Gladwell & Patterson at The Hamptons Fine Art Fair
Gladwell & Patterson are delighted to announce their participation at the Hamptons Fine Art Fair this July, 2023, at the Southampton Fairgrounds in the heart of the bustling Hamptons. As the only international art fair in the Hamptons this summer, the show will provide an outstanding opportunity for collectors of all interests to explore and acquire from the best of a broad selection of global contemporary and modern art.
Gladwell & Patterson will be showcasing the work of several modern and contemporary artists at the Hamptons Fine Art Fair. We are delighted to present new canvases by British contemporary artist Peter Wileman, whose vibrantly coloured abstract landscapes and seascapes are instantly recognisable for their gestural brushstrokes and nautical references.
Gladwell & Patterson are proud to present an exceptional collection of Post-Impressionist landscapes by Gustave Loiseau and Raymond Wintz. Alongside these we will be showcasing masterpieces by Georges Charles Robin and Alexandre Louis Jacob to bring the beauty of the European countryside to the sunny climes of New York State. The gallery has dealt with these artists since the Second World War and will be publishing the Catalogue Raisonné of both artists works in the near future.
We hope that you enjoy this collection, and we look forward to welcoming you to Booth 342 in the Hamptons this July.
Booth 342
13 July – 16 July 2023
Southampton Fairgrounds 605 County Rd 39 Southampton NY 11968
emily@gladwellpatterson.com +44 (0) 7983 518 526
Looking Forward to the Past: An Illustrious 275 Years
Gladwell & Patterson is proud to be London’s oldest art gallery. Founded in 1746, by the greatest print merchant of Georgian London, John Boydell, our business has always had the goal of dealing with the finest artists of their generation. We value quality and integrity very highly, and we understand the passion and creativity that comes hand-in-hand with being so talented.
Founded in the City of London, the gallery is proud to have remained an essential destination for anyone in search of fine paintings and sculpture. It has become apparent everyone remembers their first encounter with the gallery, and no wonder - over our centuries of history we have been committed to delivering wholesome and enjoyable experience to anyone who walks through our doors or visits our stands at Art Fairs across the globe.
The gallery’s history traverses many artistic movements, it contains incredible beauty, the wonder and power of artistic creation and its ability to bring such joy, contentment and unity to the World. The foundations of this fine art gallery are based on the pioneering and passionate work of many giants of the art world over the past 275 years. Their number include two Lord Mayors of London, a man who is credited with being the driving force behind the establishment of the National Gallery, the Head of the Fine Art Trade Guild and Masters of several of the Worshipful Companies in the City, amongst many other accolades. The earliest custodians of our business, John Boydell in the eighteenth-century, and Henry Graves in the nineteenth-century, were the most successful print merchants in London at the time, specialising in publishing engravings from pictures by Joseph Mallord Wiliam Turner, John Constable, John Everett Millais, and other contemporary painters.
T. H. Gladwell was opened by Thomas Henry Gladwell, the son of a very talented carver and gilder, at 21 Gracechurch Street, in 1836. Initially the gallery specialised in fine prints, books, and stationery, but with his father’s knowledge of carving and gilding, it wasn’t long before they had added frame making to their repertoire. By the time of Thomas Gladwells’s death in 1879, the business had firmly established itself as one of the leading art galleries and frame makers in London. Thomas’s three sons, Henry, Arthur and Alfred Thomas took over the business and renamed it Gladwell Brothers in 1880. Their extensive network of fine artists continued to expand and through their connections with European dealers and publishers such as the dealer Théodore Vibert, the publisher Alfred Cadart, and the dealer Adolphe Goupil, were vital in maintaining their position as one of the most ground-breaking, interesting, and knowledgeable art gallery in London.
Harry Gladwell, the eldest grandson of Thomas Henry Gladwell, would eventually take over the business at the start of the twentieth-century. Brought up as a hard-working, inquisitive, and religious lad, he yearned to join his father and uncles in the business. In 1875, aged eighteen, the intrepid Harry travelled to Paris to be apprenticed with the art dealer Adolphe Goupil in Paris. There, he became firm friends with another apprentice, Vincent van Gogh, who took the young Harry under his wing and showed him around the city. Vincent delighted in Harry’s idiosyncratic appearance, describing him as "thin as a stick with a pair of large red protruding ears", and his joie de vivre. Van Gogh’s letters to his brother Theo reveal the close relationship between the two young men.
Harry moved the gallery to its new home on the corner of 70 & 71 Cheapside, in the City of London, which soon became known as Gladwell’s Corner. With Harry’s experience gained through his various apprenticeships with his uncles and father and his spell at Goupils in Paris, he would go on to become the most successful art dealer of his time.
Two of Harry’s sons, Ernest and Algernon, joined their father at Gladwell & Company, learning the trade at the various branches of the company. In 1928, a year after Harry Gladwell died, the brothers went their separate ways. Algernon remained in the City and moved to a new gallery at the corner of Queen Victoria Street and Watling Street, where the gallery remained until 2012.
In 1968, Algernon retired and sold the business to Herbert Fuller, who had managed the gallery for him since 1932 and had been instrumental in steering the gallery through the hardships of the 1930s and then the blitz of London during the Second World War. Following the War, Algernon and Herbert regularly travelled to the Salons of Europe, meeting the best and most highly regarded artists with whom they started prosperous relationships. Herbert brought renowned French masters such as Georges Robin, Alexandre Jacob, Charles Perron, Edouard-Léon Cortès and Auguste Bouvard into the Gladwells fold. He introduced these artists to the British art market and subsequently around the world.
The same year that Herbert acquired Gadwell & Company, in 1968, his son Anthony Fuller joined him in the business. Father and son continued to take the gallery from strength to strength, cementing Gladwell & Company’s place as the most discreet and discerning Fine Art Gallery in London. It was the destination for any art collector wanting to build an honest and beautiful collection.
Upon Herbert’s untimely death in 1980, Anthony took over the company, and worked tirelessly to keep the old established gallery going. Anthony’s love of art soon found him his own group of clients, and there are precious few people who have met him in the gallery over the years who don’t comment on the infectious joy that paintings give him. Many people’s love of art has been founded on a few minutes in Anthony’s company with some paintings.
Anthony’s son Glenn joined the business in 1995, followed by his daughter, Cory, in 1998, following a successful and invaluable Masters degree at the Courtauld Institute of Art. In 2004 the Fuller family acquired the prestigious Mayfair gallery W H Patterson at 19 Albemarle Street. The gallery was opened in 1964 by Bill Patterson and became known as the premier gallery for contemporary artists painting in traditional styles, and artists from around the world wished to be represented by them.
In 2012, our two galleries in the City and in Mayfair were brought together under one roof in the equally distinguished environment of Knightsbridge. It is here, with the opening of Gladwell & Patterson, that two illustrious legacies combined in our new space at 5 Beauchamp Place, where we remain to this day.
In 2020 we opened the doors to Gladwells Rutland in the exclusive market town of Oakham in Rutland, offering a new and intimate space in which to show the works of our wonderful artists in the British countryside.
The Gladwell & Patterson ethos has been shaped by an informed yet fresh approach to what the separate parts have always done: presenting the finest works of art to those who appreciate them most, our perceptive, valued clients.
Gustave Loiseau
French, (1865-1935)
One of the foremost Post-Impressionist painters, Gustave Loiseau was profoundly influenced by the great masterpieces of the Impressionists. A champion of painting the landscape en plein air , Loiseau embraced the use of bold colour as he explored and expanded the Impressionist style.
Loiseau rebelled against the traditional practices of painting and joined the famous artists’ colony at Pont-Aven in Brittany in 1890. There he became companions with Henry Moret, Maxime Maufra and Paul Gauguin and under their influence, Loiseau embraced the use of bold colour and sought to expand and seek new aspects of the Impressionist style. In his quest to create movement and light, Loiseau developed a distinct cross-hatching technique which resulted in the supple and ephemeral quality for which his work is known.
In 1895, Loiseau was introduced to the renowned Parisian art dealer Paul Durand-Ruel, by Claude Monet and Auguste Renoir, with whom he agreed an exclusive contract to sell his paintings. Loiseau’s first solo exhibition at Galerie Durand-Ruel took place from March to April in 1898.
The hallmark of truly great painters has always their ability to develop and adapt their style throughout the course of a career, while still staying true to their artistic goals. In this respect, Gustave Loiseau is without peer. In his quest to explore complex and often overlooked atmospheric effects, he would continually adapt and innovate over the course of his life.
In his quest to create movement and light, Loiseau developed a distinct ‘cross hatching’ technique, called en treillis , which resulted in the supple and ephemeral quality for which his work is known. These later works, characterised by a homogeneous and yet vibrating colour structure formed through staccato-like brushwork, was developed from Loiseau’s influence of the pointillism of Seurat and Signac. Identifiable through a rich surface, composed using spontaneous brushwork as the pigment is layered upon the canvas, Loiseau’s later works reveal the artists experimental nature and exemplifies Loiseau’s instinctive use of both Impressionist and Post-Impressionist techniques in his quest to capture nature as he experienced it.
Les Peupliers
Painted in 1898
Signed ‘G. Loiseau’ (lower left)
Oil on Canvas
81 x 65 cms / 32” x 25½”
Gustave Loiseau
French, (1865-1935)
Provenance
Durand-Ruel, Paris.
Private Collection, Switzerland.
Sale; De Quay-Lombrail, Paris, France, 7th December 1995, Lot 13.
Private Collection, New York.
Michelle Rosenfeld Gallery, New York.
Sale; Sotheby’s, New York, 14th May 1997, lot 147; sold by the above.
Private Collection, New York.
Gladwell & Patterson, London; acquired in May 2021.
Exhibitions
Galerie Durand-Ruel, Paris, Exposition de tableaux de M. Gustave Loiseau, 26th March – 9th April 1898.
This work will be included in the forthcoming Catalogue Raisonné being prepared by Didier Imbert.
Gustave Loiseau
French, (1865-1935)
Les Peupliers depicts a vibrant landscape of the countryside surrounding the village of Nesle-la-Vallée where Loiseau lived from 1890. Painted in 1898 at a pivotal point in the artists career, this magnificent landscape represents the coming together of Loiseau’s greatest influences, the Pont-Aven School and Loiseau’s Impressionists forbears, and reveals the young artists immeasurable talent and keen eye for observation through his ability to depict an atmospheric landscape through his application of paint.
The bold colours of Les Peupliers exemplifies Maufra and Moret’s influence on the young artist following his time in Pont-Aven earlier in the 1890s. Meanwhile, the handling of paint and Loiseau’s use of dappled directional brushstrokes reveal his debt to the Impressionists, particularly Alfred Sisley. For Sisley, as for most of the Impressionists, it was the ability to portray the effects of outdoor light that was of such importance and which meant that the smoothness of the finished work, much valued in traditional painting, would give way for a more textured surface. Sisley applied paint with thick impasto brushstrokes to create texture and contrast throughout his compositions. Sisley referred to this as the ‘animation of the surface’ and built-up layers of paint in response to the landscape in front of him. This free, broken brushstroke became one of the hallmarks of the Impressionists and was wholeheartedly embraced by Loiseau and his fellow Post-Impressionists. Following Sisley’s example, through interweaving colours, and added texture, Loiseau built up his characteristic atmospheric landscapes.
Encouraged and fostered by the most important figures of the art world in the late nineteenth and early twentieth century, Loiseau painted this exquisite work at a pivotal point in his career, and it was subsequently included in his very first solo exhibition at Galerie Durand-Ruel, which took place from March to April in 1898. No exhibition catalogue was made for this exhibition, however Les Peupliers was first sold through Durand-Ruel in Paris and a review in La Revue Blanche by the art critic Thadée Natanson described landscapes depicting a range of scenes including ‘trembling haystacks and poplar trees’ which provides strong evidence that this painting was exhibited in Loiseau’s very first solo exhibition with Durand-Ruel.
The brushwork and vibrant colours of Les Peupliers reveal Loiseau’s profound skill in capturing the ambiance of nature. The vibrating colour harmonies of the field of golden wheat and the gestural brushstrokes of the gently swaying poplars enliven this sun drenched pastoral scene. Identifiable through a rich surface, composed using spontaneous brushwork as the pigment is layered upon the canvas, this masterful painting reveals the artists experimental nature and exemplifies Loiseau’s instinctive use of both Impressionist and PostImpressionist techniques in his quest to capture nature as he experienced it en plein air
Peupliers sur les bords de l’Yonne
Painted in 1907
Signed ‘G Loiseau 1907’ (lower left)
Oil on Canvas
60.3 x 73.3 cms / 23¾” x 28¾”
Gustave Loiseau
French, (1865-1935)
Provenance
Durand-Ruel, Paris; acquired from the artist on 24 July 1907.
Durand-Ruel, New York; acquired from the above in October 1908.
Schoneman Gallery, New Work; acquired from the above on 21 October 1946.
Private Collection, Beatriz Arsimendi de Plaza and Jose Luis Plaza, Venezuala.
Private Collection; acquired as a gift from the above.
Gladwell & Patterson, London; acquired from the above in 2022.
Exhibited
Durand-Ruel, Paris, Tableaux par Gustave Loiseau, 1908, no. 8.
This work will be included in the forthcoming Catalogue Raisonné being prepared by Didier Imbert.
Gustave Loiseau
French, (1865-1935)
Peupliers sur les bords de l’Yonne reveals the masterful treatment of one of Loiseau’s most emblematic subjects: poplars by a riverside. In his focus upon poplars as a subject, Loiseau pays homage to the landscapes of Alfred Sisley and Claude Monet; most notably the latter is series of twenty-four views of poplars on the bank of the Epte in the spring of 1891.
The evocative composition of Peupliers sur les bords de l’Yonne depicts a bright summers day on the banks of the Yonne. The current work is a rare example of one of the few river scenes that the artist produced outside of Auxerre in 1907, and stands as a wonderful evocation of the French countryside at the pinnacle of Loiseau’s Impressionist manner.
Painted upstream from Auxerre, Peupliers sur les bords de l’Yonne is devoid of any human figures; Loiseau instead focuses on the fleeting light effects and gentle calm of the flowing river. The dappled reflections on the surface of the water are beautifully rendered in loose brushstrokes of thickly applied impasto oil paint. The layered impasto creates a distinction between land, water and sky as well as recreating the texture of the grasses, trees, and houses on the opposite bank. The painting resonates with the atmospheric quality of a warm summers day with a light breeze. The broad expanse of the river Yonne in the foreground delights the senses as Loiseau superbly captures the rippling effect of a warm breeze blowing across the surface of the water. This still and serene landscape is animated by the movement of the clouds in the sky, painted with longer, loose brushstrokes than their reflections in the water below, evoking a calming ambiance. Loiseau masterly depicted the clouded sky and abundant foliage with the use of delicate feathered brushstrokes, reminiscent of Monet’s technique.
Peupliers sur les bords de l’Yonne reveals the masterful treatment of one of Loiseau’s most emblematic subjects: poplars by a riverside. With their strict linearity and intrinsic decorative elegance, poplar trees were a favoured artistic motif in the late nineteenth and early twentieth century. Their slender height is often the only vertical compositional feature to be found in rural imagery, meaning that they tend to represent the best way to balance the strong horizontals typically found in riverscapes.
The painting’s rich surface, composed using spontaneous brushwork and areas of thickly applied paint, exemplifies Loiseau’s experimental nature. This still and serene landscape is animated by the movement of the gently rolling clouds in the sky, painted with loose, featherlike brushstrokes. Transient images of foliage dotted on the riverbank are captured in spontaneous, almost brushed strokes in a pointillist manner.Loiseau's technique and the chromatic variety of his palette express an extraordinary ability to synthesise Impressionism and Post-Impressionism.
Georges Charles Robin
French, (1903–2002)
Recognised as one of the best, but largely undiscovered, Post-Impressionist artists, Georges Charles Robin’s skill and complete command of his palette set him aside from his contemporaries. Following the en plein air practice of the Impressionist masters, in a few swift brushstrokes Robin brought life to the trees and rivers of the French countryside.
Robin was born in Paris. He studied at École des Beaux-Arts under the master painter Paul Michel Dupuy. Robin went on to become a well-known decorative artist, before securing a job as the scenery artist for the Charleville Theatre and the Dinan Casino.
Robin lived in the affluent suburb of Rueil Malmaison on the western outskirts of Paris throughout his life. The summer months were often spent near Morlaix in Brittany where Robin had a second home; there he would capture idyllic seascapes and charming river estuaries bathed in sunshine. However, throughout Robin’s career the Loire Valley and the Dordogne region inspired his greatest works.
Enthralled by the enchanting river valleys of rural France that flowed through the luxuriant countryside and rolling fields, Robin’s paintings perfectly capture rural French life.
Following the en plein air practice of the Impressionist masters, in a few swift brushstrokes, Robin brought life to the trees and rivers of the French countryside. Robin was a master at capturing the change in temperature and atmosphere. His restrained use of colour allowed him to capture a warm summer’s afternoon or a blanket of snow with profound skill. Combining his deft and delicate touch with vigorous, dramatic brushstrokes and palette knife work, he produced exceptional landscapes. Robin's skill in emphasising nature's basic structure and his sympathetic interpretation using pure colouring only enhances his total control of the medium of oil paint. His love of nature in all her moods inspires a fine sense of permanence in his craft and his treatment of the rustic architecture that exists in many of the towns and villages of France is unrivalled.
Robin was a member of the Salon des Artistes Français, the Salon des Paysagistes Français, and the Society of Arts, Science and Letters. He was an officer of the Académie des Beaux Arts, director of the Institute of “Instruction Publique”, and a former Professor of the Technical High School. He was highly lauded, achieving virtually every major award in French painting for his work, among which the Hors Concors stands out as one of the highest and most esteemed awards of an artist of the time.
Gladwell & Patterson’s history with this distinguished artist began after the Second World War. Herbert Fuller of Gladwell & Company, London, discovered the landscapes of Robin in the Paris Salon in 1948, and approached the artist in his studio. Since he first set eyes on Robin’s landscapes in Paris, Herbert Fuller, and the two subsequent generations of the Fuller family of Gladwell & Patterson have continued to share the legacy of this great artist. The gallery has both an outstanding library of his work and a highly cultivated knowledge of his practice. We are currently preparing a Catalogue Raisonné of his work.
Private Collection, France. Gladwell & Patterson, London; acquired from the above in 2022.
Calvignac et le Lot
Oil on Canvas 46 x 55 cms / 18" x 21¾"
Georges Charles Robin
French, (1903–2002)
Provenance
Private Collection, France. Gladwell & Patterson, London; acquired from the above in 2022.
Exhibited
Exhibited at the Paris Salon, after 1948.
Vallée du l'Aveyron à Penne - Ruines du Château d'Adelaide de Penne
Oil on Canvas 38 x 46 cms / 15" x 18"
Provenance
Private Collection, France. Gladwell & Patterson, London; acquired from the above in 2022.
Exhibited
Exhibited at the Paris Salon, after 1948.
L'Ardèche prés de Vallon-Pont-d'Arc
Painted in 1955
Oil on Panel 38 x 46 cms / 15" x 18"
Provenance
Omell Galleries, London. Private Collection, UK; acquired from the above in 1988-9. Gladwell & Patterson, London; acquired from the above in August 2022.
Raymond Wintz
French, (1884-1956)
Celebrated as a “painter of light”, Joseph Raymond Wintz enjoyed a reputation as one of the finest artists working in France in the early twentieth century. Wintz’ skill and complete command of his palette set him aside from his contemporaries. He gained a firm appreciation by critics and collectors as a leading painter of the Brittany coastline and was renowned for his charming window and balcony scenes bathed in sunshine which perfectly embody memories of holidays by the coast.
Following his education, Wintz rejected the academic styles of his father and professors and like many of his contemporaries, decided to pursue his passion for painting outdoors ‘en plein air’ in the manner of the Impressionists. This technique demanded a free and spontaneous style of painting in order to catch the rapid changes in outdoor light. Wintz’ skill allowed him to extract the colours and shapes as well as the fragrances of nature, putting the total ambiance and experience directly onto the canvas. In a few swift brushstrokes, Wintz captured the very essence of Breton life.
From 1951 to the present day, our gallery's historic archives reveal the unfaltering demand for Wintz’ exquisite Brittany landscapes and window scenes. Gladwell & Patterson has both an outstanding library of his work and a highly cultivated knowledge of his practice.
Ploumanach, Côte du Nord
Oil on Canvas
89 x 117 cms / 35” x 46”
Provenance
Private Collection, USA.
Gladwell & Patterson, London; acquired in 2023.
Paul Madeline French, (1863-1920)
Paul Madeline begun his artistic training at the École des Beaux-Arts in Paris and supported himself financially through a job in a publishing house. He painted his evocative and colourful landscapes en plein air when his career allowed. Travels across France, from the Mediterranean to Brittany, provided the young and impressionable artist with a wealth of inspiration.
In 1894 Madeline was introduced to the fellow Post-Impressionist painter Armand Guillaumin, and from this point onwards he began to depict the French landscape in sumptuous colour and in loose brushstrokes with moss-green and purple tones resonating throughout his work.
Madeline exhibited at the Salon des Artistes, the Salon d’Automne and the Salon de la Nationale des Beaux-Arts and by 1902 his artistic success allowed him to focus solely on his art. His landscapes can now be found in notable public collections including the Musée d’Orsay in Paris, the Musée des Beaux-Arts in Rouen, Limoges, Nantes and Pau.
Côte Rocheuse
Oil on Canvas 66 x 81 cms / 26" x 32" Provenance
Private Collection, France. Gladwell & Patterson, London; acquired from the above in 2018. Private Collection, UK. Gladwell & Patterson, London; acquired from the above in 2022.
Gustave Cariot
French, (1863-1920)
Gustave Cariot was a largely self-taught French Pointillist and Impressionist artist born in the countryside near Paris. Inspired by the techniques of the Pointillists and Divisionists, he was to become a celebrated Post-Impressionist painter whose work is gaining importance with every passing year.
Inspired by Monet’s famous studies of haystacks and the Rouen cathedral, Gustave Cariot was fascinated by the fluctuations of light and color brought about by the changing seasons. He devoted two series of paintings to exploring this theme. Entitled ‘Le Poème des Saisons’, with each picture representing a different month, these paintings were exhibited together at the 1903 Salon des Indépendants. It was there, as the artist’s correspondence reveals, that these pictures would catch the eye of two of the most important collectors of the time, Serguei Dmitrievitch Cheremeteff and Armand Cabrol, leading to a surge in his popularity.
Meules dans un Paysage Vallonné
Painted in 1927
Oil on Canvas
60 x 81 cms / 23½" x 31¾"
Provenance
Private Collection, Normandy.
Private Collection; acquired by descent from the above. Gladwell & Patterson, London; acquired from the above in April 2023.
A Tranquil Morning Oil on Panel 27 x 23 cms / 10" x 9"
Provenance Private Collection, UK. Gladwell & Patterson; acquired in November 2020.
Alexandre Louis Jacob
Ocean of Echoes
Oil on Canvas
