the palette. The painting is dated 1912 and inadvertently became a historical record of this little bridge that was a vital communication link between the riverbanks. In fact, at the very beginning of the First World War, the French military engineering unit destroyed the bridge to prevent the advancement of the enemy.

Gustave Loiseau • Le Pont d’Auvers sur L’Oise, Painted in 1912 French, (1865-1935) • Oil on Canvas • 119¾" x 24", 50 x 61 cms • Price on Application

Le Bassin Aux Nymphéas is one of the great rarities of Impressionist Art: a painting of Monet’s beloved waterlilies from his later years, that was signed, dated and sold by the artist to his dealer BernheimJeune along with three other paintings from the same series shortly after their completion. The original painting was cut in two, prior to 1944 when the two parts entered different collections. The present Le Bassin Aux Nymphéas is the right side of the painting, which bears the original signature and date. The left side of the canvas is currently on loan to the Tel Aviv Museum of Art in Israel. Monet’s waterlily pond at his home in Giverny offered ceaseless inspiration to the great Impressionist master who personally designed and expanded the pond and selected each individual waterlily from numerous horticultural directories. It inspired almost three-hundred paintings which dominated Monet’s creative output for the last twenty-six years of his life. This extraordinary outpouring of creativity stands as the culminating achievement of Monet’s long and visionary career. Begun shortly before the end of the First World War, Le Bassin Aux Nymphéas is part of a series of fourteen paintings, which form a crucial part of the creative process of the Grandes Décorations: a concept envisioned by the artist as early as 1897 in which his paintings of the waterlily pond would form a large scale decorative ensemble, culminating in twenty-two monumental works of the waterlily pond displayed in the Musée de l’Orangerie in Paris. Three clusters of waterlily pads are the compositional focus of Le Bassin Aux Nymphéas. Conventional spatial recession, indicated by the diminishing scale of the floating blossoms and waterlily pads, is played against the flat surface of the picture, which Monet emphasised through vigorous, textural brushwork. The entangled reflections of the vegetation have an undulating, striated quality, and its deep green tones, mysterious and impenetrable, form a striking backdrop for the lighter hues of the lily pads on the water’s surface. The water acts as a vehicle for Monet's exploration of the varied textures of the waterlilies and the reflections of light effects upon its surface. The horizontal islands of waterlilies contrast with the reflections of the weeping willow trees on the surface of the pond painted in strong, gestural, vertical brushstrokes. The blossoms themselves are rendered in vibrant impasto which gives them a sculptural presence atop the surface of the water. The loose, bold brushstrokes and heavy impasto of Le Bassin Aux Nymphéas reveal the painting to be a preeminent example of Monet’s later career.

Claude Monet • Le Bassin Aux Nymphéas, Painted in 1919 French, (1840-1926) • Oil on Canvas • 39” x 41”, 100 x 104 cms • Price on Application

Between 1899 and 1901 Monet visited London three times with the sole intention to paint a large body of works of the Thames and the Houses of Parliament. During each visit, Monet would stay at the Savoy Hotel where enjoyed a wonderful view overlooking the Thames. To the right were the Houses of Parliament rising above Charing Cross Bridge, and to the left was the great, arched structure of Waterloo Bridge. Monet’s London “campaign” culminated in his exhibition of thirty-seven paintings, Vues de la Tamise à Londres – 1900 à 1904 in May 1904 at Galerie Durand-Ruel in Paris. The exhibition was a critical and commercial success with Monet’s skill in capturing atmospheric effects and the affinity between his treatment of London and the paintings of Turner at the forefront of this praise. The pastel drawing of Waterloo Bridge, Temps Gris, drawn from the window of Monet’s suite at the Savoy Hotel at the beginning of the artists’ third and final working visit to London, demonstrates Monet’s interest in the atmospheric impressions of his subject. This richly worked pastel depicts the Neoclassical arches of the old Waterloo Bridge which was rebuilt in the 1930s. The faint chimneys billowing industrial smoke from the South Bank in the distance are visible through the haze of fog and mist beautifully rendered in the chalky, blended pastels with an almost vaporous quality enhanced by the looseness of the sketch. The cool blue and purple colours blend over and into the pale oatmeal paper, recreating the feeling of wet, dense air on a misty day. On the bridge, an energetic stream of pencil strokes conveys the busy hustle of a commuting crowd fending through the fog, whilst boats sailing on the Thames provide an animation in the foreground. Monet chose not to exhibit his London pastels and instead he sold them to collectors or gave then to his close friends as gifts. The present work was gifted to Sasha Guitry, a famous film director, actor and playwright, who often visited Giverny. Guitry was so enamoured by Giverny that he asked Monet to redesign the garden of his country home near Rouen and the two became great friends.

Claude Monet • Waterloo Bridge, Temps Gris, Executed in 1901 French, (1840-1926) • Pastel on Paper • 12¼" x 19", 31 x 48.5 cms • Price on Application

Drawn in 1970, a few years before Picasso’s death, Nu Debout (Jacqueline) perfectly encapsulates both the tenderness and the ceaseless thirst for innovation that characterised Picasso's portraits of his second wife. The raven-haired young woman, forty-five years Picasso’s junior, became his muse for the last twenty years of Picasso’s life. Picasso met Jacqueline Roque in 1952, where she was working as a salesperson for Picasso's great collaborators in the field of ceramics, the Ramiés. Jacqueline was one of several women competing for Picasso’s attention following his break-up with Françoise Gilot. Jacqueline's unflappable support and willingness to sacrifice herself on the altar of his ego won the artist's heart and Picasso married her in 1961. Jacqueline would henceforth populate Picasso's paintings, drawings and prints as the archetypal woman, nearly always nude, as in the present work. In the present work, Jacqueline is portrayed in the guise of an odalisque, a concubine from an Orientalist court. She is bare chested, and the colorful flowing forms below her waist are the loose pants typical of harem costume. The rich, vibrant color, built up with the heavy application of one color over another, as well the placement of the figure in an interior space, was inspired by the Orientalist works of Delacroix and Ingres. The odalisque, an exotically robed, semi-clad or more often nude figure of an alluring young woman, would remain the pre-eminent subject in Picasso's work during the final two decades of his life.

Pablo Picasso • Nu Debout (Jacqueline) Spanish, (1881-1973) • Pastel and Pencil on Board • 13” x 10”, 33 x 25 cms • Price on Application

A contemporary of the Post-Impressionists, Henri Le Sidaner’s approach to painting is whole heartedly unique. His technique was often close to Pointillism, but Le Sidaner did not share the Pointillists’ love of colour, preferring greys and opals to create mystery and atmosphere. Instead, he used Pointillist techniques to make the surfaces of his paintings shimmer and blur. Following a short move to Bruges in 1898, where he eloped with his future wife, he developed his own personal brand of melancholy. Le Sidaner became a master of shadow and the velvety cloak of twilight and darkness, illuminated by moonlight reflected off snow or by a solitary light shining through a window. Le Sidaner’s paintings and pastels were widely collected throughout his career. His domesticated scenes of his garden at Gerberoy in northern France were popular with British and American collectors. His seductive views of the gardens he created in the ruins of the medieval fortress at Gerberoy, with their recently vacated tables dappled in sunlight and overhung by roses, would cement his reputation as a unique and unclassifiable artist.

Henri Le Sidaner • Winter’s Gentle Cloak French, (1862-1939) • Pastel on Paper • 19” x 15”, 48.5 x 38.5 cms • Price Code F

Gladwell & Patterson; Proud to Raise Awareness for the Jubilee Sailing Trust The Jubilee Sailing Trust’s unique, custom-built tall ships, Lord Nelson and Tenacious, have been specifically designed so everyone, regardless of ability or experience, can play a full and active role as a member of the voyage crew. The adventure and inclusive design of the ships challenge voyage crew to do things that they never thought possible, improving their self-belief, motivation and confidence. The Jubilee Sailing Trust’s mission promotes inclusion, challenges prejudices, breaks down barriers and empowers our beneficiaries to discover what they can do, rather than what they cannot. Since 1978, they have welcomed nearly 50,000 people aboard the two ships. The Jubilee Sailing Trust is one of the only organisations that routinely brings together people of all ages, genders, backgrounds and abilities in a shared experience based on a strong maritime heritage. Special event in the gallery on Tuesday 28th November, contact the gallery for more information.

Join us for two great shows...

Gladwell & Patterson at the Palm Beach Jewelry, Art & Antique Show 14 – 20 February 2018 Palm Beach County Convention Centre www.palmbeachshow.com Contact the gallery for tickets

& Gladwell & Patterson at the RHS Chelsea Flower Show 22 – 26 May 2018 Royal Hospital Chelsea www.rhs.org.uk Tickets available through the RHS

Irëne Klestova Delicate Flowers Russian, (1908-1989) Oil on Board 19¼" x 15½", 49 x 39 cms Price Code B

INDEX

Wilhelm Karl Ferdinand Arnesen

p. 54

Maurice Martin

p. 60

Nick Bibby

p. 18-19

Karl Martens

p. 20-21

Gaston Boucart

p. 55

Claude Monet

p. 78-81

Auguste Bouvard

p. 55

Ronny Moortgat

p. 16-17

Peter van Breda

p. 6-9

David Mueller

p. 24

Emmet Brady

p. 72

Harry Sutton Palmer

p. 73

Paul S. Brown

p. 26-29

Pablo Picasso

p. 82-83

Robert Chailloux

p. 64-65

Georges Charles Robin

p. 56-57

Pierre de Clausade

p. 62

George Shaw

p. 52

Edouard Henri Leon Cortes

p. 66

David Shepherd

p. 44-47

Montague Dawson

p. 53

Henri Le Sidaner

p. 84-85

Eugene Demester

p. 61

Jan Jacob Spohler

p. 69

Willem Dolphyn

p. 32-35

Peter Symonds

p. 10-11

Eugene Galien-Laloue

p. 67

Martin Taylor

p. 12-15

Derek G. M. Gardner

p. 50-51

Henry Edward Tidmarsh

p. 72

Simon Gudgeon

p. 22-23

Pieter Wagemans

p. 36-39

Margaret Hickson

p. 48

Kenneth Webb

p. 40-41

Alexandre Louis Jacob

p. 58-59

Raymond Wintz

p. 63

Clarissa James

p. 25

William Lionel Wyllie

p. 70-71

Irëne Klestova

p.87

Stewart Lees

p. 30-31

Johannes Kleijn Lodewijk

p. 68

Gustave Loiseau

p. 77

5 Beauchamp Place, London SW3 1NG • +44 (0)20 7584 5512 • glenn@gladwellpatterson.com • gladwellpatterson.com