Gladwell & Patterson | The Newport Show 2023

Gladwell & Patterson at The Newport Show

Gladwell & Patterson are delighted to announce their participation at The Newport Show this July, 2023, in the heart of New England. Showcasing exceptional antiques, art & exquisite objects, the show is a highlight of the Newport summer season and provides an outstanding opportunity for art collectors to explore and acquire from the best global art and antiques dealers.

Gladwell & Patterson celebrate a historic 275 years in 2023, making us London’s oldest art gallery. Over the course of our historic 275 years the gallery has always sought out the finest artists and their work. We have carefully curated an exquisite selection of nautical artworks especially for The Newport Show which will showcase the very finest marine paintings that we have to offer.

Gladwell & Patterson will be showcasing the work of several modern and contemporary artists at The Newport Show, including marine paintings by contemporary Belgian artist, Ronny Moortgat, who is known for his skill in portraying contemporary and historic ships with such accuracy, whilst also imbuing their unique spirit in his paintings. 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.

We are proud to present an exceptional collection of Post-Impressionist landscapes by Gustave Loiseau and Raymond Thibesart. 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 England.

We hope that you enjoy this collection, and we look forward to welcoming you to Stand 201 in Newport this July.

Emily Campin

emily@gladwellpatterson.com

+44 (0) 7983 518 526

Booth 201

28- 30 July 2023

St. George’s School Ice Rink

375 Purgatory Road

Middletown, RI

Glenn Fuller

glenn@gladwellpatterson.com

+44 (0) 7767 824 245

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 is sold with a certificate of authenticity and 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 Nwesle-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.

Les Gorges du Loup et Village de Tourette

Oil on Canvas

46 x 55 cms / 18" x 21¾"

Provenance

Private Collection, France. Gladwell & Patterson, London; acquired from the above in 2022.

Oil on Canvas

46 x 55 cms / 18" x 21¾"

Provenance

Private Collection, France. Gladwell & Patterson, London; acquired from the above in 2022.

Exhibited

Exhibited at the Paris Salon, after 1948.

Calvignac et le Lot

GEORGES CHARLES ROBIN

French, (1903–2002)

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.

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.

L'Ardèche prés de Vallon-Pont-d'Arc

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.

ALEXANDRE LOUIS JACOB

French, (1876-1972)

Alexandre Louis Jacob is best known for his atmospheric and luminous landscapes. He gained his rare understanding and love for nature through studied inspection, transferring his observations skillfully on to canvas. His masterful evocation of light, atmosphere, colour and sense of place are remarkable, and have a true ability to transport the viewer to the very banks of the River Seine and River Marne where Jacob would patiently wait, paintbrush poised to capture his unique visions of the French countryside.

Throughout his career, it was the endless skies of the French landscape that appealed to Jacob. The horizon sits in the lower third of his compositions, with the focus on fleeting clouds above, fringed with luminous light. The vast open skies create a sense of calm and contemplation, punctuated by elongated poplar trees that rise from below. Jacob was a master at capturing the French landscape as it subtly changed between the seasons. In autumn, his paintings contain a golden aura, in winter, a soft creamy light diffuses across the landscape with hues of pinks and blues reflected in snow on the river banks and his depictions of springtime resonate with the crisp morning light. Jacob preferred to paint in the quiet moments after a storm had passed, and each of his landscapes have a unique atmosphere of calm and tranquility, achieved by the still watery reflections in the foreground.

Herbert Fuller, of Gladwell & Company, London, first came across Jacob’s work in the Paris Salon after the Second World War, and it was at this point that Jacob’s work began to attract the international clientele of this historic art gallery in the City of London. Initially Jacob was represented by Galerie Haussmann in Paris, but as his popularity grew, Gladwell & Company acquired work directly from the artist from the early 1960’s until Jacob’s death in 1972.

In recent years, Gladwell & Patterson have had the good fortune to collect some unique drawings by Jacob which the artist would send to his close friends at Christmas and New Year. They reveal the artists direct observation of nature, sketching out his compositions with brown and black pencil. Jacob heightened these drawings with white chalk, picking out a smooth reflection upon the surface of water or the glowing clouds in an endless sky. These sepia toned landscape sketches, like Jacob’s exquisite oil paintings, have a unique atmosphere of calm and tranquility, achieved by the still watery reflections in the foreground.

Since Jacob’s death, three generations of the Fuller family of Gladwell & Patterson have continued to place Jacob’s illuminating oil paintings in illustrious private collections worldwide. In recent years, Jacob’s paintings have risen in popularity. Gladwell & Patterson is currently preparing a Catalogue Raisonné of his work.

Oil on Panel

23 x 33 cms / 9" x 13"

Provenance

Private Collection, France. Gladwell & Patterson, London; acquired in January 2023.

Attelage Bord de Rivière

ALEXANDRE LOUIS JACOB

French, (1876-1972)

A Tranquil Morning Oil on Panel 27 x 23 cms / 10" x 9" Provenance Private Collection, UK. Gladwell & Patterson; acquired in November 2020.

MODEST HUYS

Belgian, (1874-1932)

From 1908 to 1914, Modest Huys received unprecedented international recognition for his brilliant contributions to the luminist movement. His 1908 Misty Haystacks capture the artist’s mastery as he balanced complex textures and colours with rural subject matter to create startling evocations of light and atmosphere.

Regarded as one of the greatest Belgian painters of the twentieth-century, Modest Huys stands out for his PostImpressionist landscapes. Huys sought to capture the luminosity of natural light upon the landscape, which earned him a place in the Vie et Luminière group of predominantly Belgian painters, led by Emile Claus.

Huys's paintings capture the essence of the rural working class, depicting their daily lives in the fields with a sensitivity and reverence derived from his rich colour and monumental compositions. By portraying the beauty and dignity of peasants at work, Huys echoed artists like Millet and Courbet in challenging the prevailing notion that manual labor was an occupation unsuitable for the canvas. In doing so Huys dramatically expanded the vocabulary of the Luminist movement, which had largely focused on landscapes rather than the figures which inhabited them.

Painted circa 1908

Signed ‘M Huys’ (lower right)

Oil on Canvas 65 x 84 cms / 25½’’x 33’’ Provenance

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

Misty Haystacks

PETER WILEMAN

British, (Contemporary)

Highly acclaimed British abstract artist Peter Wileman is one of the UK’s leading contemporary landscape artists today. Known for his dazzling abstracted oil landscapes, Wileman’s style is bold and vigorous, both in the use of colour and handling of paint, as he explores the effect of light on his subject. Seeking atmosphere through light and colour, he works in varying degrees of abstraction.

Interested in painting from a young age, upon leaving school he went straight into his first job at Hallmark Cards, a card company, where his innate artistic talent was immediately recognised. Here Peter spent five years studying lettering and design, his first artistic training - which gave him a solid grounding in colour awareness and formal structure. Wileman later became the art editor on a number of magazines. Looking for an opportunity to develop his own artwork, Peter left his budding design career to become a freelance artist; a decision from which he has never looked back.

Wileman’s style is bold and vigorous, both in the use of colour and handling of paint, as he explores the effect of light on his subject. Working exclusively in oils, the medium most adaptable to changes of light and mood, he evokes atmosphere through light and colour through varying degrees of abstraction. Wileman’s work is reminiscent of the great master Joseph Mallord William Turner through its atmospheric quality. His work has a superb energy, with paint applied in washes and also with areas of impasto. The foregrounds are complex, but not disctracting to the subject within his work.

Over the last two decades Wileman has exhibited regularly at a number of prestigious art venues including the Royal Society of Marine Artists, the New England Art Club and the Royal Institute of Oil Painters of which he is an associate member. Wileman has built a distinguished reputation as one of the finest landscape artists practising in the UK today.

Glimmering Sands

Interlude, Blue and Gold

Oil on Canvas

50 x 60 cms / 19¾" x 23¾"

PETER WILEMAN

British, (Contemporary)

“For me, painting is as much a part of the day as eating and sleeping. In fact, it’s more important than that, more like breathing! I could not imagine a single day passing without talking about, reading about, or actually taking part in some kind of activity concerning art. Like a moth is drawn to a flame, a painter is drawn to the light, and although I have tried to express myself with painting in many different forms, mediums and styles over the years, my path has lead me inexorably, like so many others before me, to try and capture that elusive quality of light, that only a shimmering sunset, dawn of a new day, dazzling sparkle of reflection off both sea and river presents to one who is prepared to both look and see.”

- - Peter Wileman

Timeless Sea Breeze

Oil on Canvas

50 x 60 cms / 19¾" x 23¾"

The Ballad of Dusk

Oil on Canvas

80 x 80 cms / 31½” x 31½”

100 x 100 cms / 39½" x 39½"

Oil on Canvas

Ocean of Echoes

Oil on Canvas

100 x 100 cms / 39½" x 39½"

RONNY MOORGAT

Belgian, (Contemporary)

Ronny Moortgat is one of the foremost contemporary artists of marine painting. Following in the footsteps of the great maritime masters of the twentieth-century, he depicts his subjects with great discipline, capturing every minute detail of the vessels.

Moorgat’s skill in portraying contemporary and historic ships with such accuracy, whilst also imbuing their unique spirit in his paintings, is due to his lifelong passion for the sea and all that sail on her. This passion was born from growing up by the River Schelde close to Antwerp, Europe’s second largest port, and watching the hustle and bustle of the shipping from a very young age.

Trained as a technical draftsman, Moortgat has since combined his own more Impressionist approach with the strictly classical. Loose brushstrokes and the evocation of detail and atmosphere characterise his work. Further to maritime scenes, Ronny also paints landscape and still life scenes, the latter of which evoke the style of the Flemish Old Masters and bear testimony to his classical artistic education. In recent years, Moortgat has turned his attention to majestic, large scale battlescenes which depict small ship engagements in the period 1793-1815 as the Revolutionary and Napoleonic conflicts in Europe expanded to the scale of a proto-world war. This was the real beginning of the Royal Navy as the unchallenged thassalocratic power.

The Battle of Quiberon Bay , depicts a martitine batte which took place in 1759. This battle was the decisive naval engagement of the Seven Years War, a crushing victory by the Royal Navy over the French Fleet in their own coastal waters. Moortgat emphasises the rough seas that defined the engagement. The British three-decker in the foreground, possibly the 100-gun Royal George, is shown with most of her gun ports closed due to the swell of the violent North Westerly wind.

Quiberon Bay was a hugely important battle, and heralded the start of a half-century when Britain clamped down on the waves and became the world’s maritime hegemon. It was also seen as the premier victory in Britain’s Annus Mirabilis of 1759. With Britain and Prussia facing every other major European power, the Royal Navy had to hold the seas while Frederick the Great won the continental land war. As the conflict raged in the Indian and American theatres, the war is often described as the first ‘World War’, and as such control of the seas was critical to the eventual Anglo-Prussian victory.

RONNY MOORGAT

Belgian, (Contemporary)

RONNY MOORGAT

Belgian, (Contemporary)

The North Channel Naval Duel was a single ship action that took place on the evening of 24 April 1778 between the USS Ranger, of the Continental Navy, and the British Navy ship HMS Drake. It was fought in the narrow straight between north eastern Ireland and south western Scotland and became and marked one of the few American naval victories of the American Revolutionary War.

With a single small Continental Navy sloop of war, the USS Ranger, John Paul Jones sailed from Brest on 10 April 1778 seeking out the HMS Drake which was languishing in the Belfast Lough. It’s captain, George Burdon, was expecting Jones, however, it soon became evident that USS Ranger’s superiority in speed, maneuverability, swift and accurate fire power left HMS Drake overpowered and the battle was over just passed the hour.

Burdon was killed by shrapnel within the first thirty minutes. Compared to the Ranger the Drake was slow to move into position and unable to respond quickly and accurately with its twenty cannons. It was only able to hold its own once it adopted a similar technique to that of Jones’, namely aiming at the opponent’s mast and sails but by then their own rigging and sails had been blown to pieces.

Moortgat’s battle scene shows the narrow straight where land is clearly visible in the background. We are moving towards the end of the battle and by now HMS Drake’s sails and rigging are in tatters, more or less immobilising the ship and not able to turn and aim a broadside. Moorgate show HMS Drake’s position as veering away from Ranger and unable to cause major damage. With its captain dead and lieutenant seriously injured it was up to the petty officers to suggest surrender to the master. The colour had already been shot away and so the master, Mr Walsh, waved his hat and shouted across to Jones and USS Ranger.

US Ranger and HMS Drake

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.

Painted in 1961

Oil on Canvas

46 x 61 cms / 18” x 24”

Provenance

Private Collection, UK. Gladwell & Patterson, London; acquired in November 2022.

‘The Battle of Trafalgar’ with the British and French Fleets in Close Action

Porte Saint Denis, Paris

Oil on Board 33 x 46 cms / 13" x 18"

ÉDOUARD CORTÈS

French, (1882-1969)

Provenance

Madame Clair, Paris; acquired directly from the artist. Gladwell & Company, London; acquired in 1969.

Private Collection, UK; acquired from the above. Gladwell & Patterson, London; acquired in 2022.

Provenance

Private Collection, France. Gladwell & Patterson, London; acquired in 2021.

GEORGES TERZIAN

French, (Contemporary)

The title of the canvas, Cache Cache , translates as hide-and-seek: an apt description for the cubist style which features so heavily in the work. Terzian presents the viewer with a complex combination of geometry and texture, in which they are invited to find hidden forms and shapes. Terzian is particularly known for his experiments with the formation of different objects, often breaking down his subjects into purely abstract components, and Cache Cache stands as one of the artist’s most abstract pieces. With its sharp pointed lines, diverse colours and complex textures, this canvas by Terzian is therefore a perfect encapsulation of the lineage of cubist and constructivist techniques he so successfully emulated.

Cache Cache is typical of Terzian’s work in the 1980s. Where his earlier paintings were often figurative or based on landscapes, and his later works evoke a sculptural prototype, delineating a single abstract solid, this middle period is perhaps the closest the artist came to a pure cubist style. At the same time, Terzian’s main inspiration moved away from Cézanne and towards Picasso, Braque and Leger, his paintings becoming increasingly colourful. This period would also see the artist incorporating Russian constructivist practices into his compositions, bringing a linear straightness to previously sinuous lines.

Cache Cache

Oil on Canvas

50 x 73 cms / 19¾” x 28¾”

Provenance

Private Collection, France.

Gladwell & Patterson, London ; acquired in July 2022.

GEORGES TERZIAN

French, (Contemporary)

George Terzian is a French Postwar & Contemporary painter known for his vibrant, abstract and geometric compositions. Terzian moved to Paris in the 1960s, and became a cabaret singer which enabled him to pursue his passion for painting. There he would turn to the cubist style for which he is celebrated, forming a synthesis of Picasso, Braque and Leger’s early work in his unique, post-cubist style.

Terzian's work is heavily influenced by the geometric abstraction movement, which emerged in the early twentieth century and emphasizes the use of geometric shapes and forms to create abstract compositions. His paintings are characterized by their precise and clean lines, bold colors, and geometric shapes. He often uses a limited palette of colors, such as black and white, to create a sense of harmony and balance in his compositions.

Terzian was born in Marseille in 1939, to parents of Armenian descent. His family had left their homeland for Russia at the start of the twentieth century, although they would then settle in France shortly before the artist’s birth. Georges took an early interest in drawing and painting, and his parents therefore encouraged him to join the Ecole des Beaux-Arts in Marseilles at the age of fourteen. From a studio in Sainte-Miter, he would experiment with impressionist techniques en plein air in the Provençal countryside, working in gouache and oils in a manner reminiscent of Cèzanne, continually honing his technique.

Yet Terzian was clearly a man with an eclectic taste which ran beyond his skill as an artist. In the midst of his studies in art school, Terzian discovered a love of boot making, which prompted him to interrupt his education for over a year while he studied the craft. When he moved to Paris at the age of twenty, he also elected to study music, and took lessons from the famous singer Jean Lumière. In fact, while his style began to transition towards cubism in the early 1960s, it was his job as a cabaret singer which would support the young artist financially. It is easy to see Terzian’s polymathic nature in his mature paintings, which draw from a wide range of styles and cultures to create their inimitable modernist feel. His musical studies in particular bring a symphonic, lyrical quality to his works reminiscent of artists such as Kandinsky.

The influence of the work of Picasso, Braque and Leger remains constant throughout his oeuvre, while maintaining a personal style. His iconography also draws on the North African cultures that he interacted with during his many stays in Africa, alongside Russian constructivist motifs from his time living in Moscow.

Throughout his career, Terzian has had numerous solo and group exhibitions in France and internationally, and he continues to paint from his studio in Paris. Following a one-man exhibition of his work at the Parisian Giovanni gallery in 2007, his works have become increasingly wellknown on the international stage. The public interest in his works has also led to his much rarer early works gaining a particular popularity.

CLARISSA JAMES

Austrian, (Contemporary)

Inspired by Edward Burne-Jones and the Pre-Raphelites, Clarissa James is a classically trained artist with an interest in both the Renaissance and nineteenth century techniques of realistic representation.

Clarissa’s love for drawing and painting was first inspired by a visit to the Watts Gallery near Guildford, an artists’ village dedicated to the work of the Victorian era painter and sculptor George Frederic Watts. She followed this initial impulse by researching drawing techniques in the London museums, where she became particularly interested by the the Pre-Raphelites, and pursued an anatomy course at the University College London Medical School.

In 1997, Clarissa moved to Florence to train at the prestigious Florence Academy of Art, an art teaching institution renowned for its commitment to the academic tradition. From there she went on to spend several summers at the studio of renowned Norwegian painter Odd Nerdrum and has since taught both Renaissance and nineteenth-century drawing techniques and the highly skilful technique of silverpoint drawing.

Clarissa is renowned for her life-size figurative works, which depict contemplative figures, often self-portraits, deep in thought or meditative states of mind. Her mesmerizing paintings of birds, peacocks, cranes and falcons, depicted against opulent hues of gold or silver, reveal the nineteenth-century aesthetic influences on her work.

Clarissa is drawn to silence and contemplation, and following a trip to the Far East she developed a great interest in the simplicity and clarity of Japanese art and design. This combined with her lifelong passions for fabrics, opulent textures and nineteenth-century aesthetic, results in unique paintings which are rich, meditative and calm.

Specific in her craft as an artist, Clarissa grinds her own paints to achieve a more unusual luminosity and texture. Her immaculate use of gold leaf brings a spiritual nature to her work and often her elaborate depictions of birds feathers and fabrics are embellished to create a tapestry or jewel like effect and bring a third-dimension into her oil paintings.

CLARISSA JAMES

Austrian, (Contemporary)

Freedom

Oil and Gold Leaf on Canvas

85.5 x 140 cms / 33¾" x 55"

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. An exquisite draughtsman, Shepherd’s attention to the character of his subjects 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.

Egrets and Friends

Painted in 2001

Oil on Canvas

40.5 x 76 cms / 16” x 30”

Provenance

Private Collection, Nevada, USA.

Gladwell & Patterson, London; acquired in 2022.

Etosha Tusker

Painted in 1973

Oil on Canvas

66 x 132 cms / 26" x 52"

Provenance

Private Collection, USA.

Gladwell & Patterson, London; acquired in 2022.

DAVID SHEPHERD

British, (1931-2017)

SIMON GUDGEON

British, (Contemporary)

One of Britain’s leading contemporary sculptors, Simon Gudgeon has a signature smooth style that marvellously concentrates spirit and nature. His minimalist, semi-abstract forms depict both movement and the emotion of a moment, captured with a visual harmony that is unmistakably his own.

“Making an object that is not essentially utilitarian defines humanity; it is the concept of beauty. A sculpture, on a superficial level must encapsulate beauty; it must uplift the spirit and enhance its surroundings. But on a deeper level it should resonate with the viewer and have a subconscious appeal to their emotions, whether those emotions are the same as the artist intended is not important, what is important is that the viewer connects with the art.”

Simon is best known for his monumental sculpture Serenity installed in London’s Hyde Park, and Search for Enlightenment installed on the banks of the Thames.

Lyrebird

Bronze (Edition of 50) 36 x 12 x 8 cms / 14” x 5” x 3”

STELLA SHAWZIN

South African, (1920-2020)

Mother & Baby on a Rock

Portuguese Pink Marble

60 x 38 x 35 cms

24” x 15” x 14”

Provenance

The estate of the artist.

Shawzin’s gentle family groups are carved in marble or cast in bronze and have a special kind of energy that shows the loving relationship between mother and child. A number of Shawzin’s works portray the figures rising out of a common base which creates a compelling image. Some are shown in circular forms as if they are both part of the same being. The inter-relationship of the forms seems to portray their unity as well as their individuality. The inner spaces are as sensitively designed as the forms themselves.

In all of these masterfully created compositions there remains an impressive interplay of form between the figures. Recalling the seated and lying sculptural forms by Henry Moore, one can always find distinctive and impressive compositions in each sculpture. They are sensitive images that show both playfulness and loving relationships.

Shawzin almost never shows facial features, and it may be because she portrays universal figures Those featureless heads are symbolic portrayals of human existence, while the forms of their bodies and postures show the universal emotions of their lives.

Gladwell & Patterson, London; acquired in 2020.

DAVID SCHOCK

American, (Contemporary)

Born in Boston in 1962, David Schock would hone his craft on both sides of the Atlantic, gaining a degree in Massachusetts, studying in Exeter and then returning to work with New York’s Art Students League. Working with English painters like Michael Mayer, and American portraitists such as Aaron Shikler, his student travels have lent his paintings a diversity that is still apparent today.

While David would begin his career working as a portrait painter, he would soon add realist landscapes to his output, exhibiting his skill at both in one man shows in both Britain and the States.

His best works have come from his ability to seamlessly combine both styles, creating informal portraits of figures situated in richly realised landscapes from around the world. Schock’s subtle and multifaceted treatments of a range of subjects have been widely collected, appearing in collections in Asia, Europe and the USA.

Contemplation

Acrylic on Canvas

92 x 61 cms / 36" x 24"

Digging for Gold

Acrylic on Canvas 92 x 61 cms / 36" x 24"

Gladwell & Patterson, London

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Index

Gustave Cariot p. 22-23

Édouard Cortès p. 54-55

Derek G. M. Gardner p. 52-53

Simon Gudgeon p. 68

Modest Huys p. 30-31

Clarissa James p. 60-63

Alexandre Louis Jacob p. 26-29

Gustave Loiseau p. 2-11

Paul Madeline p. 20-21

Ronny Moortgat p. 46-51

Georges Charles Robin p. 12-15

Stella Shawzin p. 69

David Schock p. 70-71

David Shepherd p. 64-67

Georges Terzian p. 56-59

Peter Wileman p. 34-45

Raymond Wintz p. 18-19

For further information on any of these artworks please contact the gallery emily@gladwellpatterson.com +44 (0) 7983 518 526

Design: Ella Wells

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