Masterpieces 2023 | Gladwell & Patterson

M ASTERPIECES

MASTERPIECES

“A Masterpiece”

A phrase that lies at the very heart of every artist and every art lover’s mind. A phrase that implies a magical combination of exceptional quality, emotional effect, and extraordinary beauty. A phrase that resonates with all those who collect art.

This year is a particularly poignant one for Gladwell & Patterson as we continue the celebration of our history. First founded in the City of London in 1746 by John Boydell, our fine art gallery has served seven monarchs over the course of its extensive history. We are honoured that this celebration has coincided with the Coronation of His Majesty King Charles III.

Our predecessor, Henry Graves & Co., was granted the Royal Warrant by Queen Victoria: Graves, like Boydell before him, could instantly spot a masterpiece as he supported leading artists of the day from Turner and Constable to Landseer. Such foresight has filtered down through the centuries to our gallery today. We delight in discovering hidden masterpieces and fostering the talents of our highly skilled contemporary artists, so that you may enjoy these for years to come.

A masterpiece is more than just a great painting; it is the result of a convergence that brings together the artist’s lived experience, their creativity, and their ingenuity to create a moment of breathtaking beauty. The artworks on display in this catalogue are therefore not only exquisite objects, but gateways into the minds and hearts of the greatest artists that Gladwell & Patterson have had the pleasure of working with.

While an easy formula for creating a masterpiece does not exist, we feel that the works that most deserve the title are those which combine brilliant technical skill with emotional resonance to create a work which is both powerful and enduring. Perhaps what a masterpiece needs above all is to have a lasting impact: provoking deep emotions and inspiring wonder to stay with the viewer long after looking at it. As you enjoy our exquisite collection, I hope these paintings stay with you as long as I know they will stay with me.

That is to say forever.

RAYMOND THIBÉSART

French, (1874-1968)

Thibésart’s best paintings are those that balance the beautiful texture of his blossoms with the wider landscape and skies. The challenge of making foreground foliage the subject of a work, while still allowing the landscape behind it space to breathe is one which has alluded many great artists, yet in the case of Printemps Thibésart has succeeded magnificently. Subtle colours of springtime blossom blend into the panoramic vista of the French landscape, transporting the viewer’s senses as they imagine fresh air and floral scents. This magnificent canvas thus straddles the complex line between creating ethereal beauty and maintaining visceral reality, in doing so it captures the unique atmospheres of the gently rolling hills that Thibésart knew so well.

Looking at Printemps , Thibésart’s process of working in pastel outdoors (before finishing the work in the tranquillity of the studio) is immediately evident: for the artist possessed the rare ability to capture the colour, movement and atmosphere of the outdoors on large scale canvases without any loss of spontaneity. While the artist’s long career saw many stylistic phases, Printemps with its highly textured trees and foreground effects represents a pinnacle of his craft. Against a subtle, but beautifully worked background, his iconic blossoms project outwards from the canvas, emphatically conveying their rich colours and forms to the viewer.

Printemps

Oil on Canvas

54 x 65 cms / 21” x 25½”

£19,500

RAYMOND THIBÉSART

French, (1874-1968)

The Valley of the Seine

Oil on Canvas

70 x 130 cms / 27½” x 51¼”

£49,500

JEANNE SELMERSHEIM-DESGRANGE

French, (1877-1958)

Jeanne Selmersheim-Desgrange’s series of balcony tables, painted in and around Saint-Tropez, are widely considered to be the best expression of her impeccable Neo-Impressionist style. Enduringly attractive for the way in which they seamlessly mix a subtle treatment of sea and sky, the jewelled textures of flowers, and a central still life composition, Selmersheim-Desgrange clearly considered the works from this series to be her masterpieces, and continually refined and developed the subject matter.

Le Petit Déjeuner devant une Fenêtre stands out for the exceptional nuance of its colouring as the artist captures the essence of morning light through a spectrum of vibrant hues. While SelmersheimDesgrange initially rose to fame as the muse of her life partner, Paul Signac, she is increasingly recognised as a major Neo-Impressionist in her own right: a status confirmed in this brilliant painting.

MAURICE MARTIN

French, (1894-1978)

Le Verger

Oil on Canvas

65 x 73 cms / 25½” x 28¾”

£7,950

Chariot sur un Chemin en Forêt

Oil on Canvas

55 x 46 cms / 21¾” x 18”

£4,950

27 x 21 cms / 10½” x 8¼”

£3,950

CHARLES PERRON

French, (1893-1958)

Oil on Panel

27 x 22 cms / 10¾” x 8¾”

£3,950

Nature Morte aux Marguerittes

Oil on Panel

Les Camélias

Interior by Warner House

CHARLES PERRON

French, (1893-1958)

Corps de Ferme Fleuri

Oil on Canvas

38 x 46 cms / 15”x 18”

£4,950

It is the combination of Perron’s two iconic subjects; the cottage and the floral still life, that ensures Les Géraniums en Bords de Fenêtre stands as one of the artist’s best works. Across the surface of the painting, Perron celebrates his complete mastery of shape and delicate hues, along with an inventive and subtle sense of composition. From his studio in Nantes, Perron always strove to bring a sense of both calm and joy to his viewer; and these qualities abound in Les Géraniums en Bords de Fenêtre .

While the profuse floral harmonies at the centre of the composition show Perron’s masterful ability to depict a wide range of flowers, a dense network of perfectly placed brushstrokes and tiny tonal variations ensures that the multitude of Geraniums never breaks down into a confused mess of colour.

Despite the boldness of many of the pigments on show, Perron’s light touch ensures that the painting remains alive and fresh. Complementing this colouristic centre the artist has, in characteristic fashion, brilliantly captures the brightness of the sun as its shadows moves across the clean white lines of the cottage window, creating the most subtle of backdrops. The captivating snapshot of rural French life that results in Les Géraniums en Bords de Fenêtre is a wonderful summation of what Perron’s technical mastery could achieve.

Les Géraniums en Bords de Fenêtre

Oil on Board

39 x 31 cms / 15¼” x 12¼”

£2,950

GUSTAVE LOISEAU

French, (1865-1935)

Le Chemin en Bord de Rivière is a brilliant example of the artist’s drive to capture more complex conditions. Despite the season, the present landscape is far from barren, the scene enlivened by thick and staccato impasto in the path, river and house, balancing Loiseau’s quick, sweeping brushstrokes delineating the clouds across the cool autumnal sky. A rich palette full of deep browns, bright reds, and vibrant greens play against the cool blue of an approaching winter’s sky and the light purples of the trees, each a brilliant demonstration of Loiseau’s colouristic virtuosity. Few paintings better convey the way that Loiseau’s textures, so vibrant and complex when viewed up close, transform themselves into a magical unity as we see the work as a whole.

Le Chemin en Bord de Rivière

Painted circa 1899-1900

Signed ‘G. Loiseau’ (lower right)

Oil on Canvas

50 x 61 cms / 19½” x 24”

Price on Application Provenance

Galerie Atelier Matignon, Paris.

Mr. and Mrs. James R. Holland, New York.

MacConnal-Mason, London.

Private Collection, England; acquired from the above in March 2018.

Gladwell & Patterson, London; acquired from the above in April 2022.

The authenticity of this work has been confirmed by Didier Imbert and this work is issued with a certificate of authenticity.

Bespoke Wallcovering by Fromental

GUSTAVE LOISEAU

French, (1865-1935)

Rivière en Normandie

Painted in 1913

Signed ‘G Loiseau 1913’ (lower right)

Oil on Canvas

54 x 65 cms / 21½" x 25¾"

Price on Application Provenance

Galerie Félix Vercel, Paris. Private Collection, Paris; acquired from the above.

Private Collection, by descent from the above. Sale; Artcurial, Paris, 4th December 2012, lot 65.

Private Collection, acquired at the above sale. Sale; Sotheby’s, London, 1st Mar 2018, lot 367. Private Collection, UK; acquired from the above.

The authenticity of this work has been confirmed by Didier Imbert and this work is issued with a certificate of authenticity

Bespoke Wallcovering by Fromental

GUSTAVE LOISEAU

French, (1865-1935)

Amongst Gustave Loiseau’s oeuvre, no river had a greater influence upon both the artist’s early development and mature mastery than the Eure, and no subject had a greater impact than poplars by a riverside. When Loiseau combined the two: masterpieces such as the stunning Rivière en Normandie inevitably followed. A crucial precondition for the creation of a masterpiece is unparalleled knowledge of subject matter; an artist is rarely able to produce their best works without this understanding. As Monet developed his poplars and waterlilies in a process of continual refinement, so too did Loiseau return to the Eure annually to perfect his paintings. Yet where Monet’s series of paintings largely capture a single point in the artist’s stylistic development, Loiseau’s treatments of the Eure chart the evolution, and culmination, of an entire career.

In fact, while Loiseau is well known for his diverse travels, he would visit the river every year from 1899 to 1932, more than any other location: it is evident that he considered it his best subject, a place in which he felt comfortable truly experimenting. At the start of his career, its riverbanks provided the setting for Loiseau’s richly textured, Pissarroinspired brushwork to emerge and take Paris by storm, and in 1913 the Eure bore witness to an equally startling transformation. Spearheaded by works like Rivière en Normandie , Loiseau initiated a campaign of unprecedented colour and expressive brushwork that saw him elevate his technique to new heights.

Painting the river in all seasons and conditions, Rivière en Normandie uniquely captures the complex purple hues of the early evening. The broad expanse of the Eure in the foreground delights the senses as Loiseau superbly captures the rippling effect of wind across the surface of the water, balanced against the movement of the rolling clouds to imbue the painting with an electric energy. Swift brushstrokes dance across the canvas, conveying the deep purples, saturated greens, and bright whites which stand out for their intensity even within the context of Loiseau’s love of saturated colour. Marking a turning point as the artist began to adopt a much freer pictorial approach, Rivière en Normandie is the result of Loiseau working with supreme confidence and skill, a celebration of colour and movement at the apex of his craft.

GEORGES CHARLES ROBIN

French, (1903–2002)

Les Ponts-Neuf près de Saint-Brieuc is a brilliant demonstration of Georges Robin’s ability to capture rural French life. From his summer home in Brittany, the artist would travel the region, seeking out the undisturbed villages and quiet estuaries for which he would become famous. In characteristic fashion, Robin has deftly balanced the creation of a landscape with the trappings of village life. Amidst the swathes of verdant green and glassy blue, the white houses of Brittany emerge, emphatic without ever detracting from their surroundings.

Robin’s great contribution to painting was his unparalleled understanding of tonal values, and his ability to position pure colours side by side on the canvas, each altering the appearance of the other to create startlingly naturalistic views. These qualities are masterfully displayed in Saint-Brieuc : the grassy verge in the foreground emerges from a complexity of different greens, the still water of the estuary is delineated in broad strokes of subtle blues, and each house and figure stand out effortlessly. Texturally, Saint-Brieuc is also a brilliant example of Robin’s ability to combine dramatic brushstrokes with his characteristic palette knife work, each emphasising the fundamental structure of the landscape. As we follow the rural track which winds its way through this small village, we are reminded of Robin’s unmatched skill when it comes to creating a sense of place.

Les Ponts-Neuf près de Saint-Brieuc (Côtes du Nord)

Village de Carennac (Dordogne), La Cour de Calypso, Ancien Prieuré de Fénelon

Oil on Canvas

67 x 56.5 cms

26½” x 22¼”

£17,500

GEORGES CHARLES ROBIN

French, (1903–2002)

La Cure, Affluent de L’Yonne, à Sermizelles

Interior by Warner House

Painted in 1960

Oil on Panel

37 x 45 cms / 14½” x 17¾”

£9,500

GEORGES CHARLES ROBIN

French, (1903–2002)

Vallée du l’Aveyron à PenneRuines du Château d’Adelaide de Penne

Oil on Canvas

38 x 46 cms / 15” x 18”

£12,500

Calvignac et le Lot

Oil on Canvas

46 x 55 cms / 18” x 21¾”

£16,500

Le Vieux Pont sur la Rivière Oil on Board 53 x 72.5 cms / 20¾” x 28½”

£17,500

RAYMOND WINTZ

French, (1884-1956)

Often, great artists are able to recognise their masterpieces during their own lifetime: Raymond Wintz was one such artist. Out of a career that went from success to success, and culminated in the Presidency of the Paris Salon, Wintz’ crowning achievement was a series of iconic views from Breton doorways: delicately balanced scenes which allowed the artist to combine an interior and exterior setting within a single composition. While this motif dates back to the Renaissance, it was brought to the forefront of artistic imagination by Henri Matisse, who exploited the window’s intrinsic duality to generate tension between illusionistic depth and modernist planes. Wintz built on Matisse’s achievements to create celebrations of warmth and brilliance found in the iconic Breton ‘room with a view’.

Aware of his achievement, Wintz purposefully limited the number of paintings he produced of doorways, ensuring that each received his undivided attention; they consequently remain his most sought-after works. Cementing the importance of this series was the success of the artist’s 1924 painting: The Blue Door. A sister piece to The Green Door, prints of the work are still in circulation after nearly a century: cementing the artist’s best-loved motif of the vase of flowers next to a subtly lit doorway. Its appearance postcards, posters, and even a popular ‘paint it yourself’ series in 1950s America has ensured that, in the mind of viewer, doorways will always be considered Wintz’ masterpieces.

The Green Door, Brittany Oil on Canvas 53 x 64 cms / 21” x 25” £29,500

RAYMOND WINTZ

French, (1884-1956)

Saint-Cado

Oil on Canvas

55 x 65 cms / 21½” x 25½”

£5,950

Ploumanach, Côte du Nord Oil on Canvas

89 x 117 cms / 35” x 46”

£25,000

ALEXANDRE LOUIS JACOB

French, (1876-1972)

Throughout his long career, Alexandre Jacob was repeatedly captivated by the endlessly sweeping skies over the French landscape. Across his compositions, the horizon remains firmly in the lower third, leaving a vast space upon which the artist could create the fleeting clouds edged by subtle light effects for which he is best known. Punctuated only briefly by elongated poplars, the open skies create a sense of calm and contemplation, as the viewer reflects upon the change of seasons that Jacob so masterfully captured.

Jacob preferred above all to paint in the quiet moments after a storm had passed, creating an atmosphere wholly unique to his works. Soleil Couchant au Bord de la Marne, Les Bùcherons is a brilliant example of this approach, with pregnant clouds and the hint of rain on the horizon just beginning to give way to the blue skies and late afternoon light. Texturally, the viewer is given a brilliant sense of a saturated landscape: the river feels full and fast-running, the reeds are heavy with water, and the grasses and trees achieve a richness of colour that only the aftermath of rain can bring. Through time and patience, Jacob gained the rare understanding of nature which underpins the quality of his canvases. His evocations of light, atmosphere, colour, and place have an unrivalled ability to transport the viewer to the same banks of the Seine or the Marne where he would sit, awaiting the breaking of the storm.

ALEXANDRE LOUIS JACOB

French, (1876-1972)

Soleil dans la Brume, un Matin de Givre, Bûcherons

Oil on Canvas

66 x 53.5 cms / 26” x 21”

£25,000

Interior by Warner House

ALEXANDRE LOUIS JACOB

French, (1876-1972)

Berges Gonflées, Le Pont sur la Marne

Oil on Canvas 47 x 57 cms / 18½” x 22½”

£9,500

The Harvest

Painted circa 1912

Signed ‘M Huys’ (lower right)

Oil on Canvas

71 x 82 cms / 28’’x 32¼’’

Price on Application

MODEST HUYS

Belgian, (1874-1932)

Provenance

Private Collection, Belgium; thence by Descent.

Gladwell & Patterson, London; acquired in 2023

Exhibited

Deinze, Belgium, Mudel Museum, Modest Huys, 1999, no. 40.

MODEST HUYS

Belgian, (1874-1932)

From 1908 to 1914, Modest Huys received unprecedented international recognition for his brilliant contributions to the Luminist movement. His 1912 The Harvest captures the artist’s mastery as he balanced complex textures and colours with rural subject matter to create startling evocations of light and atmosphere. Above all else, Huys’ work was preoccupied with the way that light and colour could transform ordinary scenes of daily life into extraordinary depictions of the sublime. In this respect, The Harvest stands not only as an encapsulation the artist’s unique quality, but a painting which dramatically expanded the vocabulary of the nascent Luminist movement.

Building on iconic depictions of farmworkers by Millet, Huys sought to imbue his figures with a sensitivity and reverence that previous artists had rarely afforded them. By portraying the dignity of their work, Huys challenged the prevailing notion that manual labor was an occupation unsuitable for the canvas. Depicted from a low angle, the workers in Huys’ Harvest are given a certain monumentality, standing out from the landscape they inhabit. Resting on a stick or raising up a bundle of hay, they assume almost sculptural poses, undiminished by their labours. While the painting is suffused with a brilliant light, Huys has chosen to capture the glow of the late afternoon, thereby softening the heat of the sun: Yellows and oranges mix with cooling purples and opals as shadows begin to extend, further silhouetting the central figures.

Deftly combining brilliantly coloured and textured brushwork with realist subject matter, Modest Huys’ The Harvest is a masterful encapsulation of the Luminist project. Produced at the apex of the artist’s career, The Harvest remains as vibrant today as it was over a century ago, shedding its shining light upon the oftenoverlooked farmworkers that fascinated Huys and his contemporaries. It serves as a reminder that the message often elevates the medium to new heights: creating masterpieces in the process.

MODEST HUYS

Belgian, (1874-1932)

Misty Haystacks

Painted circa 1908

Signed ‘M Huys’ (lower right)

Oil on Canvas

65 x 84 cms / 25½’’x 33’’

£29,500 Provenance

Private Collection, Belgium; thence by Descent. Gladwell & Patterson, London; acquired in 2023.

ANDRÉ HAMBOURG

French, (1909-1999)

The masterful Septembre à Deauville shows Hambourg to be a true master of painting the sky, an inheritor to a tradition established by Boudin and Monet. Hambourg is keenly aware of his relationship to these great masters for the subject of his painting, the beach at Deauville, was where both Boudin and Monet had perfected their depictions of naturalistic clouds, a task which had eluded generations of artists. If these artists have a successor in their project it is undoubtedly Hambourg, a painter who built his career on studying the Normandy beaches in all lights and times of day. Despite the great time Hambourg spent perfecting his views of the coast, his best works still feel entirely fresh and spontaneous thanks to his ability to capture a single moment.

Hambourg has been widely celebrated for his ability to imbue his beach scenes with great luminosity, but even within his oeuvre, Septembre à Deauville stands out for its magnificence. Through the sunlight breaking through and illuminating the heavy September clouds, Hambourg transforms the quiet Normandy beach into a moment of great theatre. Above the myriad reflections on the still-wet sand, the evening sky dominates the canvas, creating a ceiling of light and colour that envelops the viewer. The tiny figures and sails that dot the horizon only serve to underline the sheer expanse of the vista. In this brilliant painting, Hambourg brings the ephemeral evening light to life: harmonising the sea, the waves, and the sky in a celebration of atmospheric effects.

Septembre à Deauville

Painted in 1968

Oil on Canvas

60 x 73 cms / 23½” x 28¾”

£59,500

HENRI BURON

French, (1880-1969)

Les Voiliers dans la Mer Bretonne Oil on Panel

22 x 27 cms / 8½” x 10½”

£2,950

RENÉE CARPENTIER WINTZ

French, (1913-2003)

22 x 27 cms / 8¾” x 10½”

£2,950

Matinée Calme en Morbihan

Oil on Canvas

KARL THEODOR BOEHME

German, (1866-1939)

Evening Sun

Painted in 1916

Oil on Canvas

62.5 x 87.5 cms / 24¾” x 34¼”

£19,500

ROBERT CHAILLOUX

French, (1913-2006)

Where many masterpieces are created as an encapsulation of the best known facets of an artist’s style, sometimes they are created from the exploration of entirely new subjects. Such is the case with Chailloux’s brilliantly executed and unique The Fishing Port. In the earliest stages of his career, Robert Chailloux had been known for his wonderful en plein air studies of a variety of French fishing ports. Such was his love of the subject that in 1945 he joined the Marine Salon in Paris. Yet the rapid worsening of his spine curvature in his early twenties would confine him to the studio for the rest of his life, and he would come to be celebrated for his meticulous still lives of French provincial pottery.

To see a painting from the very start of Chailloux’s career is therefore rare, but to see in it the same subtlety, bursts of colour, and poetic softness that characterises his later famed still lives is astounding. In The Fishing Port the artist effortlessly balances the bright colours of boats and dockworkers while also capturing the presence of the quiet town in an extensive range of browns and greys. Of note is the confidence with which the young artist has approached the calm waters of the dock, creating reflections in the foreground with single dragged brushstrokes in a manner that immediately calls to mind the Impressionists. The Fishing Port is a testament to the innate talents of one of France’s most gifted twentieth-century painters.

ROBERT CHAILLOUX

French, (1913-2006)

Bord de Mer Oil on Canvas

46 x 55 cms / 18” x 21¾”

£5,950

BERNARD DE GUINHALD

The Boats in Lavandou

Oil on Canvas

38 x 46 cmss / 15” x 18¼” £4,950

French, (b.1945)

OSCAR KOELLIKER

Swiss, (1882- c. 1956)

Paysage avec Bovins

Oil on Panel

32 x 41 cms / 12½” x 16”

£1,950

AUGUSTE BOUVARD

French, (1875-1956)

Le Pont de Sospel

Signed “Pelletier”

Oil on Canvas

65 x 92 cms / 25½” x 36¼” £9,950

PETER VAN BREDA

British,

Evening Light, Chelsea Embankment, London

Oil on Canvas

30 x 90 cms / 12” x 35½”

£5,500

(Contemporary)

Morning Light, Grand Canal, Venice

Triptych, Oil on Canvas

46 x 83 cms / 18” x 32½” £6,500

Evening Lights, Bodleian, Oxford

Oil on Canvas

46 x 38 cms, 18” x 15”

£3,950

The Savoy Hotel, London

Oil on Canvas

46 x 38 cms / 18” x 15”

£3,950

PETER VAN BREDA

British, (Contemporary)

The unique quality of Peter van Breda’s Morning Light, St. Martin’s, Stamford is built upon a dialogue with J. M. W. Turner’s treatment of the same view almost two centuries before. After cresting a hill to see Stamford stretch out in front of you, the onlooker is greeted with one of Britain’s most iconic views; one which has remained largely unchanged for hundreds of years. When Turner painted the view from St Martins as one of the first artists to fully realise the potential of working outdoors, he created a legacy that reached down to the brilliant en plein air technique of Peter van Breda. It is therefore fitting that Peter has returned to Turner’s subject matter, stamping his own mark upon the view.

CLIVE MCCARTNEY

British, (Contemporary)

Clive McCartney’s Chelsea Bridge, Nocturne is a brilliant example of what can be achieved when impeccable impressionist technique is applied to the city at night. Forcefully conveying the shining golden light of the bridge as it radiates across the rippling waters of the Thames, the painting recalls a tradition that extends back to Monet and Whistler. The impressionistic flair on show in McCartney’s painting imbues the scene with a timeless quality which is only furthered by the lack of modernity on show. As old barges clutter the river and a single figure leans out under a gas lamp, one feels that this image could represent the Thames at any time in the last century. Chelsea Bridge, Nocturne captures the way that we experience cities at night: a mixture of bright light and complex, ever-shifting reflections.

Chelsea Bridge, Nocturne

Oil on Board

58.5 x 84 cms / 23” x 33”

£7,950

Watercolour

21.5 x 14 cms / 8½” x 5½”

£1,500

JONATHAN PIKE

British, (Contemporary)

Watercolour

21.5 x 14 cms / 8½” x 5½”

£1,500

Watergate, Pietra Rossa

Watergate, Cinque Teste

Vedado, Havana

Watercolour

33 x 28 cms / 13” x 11”

£2,800

MARTIN TAYLOR

British, (Contemporary)

February Frost Oil on Board

60.5 x 65 cms / 21¾” x 25½”

£9,950

Pathways through the Bluebell Woods Oil on Board

36 x 46 cms /14” x 18”

£4,950

The Hammer Pond, Friday Street, Surrey Hills

Oil on Canvas

40.5 x 56 cms / 16” x 22”

£7,500

Dusk, The River Wey, Surrey

Oil on Canvas

20 x 36 cms / 8” x 14”

£2,950

PETER SYMONDS

British, (Contemporary)

Evening Light

Oil on Canvas

20 x 30 cms / 8” x 12”

£2,500

PETER SYMONDS

British, (Contemporary)

Blà Bheinn, Isle of Skye

Oil on Canvas

28 x 35.5 cms / 11” x 14”

£2,950

Fishermen’s Huts, Portheras Cove, Pendeen, Cornwall Oil on Canvas 20 x 40.5 cms / 8” x 16” £3,500

DEREK G. M. GARDNER

British, (1914-2007)

Widely considered to be the leading marine painter of the twentieth century, the entirely self-taught Derek Gardner was not only capable of the unparalleled detail required in capturing ships, but stood unmatched in conveying the atmosphere of the ocean. The balancing of detail and atmosphere is central to the challenge of any marine painting, with many artists excelling in one rather than the other; yet it is a balance necessary to produce great works. Trained as a watercolourist with a taste for impressionistic effects, but at the same time a skilled civil engineer with an eye for detail, Derek Gardner was able to achieve this balance. The quality of his depictions of sea mist, flying spume, and ocean skies lends his paintings an air of authenticity which few artists can approach, situating his accuracy within a realistic seascape.

The Battle of Trafalgar stands as an encapsulation of these qualities, and in particular a showcase of Gardner’s brilliant ability to create atmosphere. Looking at the work, the viewer is presented with thickly impastoed flying jets of water and gunpowder smoke spread across the lower register of Trafalgar, giving a sense of the noise and movement inherent in the battle. These moments of movement are then balanced by a beautifully worked impressionistic sky. From this backdrop, the fine details and textures of his ships emerge: webs of rigging are illuminated by gunfire, masts bend and snap, the tiny silhouettes of men scurry across warships. The Battle of Trafalgar succeeds in conveying its subject because of this balance.

One feels that Gardner was able to so succinctly convey the sense of battle precisely because he himself had experienced naval combat. Serving in the Mediterranean and North Atlantic theatres of the Second World War, he was well acquainted with the gunfire and smoke of battle. The intensity of Trafalgar, the climactic naval battle of the Napoleonic War, is well known. Nelson’s bold attack upon the French centre produced some of the fiercest fighting seen in the age of Sail, ultimately costing the Admiral his life as he led his flagship into the eye of the battle. It is this ferocity that Gardner has brilliantly captured, choosing the reality of smoke and confusion over more typical depictions of neatly ordered warships.

RONNY MOORGAT

Belgian, (Contemporary)

The Battle of the Nile, 1798

Oil on Canvas

110 x 180 cms / 43” x 71”

£59,500

RONNY MOORGAT

Belgian, (Contemporary)

The phrase ‘masterpiece’ brings to mind a culmination of years of work and preparation: the creation of a picture of great scale and grand subject. In this respect, Ronny Moortgat’s The Battle of the Nile , a panoramic view of the climactic battle which stretches across six feet of canvas, surely deserves the epithet. Not only is the artist’s characteristic attention to detail superb, but Moortgat has also captured the startling aesthetics of the Nile: what results is the beautiful juxtaposition of the filigree silhouettes of warship rigging against the pink and violet hues of the setting Egyptian sun. Having already produced a smaller watercolour of the same subject, it is clear that this is one of Moortgat’s favourite compositions, and he has clearly enjoyed the chance to have it play out here on the grandest of scales.

The beautiful sunset and crystalline detail on show in the work help transport the viewer to this pivotal battle of the Napoleonic wars. The Battle of the Nile , in which the Royal Navy decimated a French fleet off the Egyptian coast, would strand the young Napoleon in Egypt and assure British control of the Mediterranean for a generation: it also catapulted the victorious British admiral, Horatio Nelson, to national fame. Rather than attempting to capture the confusion of nearly forty ships meeting in battle, Moortgat has chosen to focus on a singular turning point within the engagement. With the French ships at defensive anchor, Nelson led his fleet directly into their main battle line, trusting superior manoeuvrability and seamanship to carry the day. While this confrontational plan of action would likely have resulted in victory, it was a bold plan concocted by Nelson’s subcommander, Thomas Foley, which sealed the destruction of the French fleet.

Aboard his ship Goliath, pictured at the forefront of the work, Foley led four further vessels between the enemy flank and the Egyptian shore, a movement which had been considered impossible by French commanders due to the presence of dangerous shallows; alluded to by the palm trees of the shoreline edging into view on the left of the painting. As Nelson’s vanguard broke the French centre, resulting in the famous explosion of their Flagship Orient, Foley surrounded and captured Guerrier and Conquerant in the fierce fighting that Moortgat depicts. The independent action of Foley, unplanned before the battle, was characteristic of Nelson’s ability to get the best out of his subcommanders.

The Battle of the Nile II

DOUGLAS FALCONER

British, (1913-2004)

Loch Carron, West Scotland

Oil on Canvas

25.5 x 35.5 cms / 10” x 14”

£1,250

Buttermere, Lake District

Oil on Canvas

25.5 x 35.5 cms / 10” x 14” £1,250

Scottish Highlands are known for some of the most beautiful landscapes on earth. Rocky outcrops, lush forests, and expanses of still water combine into an Arcadian vista that has captured the imagination of both artists and the wider public for over two centuries. Situated in the far North West of Scotland, Loch Hourn is often considered the most Fjord-like Loch in the country. Surrounded by dramatic peaks which fall into the deep waters, Hourn feels like one of the country’s last wildernesses, one which Falconer has imbued with a fittingly romantic atmosphere that recalls the work of Alfred de Breanski and Edwin Landseer.

Bathed in a flood of rich golden evening light, Falconer brilliantly captures the stark relief of the mountain ridge in the distance, which is set out from the calm surface of the Loch and the light blue skies thanks to a delicate matrix of textured brushstrokes. Brought into the painting, the viewer is then surrounded by an astounding range of autumnal colours on the foreground vegetation, ranging from deep umber to mauve and orange. Falconer has both captured the fiery colours of the autumn while also creating a heightened reality: an image of Loch Hourn at the moment of greatest possible beauty. In doing this, he has placed his painting firmly in the pantheon of romantic visions of the highlands, subjects which rarely fail to transport those that see them to these magical places.

ALFRED DE BREANSKI SNR.

British, (1852-1928)

The Heart of Perthshire

Oil on Canvas

43.2 x 58.4 cms / 17” x 23”

£29,500

The Midsummer Sun, Perth Oil on Canvas

51 x 76 cms / 20” x 30”

£39,500

Encapsulating the great plays of William Shakespeare in a single image is a task that has alluded generations of artists: with their wide casts of characters and multiple acts, it would seem an impossibility. Yet across eight beautifully crafted watercolours, Hanz Printz has succeeded precisely because his compositions prioritise capturing the essence and atmosphere of these plays, rather than simply conveying their narratives. He has achieved this through a brilliant interplay between composition and border. Appearing almost like the page from an illuminated manuscript, each scene combines highly detailed figurative work with an expressive and unique margin. From the gothic borders of The Merchant of Venice, which immediately transport the viewer to the sixteenth century lagoon, to the cold Bohemian tracery and icy berries that creates the atmosphere of A Winter’s Tale each work creates an immediate context for its scene.

“A T A LE OF S H A KE S PE A RE ”

HANS PRINTZ

Austrian, (1865-1925)

Clockwise from left:

Printz’s great achievement goes further than merely illustrating these plays, and instead impart an immediate sense of their tone to the viewer. They stand as total artworks, combining a unique mixture of architectural style, border decoration, atmospheric subtlety, and accurate figure work. We are particularly excited to be able to present this group of watercolours, which stand as rare examples of late Victorian ideas of design and decoration. Few artists have conveyed the totality of Shakespearian drama, and as such Printz’s series represents a masterful success.

Pencil, watercolour and bodycolour on paper

46 x 34.5 cms / 18” x 13½”

£14,000 for the set of eight

ARIS RAISSIS

Greek, (Contemporary)

The Golden Apple Oil on Panel

STELLA SHAWZIN

South African, (1920-2020)

Mother & Baby X

Portuguese Pink Marble

54 x 97 x 56 cms

21” x 38” x 22”

£37,500

Mother & Baby on a Rock

Portuguese Pink Marble

60 x 38 x 35 cms

24” x 15” x 14”

£32,000

DAME BARBARA HEPWORTH

British, (1903-1975)

Two Forms (Gemini)

Signed ‘Barbara Hepworth’

Dated 1970 and Numbered 9

Quartz Glass on a Carved Wood Base

57 x 43 x 20 cms

18½” x 17” x 8”

Price on Application

PAUL S. BROWN

American, (Contemporary)

PAUL S. BROWN

American, (Contemporary)

White Truffles

Oil on Canvas

40.5 x 61 cms / 16” x 24”

£16,500

Après Dîner

Oil on Canvas

51 x 56 cms / 20” x 22”

£16,500

STEWART LEES

British, (Contemporary)

With a central goal of ‘turning the familiar into something extraordinary’, Stewart Lees views the challenges of still life painting as being akin to those of portrait painting, combining a concern for surface detail with deeper understanding of the subject. The result is extraordinary works like Red Begonia and a Blue Bowl which capture the viewer’s imagination with their technical brilliance. Yet beyond Stewart’s unparalleled ability to depict light and texture, it is his creation of mood and atmosphere that sets his works apart; they are expressions of the essence of the subject in which even the smallest compositions tell the story of their creation.

‘…just like the best portrait painters, I’m saying something much deeper about my subject. Far more than the monocular vision of a camera could ever hope to express. ’

- Stewart Lees

50 x 40 cms / 19¾” x 16”

£15,000

Red Begonia and a Blue Bowl

Oil on Gesso Panel

PIETER WAGEMANS

Belgian, (Contemporary)

On occasion, an artist’s individual technique can align so perfectly with a chosen subject matter that together they create a masterpiece. Building on the legacy of the Dutch Masters, Pieter Wagemans’ transcendent still life paintings have propelled the artist to the forefront of contemporary realist painting. Recognisable for the balance of light and shadow within elegantly arranged floral vignettes, an exquisite colour harmony and intricate details, Wagemans’ work is defined by his brilliant use of a technique called ‘Alla Prima’, in which each flower is painted sequentially, without underdrawings or a compositional plan. Painting flowers demands a skill and discipline beyond that of other still life subjects, for cut flowers constantly change from the moment they settle in a vase. Yet Wagemans’ brilliant technique of creating the composition as he works, halts this passing of time: his flowers remain fresh forever.

Summer Flowers is a masterful expression of this approach. In choosing to paint such a variety of diverse colours, textures, and silhouettes, Wagemans’ Alla Prima technique ensures that each flower is captured at its most vibrant: imbuing the work with a timeless quality often lacking from floral still lives. The layering approach is shown beautifully here, each flower stands out despite the complexity of the composition. The final arrangement therefore rests on the artist’s imagination, and with Summer Flowers. Wagemans has shown his ability to balance unparalleled creative skills with impeccable technique to create a masterpiece of still life painting.

“ Every item has its own characteristics. You can see a thousand details, but you cannot paint everything you see. The art of omitting is very important. A successful painting cannot be approached in a purely photographic way. That is why a painting can go beyond a photograph. ” – Pieter Wagemans

95 x 75 cms / 37½” x 29½”

Summer Flowers

Oil on Canvas

£25,000

PIETER WAGEMANS

Belgian, (Contemporary)

Happiness

Oil on Panel

59 x 56 cms / 23¼” x 22”

£9,950

Peonies

Oil on Panel

50 x 60 cms / 19¾” x 23½” £9,950

A New Start Oil on Panel

50 x 120 cms / 19¾” x 47¼” £23,000

WALTER DOLPHYN

Belgian, (Contemporary)

Jokers Wild Oil on Panel 80 x 70 cms / 31½” x 27½”

£49,500

KENNETH WEBB

Irish, (Contemporary)

PABLO PICASSO

Spanish (1881–1973)

La Serrure

Knitted Wool Tapestry

Designed and Created in 1955 205 x 150 cms / 81” x 59”

Signed ‘Picasso’ (on verso)

£39,000

Provenance

Commissioned by Marie Cuttoli. Lucie Weill Gallery. Private Collection; France. Gladwell & Patterson, London; acquired in 2022.

Claude Picasso has confirmed the authenticity of this work.

Out of all of Picasso’s unrivalled contributions to twentieth century culture, his successes in elevating decorative media to the status of a fine art is perhaps his most significant legacy. From collage to ceramics to printmaking, he continually sought to expand the material language of art; yet the fields upon which he had the greatest impact were tapestries and textiles. La Serrure , a knitted wool tapestry designed by the artist and made in 1955, thus stands as an encapsulation of this achievement.

La Serrure was commissioned in 1955 by Marie Cuttoli, a French designer instrumental in the resurgence of twentieth-century tapestry. Cuttoli had, from the 1930s, enlisted a range of artists (including Miró, Man Ray, Leger, Braque and Picasso) to support her project of rescuing the status of textile art. The importance and extent of her contribution is the subject of numerous exhibitions and studies to this day.

The design process involved Picasso creating a cartoon, a to-scale design on cardboard, which was then sent to weavers for manufacture. Throughout the creation of the final tapestry, Picasso periodically checked the unfinished work to ensure its quality was at the highest standard and it was being made according to his plans.

La Serrure is unique amongst Picasso’s woven creations for its use of an original composition. Picasso’s tapestries were often produced as reinterpretations and reproductions of his canvases, most famously in the case of Picasso’s monumental Guernica of 1937, which hung outside the chambers of the Security Council of the UN. There is no painted precedent for La Serrure The textile thus stands as an artwork in its own right.

Translated as ‘The Lock’, La Serrure is a fine example of Picasso’s confidence in translating his style across media. Intended to be used as a carpet, the image of a figure appearing through a keyhole alludes to the domestic setting implied by the artwork in a way rarely attempted by Picasso. The motif of the dove in the upper left corner, outlined in both black and green plays homage to the recurring theme of La Colombe that Picasso incorporates into his work throughout his oeuvre. Standing as a symbol of peace, its presence in the domestic setting is a deeply personal symbol for Picasso, who adored animals, and allowed them to run freely around his house and studio. The vibrant colours of red and green with the lineal outlines of the subject in black are juxtaposed against the cream background, revealing Picasso’s confident approach to interior furnishings.

PABLO PICASSO

Spanish (1881–1973)

"It is Jacqueline’s images that dominates Picasso’s work from 1954 until his death, longer than any of the women who preceded her. It is her body that we are able to explore more exhaustively and more intimately than any other body in the history of art."

- John Richardson, 1988

Jacqueline au Bandeau

Conceived in 1962, Cast in bronze in 1964

Bronze relief sculpture cast from a linocut

34.5 x 26.5 cms /13½” x 10½”

Stamped with the foundry mark ‘ e godard fondr paris ’

Unnumbered edition of 2

Price on Application

Provenance

Estate of the Artist

Marina Picasso, the artist’s granddaughter; acquired from the above. Gladwell & Patterson, London; acquired from the above in 2022.

Claude Picasso has confirmed the authenticity of this work.

Pablo Picasso’s Jacqueline au Bandeau encapsulates the startling vitality of the artist’s late period, memorialising not only the expressive style which he pioneered; but also his reinvention of the possibilities of printmaking. Picasso commissioned this bronze relief in 1964, of an original linocut entitled Femme au Cheveux Flous, which he created two years prior, as a unique symbol of one of his most accomplished print series. Cherished first by Picasso and then his descendants for nearly sixty years, we are proud to present this distinctive work to the public for the first time.

Following his marriage to Jacqueline Roque in 1961, Picasso would embark upon a period of intense experimentation and production, which would characterise his final decade. In these years, the great artist focused his gaze upon subjects he considered to be pure archetypes; foremost amongst these were the face of his muse, Jacqueline.

Picasso always experienced bursts of creative energy when in love, and Jacqueline au Bandeau was conceived in 1962 only shortly after his marriage, one of a group of portraits testifying to his intensity of feeling. More than simple representations, Picasso composed his portraits of Jacqueline from memory, creating some of his most personal and subjective interpretations of the human character.

Yet beyond its striking visuals, Jacqueline au Bandeau stands as a near-unique material record of Picasso’s revolutionary impact on the print medium. In the early 1960s, Picasso would pioneer the reductive method of producing linocuts, greatly expanding the technical possibilities it afforded artists.

Aware of his achievement, Picasso chose to memorialise a small selection his best linocuts in bronze, transforming them into accomplished relief sculptures in their own right. Each line and groove of Jacqueline au Bandeau therefore represents a rare physical imprint of Picasso’s hand as he worked and reworked the printing block. A testament to both stylistic and technical innovation, Picasso’s bronze relief offers the viewer an outstanding opportunity to experience a direct material connection to his genius.

CLARISSA JAMES

Austrian, (Contemporary)

White Gold IV - Winter Pilgrim

Oil and White Gold Leaf on Canvas

145 x 85 cms / 57” x 33”

£30,000

Tawny Owl

Bronze (Edition of 12)

38 x 20 x 20 cms

15” x 8” x 8”

£14,500

Artemis (Maquette)

Bronze (Edition of 12)

49.5 x 15 x 12.5 cms / 19½” x 6” x 5”

£10,950

NICK BIBBY

British, (Contemporary)

Apollo (Maquette)

Bronze (Edition of 12)

49.5 x 15 x 12.5 cms / 19½” x 6” x 5”

£10,950

SIMON GUDGEON

British, (Contemporary)

Fruit Platter

Bronze Apples 103 x 80 x 80 cm each

Pears 145 x 76 x 76 cm each

Plums 72 x 50 x 50 cm each

Cherries 84 x 92 x 35 cm each

£100,000

Fruits can be purchased individually

SIMON GUDGEON

British, (Contemporary)

Standing Otter

Bronze (Edition of 50)

30 x 23 x 14 cms / 12” x 9” x 5½”

£4,250

Lyrebird

Bronze (Edition of 50)

36 x 12 x 8 cms / 14” x 5” x 3”

£4,250

Kingman (Maquette)

Bronze (Edition of 12) 28 x 23 x 10 cms / 11” x 9” x 4”

£3,600

Walking Stallion

Bronze (Edition of 12)

51 x 30.5 x 12.5 cms

20” x 12” x 5”

£5,800

EDWARD WAITES

British, (Contemporary)

DAVID SHEPHERD

British, (1931-2017)

David Shepherd is recognised as the finest wildlife artists of the last one hundred years. Shepherd’s distinctive style and inspiration stems from a personal attachment with the animals of Kenya. Throughout his career he was inspired to protect the big cats, elephants, tigers and other animals that he depicted with such delight. His subjects were painted with dignity and grandeur and his compositions allowed them to take centre stage amongst the breath taking scenery of his beloved Africa.

Shepherd’s approach to portraying wildlife is wholeheartedly unique. The artist would often seek out the same subject multiple times due to the close bond he had with the animal, a process most apparent in the time he spent in Kenya’s Tsavo East National Park, alongside his close conservationist friends David and Daphne Sheldrick. Shepherd’s encapsulation of the pride leader in Some Serengeti Notes reflects his desire to capture the personalities of his subjects. An exquisite draughtsman, Shepherd’s attention on the eyes and the steady, powerful stare of the majestic leader of the pride, is instantly arresting when set against the loose, broad brushstrokes of the sketchy backdrop.

Shepherd’s technique of combining photorealism with his broad impressionist style and his impeccably accurate palette, instantly strikes a chord with the viewer, but above all it is his love of the animals that shines through in his paintings creating an instant empathy for them with his audience. Shepherd’s work is an enduring statement to the masterpiece of nature itself.

Some Serengeti Notes

Painted in 1989

Oil on Canvas

56 x 112 cms / 22” x 44”

£59,500

Etosha Tusker

Painted in 1973

Oil on Canvas

66 x 132 cms / 26" x 52"

£130,000

DAVID SHEPHERD

British, (1931-2017)

DAVID SHEPHERD

British, (1931-2017)

“What more could an artist wish for but to repay my debt to the animals I painted.”

After the Chase

Painted in 1980

Oil on Canvas

35.5 x 61 cms / 14" x 24"

£55,000

Interior by Warner House

- David Shepherd, CBE (1931 – 2017)

The Eyes of the Tiger

DAVID SHEPHERD

British, (1931-2017)

Oil on Canvas

18 x 25.5 cms / 7” x 10”

£19,500

The Family at Rest

Painted in 1989

Oil on Canvas

46 x 66 cms / 18" x 26"

£49,500

JAMES DORAN-WEBB

British, (Contemporary)

Jasmine the Goat

Driftwood Sculpture

193 x 111 x 114 cms / 76” x 44” x 45”

£12,000

The Chirper

Driftwood Sculpture

26 x 15 x 15 cms / 10¼” x 6” x 6”

£550

The Guardian of the Bird Bath

Driftwood Sculpture and Stone

110 x 64 x 52 cms / 43¼” x 25¼” x 20½”

£4,700

JAMES DORAN-WEBB

British, (Contemporary)

The Bulrush Respite

Driftwood Sculpture

232 x 100 x 73 cms / 91¼” x 39½” x 28¾”

£3,700 each

Young Nibbles

Watercolour

12.5 x 9 cms / 5” x 3½”

£495

JONATHAN WALKER

British, (Contemporary)

The Hottie

Watercolour 20 x 14 cms / 7¾” x 5½”

£725

Dawn Dash

Watercolour 37.5 x 51 cms / 14¾” x 20” £1,850

I nternational

To celebrate our 275 year anniversary, Gladwell & Patterson is exhibiting a spectacular collection of paintings at the following shows in the USA

H amptons Fine Art Fair

Southampton Fairgrounds

605 County Rd 39, Southampton, NY 11968

13-16 July 2023

The N ewport S how

St. George’s School Ice Rink

375 Purgatory Road, Middletown, RI

28-30 July 2023

The San Francisco Fall S how

Festival Pavilion, Fort Mason Center for Arts & Culture

2 Marina Blvd, San Francisco CA 94109

11-15 October 2023

H ouston Antiques, Art & D esign S how

2000 Edwards Street, Houston, TX

17-20 November 2023

Contact Emily at emily@gladwellpatterson.com

for tickets and more information

Gladwells Rutland are delighted to participate in the following prestigious shows in the United Kindom

The G ame Fair

Ragley Hall

Alcester, Warwickshire. B49 5NJ

28-30 July 2023

B urghley H orse Trials

Burghley House

Stamford PE9 3JY

31 August-3 September 2023

The Northern Antiques Fair

Tennants

Harmby Road, Leyburn, North Yorkshire DL8 5SG

28 September-1 October 2023

Contact Natalie at natalie@gladwellpatterson.com for tickets and more information

INDEX

Nick Bibby p 116-117

Karl Theodor Boehme p 50-51

Auguste Bouvard p 57

Alfred de Breanski Snr. p 82-83

Peter van Breda p 58-63

Paul S. Brown p 94-97

Henri Buron p 48

Robert Chailloux p 52-54

Walter Dolphyn p 104-105

James Doran-Webb p 132-135

Douglas Falconer p 80-81

Derek G. M. Gardner p 74-75

Simon Gudgeon p 118-121

Bernard de Guinhald p 55

André Hambourg p 46-47

Dame Barbara Hepworth p 92-93

Modest Huys p 40-45

Alexandre Louis Jacob p 34-39

Clarissa James p 114-115

Oscar Koelliker p 56

Stewart Lees p 98-99

Gustave Loiseau p 16-21

Maurice Martin p 10-11

Clive McCartney p 64-65

Ronny Moorgat p 76-79

Charles Perron p 12-15

Pablo Picasso p 108-113

Jonathan Pike p 66-67

Hans Printz p 84-87

Aris Raissis p 88-89

Georges Charles Robin p 22-29

Jeanne Selmersheim-Desgrange p 8-9

Stella Shawzin p 90-91

David Shepherd p 124-131

Peter Symonds p 70-73

Martin Taylor p 68-69

Raymond Thibésart p 4-7

Pieter Wagemans p 100-103

Edward Waites p 122-123

Jonathan Walker p 136-137

Kenneth Webb p 106-107

Raymond Wintz p 30-33

Renée Carpentier Wintz p 49

Special thanks to the following:

Warner House for the use of their beautiful interior scenes

Fromental for their bespoke wallcoverings

Tim Steele for his wonderful photography at Molecey Mill