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
Summer Collection 18 May – 8 July 2016 Claude Monet once remarked "The richness I achieve comes from nature, the source of my inspiration". My recent visit to the outstanding exhibition "Painting the Modern Garden: Monet to Matisse" at the Royal Academy of Arts in London illustrated this and inspired me in turn to curate this exhibition along similar lines. Our own masters in the art of “en plein air” capture, with their dazzling creativity and skill, the exquisite forms, colours and lights presented to them by nature. Many of the paintings we have collated together for your enjoyment are very much aligned with Monet’s sentiments. Stunning French landscapes, beautiful depictions of birds and animals in sculpture, watercolour and oil are distinctive for their spontaneity and expression. The artists’ mesmerizing paintings capture the colours and atmosphere of the great outdoors, immortalizing the changing seasons, weather and light, to leave a lasting impression. In this catalogue we see artists and sculptors confront their most rigorous challenge: to capture quickly the brilliant and fluid visual sensation of natural light and form at a specific time and place while facing the formidable constraint of fleeting light or moving creature. Peinture sur le motif, painting what the eye actually sees, creates intrigue that we all enjoy as we allow ourselves to get lost in another world of beauty. This theme follows through to our forthcoming 9th appearance at the Chelsea Flower show. We are reminded how gardens, flowers and plants have a wonderful way of bringing people together, how we are calmer with grass under our feet and “plein air” around us. I would also like to draw your attention to our inaugural appearance at the highly regarded Masterpiece fair. The exhibition takes place this year from 30 June – 6 July at the Royal Hospital showground and we would be delighted to welcome you to our stand there. We look forward to seeing you in the gallery or at one of our exciting forthcoming exhibitions. - Cory Fuller
Painting the Present Sculpture Painting the Past Painting Perfection
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Painting the Present
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Stewart Lees Feverfew in a Clay Pot British, (Contemporary) Oil on Panel 9” x 7”, 24 x 18 cms Price Code B
Stewart Lees Lavender in a Clay Pot British, (Contemporary) Oil on Panel 16” x 16”, 40 x 40 cms Price Code C
“After a winter of long days in the studio I relish the arrival of spring and early summer. A chance to get into my garden, to examine my pots of herbs as they unfurl leaves and send out new shoots, and a chance to pot up new plants. All to be tended and nurtured, ready for the day when I ask them to sit patiently in my studio while I try to capture their special qualities in paint.” - Stewart Lees
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Stewart Lees Smoked Garlic and Winter Savory British, (Contemporary) Oil on Panel 6” x 4”, 15 x 10 cms Price Code A
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Stewart Lees Paprika with a Coriander Sprig British, (Contemporary) Oil on Panel 4” x 6”, 10 x 15 cms Price Code A
Stewart Lees Three Cherries on a Cantonese Dish British, (Contemporary) Oil on Panel 4” x 6”, 10 x 15 cms Price Code A
Stewart Lees Cranberries in a Glass Bowl British, (Contemporary) Oil on Panel 4” x 6”, 10 x 15 cms Price Code A
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Paul S. Brown Phalaenopsis
Paul S. Brown Garlic, Rosemary and Thyme
American, (Contemporary) Oil on Canvas 36” x 26”, 91 x 66 cms Price Code E
American, (Contemporary) Oil on Panel 12” x 12”, 30 x 30 cms Price Code C
Paul S. Brown • Château Lafite-Rothschild 1918 American, (Contemporary) • Oil on Canvas • 24” x 34”, 60 x 90 cms • Price Code E 11
Willem Dolphyn Spring Time Belgian, (1935-2016) Oil on Panel 19¼” x 15”, 49 x 39.5 cms Price Code C
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Willem Dolphyn Blueberries and a White Pot Belgian, (1935-2016) Oil on Panel 3” x 7”, 9 x 19 cms Price Code B
Willem Dolphyn Wild Plums Belgian, (1935-2016) Oil on Panel 11” x 11”, 29 x 28 cms Price Code B
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Pieter Wagemans Flamed Tulips Belgian, (Contemporary) Oil on Canvas 19” x 23”, 50 x 60 cms Price Code C
Pieter Wagemans Pink Tulips Belgian, (Contemporary) Oil on Canvas 19” x 23”, 50 x 60 cms Price Code C
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Pieter Wagemans Dream Belgian, (Contemporary) Oil on Canvas 51” x 35”, 130 x 90 cms Price Code E
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Pieter Wagemans • Happy Spring Belgian, (Contemporary) • Oil on Canvas • 23” x 43¼”, 60 x 110 cms • Price Code D 16
Pieter Wagemans • Reflection Belgian, (Contemporary) • Oil on Canvas • 16” x 16”, 40 x 40 cms • Price Code C 17
Karl Martens • Mallard Swedish, (Contemporary) • Watercolour • 23” x 30”, 58 x 76 cms • Price Code B 18
Karl Martens • Curlew Swedish, (Contemporary) • Watercolour • 22" x 15”, 56 x 38 cms • Price Code B 19
Karl Martens Hen Harrier Swedish, (Contemporary) Watercolour 23” x 30”, 58 x 76 cms Price Code B
Karl Martens Buzzard Swedish, (Contemporary) Watercolour 23” x 30”, 58 x 76 cms Price Code B
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Karl Martens Sparrow Hawk Swedish, (Contemporary) Watercolour 30" x 23", 76 x 58 cms Price Code B
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Martin Taylor • Up High and Far Away British, (Contemporary) • Oil on Canvas • 13” x 18”, 35 x 46 cms • Price Code B 22
Martin Taylor Wet Tracks British, (Contemporary) Oil on Canvas 20” x 20”, 50 x 50 cms Price Code C
Martin Taylor Early Light British, (Contemporary) Oil on Canvas 12” x 13”, 32.5 x 35 cms Price Code B
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Peter Symonds Newlands Corner, Surrey British, (Contemporary) Oil on Canvas 20” x 30”, 50 x 76 cms Price Code C
Peter Symonds The Fairy Pools, Isle of Skye British, (Contemporary) Oil on Canvas 16” x 24”, 40 x 60 cms Price Code C
Peter Symonds Shere under Snow, Surrey British, (Contemporary) Oil on Canvas 10” x 14”, 25 x 36 cms Price Code B
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Peter Symonds • Slioch and Lochan Fada British, (Contemporary) • Oil on Canvas • 20” x 48”, 50 x 122 cms • Price Code D 25
Peter van Breda • April Blossom, Hyde Park, London British, (Contemporary) • Oil on Canvas • 13” x 18”, 33 x 46 cms • Price Code B 26
Peter van Breda Golden Shades of Autumn, Tuileries Gardens, Paris British, (Contemporary) Oil on Canvas 17” x 40”, 45 x 102 cms Price Code B
Peter van Breda Tuileries Gardens, Paris British, (Contemporary) Oil on Canvas 23” x 31”, 60 x 80 cms Price Code C
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Ronny Moortgat Archibalt Russell in the Channel Belgian, (Contemporary) Watercolour 14" x 20", 35.5 x 51 cms Price Code A
Ronny Moortgat USS Constitution at Nightfall Belgian, (Contemporary) Watercolour 16" x 24", 40 x 61 cms Price Code B
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Ronny Moortgat • A Fair Crossing Belgian, (Contemporary) • Oil on Canvas • 32" x 40", 82 x 105 cms • Price Code D 29
Walter Dolphyn • Yonezawa Champion’s Racer Belgian, (Contemporary) • Oil on Canvas • 24” x 47”, 60 x 120 cms • Price Code D 30
Walter Dolphyn • Dinky toys 235 H W M Racing Car Belgian, (Contemporary) • Oil on Canvas • 19” x 39”, 50 x 100 cms • Price Code D 31
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Sculpture
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Edward Waites is one of Britain’s most talented equine and wildlife sculptors. His upbringing in Newmarket, Suffolk, has greatly inspired his passion for horses and large powerful animals. Waites’ careful observation of his subjects allows for him to capture the unique personalities of these majestic animals, from mighty racehorses such as Dubawi and Makfi, to the native creatures of the vast plains of Africa. “I adopt a very hands on approach from start to finish with my work from the miniature pieces you can hold in the palm of your hand to the 9 foot horse head in the making this year. I think its vital to be heavily involved in the whole process and I work on every stage from armature to finished bronze.” - Edward Waites
< The artist at work on the life size clay sculpture of Makfi, to be cast in bronze 34
Edward Waites • Makfi Maquette British, (Contemporary) • Bronze (Edition of 12) • 19” x 16” x 7”, 50 x 40 x 18 cms • Price Code C 35
Edward Waites Eventer British, (Contemporary) Bronze (Edition of 12) 13” x 12” x 16¼”, 35 x 30 x 16 cms Price Code B
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Edward Waites Rhino Head British, (Contemporary) Bronze (Edition of 12) 10¼” x 11” x 5”, 26 x 29 x 14 cms Price Code B
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“The moment I first picked up a lump of wet, sticky, clay I knew that I would be a sculptor. There is something magical about creating a three dimensional work of art from a formless lump of clay. Something that can be viewed from a multitude of angles, each giving a new and different perspective to the viewer, in a way that two-dimensional artworks never can. It is the pure act of sculpting that excites me! I also hate being bored, so my sculptures are many and varied, but I find myself returning again and again to certain themes and subjects, birds being a case in point. As an amateur naturalist I find them endlessly fascinating, and as an artist I find them both beautiful and challenging. Capturing the soft, multi-layered complexity of feathers, the sense of near weightlessness, or that special something that epitomizes (to me) the character and beauty of my chosen subject. From choosing the pose; the type of clay used, the modeling style, right through to the patina on the finished bronze; hopefully all comes together in a finished sculpture that needs no further explanation. Looking at one of my sculptures, I would hope that the viewer enjoys the same beauty that inspired me and feels a renewed connection to and appreciation for both the chosen subject and for the art of sculpture itself.” - Nick Bibby
Nick Bibby Red Grouse II British, (Contemporary) Bronze (Edition of 12) 5” x 11” x 6”, 13 x 30 x 17 cms Price Code C
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Nick Bibby Pheasant British, (Contemporary) Bronze (Edition of 12) 17” x 9” x 24”, 45 x 23 x 62.5 cms Price Code D
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“Even the most fleeting glimpse of a Kingfisher as it flashes by lifts my heart like no other bird.” - Nick Bibby
Nick Bibby • Kingfisher II British, (Contemporary) • Bronze (Edition of 12) • 8” x 14” x 8”, 20 x 35.5 x 20 cms • Price Code C 40
Nick Bibby Swallow British, (Contemporary) Bronze (Edition of 12) 14” x 16” x 14”, 35.5 x 40 x 35.5 cms Price Code C 41
Celebrated for his iconic monumental outdoor sculptures as well as his beautiful and inspiring indoor and tabletop pieces, Simon Gudgeon’s sculptural subjects, bird forms, figurative, abstract and kinetic, are all inspired by the world around him, both visually and emotionally. “Many sculptures have been inspired by a combination of things I have seen, read about or experienced, different ideas woven into one piece. There is, though, one theme that runs through everything I do and that is beauty. It is a quality that is hard to define but it is not so much a characteristic in the object itself as the effect it has on those that see it. It is so important to surround ourselves with beauty, it appeals to our senses and has a positive effect on our outlook and uplifts our spirits.” - Simon Gudgeon
Simon Gudgeon Geranos British, (Contemporary) Bronze 60” x 19” x 4”, 152 x 48 x 10 cms Price Code D
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Simon Gudgeon Barn Owl
Simon Gudgeon Standing Otter
British, (Contemporary) Bronze and Cor-ten Steel 32” x 23” x 10¼”, 81 x 58 x 26 cms Price Code C
British, (Contemporary) Bronze 22” x 15” x 9”, 59 x 38 x 24 cms Price Code D
Simon Gudgeon Dancing Cranes British, (Contemporary) Bronze 26” x 17” x 6”, 65 x 43 x 14 cms Price Code D
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Simon Gudgeon Silver Swans British, (Contemporary) Brushed Nickel on Bronze 20” x 35” x 12”, 52 x 90 x 32 cms Price Code D (Sold as a Pair)
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Painting the Past
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Born in 1858 to an aristocratic family from Brittany, Emmanuel de la Villéon moved to Paris in 1890 to study at the Academie Julian where he was taught traditional methods of painting. He excelled in the painting of tranquil landscapes and seascapes from nature. His landscapes are characterised by their rich and colourful palette which was influenced by artists such as Monet, Cezanne and Van Gogh. Villéon travelled extensively all over France and his first trip abroad was to Holland in 1889 where he discovered the clearer light of the north. Villéon first exhibited at the Salon des Indépendents in 1890 to great acclaim and subsequently exhibited at the Salon of the National Society of Fine Arts, the Modern Society, the Salon d’Automne, the Salon des Tuilleries and in several Parisian galleries. His contemporaries and friends included Maxime Maufra and Carolus Duran, a good friend of Monet. In 1909, Villéon founded the "La Société Moderne" with several other artists, including Cariot and his palette and inspiration became more poetic. It is said that he was one of the last true Impressionist painters of the era, and while little is known of him outside of France today, nevertheless, he remains an important representative of this movement. Exhibitions were also held in 1918 in the United States and Canada, in 1925 in Copenhagen and in 1927 in Japan. Several special exhibitions were also held in France, the last in 1943 at the Galerie La Boetie in Paris. Three of his paintings were purchased by the French government. In the midst of preparing for an exhibition in Paris, Emmanuel de la Villéon died of pneumonia in January 1944 and is buried in Paris at the Montparnasse cemetery. Since 1976, over one hundred twenty works were donated by his family to the town of Fougeres where they established the Emmanuel-de-la-Villéon Museum.
Emmanuel de la Villéon
• Moissons à Bitry
French, (1858-1944) • Oil on Canvas • 17” x 32”, 44 x 82 cms • Price Code C 50
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Gustave Cariot was a French Pointillist and Impressionist artist born in 1872 at Pérignysur-Yerres near Paris. He grew up in the Marais area of Paris, a district where artists and small merchants flourished. His father was a luggage-maker and encouraged Gustave to become his apprentice but the young Cariot insisted on pursuing an artistic career. As a youth, he dedicated his spare time to drawing and sketching various views of the city and countryside surrounding Paris. Largely self taught, Cariot became a celebrated Post-Impressionist painter. Cariot was also particularly interested in the techniques of the Pointillists and Divisionists, showing an awareness of both brushstrokes and colour theory to his work. In 1909 Cariot exhibited with "La Société Moderne", a group set up by his friend and fellow painter Emmanuel de la Villéon. This group of artists exhibited at the Galeries Durand-Ruel in Paris. Cariot went on to join the Societe des Artistes Independants and exhibited in major Parisian exhibitions. In addition to showing with the Salon Nationale des Beaux-Arts, Cariot participated in the Salon d'Automne and the Salon d'Hiver. Cariot’s paintings of haystacks and rural scenes from the late 1920’s demonstrate his inspiration of Claude Monet’s ‘series paintings’ of the 1890’s, most notably those of Haystacks and Rouen Cathedral. Cariot studied the effects of changing light and painted several series of works showing Paris and the French or German countryside at different hours of the day and in different seasons. After World War I, Cariot spent most of his time in Germany, and often returned to France in the Autumn and Winter.
Gustave Cariot • Meules devant un Village, Painted in 1929 French, (1872-1950) • Oil on Canvas • 19” x 25”, 50 x 65 cms • Price Code F 52
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Gustave Cariot Paysage aux Peupliers, Painted in 1915 French, (1872-1950) Oil on Canvas 21” x 25”, 52 x 68 cms Price Code E
Gustave Cariot Inondation, Painted in 1910 French, (1872-1950) Oil on Canvas 13” x 18”, 33 x 47 cms Price Code E
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Gustave Cariot • Le Retour de la Moisson, Painted in 1928 French, (1872-1950) • Oil on Canvas • 18” x 21”, 46.5 x 53 cms • Price Code F 55
Albert Lebourg was born in 1849. He initially trained as an architect at the Ecole des Beaux Arts in Rouen. Throughout his life he travelled extensively, spending several years in Algeria as a drawing teacher for the École des Beaux-Arts in Algiers, and visiting different European countries which inspired many of his landscapes. He returned to Paris in 1878 with a new clarity and light in his painting and studied alongside Jean-Paul Laurens. Lebourg painted mainly in Auvergne, in Normandy and along the banks of the Seine. His impressionistic landscapes are imbued with a strong sense of structure and design which is apparent even in his most atmospheric scenes. Lebourg exhibited with the Impressionists in 1879 and 1880, and at the Paris Salon from 1883 until 1895. Lebourg exhibited thirty paintings in the Fourth Impressionist Exhibition of 1879 alongside Monet, Pissarro and Degas. Subsequent exhibitions would see his work also hanging alongside that of Seurat and Morisot. Lebourg was named Chevalier of the Legion of Honour on 27 June 1903, and brevetted Officer of the Legion of Honour 22 April 1924. A catalogue raisonné of 2,137 works was published in 1923. His works are exhibited at the Musee d’Orsay, Petit-Palais and Carnavalet in Paris, as well as museums in Bayonne, Clermont-Ferrand, Le Havre, Dunkerque, Lille, Strasbourg, Sceaux and in Rouen at the Musée des Beaux-Arts de Rouen (Depeaux collection).
Albert Lebourg • Bords de Seine, Péniches à Quai French, (1849-1928) • Oil on Canvas • 15” x 24”, 38 x 61 cms • Price Code F 56
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Marcel Dyf • The Cornfield French, (1899-1985) • Oil on Canvas • 23” x 28”, 60 x 72.5 cms • Price Code E 58
Marcel Dyf • Coastal Scene French, (1899-1985) • Oil on Canvas • 15” x 18”, 38 x 46 cms • Price Code D 59
Georges Charles Robin Arcy sur Cure, Painted in 1943 French, (1903-2003) Oil on Canvas 19” x 24”, 48 x 60 cms Price Code D
Georges Charles Robin Moret-sur-Loing French, (1903-2003) Oil on Canvas 21” x 28”, 53 x 72.5 cms Price Code D
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Georges Charles Robin • The Harvest French, (1903-2003) • Oil on Canvas • 24” x 32”, 60 x 80 cms • Price Code D 61
Gladwells have been dealing with this superb artist's work for 68 years. During this extended period his art has never ceased to appeal to our clients and as a result we are extremely confident that we have found a Master artist whose reputation will grow with the passage of time very much like the Impressionists have over the last 150 years. 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. In our opinion with his sound sense of design and robustness of statement Robin has attained a mode of expression which is stamped as his own inimitable style.
Georges Charles Robin River Landscape French, (1903-2003) Oil on Panel 16” x 12”, 40 x 32 cms Price Code C
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Georges Charles Robin Le Moulin près le Loing French, (1903-2003) Oil on Canvas 24” x 36”, 61 x 92 cms Price Code E
Georges Charles Robin St Laurent-sur-Seine (Vendeé) French, (1903-2003) Oil on Panel 10” x 13”, 25 x 34 cms Price Code C
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Alexandre Louis Jacob • Lueurs du Soleil French, (1876-1972) • Oil on Canvas • 51” x 45”, 131 x 115 cms • Price Code E 64
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Alexandre Louis Jacob • L’étang du Village French, (1876-1972) • Oil on Panel • 16” x 16”, 40 x 42.5 cms • Price Code C 66
Alexandre Louis Jacob Soir sur le Marais French, (1876-1972) Oil on Panel 13” x 16¼”, 33 x 41 cms Price Code D
Alexandre Louis Jacob Paysage Fin d’Autumn French, (1876-1972) Oil on Panel 10” x 13”, 27 x 35 cms Price Code C
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Raymond Wintz • La Chapelle Notre-Dame à la pointe de Penhors French, (1884-1956) • Oil on Canvas • 15” x 47”, 49 x 121 cms • Price Code D 68
Maurice Martin • Paysage de Neige French, (1894-1978) • Gouache • 19” x 23”, 48 x 59.5 cms • Price Code B 69
Born in 1879 in San Francisco into a large Italian family, the young Cuneo’s one ambition was to travel to Europe and study art in Paris. As a teenager he started boxing and by the age of nineteen he was the fly-weight boxing champion of San Francisco. His prize money from the sport enabled him to realize his dreams and move to Paris where he studied at the Carlo Rossi Academy and went on to become the head student under Whistler. Cuneo met Nell Marion Tenison in the Carlo Rossi Academy and in 1903 they travelled to England and were married. Their son, Terence Cuneo, later went on to enjoy a distinguished career as a painter of trains and other forms of transport, both military and civilian. Cuneo’s career took off in England where he quickly made a career for himself as an illustrator working for The Illustrated London, Pall Mall Magazine and The Strand Magazine. Cuneo died in 1916 at the age of thirty-seven from blood-poisoning after being accidently stabbed by a hat-pin at a dance. Very few of his paintings survive, however work by him is in the Victoria & Albert Museum and the Walker Art Gallery, Liverpool. Cyrus Cincinnati Cuneo • Summer Days American, (1879-1916) • Oil on Canvasboard • 12” x 20”, 31.5 x 51 cms • Price Code C 70
William Kay Blacklock An Afternoon Stroll British, (1872-1924) Oil on Canvas 23” x 19”, 58.5 x 48 cms Price Code D
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Bernard Louis Borione • The Obedient Parrot French, (born 1865) • Oil on Canvas • 24” x 19”, 61 x 50 cms • Price Code C 72
Antoine Auguste Thivet Avant le Bain French, (1856-1927) Oil on Canvas 24” x 20”, 61 x 50.5 cms Price Code C 73
Pierre de Clausade • Paysage du Nord French (1910-1976) • Oil on Canvas • 18” x 31”, 46 x 80 cms • Price Code B 74
Pierre de Clausade Le Bosquet sur la Presqu’ile French (1910-1976) Oil on Canvas 29” x 36”, 73 x 92 cms Price Code B
Pierre de Clausade Sur le Loire French (1910-1976) Oil on Canvas 21” x 25”, 53 x 63.5 cms Price Code B
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Derek G.M. Gardner • The Battle of Camperdown, 12 October 1797 British, (1914-2007) • Watercolour • 10” x 21”, 25 x 53.5 cms • Price Code E 76
Montague Dawson • The British Ambassador mid-ocean under full sail British (1890-1973) • Oil on Canvas • 24” x 36”, 60.9 x 91.4 cms • Price Code F 77
David Shepherd • A Tiger in the Bush British, (born 1931) • Oil on Canvas • 7” x 12”, 18 x 30 cms • Price Code E 78
David Shepherd • A Rhino Emerging from the Bush British, (born 1931) • Oil on Canvas • 7” x 10”, 19.5 x 27 cm • Price Code E 79
A UNIQUE PRIVATE COLLECTION OF MODERN BRITISH WORKS ON PAPER
John Piper • Parsac, France, Painted in 1961 British, (1903-1992) • Gouache and Coloured Crayon on Paper • 9" x 12”, 23 x 30 cms • Price Code D 80
Ben Nicholson was one of the most radical British artists of the twentieth century and the leader of the modern movement in Britain between the wars. He was born into a firmly established artistic family: his father was Sir William Nicholson, one of the English Impressionists; his mother was also a painter, and the sister of the acclaimed painter James Pryde. His first wife was the painter Winifred Nicholson, whilst his second wife was the sculptor Barbara Hepworth. This small abstract work in pen, oil and wash on white wove paper dates from the end of Nicholson’s career. Complex forms and spaces are defined in what seems almost to be one continuously drawn line, hardly taking his pen off the paper. The limited colour is applied in patches, influenced perhaps by Mondrian, and in quite an abstract way as to guide the eye around the picture. The barely coloured, delicate palette and sparse, almost ethereal draughtsmanship offers a nod to British classicism with the landscape pared down to its bare essence. The extreme refinement and restraint of his work constitutes his unique contribution to modern British, and international art.
Ben Nicholson • Maderia, February 1979 British, (1894-1982) • Pen, Oil and Wash on Paper • 10" x 9.5", 25 x 24 cms • Price Code F 81
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Painting Perfection
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Francis Picabia was born in Paris on 22 January 1879 to a French mother and Spanish father. He is most commonly recognised as an early pioneer of the Dada movement. Throughout his seventy-four years, he explored most of the artistic movements of his time, an exceptional feat during such an exciting period in art. He studied at the École des Beaux-Arts and at the École des Arts Decoratifs in Paris alongside Georges Braque. Vincent Van Gogh and Toulouse Lautrec had only recently graduated when Picabia joined in the late 1890’s. Picabia’s first great success came from works painted in an Impressionist manner. In the early 1900’s the young Picabia painted Impressionist landscapes at Moret-sur-Loing, the picturesque historic town on the river Loing frequently depicted by Monet, Renoir and Sisley. Highly influenced by these artists, and Sisley in particular, Picabia completed series of works depicting the same site under different conditions of weather, seasons and at different times of the day. He mastered an Impressionist technique and exhibited his works regularly at the Salon des Artistes Français, and the Salon des Indépendants (founded in 1884 by a group that included Cezanne, Gauguin, and Pissarro) and the Salon d’Automne. Great success came in 1904, when Picabia landed his first one-man exhibition at the prestigious Galerie Haussmann. His paintings were met with great acclaim with critics stating that Picabia’s Impressionist work was personal and unique, far from being derivative of the work of the Impressionist masters. Picabia went on to hold a second successful exhibition with the Galerie Haussmann in 1907, but in 1908 his style changed to focus on Neo-Impressionism, influenced by Signac, and he abandoned his Impressionist tendencies. Francis Picabia viewed his art as an intimate extension of his life. It was a means to express his likes and dislikes, his thoughts and feelings—often without distinguishing between those that were serious or trivial, public or private. That attitude made for enormous variety in the styles and quality of his work, and he insisted on such freedom of expression even when it meant that most of the public might not like or understand what he was doing. Picabia's work is held in the permanent collections of the Museum of Modern Art in New York, The Art Institute of Chicago, the Guggenheim Museum and the Whitney Museum of American Art.
Francis Picabia • Cueillette des Fruits, Painted in 1904 French, (1879-1953) • Oil on Canvas • 18” x 22”, 47 x 56 cms • Price on Application 84
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Alfred Sisley was born in Paris in 1839 into a wealthy English family. He came to London at the age of eighteen to study commerce with a view to entering the family business, but soon decided to devote himself entirely to painting. Upon his return to Paris in 1863 Sisley entered the studio of Marc Gleyre where he met and became lifelong friends with Claude Monet and Pierre-Auguste Renoir. Sisley’s lifestyle changed abruptly in 1870, the year of the Franco-Prussian War, with the death of his father and the financial ruination of his family. He then turned to painting as a means of supporting himself. Sisley exhibited at the Salon des Refusés in 1863, the Salon in 1866, and contributed to four major Impressionist exhibitions between 1874 and 1886. After ceasing to exhibit at the Salon in 1877, Sisley's art of the following years shows a considerable change in style. Freed from the constraints of the existing canon, his compositions became more complex, with less emphasis on recession and perspective, and the artist shifted his focus to more fully explore the expressive power of his brushstrokes. Vieille Chaumière aux Sablons is a remarkable example of this newly found spontaneity in application of paint: the artist builds his composition by placing layers of pigment on top of each other, applied in quick brushstrokes in varying directions, and in this way creates a richly textured surface saturated with color. The rich color, complex brushwork, and firmness of composition evident in works such as Vieille Chaumière aux Sablons show Sisley to be a quintessential Impressionist artist, well apprised of the developments in the work of his fellow Impressionist and Post-Impressionist artists. He was particularly fascinated by the beauty of the French river valleys, and took delight in painting the intersections of natural and humble human life there, capturing the effects of the season, weather and time of day on the countryside, and experimenting with the effects of light and colour.
Alfred Sisley • Vieille Chaumière aux Sablons, Painted in 1885 French (1839-1899) • Oil on Canvas • 21¼” x 28”, 54 x 73 cms • Price on Application 86
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Sur la falaise, au Petit Ailly is part of a series of more than fifty views that Monet painted in 1896-1897 of the towering cliffs at Pourville, Dieppe, and Varengeville. It was the first time in a full decade that the artist had worked on the Normandy coast, without doubt his favorite site during the first half of the 1880’s. From February to April of both 1896 and 1897, he lodged at Pourville, a small, unpretentious port two miles west of Dieppe where he had spent nearly six months in 1882. Upon his arrival, he wrote to Durand-Ruel, "I set myself up here several days ago, I needed to see the sea again and am enchanted to see once more so many things that I did here fifteen years ago". The Normandy coast had been the site of some of Monet's earliest experiments with the serial technique that came to dominate his production in the 1890’s, and his return to Pourville at this time may represent an effort to re-engage with motifs that he viewed as instrumental to his evolution as an artist. During his first stay at Pourville in 1882, Monet had roamed all over the high chalk cliffs, employing a local porter to carry his canvases, and had also set up his easel at numerous spots on the beach. In 1896 and 1897, by contrast, he limited himself to just three motifs, all of which he had already explored during his earlier sojourn. He concentrated first on views of the coastline as it swept westward from Pourville and then moved up onto the top of the bluffs, painting one group of canvases looking east toward Dieppe and another depicting the Petit Ailly gorge, as in Sur la falaise, au Petit Ailly and the small customs house at Varengeville. The customs house had been built during the Napoleonic blockade as a lookout post for ships attempting to skirt the siege and was later appropriated by local fishermen. It had been one of Monet's favorite motifs in 1882, and he was eager to re-visit it fifteen years later. In the first letter that he wrote to Alice after settling into his hotel in 1897, he reported, "I arrived without problem and was greeted with beautiful weather. As soon as I had lunch, I went out to see all of my motifs. Nothing has changed... The little house is intact. I have a key to it". Compared with his paintings of the same site from 1882, these later views are characterised by more generalized effects of light, a more muted palette, and softer, less defined contours.
Claude Monet • Sur la falaise, au Petit Ailly, Painted in Varengeville in 1896 French (1840-1926) • Oil on Canvas • 28" x 36", 73 x 92 cms • Price on Application 89
Monet had first visited the fishing village of Etretat on the Normandy coast at the end of the 1860s; however, it was during his visit at the beginning of 1883 that he embarked upon one of his most iconic series of landscapes, focusing on the epic rock formations and perfectly uniting his own incredible ability to capture the sensations of nature with the sublime, awe-inspiring crags that jutted out into the sea by Etretat. Many of the paintings of the cliffs of Etretat are now in museums throughout the world, including eight which resulted from this stay. Monet's enthusiasm for Etretat is clear from Aiguille d'Etretat, Marée Basse itself, with its vivid brushstrokes perfectly capturing the gentle tumble of the waves, and the exquisite sunlight on the rocks, as well as from his own statements. As he wrote, “I should tell you I am very happy to have come here, it's truly wonderful and I believe that I am going to do some very good things.” It was during the 1880’s in particular that Monet's fascination with the sea came to the fore, and he managed to visit the various coastlines many times during the course of the decade. Monet, having grown up in Le Havre, a couple of dozen kilometres from Etretat, had a natural affinity for it. That passion is clear in this painting: Monet has blended seascape and landscape together here, allowing the sky, the surface of the water and the beach to take up much of the composition, which is nonetheless dominated by the punctuating forms of the 'Aiguille' and the Falaise d'Amont, just South of Etretat itself. Monet painted the 'Aiguille' several times during his first stay in Etretat, but this picture is one of the few which show it from the south side. To reach the position he has adopted in Aiguille d'Etretat, Marée Basse, by contrast, he needed to enter the next cove down, a process that could become perilous, as he discovered when he misjudged the tides while working there two years later, when he was knocked over by the waves and had lost his easel and painting. During his 1883 visit, he clearly undertook this trip several times, as some of his other pictures show the view facing the opposite direction from Aiguille d'Etretat, Marée Basse, illustrating instead the more massive arch of the Manneporte. In Aiguille d'Etretat, Marée Basse, he has managed to place his distinct mark on the view in part by approaching it from the other side and in part by bathing it in a highly Impressionistic roseate light that appears, from the direction in which the cliffs are lit, to be the morning. In painting the 'Aiguille' from this angle, Monet may have been disguarding the shackles of historical precedent. His own idol and friend Gustave Courbet, who had died in 1877, had been one of the painters who had, earlier in the nineteenth century, immortalized Etretat. Indeed, Etretat's cliffs had become famous by this time. Because of various pictures and travel guides, it had been transformed from a small fishing village into a tourist destination during the summer, even boasting a casino. However, Monet appears to have deliberately avoided many of those associations by visiting at the beginning of the year, off-season, when there were few tourists if any and instead he could concentrate on his pictures. Monet completed Aiguille d'Etretat, Marée Basse and several of its sister works at his house in Giverny. While he had embraced pleinairisme in the initial part of the creative process, in this case he completed the works back in his own studio, prefiguring the practice that he would develop at Giverny when working on his epic Nymphèas at the beginning of the twentieth century.
Claude Monet • Aiguille d'Etretat, Marée Basse, Painted in 1883 French (1840-1926) • Oil on Canvas • 23 ” x 31 ”, 60 x 81 cms • Price on Application 90
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Dalí has imbued The Stillness of Time, executed in 1975, with elements he frequently depicted throughout his career, most notably that of the melting clock motif from his earlier painting of The Persistance of Memory, painted in 1931, illustrating his lifelong obsession with sex and the fleeting passage of time. With the bravura of an Old Master draftsman, Dalí delineates with great flourish the figures flanking the melting timepiece. Sensuously rendered, Venus stands at the left holding a mirror, an attribute for vanity and lust. She is self-absorbed and seemingly unaware that she is entangled in Vulcan’s net. At the right sits an angel, a divine messenger of life and death, in contemplation before the keeper of time in our waking state. In the dream state, however, the watch or clock is no longer relevant; our reality has morphed the distortion of time and memories become obfuscated. The primary version of The Persistence of Memory, in the Museum of Modern Art, New York, is perhaps Salvador Dalí’s most iconic image and is inextricably linked with the psychological angst and visual incongruities that define Surrealism. Since it was first exhibited at the Galerie Pierre Colle in Paris and later to great fanfare at the Julien Levy Gallery in New York in 1932, the motif of the melting clock has become widely integrated and frequently referenced in popular culture. Unlike Albert Einstein, whose explanation of space-time was given in a mathematical equation, the artist responded to questions about the significance of the soft-clock motif by calling for more questions than the desired answer, “Rest assured, the famous soft clocks are merely the soft, crazy, lonely, paranoid-critical Camembert of time and space”. As one of the leading members of the Surrealist Group, Dalí never confined his artistic compositions to the limitations of the rational world and often remarked that even he did not have the slightest idea what his own paintings meant. Like the visually-charged works of Pieter Brueghel and Hieronymous Bosch, Dalí’s iconography largely addresses coitus, death and spirituality. In keeping with the Dutch masters who inspired him, Dalí delights in placing his subjects in fantastical settings. The title of the work relates to his wife Gala’s response when Dalí asked her whether in three years time she would have forgotten the painting. She replied, “no one can forget it once he has seen it”. Gala played a pivotal role in Dalí’s career, acting as his agent and focusing his work. In the early 1930s Dalí started signing his paintings with his and her name and this homage to Gala and to the first use of this iconography can be seen in the signature of the present work.
Salvador Dalí • The Stillness of Time (La Noblesse du Temps, Persistence de la Mémoire), Executed in 1975 Spanish, (1904-1989) • Oil and Gouache on Card • 28” x 20¬”, 73 x 51.1 cms • Price on Application 92
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Join us for two great shows just minutes from the gallery...
Chelsea Flower Show 24 - 28 May 2016 The Royal Hospital, Chelsea – SR298 and SR291 Visit for more information – www.rhs.org.uk Apply to the RHS early for tickets so as not to be disappointed.
Masterpiece 30 June - 6 July 2016 The Royal Hospital, Chelsea – Booth B38 Visit for more information – www.masterpiecefair.com Tickets available to purchase at the entrance.
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LOCATION The Royal Hospital Chelsea Chelsea Embankment Near Sloane Square London SW3 4LW – 1.6 miles 9 mins – car 25 mins – walk
The Royal Hospital Chelsea
INDEX
Nick Bibby
p.38-41
Karl Martens
p.18-21
William Kay Blacklock
p.71
Maurice Martin
p.69
Bernard Louis Borione
p.72
Claude Monet
p.88-91
Peter van Breda
p.26-27
Ronny Moortgat
p.28-29
Paul S. Brown
p.10-11
Ben Nicholson
p.81
Gustave Cariot
p.52-55
Francis Picabia
p.84-85
Pierre de Clausade
p.74-75
John Piper
p.80
Cyrus Cincinnati Cuneo
p.70
Georges Charles Robin
p.60-63
Salvador Dalí
p.92-93
David Shepherd
p.78-79
Montague Dawson
p.77
Alfred Sisley
p.86-87
Willem Dolphyn
p.12-13
Peter Symonds
p.24-25
Walter Dolphyn
p.30-31
Martin Taylor
p.22-23
Marcel Dyf
p.58-59
Antoine Auguste Thivet
p.73
Derek G.M. Gardner
p.76
Emmanuel de la Villéon
p.50-51
Simon Gudgeon
p.42-47
Pieter Wagemans
p.14-17
Alexandre Louis Jacob
p.64-67
Edward Waites
p.34-37
Albert Lebourg
p.56-57
Raymond Wintz
p.68
Stewart Lees
p.6-9
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