The Winter Collection 2020 by Gladwell & Patterson

Beauty is worth creating, celebrating and preserving

Price Codes A: < £2,000 B: £2,000 – £5,000 C: £5,000 - £10,000 D: £10,000 - £20,000 E: £20,000 - £40,000 F: £40,000 - £100,000 G: > £100,000

A Sense of Perspective

hat a year it has been in life’s rich tapestry. A very different year to what most of us are used to and certainly unsettling for many. Here at G & P we are lucky because we witness first hand the joy and optimism that art provides to you, our friends.

We celebrated Dad’s 80th birthday this month, and as the gallery nears its 270th birthday, it is this enduring longevity which allows us to take the broader view and continue to chart the course that we have been sailing for so many years. Art is created to be enjoyed for a lifetime and beyond, and as current custodians of our own pieces of art, we have no need for knee jerk reactions or panic. We can sit and treasure the beauty in their creativity and in the works themselves.

It is very easy to become immersed in our busy, complex lives and respond to the relentless, sensationalist news that constantly bombards us. Fortunately we have the longevity and experience to maintain our sense of perspective.

Whilst we haven’t been allowed to see as many of you so regularly in the galleries this year, we have established more personal connections with so many of you through our shared love of art, and through the videos, stories and conversations that we have been enjoying together. Bringing more paintings to your homes for you to view and admire, has allowed us to share our paintings and appreciate your wonderful collections at the same time. Our treasured exhibition openings also adapted, with our Chelsea Flower Show-inspired gallery in the garden, to the inauguration of Gladwells Rutland in Oakham and they have continued in London, albeit in a much more

personal and intimate way. Our ‘bubbles for bubbles’ evenings have encouraged many of you to visit in a safe and rewarding manner. There is a wonderful resilience to the human spirit, and the time that we have been afforded allows us to reflect on what makes us happy. We experience your unbridled enjoyment with you when you visit our galleries after intense periods without the joy and stimulus of art and it is incredibly satisfying. As Rudyard Kipling wisely intimated to his son, life is a combination of success and failure, of joy and sorrow, of good times and bad times, and we should accept both and face both situations with similar treatment. As eternally optimistic and positive people, we are excited about sharing the new paintings that our

artists have created, and the beautiful treasures that our wonderful team have unearthed. We look forward to the reopening of shows and fairs in 2021, and to seeing you at Chelsea, Masterpiece and further afield. We have been trying hard to create one huge artistic bubble that we can all be in and enjoy. In a world that can appear to be divided, it is art that reminds us of much of the beauty here and can bring us together. After all, life can’t be so bad if you have some lovely art to enjoy.

With all of our very best wishes,

The G & P Team

PIERRE EUGÈNE

MONTÉZIN

“The subjects of the landscape painter are less in front of the artist’s eyes, than in his heart.” Pierre Eugène Montézin to Louis Vauxcelles

Pierre Eugène Montézin French, (1874-1946) 4

Fenaison Oil on Canvas

54 x 73 cms / 21¼” x 28¾” Price Code E 5

PIERRE EUGÈNE

MONTÉZIN Inspired by the popular subjects of haymakers and peasant workers, which had graced the Salon walls since the times of Jean-François Millet and Gustave Courbet in the mid nineteeth-century, Montézin delighted in capturing the natural landscape as he experienced it and figures, either working the land or at leisure are common themes throughout his oeuvre.

Montézin’s naturalistic depictions of haymaking were highly lauded at the Paris Salon and in 1939 Montézin was commissioned to paint a vast fresco inside the Palais de Justice de Chambéry. Pierre Eugène Montézin French, (1874-1946) 6

Paturages a Veneux, une belle journee d’ete Oil on Canvas

60 x 74 cms / 23¾” x 29¼” Price Code E

Throughout his career Montézin maintained an Impressionistic style but sought a greater freedom

of expression in his use of colour and application of paint, marking him out among the most influential Post-Impressionist artists of his generation.

Montézin’s landscapes are identifiable through their rich surface, composed using spontaneous brushstrokes of pure colour layered upon the canvas. The artist's technique reveals the artist's experimental nature and exemplifies Montézin’s instinctive use of both Impressionist and PostImpressionist techniques in his quest to capture nature as he experienced it.

GUSTAVE

LOISEAU

startlingly vibrant painting, Ête, L’Eure en Normandie was painted at the height of summer; the trees heavy with whispering leaves and pink flowers bobbing amongst the grasses gathered along the banks of the River Eure. The River Eure, a tributary of the Seine which runs between Normandy and Centre-Val de Loire in northwestern France, was a favoured theme to which Loiseau returned on many occasions throughout his artistic career.

Poplars and alders line the banks of the River Eure, forming enchanting reflections on the surface of the water which delighted Loiseau’s artistic curiosity. Loiseau captured the gentle curve of the flowing river, framed by the grassy river bank and an abundance of folliage. Loiseau painted the River Eure in all seasons and at various times throughout the day; veiled by the morning mist, infused with an autumnal glow or, as in Ête, L’Eure en Normandie, in the bright sunshine of a warm summer's day. The broad expanse of the river in the foreground delights the senses as Loiseau superbly captures the rippling effect of a warm summer's breeze blowing across the surface of the water. This still and serene landscape is animated by the movement of the gently rolling clouds in the sky, painted with longer, looser brushstrokes than their reflections in the water below, evoking the ambiance of a warm summer's day. Loiseau’s technique and the chromatic variety of his palette express an extraordinary ability to synthesise Impressionism and Post-Impressionism.

The River Eure is crossed by the picturesque village of Saint-Cyr-du-Vaudreuil, where Loiseau settled at the turn of the century with his wife Marie Michaud. Only a few kilometres from the River Seine, the area offered a wealth of inspiration for a follower of the Impressionists.

This landscape, so loved by the artist, recalls the work of Monet and Sisley in the themes and the manner that Loiseau has painted it, however Loiseau’s technique and innovative use of ‘en treillis’ brushwork adds a brilliant atmosphere and vibrancy to the composition. Gustave Loiseau French, (1865-1935)

Ête, L’Eure en Normandie Oil on Canvas

65 x 81 cms / 25¾” x 32” Price Code G

Lionel Aggett British, (1938-2009)

Reflections, Giverny Pastel on Paper

64 x 48 cms / 25” x 19” Price Code B

LIONEL

AGGETT

Lionel Aggett British, (1938-2009)

Reflections, Canal du Berry, Cher Pastel on Paper

61 x 79 cms / 24” x 31” Price Code B 11

SIMON

GUDGEON

Simon Gudgeon British, (Contemporary)

Origins Bronze (Edition of 7)

350 x 30 x 40 cms 138” x 12” x 15¾” Price Code F 12

“A work of art is a way of working on very private feelings about behaviour and the way life is. Origins, came from a beautiful abstract shape, an 'S' curve. It was moulded into the shape of a bird, but unlike Reflection and Serenity which are inward-looking and contemplative, this one is looking the the Universe, trying to understand the reason for our existence: where we have come from and whre we are going. The bird is making a silent scream in solitude, not enlightened but accepting of its fate; acknowledging its significance in the order of the Univers; searching for something more than mere existence”

GEORGES CHARLES

ROBIN “Pretty nice weather but not enough sun for painting. We hope it will become better. Please present my friendly regards to all our fellows at the workshop.” Cordially, G. Robin.

e recently had the good fortune to discover this rare gouache painting by George Charles Robin of Montoire in the Loir-et-Cher region in central France. Attached to the back of this tranquil river scene was an envelope containing a charming postcard sent by the artist to a Monseiur Euloge on 26 July 1942. Robin was an avid traveller, enthralled by the enchanting river valleys of rural France that flowed through the luxuriant countryside and rolling fields, Robin’s paintings perfectly embody rural French life.

LETTERS FROM 14

THE LOIRE

Throughout Robin’s career the Loire Valley and the Dordogne region inspired his greatest works. 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. As this postcard reveals,

during July of 1942, in the midst of World War Two, Robin was visiting the Loire Valley and settled upon Montoire. This picturesque town spanning the Loir River is renowned for its beautiful romantic riverbanks and picturesque historical buildings, captured so delightfully under the artist’s delicate brush strokes. As his friendly note to Monseiur Euloge attests, like all en plein air painters, Robin sought the perfect weather conditions in which to capture the landscape he loved so dearly. He 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 for which he is recognised as one of the best, but largely undiscovered, Post-Impressionist artists of the twentieth century.

Georges Charles Robin French, (1903-2003)

Sur Le Loing, Le Matin, Près de Nemours Oil on Canvas

46 x 55 cms / 18” x 21¾” Price Code D

Georges Charles Robin French, (1903-2003)

Bords de la Varenne, Domfront (Orne) Oil on Board

61 x 91 cms / 24” x 36” Price Code E

GEORGES CHARLES

Gathering on the village riverbank, French women would undertake the ritual of washing the families clothes and linen at the lavoir.

ROBIN “To me the attraction of Robin's work is the pure colouring that he puts on the canvas. The juxtaposition of each colour softens them and they have a quiet richness." Anthony Fuller

From the seventeenth century, until the advent of domestic washing machines, these simple roofed structures became as central to village life as the market. No building better embodies the qualities of rural France than the communal washhouse. They are architectural monuments of regional styles and local materials, often hand-cut stone and hewn timbers, revealing centuries of masonry and woodworking tradition.

Georges Charles Robin French, (1903-2003) 18

Vieux Lavoir et Sous Bois sur l’Eure Oil on Canvas

Washerwomen at the riverside have been an enduring subject for French artists, bringing together the joy of village life around a daily task. 46 x 55 cms / 18” x 21¾” Price Code D 19

All I want for Christmas... "Blossom, blue skies and springtime; three of my favourite things, wonderfully captured by Raymond Thibesart in this vibrant painting."

t any time of year, particularly after the past nine months of uncertainty, it is a delight to encounter the joviality and freshness of this work and the promise that spring is just around the corner.

Raymond Thibesart French, (1874-1963) 20

Pommiers en Fleurs au-dessus de la Seine Oil on Canvas

54 x 65 cms / 21¼” x 25½” Price Code C

Thibesart grew up in the elegant town of Bar-sur-Aube, surrounded by gently rolling hills and the champagne vineyards of the Grand Est region. I visited this stunning area of France a few years ago and it was not just the champagne that delighted my senses! Gentle rolling hills, luscious rows of orderly vines as far as the eye could see, and the relaxed simplicity of this tranquil part of the country inspired the young Thibesart to capture the beauty of the French landscape.

Thibesart worked in pastel en plein air, creating rapid sketches of changing light effects and atmospheric qualities of the landscape. Within the tranquillity of his studio, Thibesart would then transfer the colours, movements and atmosphere captured in pastel onto large scale canvases whilst ensuring the spontaneity of his subject was never lost. The vibrant pink of the cherry blossom isolated against the rich azure of the sky in this exquisite spring landscape, reveals the artists completely mastery of the medium. Thibesart depicts the river valley in the distance with subtle tones and gentle blues in contrast to the vibrant greens, purples and pinks of the cherry tree. Thick daubs of white and pink impasto brush strokes replicate the lightness and texture of blossom blowing in the breeze. Rapidly executed in an impressionistic style, Thibesart captures the very essence of springtime in this delightful painting.

Ella 21

PIETER

WAGEMANS

“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.”

Pieter Wagemans Belgian, (Contemporary)

Pink Blossom Oil on Canvas

60 x 120 cms / 23½” x 47” Price Code D

CHARLES

PERRON

Charles Perron French, (1893-1958)

La Soupière Oil on Canvas

Bouquet d’Œillets Oil on Panel

35 x 27 cms / 14” x 10” Price Code B 24

18 x 14.5 cms / 7” x 6” Price Code B 25

STEWART

LEES

“As I observe a still life grouping with ever deepening intensity, the objects, and the space they occupy, become a landscape with depth and atmosphere revealed through the play of light across forms, all firmly rooted within a plane.”

Stewart Lees British, (Contemporary)

Lemonade Oil on Panel

70 x 100 cms / 27½” x 39½” Price Code D 27

STEWART

LEES Seeking to ‘turn the familiar into something extraordinary’, Stewart views the challenges of the genre of still life painting as being akin to those of portrait painting, combining a concern for surface detail with deeper understanding of the subject. ‘…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.’ In every painting, Stewart strives to capture the essence and beauty of his model, be that a humble clove of garlic or a cracked and weathered clay pot.

Stewart Lees British, (Contemporary) 28

Lemon Parsley Oil on Panel

70 x 100 cms / 27½” x 39½” Price Code D 29

All I want for Christmas... “One moves from a line, from a delicate stroke, to a point, to a patch ... just as one moves from a twig to a trunk of a tree. But everything must hold together, everything must be in place.” Nicolas de Staël

I Kenneth Webb Irish, (Contemporary)

Farm Buildings, Blue and White Oil on Canvas

38 x 91.5 cms / 15” x 36” Price Code E

would have this painting on my wall in a heartbeat for its bold palette and varying textures of painting techniques that Kenneth has employed. Here is a painter steeped in Modern British art history, who seeks, like the masters he loves best, to ceaselessly modify his style. An artist who is not prone to the anxiety of influence of his predecessors, but one who learns from them how to evolve and who pays only enough attention to prevailing trends to use them for his continued development. Building this painting out of colliding zones of pyrotechnic colours, Kenneth arrests our eye with the two staccato dashes of scarlet and canary, set against great sweeps of cerulean blues and olive greens. The solidity of the

Irish farmhouses standing fast against the rapidly moving weather, sheet rain scudding across the sky from left to right, making way for a brighter day. The paint here is so thick in places that it tempts you to run a finger across it as one would a sculpture, tracing the spread and lift of the palette knife Kenneth once swept across this canvas in contrast to the textured brushwork. Farm Buildings, Blue & White was painted in 1965-66 in County Down, Northern Ireland as part of a series from 1960’s into 1970’s.

Marie-Claire

KENNETH

WEBB

Kenneth Webb Irish, (Contemporary)

On the edge of the forest Oil on Canvas

25 x 31 cms / 10” x 12” Price Code B

Kenneth Webb Irish, (Contemporary)

Neither here nor there Oil on Canvas

61 x 91 cms / 24” x 36” Price Code E

Kenneth Webb Irish, (Contemporary)

Til the storm passes Oil on Canvas

25 x 31 cms / 10” x 12” Price Code B

KENNETH

WEBB

Kenneth Webb Irish, (Contemporary)

Bluebell Ribbons Oil on Canvas

36 x 46 cms / 14” x 18” Price Code C

Byre by the sea Oil on Canvas

31 x 46 cms / 12” x 18” Price Code B 34

MARTIN

TAYLOR

omehow the birds fly through the mass of tangled tree, And I share this day with you. Cold, biting wind, dark and matted, the last summer leaves hang on helplessly, to that warm season fading.

As the sun loses its heat and sinks behind the grey cloud, Chilling, your cold sustains me,

Martin Taylor British, (Contemporary)

The more complex you are, the more beautiful, The more I look and see, the more I understand, Then evergiving, you give me a sunset. With one last icy blast, we're done. Given Sunset by Martin Taylor

Snow Sunset Oil on Canvas 61 x 71 cms / 24" x 28â&#x20AC;? Price Code D

DONALD HAMILTON

FRASER “Dream-Like Fields of Colour”

onald Hamilton Fraser was a master at capturing an array of subjects, from the natural landscape to vibrant still lives. He adored the expressive nature of paint and the striking juxtaposition of primary colours, often layering them onto the canvas with a palette knife to produce an almost collage-like effect.

Inspired by the Scottish Highlands of his ancestors, Donald Hamilton Fraser depicted this rugged landscape like no other artist. Captured in all its myriad guises, according to the fleeting effects of light and atmosphere, Fraser transformed the Highland landscape into vivid swathes of colour. Oldshoremore Bay, on the most north western point of Scotland, is one of the most beautiful beaches in the Western Highlands. Known locally as Am

Donald Hamilton Fraser British, (1929-2009) 38

Oldshoremore Bay, May Morning Oil on Paper

Meallan, Oldshoremore Beach is a spectacular, narrow beach with clean white sand. The rocky peninsula Eilean na h-Aiteig is silhouetted upon the horizon with Fraser’s bold use of yellow slicing through the rocks. This vibrant landscape makes one long to be stood upon the sand, with a gentle May breeze billowing across the gentle waves towards us as clouds pass overhead.

25 x 35 cms / 9¾” x 13” Price Code B 39

DONALD HAMILTON

FRASER

"An Artist doesn't really choose what sort of pictures he paints. He paints what is there inside him. It is a sort of imperative."

Donald Hamilton Fraser British, (1929-2009) 40

The Acrobat Oil on Canvas

76 x 102 cms / 30” x 40” Price Code D 41

Ronny Moortgat Belgian, (Contemporary)

An Illustrious Deed Watercolour

RONNY

MOORTGAT

34 x 51 cms / 13½” x 20” Price Code C

Ronny Moortgat Belgian, (Contemporary)

U.S.S. Constellation vs L'Insurgente Watercolour

Ronny Moortgat Belgian, (Contemporary)

The Battle Of Camperdown, 1797 Oil on Canvas

100 x 200 cms / 40” x 80” Price Code F

30 x 50 cms / 12” x 19¾” Price Code C 43

WILLIAM LIONEL

WYLLIE

William Lionel Wyllie British, (1951-1931)

The Bustling Thames Watercolour and Ink

ARTHUR J. Arthur J. Meadows British, (1843-1907)

Amboise on the Loire Oil on Canvas

61 x 91 cms / 24” x 36” Price Code D

MEADOWS

36 x 25 cms / 14” x 10” Price Code B

Helen Bradley began painting her unique and charming storytelling scenes at the age of sixty-five. She painted in order to show her grandchildren what life was like when she was a child.

HELEN

BRADLEY

W Characterised by the frank and uninhibited outlook of a young child, her bright, teeming pictures and her own delightful narrative, memorably reflect that gentle period. Helen's creativity and story telling brought to life a world of wonderment. Her characters progress from painting to painting, and those scenes are full of fun and frivolity. Historic and interesting snapshots of her formative life, where the colours are vivid and the memories are silver-lined.

aiting at Liverpool to go to the Isle of Man, Father decided we should all go for a holiday to the Isle of Man. He said the sail and the pleasant air of the Island would do us good. George and I were a little afraid of the paddle steamer. It made such a noise. Grandma and the two aunts and the dogs, Gyp and Barney, came with us, so also did Miss Carter (who wore pink) and Mr Taylor (the Bank Manager). I heard the aunts' whisper that perhaps, with the journey across the water being so romantic, Mr Taylor might propose to Miss Carter, but he was most attentive to Aunt Frances and Aunt Charlotte in turn which made our holiday most enjoyable and the year was 1906. Helen Bradley British, (1900-1979)

Waiting at Liverpool to go to the Isle of Man Oil on Canvasboard

46 x 61 cms / 18â&#x20AC;? x 24â&#x20AC;? Price Code F

The Wakes came to Lees and with it Big Bertha

he Wakes came to Lees and with it Big Bertha - the huge Traction Engine which was the joy of our life. Each year we waited for it to come clanking and puffing up the hill to our village square, and in no time at all the big Round-about would be set up. Then the aunt Sally stalls and stalls with ribbons and beautiful fairings and goldfish in little bowls. Last of all the little round about would be unpacked. Then we knew we should soon hear the Big Organ booming away and Grandma, the aunts, Miss Carter (who wore Pink) and Mr Taylor (the Bank Manager) would call and Father, Mother, George and I would be ready to join in all the delights of the fair and for a special treat Father would lift George up so that he could see the works inside Big Bertha and the year was 1906.

Helen Bradley British, (1900-1979)

The Wakes came to Lees 61 x 91 cms / 24â&#x20AC;? x 36â&#x20AC;? Oil on Canvasboard Price Code G

All I want for Christmas... “As long as I am able to get up and go to my easel, I will paint until my last breath, because I was born from and for painting.” Édouard Henri Leon Cortès

f I were to be allowed to take one painting from the collection home for Christmas then it would have to be Édouard Leon Cortès’ beautiful oil painting of A Winter’s Eve, La Madeleine. I remember most vividly enjoying Cortès’ luminescent and enchanting works on the walls of my grandparents’ house when I was growing up. They were the paintings that I would stop and stare at and would captivate me.

Édouard Henri Leon Cortès French, (1882-1969)

A Winter's Evening, La Madeleine Oil on Canvas

33 x 46 cms / 13” x 18” Price Code F

Then as I started to join Dad as a youngster on his business trips to Paris, my love affair with this incredible city was confirmed. I remember so well the lights, the wet pavements, the

amazing buildings, the hustle and bustle, the food, and the atmosphere. I remember the excitement of visiting the artists and dealers and discovering the new paintings that they had for us. I remember the school trips on coaches to see the sites and visit the major landmarks. I remember the scale and beauty of it all. People talk of the whole of Paris being a vast university of Art, Literature and Music, and of the immense impression that this city makes upon them and I wholeheartedly concur. Those childhood memories will never be forgotten and on every visit, there is still the anticipation and excitement of what it will bring. La Ville-Lumière, long may you enchant us all!

Glenn

PETER

VAN BREDA

“My painting is about atmosphere and light and the mood that you are trying to get when you walk through the streets. Trying to find that balance of light is what excites me.”

Peter van Breda British, (Contemporary) 52

Morning Light, Tower Bridge, London Oil on Canvas

65 x 81 cms / 25½” x 32” Price Code C 53

Peter van Breda British, (Contemporary)

After the Rain, Bath Abbey Oil on Canvas

65 x 81 cms / 25½” x 32” Price Code C

Peter van Breda British, (Contemporary)

Golden Hour, Bath Abbey Oil on Canvas

65 x 54 cms / 25½” x 21” Price Code B

hen I arrived in Bath I headed straight for the Abbey. I’d stayed in Marshall Wade’s House some years ago where the magnificent Jacob’s Ladder, with angels climbing to heaven, was floodlit at night and I could see it clearly from the kitchen window. This time I wanted to capture the atmosphere of the square in front of the Abbey with the Roman Baths and Pump Rooms to the right of me. Standing in a quiet corner, under an archway with pigeons flocking all around, I was able to set up my easel and wait for the light to change at the end of the day. The East Window of the Abbey was literally flooded with shards of gold dancing on the glass as the September evening light hit the front of the building. That was what I’d been waiting for. An Australian opera singer filled the air with O Mio Babbino Caro (better known as Room with a View by my daughter) and I realised that not being able to go to Italy this year had helped me to re-discover the beauty of England. 55

All I want for Christmas... "One of the greatest seagoing mercantile cities, Venice's beauty and richness is founded with water"

he Earth is a watery place, over 70 percent of the surface of the planet is water, and the oceans hold about 95 percent of all Earth’s water. The seas and oceans provide the water for life on land. From the atmosphere to the skies water falls to nourish everything it comes in contact with. Humans first took to the water around 60,000 years ago. The quest for exploration, adventure and movement had started. Harvesting the seas for fish had begun and whaling started in pre-history, around 6000 B.C. Romans and Egyptians traded and fought from rivers and seas which have huge importance for civilisation. The Nile flows for over 4000 miles and saw people along its banks develop art and agriculture. One of the greatest seagoing mercantile cities is Venice.

Auguste Bouvard (signed N.Beraud) French, (1875-1956))

Vue d'un Canal à Venise Oil on Canvas

50 x 65 cms / 19¾” x 25½” Price Code E

Venice, which is situated at the far end of the Adriatic Sea, was once the richest and most powerful seagoing city at the heart of Europe.

Developing markets in India and Arabia, it fired economic growth across Europe from the Middle Ages. Venetians created trading routes across seas and oceans and the wealth that returned built some of the finest and most gracious of Palazzos and civic buildings. For Christmas, I have taken home this painting by Beraud. Painted under his real name, before his fame and the creation of his pseudonym Bouvard. This wonderfully vibrant painting allows me to travel along the canals and waterways of historic Venice. To smell and hear the sounds of daily life, business and markets the exotic trade in spices. To hear the excitement of new discoveries and people from far afield. Today the city floating on the sea enchants and beguiles the visitor as much today as through history.

Graham 57

Ernest William Haslehust British, (1866-1949)

Model Steam Yacht on the Thames Watercolour

22 x 34 cms / 8¾” x 13¼” Price Code A

Ernest William Haslehust British, (1866-1949)

Punting on the Thames at Marlow Watercolour

22 x 34 cms / 8¾” x 13¼” Price Code A

ERNEST WILLIAM

HASLEHUST

Ernest William Haslehust British, (1866-1949)

Quarry Woods, Marlow Watercolour

22 x 34 cms / 8¾” x 13¼” Price Code A

Ernest William Haslehust British, (1866-1949)

Shiplake Mill Watercolour

22 x 34 cms / 8¾” x 13¼” Price Code A

Alexandre Louis Jacob French, (1876-1972)

Winter in Asnières Oil on Board

33 x 41 cms / 13” x 16” Price Code D

ALEXANDRE LOUIS

JACOB

Alexandre Louis Jacob French, (1876-1972)

Pêcheurs, Bord de Seine Oil on Panel

27 x 21.5 cms / 10¾” x 8½” Price Code C

Alexandre Louis Jacob French, (1876-1972)

Lever de Soleil sur la Neige Oil on Canvas

50 x 55 cms / 20” x 21¾” Price Code D 61

ALEXANDRE LOUIS

JACOB

lexandre 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, pencil poised to capture his unique visions of the French countryside.

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 artist's 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 Jacobâ&#x20AC;&#x2122;s exquisite oil paintings, have a unique atmosphere of calm and tranquility, achieved by the still watery reflections in the foreground.

HANS

HAMZA Hans Hamza Austrian, (1879-1945)

The Flower Girl Oil on Panel

19 x 14 cms / 7½” x 5½” Price Code D

Harold Harvey British, (1874-1941)

Feeding the Calves Oil on Canvas 30.5 x 36 cms / 12" x14” Price Code F

HAROLD

HARVEY

All I want for Christmas... "I struggle to think of a watercolourist whose work is remotely comparable in quality and appeal for the same period."

irst and foremost, Harry Sutton Palmer was a superb water

won the Gold Medal, and during his lifetime had his work accepted

colourist with complete control of this most difficult of specialist

and exhibited at the Royal Academy, the Leicester Galleries and the

mediums. He captured the idyllic English countryside at its best in

Fine Art Society. Elected a Member of the Royal Society of British

all seasons with unfailing accuracy and with a sensitive feel for each

Artists in 1892 and the Royal Institute of Painters on Water Colour

view, be it nature or manmade.

in 1920.

I suppose if push comes to shove, you could call him an illustrator, but

To the best of my knowledge, Gladwell’s have held examples of this

his use of the medium left no hard edges and his blending of colour

fine artists’ work since well before the Second World War and continue

was unrivalled. I struggle to think of a watercolourist whose work is

so to do to this very day. Our Gallery purchased the unfinished

remotely comparable in quality and appeal for the same period. His

watercolour which was on his easel the day that the artist died for our

ability to portray quaint corners of the landscape, with occasional

own private collection, but reluctantly sold it to an avid collector of

figures as a focal point leaning on a rustic bridge which still exists

Sutton Palmer's work.

today, leaves one longing for yesteryear. Sadly, now a modern road bridge carrying traffic over a river sits beside the old retired bridge, but under Sutton Palmer’s skilled hand the beauty of the past is captured in its unpolluted and tranquil prime.

Harry Sutton Palmer British, (1854-1933)

The Hillside Spring Watercolour

23 x 34 cms / 9” x 13½” Price Code B

many of their books, of which the two most popular were The Rivers and Streams of England (1909) and Bonnie Scotland (1912). Examples of this magnificent artist are to be found in the Victoria and Albert

Even when drawing a dull grey winter's day in one of his Scottish

Museum in London as well as in private collections throughout

subjects Sutton Palmer could give one the feeling that the mist was

the World.

about to lift and cheer the spirits.

Anthony

Sutton Palmer originally studied at the Royal College of Art where he

The publisher A & C Black commissioned Sutton Palmer to illustrate

"I knew I had stumbled onto a place that wouldn’t fail

PETER

to captivate and inspire me for the rest of my life..."

SYMONDS

rdgour, Knoydart, Morar, Moidart, Ardnamurchan… these evocative, Tolkeinesque names alone manage to entice one to visit this region of Western Scotland, in the expectation of discovering an ancient and mythical landscape. It doesn’t disappoint, and indeed each trip to this remote and sparsely populated area leaves me longing to return again, as soon as possible.

A balanced and satisfying composition is vital for a successful painting and Sanna complies so easily here for the artist. However, it is also the elements within this composition that make the subject so very appealing. The dazzling white sand, so typical of this part of the world, is an obvious draw for the artist, but it is its interplay with both the turquoise sea and grey, granite rock that works so well. However, for me, the clincher is the shapely islands that constantly draw my eye out towards the distance that makes Sanna Bay such a compelling landscape. Known

At the far end of the Ardnamurchan Peninsula, (the westernmost point of mainland Britain), lies the hidden gem of Sanna Bay, about as far off the beaten track as it is possible to get in Scotland. It has to be the most glorious setting for a beach in our island. I was as exuberant as a small child before a large bag of Christmas presents when I first encountered this majestic scene, and knew I had stumbled onto a place that wouldn’t fail to captivate and inspire me for the rest of my life.

Peter Symonds British, (Contemporary)

Muck, Eigg and Rum from Sanna Bay, Scotland Oil oin Canvas

61 x 122 cms / 24” x 48” Price Code D

I have made five visits to Sanna now, most recently in May last year, and it was from that trip that I made the studies for this large painting. A year later, with the country in full lockdown, I set out to paint this view, recapturing how my senses responded in front of this amazing landscape twelve months before. The painting process was utterly absorbing, but at the same time, with our liberties so curtailed, it only helped to exacerbate my longing to be back amongst those granite boulders staring across at those far isles.

as the ‘small isles’, the wonderfully named Muck, Eigg and Rum appear mysterious and out of reach across that turbulent channel. I have long wanted to climb those faroff peaks on the Isle of Rum, and I know that this, as yet unfulfilled dream, is at the heart of why I love this view so much. 69

All I want for Christmas... The swan is proceeding with her brood into a bright marine dawn, inspired by the first morning light where Paul lives near the sea.

e’ve represented Paul for over twenty-five years now and have watched in awe as he takes inspiration from elevating the everyday detail that he finds around him into something ethereal. I asked him about the origins of this painting and his reply was a wonderful insight into how he breathes life into an idea. The swan is a favourite ornament of his wife, having come from her parents, and at Easter it makes a cameo as part of an arrangement in their home and is filled with chocolate eggs. The silk was bought in Singapore on their honeymoon and he had long wanted to reproduce the depth and richness of its colour in paint.

Paul S. Brown American, (Contemporary)

Procession Oil on Canvas

50 x 90 cms / 20” x 35½” Price Code E

I love the juxtaposition between the smooth calm of the silk into which the Swan seems to glide and the ruffled intensity of what she leaves behind. The flutter in movement of the ribbons is different again with the icy silver of the Swan herself calm at the centre of it all. She’s your favourite family heirloom or is she a Viking warship… seemingly effortlessly forging on straight ahead. Then we see the real heart of the painting, she’s a mother. All her strength centred in those jewel coloured eggs which she gently cradles between her wings. Though we know Procession is a still life, it’s impossible not to recognise

that the backdrop is the sky. In all its luminosity and promise we can recognise it as dawn, the future, hope and continuity.

Well that’s what I see, and this seems to me what Paul does so well and why I would love to have this painting on my wall. He produces a deceptively simple composition but one which offers so much and continues to be both a feast for the eyes and the imagination.

Cory 71

PAUL S.

BROWN “Things can just fall into place when I’m making a painting. Occasionally when I’m walking the dogs round a corn field near our house I see a man putting out his decoys and looking like he’s having a very good time. It puts me in mind of the old homestead corn fields where I grew up, and how you’d come across a hunter from time to time, or a turkey buzzard picking at their leavings.

Leather and brass are always fun to paint, especially as fall comes round. I found the decoys at our local market and, maybe because of our walks, I liked the idea of them for a painting. They’re old fibreglass and handpainted. The modern ones are more realistic but I like this half-shell, worn-down appearance and the craft that went into making them. They make me think of a nice day spent outside with a tough target.” Paul S. Brown Grey Grouse Morning American, (Contemporary) Oil on Canvas 72

61 x 80 cms / 24” x 31½” Price Code D 73

NICK

BIBBY “In a flash”

he idea for a new piece often ticks away in the background for years, even decades, before emerging into the light of creation. Sometimes inspiration comes almost instantly. The birth of Peregrine II: “Lightning Bolt” was a combination of both. I had in mind to sculpt another Peregrine for years, but without a clear vision of the finished sculpture. The spark ignited when I was given a copy of The Peregrine by J. A. Baker. The cover showed a stooping Peregrine. The image of that bird was the last thing I saw each night before sleep… suddenly, I knew exactly what I wanted to create!

Nick Bibby British, (Contemporary)

First task was to construct a poseable, supporting armature, using aluminium wire, wood and copper sheet. Measuring everything. Cutting, shaping and assembling dozens of accurate “feather blanks” for the wings and tail, fitting them to the body of the armature, posing, and attaching it to a steel support. Starting to add oil-based, modelling clay, building up the basic anatomy and form. Then, a personal thing, I take the head off. I find it easier to sculpt the fine details of the head free from the body.

Peregrine II: “Lightning Bolt” Bronze (Edition of 15)

Once the head is re-attached, it is time for the final stage of sculpting. My favourite - that of slowly refining the form, adding subtle little details and touches that bring my subject to life. A hint of muscular tension here, a tiny fold or flick of a feather there.

81 x 46 x 25 cms 32" x 18" x 10" Price Code D

Then it is time to step away, give myself a couple of days “distance” to look objectively at the finished sculpt, and if I’m still happy, deliver it to the foundry, to be cast into bronze. 75

DAVID

SHEPHERD

David Shepherd British, (1931-2007)

Rhinos Painted in 1997 Oil on Canvas

25 x 41 cms / 10" x 16" Price Code D

David Shepherd British, (1931-2007)

Three Buffalo Painted in 1997 Oil on Canvas

25 x 41 cms / 10" x 16" Price Code D

David Shepherd British, (1931-2017)

The Big Country Oil on Canvas

51 x 97 cms / 20” x 38” Price Code E

All I want for Christmas... Above all it is David's love of the animals that shines through in his paintings

have been fortunate enough to have spent a bit of time travelling around Africa as a child and in my family, I have the title of ‘chief spotter’. This meant that it was my responsibility to sit at the front of the safari truck and be on the lookout for wild animals. I would spend hours looking out across the beautiful African terrain, hoping that I would catch a glimpse of an animal staring back at me.

vegetation in the foreground is dynamic and passionate, filled with a multitude of colours. The immediacy of the brilliant brushwork and observations bring the work to life and you feel if you are in the bush with the artist.

I have chosen this painting from our Winter Collection as it reminds me of these treasured memories, as well as my love of travelling. With the current lockdown restrictions, a lot of us have been unable to enjoy our favourite winter getaways so we are very lucky to have such beautiful paintings that can transport us to these places and provide a sense of escapism (without needing our passports)!

David Shepherd British, (1931-2017)

The Threatening Bull, Painted in 1979 Oil on Canvas

49 x 98 cms / 19¼” x 38½” Price Code F

One of the reasons I think David Shepherd is so talented is because he always manages to capture the personalities of his elephants, almost as you would expect if the sitter was human. These ancient beasts have a timeless elegance and stature about them. Their wrinkled skin and oversized features have a slightly comic nature, something so different from anything else we can see today.

Gladwell & Patterson has had the privilege of displaying David’s superb paintings over the decades and this painting would be a handsome addition to any collection.

Emily

To me, this painting in particular shows off David’s instinctive and natural skills of painting. The impasto detail of the dense 78

EDWARD

WAITES “ My bronze sculptures are shaped by my passion for the vitality, energy and grace of my subjects”

Edward Waites British, (Contemporary)

Gorilla Bronze (Edition of 12)

40 x 30 x 16 cms 15¾” x 12” x 6¼” Price Code B

EDWARD

WAITES The Process: Concept: • I wanted to create a piece depicting two male lions with the emphasis on the competition to be the head of the pride. An older male lion on top and currently head of the pride and a younger male hungry to compete for his position.

Stages: • Initially make a skeletal steel and aluminium frame to add the clay to. Leaving the work loose to create life and energy in the piece. • Once the clay is finished I then send the piece to my mould maker to create a complex rubber and fiberglass mould. • A wax replica is taken from this mould by pouring in hot wax and leaving it to set. • The wax is then chased to clean the joins and cut up into sections.

Edward Waites British, (Contemporary)

Lion Duo Bronze Edition of 12

60 x 30 x 45 cms 23¾” x 12” x 17¾” Price Code D

• These sections are 'run up' into a wax plumbing system that allows the channels of bronze to fill the mould but also to let all the gasses out when the molten bronze is poured.

• This wax structure is dipped in ceramic slurry over a period of time to thicken up and create another mould. • This ceramic mould is heated up to melt and release the wax from the inside. • This mould is then ready to take the molten bronze which is poured in at 1150 degrees centigrade. • Once left to cool the ceramic mould is broken off to reveal the bronze sections. • These sections are cleaned up and welded back together to create the final positive sculpture. • The final stage is to apply the patina to the sculpture.

Ewoud De Groot Dutch, (Contemporary)

EWOUD

DE GROOT

Descending Owl Oil on Linen

100 x 100 cms 39½” x 39½” Price Code C

Ewoud De Groot Dutch, (Contemporary)

Out of the Mist Oil on Linen

110 x 110 cms 43¼” x 43¼” Price Code D

"To me, as an artist, producing a good painting is about exploring all the different facets of composition, colour and technique and not just reproducing an image in a photorealistic way. Although I consider myself a figurative painter, I always try to find that essential balance and tension between the more abstract background and the realism of the subject(s). In a way you could say that I am on the frontier between figurative and non-figurative, or the traditional and the modern.“ 85

PETER

PHAROAH

have a passion for Africa and its people. The heat, dust and textures are my inspiration and the beauty, strength and pride of the people make interesting subjects, their faces providing a vehicle to portray a feeling of Africa. My wildlife, seascapes and abstracts are created with the same strength, colour and energy as the African tribes; all these subjects characterise the warmth and strength of the African continent.

Peter Pharoah South African, (Contemporary) 86

Dube Oil on Canvas

115 x 115 cms 45¼” x 45¼” Price Code B

Peter Pharoah South African, (Contemporary)

End of Days Oil on Canvas

115 x 115 cms 45¼” x 45¼” Price Code B 87

Jonathan Walker British, (Contemporary)

The Sinner Watercolour

Molly's Moules Watercolour

41 x 30 cms / 16" x 11¾" Price Code A

48 x 33 cms / 19" x 13" Price Code A

Jonathan Walker British, (Contemporary)

The Dance Watercolour

The Sanctuary Watercolour

79 x 55 cms / 31" x 22" Price Code A

57 x 39 cms / 22½" x 15½" Price Code A

JONATHAN

WALKER 88

Jonathan Walker British, (Contemporary)

Winter Moon Watercolour

78 x 40 cms / 30¾" x 15¾" Price Code A

Jonathan Walker British, (Contemporary)

Arthur's Heaven Watercolour

29 x 20 cms / 11½” x 7¾” Price Code A

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Jonathan Walker British, (Contemporary) Come Northern Wind Watercolour

Jonathan Walker British, (Contemporary)

The Silent World Watercolour

25 x 35 cms 10" x 14" Price Code A

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28 x 53 cms 11" x 21" Price Code A

Gladwell & Patterson 5 Beauchamp Place, London, SW3 1NG 0207 584 5512 Anthony@gladwellpatterson.com - 07949 780032 Glenn@gladwellpatterson.com - 07866 450070 Graham@gladwellpatterson.com - 07775 900251

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Jonathan Walker British, (Contemporary) Christmas Spirit Watercolour 35 x 19 cms 13¾" x 7½" Price Code A 90

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INDEX

Lionel Agget

p 10-11

Arthur J. Meadows

p 44

Nick Bibby

p 74-75

Pierre Eugène Montézin

p 4-7

August Bouvard

p 56-57

Ronny Moortgat

p 42-43

Helen Bradley

p 46-49

Charles Perron

p 24-25

Peter van Breda

p 52-55

Peter Pharoah

p 86-87

Paul S. Brown

p 70-73

Georges Charles Robin

p 14-19

Édouard Henri Leon Cortès p 50-51

David Shepherd

p 76-79

Donald Hamilton Fraser

p 38-41

Harry Sutton Palmer

p 66-67

Simon Gudgeon

p 12-13

Peter Symonds

p 68-69

Ewoud de Groot

p 84-85

Martin Taylor

p 36-37

Hans Hamza

p 65

Raymond Thibesart

p 20-21

Harold Harvey

p 64

Edward Waites

p 80-83

Ernest William Haslehust

p 58-59

Pieter Wagemans

p 22-23

Alexandre Louis Jacob

p 60-63

Jonathan Walker

p 88-90

Stewart Lees

p 26-29

Kenneth Webb

p 30-35

Gustave Loiseau

p 8-9

William Lionel Wyllie

p 45

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