Summer Collection 2019 by Gladwell & Patterson

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 19 June – 19 July 2019 From Gracechurch Street to Beauchamp Place… As I sit here looking through this, our Summer catalogue, I marvel at the beauty of the collection and I am drawn into thinking about the story behind each and every painting. I take great pride from the quality of the works, and it heartens me to remember that being true to yourself and the values and aesthetics that we as a gallery hold dear, helps us to continue to get things right at a time when one often thinks that the world has gone slightly mad. The illustrious past of Gladwells is our foundation, a bedrock that allows us to learn and permits us to be intrepid. Whilst I was at the exceptional “Van Gogh and Britain’ exhibition at the Tate Gallery recently, I was reminded of a chapter of Gladwell’s history of which we are extremely proud - Vincent and the young Harry Gladwell had become friends in Paris whilst Harry was working in Goupil’s Art Gallery. Harry had been sent there by his father to develop his knowledge of the art world and to prepare him for his future in Gladwell’s Gallery. As two young men Vincent and Harry were on a shared cultural journey, they explored artists, literature and museums and they were inspired by the paintings and prints they saw. The older van Gogh tutored Harry, helping him learn more about collecting prints often bestowing gifts upon one another “Gladwell brought me to the train last Friday evening. On my birthday he came in the morning at half past six already and brought a very beautiful etching after Chauvel for me, an autumn landscape with a flock of sheep on a sandy road.” The exhibition at the Tate is spectacular. Looking at his paintings and sketches I fully appreciated the artistic journey Harry and Vincent experienced in Paris and London. You are immersed in the colour and vibrancy of Vincent’s works, and you feel his social conscience through the pen and brush. I felt as alive as Vincent and Harry must have done when wandering the streets of Paris and London. I still remember vividly when my father sent me to Paris as a teenager and the inspiration that it sparked in me for my future in the gallery. Our three exhibitions of the first part of this year have all been exceptionally well received and successful. Proving again to us that it is best to let our collection and our paintings do the talking. We look forward to welcoming you to one of our upcoming exhibitions at the R.H.S. Chelsea and Chatsworth Flower Shows or to our own events in the Isle of Man and here in the gallery. We hope you will share in the joy of the paintings that we have been lucky to find and acquire, often for just a moment, until they find another happy and appreciative custodian and home. Trust, friendship, integrity and a love of art were as important to Harry and Vincent as they are to us today, and it is my hope that if we continue to strive to follow these tenets then we will succeed in creating collections of outstanding quality for you, our valued clients, that inspire and excite you. With my best wishes, Cory

Francis Picabia’s career was audacious and inventive. Throughout his seventy-four years, he explored the diverse artistic movements of his time, encompassing painting, performance, publishing and film; an exceptional feat during such an exciting period in art. He is most famously known as one of the founding fathers of the Dada movement, along with Marcel Duchamp and Tristan Tzara, but the young artist first made his name as an Impressionist painter at the debut of the twentieth century. Born in Paris on 22 January 1879 to a French mother and a Cuban father, descended from Spanish aristocracy, Picabia showed great artistic promise and a vibrant personality from a young age. In his youth, in order to finance his stamp collection, Picabia copied his fathers’ collection of Spanish oil paintings, switching the copies with the originals which he in turn sold. Picabia studied at the École des Beaux-Arts and at the École des Arts Decoratifs in Paris alongside Georges Braque in the late 1990’s. Vincent Van Gogh and Toulouse Lautrec had only recently graduated when Picabia joined. Picabia’s earliest dated works in his Impressionist style were painted in 1902, executed during a trip to the South of France with Georges Pissarro, the son of Camille Pissarro. The two travelled to Le Midi to meet Georges’ brother Ludovic-Rodolphe Pissarro. It was during this trip that Picabia began experimenting with the Impressionist style showing a freshness and spontaneity. As well as the costal seascapes of Martigues and the south of France, Picabia was drawn to the medieval town of Moret-sur-Loing, which was favoured by his Impressionist forebears, particularly Alfred Sisley. Following in Sisley’s footsteps, Picabia painted the landscape in changing atmospheric conditions and at different times of the day in order to capture variations of light and colours within the landscape. Picabia continued to master the Impressionist technique. He exhibited his works at the Salon des Artistes Français, the Salon des Indépendants and the Salon d’Automne in 1903. In 1905 he signed a three-year contract with the dealer Gustave Danthon, who held Picabia’s first solo 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. One reviewer ecstatically declared, “Never would we have dared imagine that M. Picabia could arrive so quickly at this maturity, this mastery.” Unlike his predecessors, however, Picabia is believed to have worked from photographic postcards rather than immersing himself in nature and painting outdoors. In this, Camille Pissarro, whose sons were close friends with the young painter, noted, he travestied the original spirit of Impressionism and that style’s en plein air (in the open air) techniques. Shortly after the brilliant 1907 exhibition, Picabia’s style changed to focus on Neo-Impressionism, influenced by Signac, and he abandoned his Impressionist tendencies. 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 following museums: The Museum of Modern Art in Manhattan, The Art Institute of Chicago, the Guggenheim Museum, The Whitney Museum of American Art, among others.

Francis Picabia • La Cueillette des Fruits, Painted in 1904 French, (1879-1953) • Oil on Canvas • 18” x 22”, 47 x 56 cms • Price Code F

Pierre Eugène Montezin La Gardienne du Troupeau French, (1874-1946) Oil on Canvas 36½" x 29", 93 x 74 cms Price Code F

Pierre Eugène Montezin • Moisson dans la Creuse French, (1874-1946) • Oil on Canvas • 24” x 28”, 61 x 73 cms • Price Code F 7

Lionel Aggett The Olive Pickers British, (1938-2009) Pastel on Paper 13” x 16”, 33 x 41 cms Price Code B

Lionel Aggett Grand Cru Fleurie, Beaujolais British, (1938-2009) Pastel on Paper 19” x 25”, 48 x 64 cms Price Code B

Gustave Cariot • Arbres en Fleurs et Meules de Foin, Painted in 1929 French, (1872-1950) • Oil on Canvas • 19” x 25¼”, 50 x 65 cms • Price Code E

Georges Charles Robin La Pêche du Jour French, (1903-2003) Oil on Canvas 23” x 28”, 58 x 71 cms Price Code D

Georges Charles Robin Sainte Marine près de Benoder French, (1903-2003) Oil on Panel 13” x 16”, 33 x 41 cms Price Code C

Georges Charles Robin • En Provence près de Vaison-la-Romaine French, (1903-2003) • Oil on Canvas • 25” x 36”, 65 x 92 cms • Price Code E

Raymond Thibesart • Arbres en Fleurs en Vallée de la Seine French, (1874-1963) • Oil on Canvas • 32” x 70”, 81 x 178 cms • Price Code D

Georges Charles Robin • Fleuve de la Maine, Environs de Château-Thébaud, Loire French, (1903-2003) • Oil on Panel • 21” x 39”, 55 x 100 cms • Price Code D

One of the most 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, a butcher's son, was born in Paris in 1865. As a young man he was apprenticed to a decorator, a job he particularly disliked but his interest in art, especially landscape painting, was enhanced when his parents moved back to their hometown of Pontoise in 1884. Pontoise was important in French painting at the time, having been extensively depicted by Pissarro and Cézanne. In 1887 Loiseau received a legacy from his grandmother which enabled him to give up his job as a decorator and devote his life to painting. Back in Paris, Loiseau was taught for a short period by the illustrious Jean-Louis Forain, but he did not appreciate the more academic tendencies such artists promoted. Loiseau rebelled against the traditional practices of painting and joined the famous artists' colony at Pont-Aven in Brittany in 1890. After a period of pointillist experimentation in the early 1890s Loiseau re-found his pure landscape ideals painting in a Post-Impressionist manner painting ‘en plein air’, directly from nature. At Pont-Aven 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. Loiseau learnt a great deal first hand from Paul Gauguin, but his work also shows a debt to Sisley and Pissarro. He returned to Paris in 1891 where he began to exhibit his work, with his first submission accepted at the Fifth Exhibition of Impressionist and Symbolist Painters. Gustave Loiseau shaped his style through the observation of nature and by careful study of his Impressionist forebears. In 1895, Claude Monet and Pierre-Auguste Renoir introduced the young painter to their art dealer Paul Durand-Ruel, who signed an exclusive contract with Loiseau two years later. Under Durand-Ruel’s encouragement, and with the financial independence that ensued, Loiseau was able to travel to various landscapes outside Paris, from the Brittany coastline at Pont-Aven, to the small picturesque towns along the River Seine and its tributaries. Loiseau first moved to Moret-sur-Loing in 1895 and repeatedly returned throughout his career, inspired by the Neo-Gothic Cathedral of the town and its picturesque surroundings. This quaint, medieval town seventy-five kilometers southeast of Paris, near the confluence of the Seine and Loing, was a popular destination with artists. Alfred Sisley settled in Moret-sur-Loing in 1882 until his death and painted a multitude of riverscapes, both of the town itself and along the quieter river banks of the Loing upstream from the town, encouraging many of his contemporaries to join him, both to paint and live in this idyllic setting. It was at Moret that Sisley’s work achieved its final flowering; incorporating both his favourite compositional motifs, such as the receding avenue of trees, to a distinctly post-impressionist approach to applying paint. To Loiseau, who was deeply inspired by the later work of Sisley, the surrounding landscape of Moret provided limitless variation and opportunity for painting. Moret-sur-Loing, Ête, was painted in 1903 at the height of Loiseau’s Impressionist manner. Loiseau masterfully set up his easel on the right bank of the River Loing, and from this vantage point he was able to capture the two most prominent landmarks

Gustave Loiseau • Moret sur Loing, Été 1903 French, (1865-1935) • Oil on Canvas • 18” x 25”, 46 x 65 cms • Price Code F

in Moret. The pinnacled Gothic church of Notre-Dame-de-la-Nativité and the towering Porte de Bourgogne capture the eye immediately, commanding with their architecture, yet set off-centre, enabling Loiseau to focus on the more ephemeral and poetic qualities of his chosen motif. Loiseau superbly captures the rippling effect of a warm breeze blowing across the surface of the water, heightened by the sailboats gliding along towards the bridge. The landscape is animated by the rolling clouds in the bright blue sky above, painted with longer, loose brushstrokes than their reflections in the water below. Loiseau masterly depicted this delightful scene with the use of delicate feathered brushstrokes, reminiscent of Sisley’s mature technique. Painted five years later, Les Bords de l’Yonne, is a wonderful evocation of the French countryside. Loiseau is recorded as staying in the town of Auxerre on the River Yonne, a tributary to the Seine which flows south east from Paris into Burgundy, in 1902 and 1908. Masterful evocations of this town with its splendid Gothic cathedral and serene river views of the surrounding countryside dominated Loiseau’s output during his visits to the region. Painted upstream from Auxerre, Les Bords de l’Yonne is devoid of any human or man-made presence, 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 brushstokes of thickly applied impasto oil paint. The built-up impasto creates a distinction between land, water and sky as well as recreating the texture of the grasses in the foreground and the trees on the opposite bank. The painting resonates with the atmospheric quality of a warm and breezy summer's day. 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. In these works, painted at the height of Loiseau’s Impressionistic period, the subject matter, composition and application of paint are all heavily indebted to the work of both Monet and Sisley. Like his Impressionist forebears, Loiseau was a champion of painting the landscape en plein air. In his quest to create movement and light, in the following decades Loiseau developed a distinct ‘cross hatching’ technique, called ‘en treillis’, which resulted in the supple and ephemeral quality for which his work is known. The heavy impasto and textured finish of Loiseau’s output during the first decade of the twentieth century reveal the very start of this development in Loiseau’s work. Their rich surface, composed using spontaneous brushwork as the pigment is layered upon the canvas, reveals Loiseau’s 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.

Gustave Loiseau • Les Bords de L’Yonne, Painted in 1908 French, (1865-1935) • Oil on Canvas • 21¼” x 28”, 54 x 73 cms • Price Code F

Gustave Loiseau • Le Quai du Pothuis, Pontoise, Painted in 1900 French, (1865-1935) • Oil on Canvas • 23” x 29”, 60 x 73.5 cms • Price Code F

Gustave Loiseau • Chenin en Bord de Rivière French, (1865-1935) • Oil on Canvas • 19” x 24”, 50 x 61 cms • Price Code F

Alexandre Louis Jacob • L’Hiver, Les Glaçons French, (1876-1972) • Oil on Canvas • 25” x 46”, 65 x 116 cms • Price Code F

Alexandre Louis Jacob • Printemps

Alexandre Louis Jacob • Automne

French, (1876-1972) • Oil on Board 7” x 8”, 17.5 x 20 cms • Price Code B

Alexandre Louis Jacob • Été

Alexandre Louis Jacob • Hiver

French, (1876-1972) • Oil on Board 7” x 8”, 17.5 x 20 cms • Price Code B

French, (1876-1972) • Oil on Board 7” x 8”, 17.5 x 20 cms • Price Code B 21

The nineteenth century artist Eugène Boudin was one of the most important precursors of the Impressionist movement with his fondness for painting directly from nature with free, naturalistic brushwork and his fascination with studying the effects of light. Boudin was born in Honfleur in Normandy in 1824. His father was a harbour pilot and Boudin was brought up by the sea, working as a cabin boy for his father, travelling between Honfleur, Le Havre and Rouen. Although Boudin soon abandoned the trade, he retained a close bond with the sea, and in his later artistic career it became the subject of many of his works. Boudin would often be found on the beaches of Trouville and Honfleur, seated at a homemade easel under his umbrella rapidly sketching seascapes, fashionable crowds on the beach. These depictions, called Crinolines, ushered in a new genre in which Boudin explored the relationship of figures, sand, sea and sky, refracted in the dazzling coastal light. Boudin’s sun-drenched brushwork was praised by his peers for its ability to capture the ever-changing skies of northern maritime France. He received effusive accolades from other artists, most notably Corot who famously hailed him the "le roi des ciels" (the King of the Skies) and Courbet who was moved to declare: “My God, you are a seraph, Boudin! You are the only one of us who really knows the sky.” These skies inspired a new generation of painters, chief among them Claude Monet. After observing Boudin paint for the first time, Monet declared: “Suddenly it was as if a veil had been torn from my eyes. I understood what painting could be. Boudin’s absorption in his work, and his independence, were enough to decide the entire future and development of my painting.” The present work was painted between 1870 and 1873, when Boudin journeyed to Camaret-sur-Mer, on the edge of Brittany’s Finistère peninsula. Excited by the challenge of capturing the ever-changing weather conditions along the Atlantic coast, Boudin created a series of paintings during these visits to the picturesque fishing port, adopting a freer brushwork and a brighter palette. Camaret, Bateaux dans la Rade, depicts boats moored in a tranquil part of the sheltered bay of Camaret. Rapidly executed with a skilled brush, the painting is an atmospheric rendition of a grey, cloudy day. As in many of his paintings, Boudin boldly dedicated over half of the composition to a vast grey sky; its subtle nuances and neutral tones serve to emphasize the proximity of the boats below. The still water and hint of blue amongst the swirling grey clouds in the sky bring a peaceful calm to this small work, whilst the figure in the fishing boat in the foreground and the sailors rowing the dingy out to the vessel beyond, animate this otherwise calm and peaceful composition. Painted on the verge of Boudin's official recognition as an artist, this work is a wonderful testament to his confident brushwork and mature style.

Eugène Boudin • Camaret, Bateaux dans la Rade, Painted circa 1871-73 French, (1824-1898) • Oil on Board • 6” x 11”, 17 x 29 cms • Price Code F

Maurice Martin • Le Loir à Lavardin French, (1894-1978) • Oil on Panel • 18” x 21”, 46 x 55 cms • Price Code C

Maurice Martin • L’Estacadde à Marée Basse French, (1894-1978) • Oil on Canvas • 21” x 25”, 54 x 65 cms • Price Code B

Maurice Martin • La Mer Déchainée French, (1894-1978) • Oil on Canvas • 15” x 18”, 38 x 46 cms • Price Code C

Jean-Baptiste Olive • La Corniche, Malmousque French, (1848-1936) • Oil on Canvas • 19” x 24”, 50 x 61 cms • Price Code E

Ronny Moortgat HMS Agamemnon on the Mediterranean station Belgian, (Contemporary) Acrylic and Oil on Panel 24” x 36”, 60 x 90 cms Price Code C

Ronny Moortgat May Victory be Ours Belgian, (Contemporary) Oil on Canvas 32” x 48”, 80 x 120 cms Price Code D

Ronny Moortgat • US Constellation vs L’Insurgente Belgian, (Contemporary) • Oil on Canvas • 32” x 48”, 80 x 120 cms • Price Code D

Peter Symonds • Early Evening, Kilchurn Castle, Loch Awe, Scotland British, (Contemporary) • Oil on Canvas • 22” x 40”, 56 x 101.5 cms • Price Code D

Peter Symonds Dawn at South Sands, Salcombe, Devon British, (Contemporary) Oil on Canvas 18” x 38”, 46 x 96.5 cms Price Code D

Peter Symonds Gull Rock from Portloe, South Cornwall British, (Contemporary) Oil on Canvas 11” x 11”, 28 x 28 cms Price Code B

Peter van Breda Reflections, St Martin-in-the-Fields, London British, (Contemporary) Oil on Canvas 21” x 18”, 55 x 46 cms Price Code B

Peter van Breda • Chelsea Embankment, London British, (Contemporary) • Oil on Canvas • 8” x 19”, 20 x 50 cms • Price Code B

Peter van Breda • First Light, Tower Bridge, London British, (Contemporary) • Oil on Canvas • 12” x 35”, 30 x 90 cms • Price Code B

Peter van Breda • Evening Lights at the Opera, Palais Garnier, Paris British, (Contemporary) • Oil on Canvas • 23” x 31”, 60 x 80 cms • Price Code C

Peter van Breda • Morning Light towards Notre Dame, Paris British, (Contemporary) • Oil on Canvas • 12” x 35”, 30 x 90 cms • Price Code B

Auguste Bouvard • Vue de Venise French, (1875-1956) • Oil on Canvas • 19¾" x 25½", 50 x 65 cms

• Price Code F

Auguste Bouvard (signed Pelletier) Promenade vers la Port French, (1875-1956) Oil on Canvas 19” x 25¼”, 50 x 65 cms Price Code C

Auguste Bouvard (signed Pelletier) La Lavandière French, (1875-1956) Oil on Canvas 19” x 25¼”, 50 x 65 cms Price Code C

Henri Le Sidaner was born in Port Louis, Mauritius and spent his early years with his family in the West Indies before they returned to their native France in 1872. Le Sidaner moved to Paris and studied under the historical painter Alexandre Desmit in 1877 and before he gained admission to the studio of Alexandre Cabanel in 1882. Following one year of military service, Le Sidaner enrolled at the École des Beaux-Arts in Paris from 1884. Throughout his studies, Le Sidaner often retreated to the fishing port of Étaples on the northern coast of France to paint, where he felt released from the École's strict routine of copying art in the Louvre. As Le Sidaner himself put it, “Etaples – that is to say, Nature – revived me.” Inspired by the light and air of Étaples, Le Sidaner painted peasant girls in an Impressionist style, inspired by the work of both Edouard Manet and Claude Monet. These were exhibited at the Salon des Artistes Français in 1887 and were met with great acclaim. Inspired by light effects and reflections, Le Sidaner sought to capture his subjects bathed in a diverse range of light, as Monet had done before him. Sunlight, moonlight, and the artificial light of an interior setting reappear frequently throughout his oeuvre, but it is his glowing depictions of sunset that resonated with collectors of his work, past and present. The art critic and writer Camille Mauclair described this time of day, when the dying rays of sunlight fill the atmosphere with a soft, ethereal haze, as “Le Sidaner’s time”. Le Sidaner said that no landscape was worth painting unless it was enhanced by some play of light. The son of a sea captain, he was drawn in particular to the play of light on water, which he has captured with his shimmering brushwork and masterful use of tone. In 1898 Le Sidaner eloped to Bruges with the young Parisian Camille Navarre and it was there that Le Sidaner developed the more personal brand of melancholy that was to make his name. In the nocturne he found an effect of light overlooked by his Impressionist contemporaries, becoming a master of shadow and the velvety darkness of twilight and darkness, illuminated by moonlight reflected off snow, water or by a solitary light shining through a window. Le Sidaner became esteemed for his moody scenes of urban and rural houses bathed in twilight and moonlight. In the 1920s Le Sidaner made annual visits to the small, medieval town of Villefranche-sur-Mer. Situated in the heart of the Côte d'Azur, between Monaco, Nice and Cannes, Villefranche-sur-Mer had enthralled the artist since his initial visit there in 1910. Between 1924 and 1928, Le Sidaner lived periodically at the Hôtel Welcome, situated in the centre of the old port overlooking the harbour. It was here that Le Sidaner would create an exquisite series of images recording the still calm and loveliness of the quiet, coastal town that so bewitched him. Painted at the height of his career, Le Matin, Villefranche-sur-Mer is characteristic of Le Sidaner’s majestic and richly painted compositions from the 1920s. In his late works, human figures rarely appear in Le Sidaner’s compositions, however the fisherman seated in the boat in the foreground animates the quiet tranquillity of the dawn. The sense of understated mystery and gentle poetry, evident in the present work, reveals Le Sidaner's artistic inheritance from his Symbolist-inspired early years; while the brighter and more intense palette, subtly worked contrasts and dappled application of pigment owed its debt to Impressionism. Le Matin, Villefranche-sur-Mer is striking for its glistening and jewel-like palette but above all for being exemplary of the artist’s much-fêted ability to capture the intangible and mystical atmosphere of a particular moment in time.

Henri Le Sidaner • Le Matin, Villefranche-sur-Mer, Painted in 1927 French, (1862-1939) • Oil on Canvas • 36” x 28”, 92 x 73 cms • Price Code F

Charles Perron La Porte-Fenêtre aux Hortensias French, (1893-1958) Oil on Panel 13” x 10”, 35 x 27 cms Price Code B

Raymond Wintz Le Ravaudage des Filets French, (1884-1956) Oil on Canvas 12” x 15”, 32 x 40 cms Price Code B

Raymond Wintz Voilier Devant la Maison French, (1884-1956) Oil on Canvas 8” x 10”, 22 x 27 cms Price Code B

Jeanne Selmersheim-Desgrange • Balcon avec Vue sur La Mer French, (1877-1958) • Oil on Canvas • 25” x 36¼”, 65 x 92 cms • Price Code D

Ethel Walker • Garden Party at Hampton Court, Painted in 1911 Scottish, (1861-1951) • Oil on Canvas • 18” x 24½”, 46 x 62 cms • Price Code D

Constantin Kluge Le Vert Galant Russian, (1912–2003) Oil on Canvas 29” x 24”, 74 x 61 cms Price Code D

Helen Bradley was born in Lees, on the outskirts of Oldham in the north of England. In her teenage years Bradley had attended the Oldham School of Art, specializing in embroidery and jewellery, but it was not until she was 65 that she took up painting charming scenes of her childhood to illustrate to her grandchildren what life was like when she was a child in the early 1900s. The artist transmuted her childhood memories in the everyday life of ordinary Lancashire mill folk into anecdotal art. Characterized by the frank and inhibited outlook of a young child, her bright, teeming pictures and her own delightful narrative memorably reflect that gentle period. Primitive in style, idyllic in mood, Helen Bradley's pictures are as accomplished as they are imaginative. L. S. Lowry has said “Helen Bradley is unique.” Her works touch the hearts of those young and old. Not only did Bradley paint with her brushes, but also in words. Her paintings are combined with stories brimming with sardonic humour that brings to life the age that she lived and reveals a rare appreciation of humanity. Her paintings have a curiously cinematic effect – edited events, freeze framed, staged in such a manner that the story is obvious, often emotive, but somehow maintaining directness and objectivity. The stories, both painted and prose, tell of the everyday affairs of the Bradley’s family and friends. Many characters recur frequently, such as Miss Carter (who is always depicted in pink), Mr Taylor (the Bank Manager), the aunts, grandma, brother George, the dogs Gyp and Barney and Willie Murgatroyd. Bradley’s narrative paintings are abundant with characters and captivating details painted in a flat decorative style without roundness or shadows, an influence of early Persian and Moghul painters. Her technique is entirely her own, and derives little from traditional methods. Bradley applied the colour for the skies and backgrounds of her compositions loosely with the palm of her hand, then intricate details, such as tree branches or brickwork and stones, were scraped away with the blunt end of a paint brush before constructing the detailed figure work by brush. Many of Bradley’s paintings are distinctive for their warmth of colour, particularly in the skies and in her depiction of sunlight illuminating rows of brick houses and cotton mills. Bradley’s work gained a tremendous following and she quickly became one of Britain’s best known and loved artists. In 1971 “And Miss Carter Wore Pink”, a book containing paintings and tales by Helen Bradley was published and was an immediate success, followed by “Miss Carter Came With Us” in 1973. Helen Bradley’s first London exhibition was held at W.H.Patterson in 1977, and her second exhibition at the gallery took place in 1979. Bill Patterson became her close friend as well as her agent during these years. In 1979 Helen Bradley was to be presented with an M.B.E. for her contribution to the arts by Her Majesty the Queen at Buckingham Palace and she requested that Bill Patterson accompany her on this momentous occasion. Sadly, Bradley died one week before she was due to receive her M.B.E.

Helen Bradley • The Wakes Comes to Lees British, (1900-1979) • Oil on Panel • 30” x 40”, 76 x 102 cms • Price Code F

For one Saturday in August the Fair came with the gypsyâ&#x20AC;&#x2122;s, their caravans, horses and dogs to setup their stalls and roundabouts. Father always came with us. He is lifting George up so that he can see the Traction Engine working. I did not like the noise it made. Miss Carter (who wore pink) was there, so also was Miss Maitland and Mr Taylor (the Bank Manager) and the year was 1906.

We really had a lot of rain. Grandma said it was because God kept going off and there was nobody to turn the tap off, well, of course, it being early spring we couldn’t expect good weather yet. It did pour and caught us suddenly in Milring Green. The lady who lived at the corner asked us into her house, but the rain didn’t last long. “Look Mother,” I said “Look at the sky, there’s a beautiful rainbow,” “yes dear,” said Mother, “God always sends a rainbow to tell us the rain will soon go, but look at George, he’s walking in that puddle, he’ll be wet through” and the year was 1906.

Helen Bradley • The Rainbow British, (1900-1979) • Oil on Panel • 17” x 23”, 43 x 59 cms • Price Code F 48

“Come children, it’s time to get up.” That was Mother calling us. Already the sun was lighting up the streets and the people were already at work in the mills. We could hear the station horse clomping his big hooves outside our door as Father helped to load the big heavy trunks on to the station lorry. George and I were soon ready and eating our breakfast. Mother said, “Don’t hurry, we’ve plenty of time,” but we were too excited to take our time. Soon the cabs were standing at the door, and Grandma, the Aunts and Miss Carter, also Mr Taylor (the Bank Manager) were all coming with us to Blackpool and later to the Isle of Man. Father was in a bad temper, he always was when he saw all the luggage. He would stamp about saying, “Really Jane, you don’t need to take the entire house away with us,” but Mother was always calm, and answered, “Now Frederick, we’ve all got to have a change of clothes when we go away for so long.” Just then Mr Taylor came in and in no time all the bags and boxes were safely stowed away and we were off to the station. Helen Bradley • Going off to Blackpool British, (1900-1979) • Oil on Panel • 17¼” x 23”, 44 x 60 cms • Price Code F 49

Florence Marlowe • Pot Pourri British, Nineteenth Century • Oil on Canvas • 10” in diameter, 26 cms in diameter • Price Code D

Unknown Artist Portrait of Miss Ethel Turner-Hill British, Twentieth Century Oil on Canvas 28” x 23”, 71 x 58.5 cms Price Code D

Sir Alfred James Munnings was born in Mendham, Suffolk in 1878. His father was a miller and Munnings was brought up on a working mill with horses being part of his daily life, leading to his deepening interest in the equine world that would later propel him into becoming the foremost English twentieth-century painter of sporting pictures. In 1898 Munnings lost the sight in his right eye in an accident, but this did not deter him from painting. The following year Munnings exhibited two paintings at the Royal Academy Summer Exhibition, for which he gained a growing reputation for his painting. His love for the East Anglian landscape and its rural pursuits was further enhanced after a visit to a horse fair in 1901. The enthralling world of gypsy travellers as well as that of hunting and horse racing offered Munnings a wide range of subject matter that would tie in with his passion for landscape and horses. A Huntsman and Hounds was painted in 1906, when Munnings was 28, and depicts a huntsman surrounded by his scampering, eager dogs as they travel down a path in the Norfolk country side. At the time, Munnings was living and working in Swainsthorpe, five miles south of Norwich, where he built a studio and acquired a small band of ponies, horses and donkeys to serve as models for his works. This lively composition is one of only a handful of known works depicting the horse and rider ‘head on’ in Munnings' oeuvre. Munnings may well have experimented with this more complex compositional approach in response to seeing Lucy Kemp Welch's masterpiece Colt Hunting in the New Forest (Tate Britain), which was painted and exhibited at the Royal Academy in 1897, nine years before the present work was painted. The forward movement of the horse and rider greatly animates the scene and brings the viewer into the very midst of the chase. A Huntsman and Hounds exudes energy with the lively foxhounds and their patchwork variety of brown, white and black markings scampering at the feet of the red coated rider as they all move through a loosely depicted woodlands. The low sun filters through the branches of the trees overhead, the light catching the whites of the hounds’ coats. Munnings was an entrenched traditionalist that later would take a strong stand against ‘Modern art’ but here his style is clearly influenced by the Impressionists with its flickering light and quick, expressive brushstrokes.

Sir Alfred James Munnings • A Huntsman and Hounds, Painted in 1906 British, (1878-1959) • Oil on Canvas • 21" x 22", 55 x 57 cms • Price Code F

Nick Bibby • Shire Horse: Grange Farm Lady Fiona British, (Contemporary) • Bronze (Edition of 12) • 11" x 11" x 4", 28 x 28 x 10 cms • Price Code C

Nick Bibby • Mountain Lion (Puma) British, (Contemporary) • Bronze (Edition of 12) • 14" x 16" x 6", 36 x 40 x 15 cms • Price Code C

Edward Waites • Cheetah Trio British, (Contemporary) • Bronze (Edition of 12) • 39½” x 14¼ x 4”, 100 x 36 x 10 cms • Price Code C

Simon Gudgeon • Zephyr British, (Contemporary) • Bronze, Edition of 9 • Life Size • Price Code F

David Shepherd • African Elephants in the Savanna British, (1931-2017) • Oil on Canvas • 20” x 30”, 51 x 76 cms • Price Code F 58

David Shepherd Ploughing, Painted in 1999 British, (1931-2017) Oil on Canvas 22” x 38”, 56 x 97 cms Price Code D

David Shepherd Harvesting, Painted in 2000 British, (1931-2017) Oil on Canvas 22” x 38”, 56 x 98 cms Price Code D

Alfred de Breanski Snr. • The Banks of the River Doon British, (1852-1928) • Oil on Canvas • 30” x 41”, 78 x 106 cms • Price Code E

Harry Sutton Palmer • River Esk, North Yorkshire British, (1854-1933) • Watercolour • 20" x 30", 51 x 76 cms • Price Code B

Francis Campbell Boileau Cadel was one of the four “Scottish Colourists”, a set of radical artist in their day who enlivened the Scottish art scene with the fresh vibrancy of French Fauvist colours. He is renowned for his stylish portrayals of Edinburgh New Town interiors, vibrantly coloured and daringly simplified still lifes and serene landscapes of the Scottish countryside and coast. Cadell was born in Edinburgh and showed an artistic ability from an early age. Cadell was taught at the Royal Scottish Academy Life School in Edinburgh, but became frustrated with the traditional conservatism of the teaching he received. At the age of sixteen, Cadell travelled to Paris to study at the prestigious Académie Julian, where he immersed himself in the French avant-garde art scene for the next eight years. His exposure to the French artists of the time was to have a profound and long-lasting effect on his art. The work of the early Fauvists, and in particular Matisse, proved to be his most lasting influence. Between 1902 and 1905 Cadell split his time between Edinburgh and Paris whilst embarking on a professional career as an artist, exhibiting in Edinburgh and Glasgow. In 1906 Cadell moved to Germany with his family and the following year enrolled at the Akademie der Bildenden Künste in Munich. The present work, Summer Garden, was painted in 1907 whilst Cadell was living in Munich, shows the influence of the Impressionists on his work at the time with a loose brushstroke and focus on the delicate effect of light on the foliage. Cadell painted this charming garden landscape as an engagement present to Martine and Thomas Ronaldson. Ronaldson was a highly successful portrait painter, who like Cadell, was born in Edinburgh and travelled to Paris to study at the Académie Julian where the two artists met and became firm friends. Following his return to Scotland in 1908 Cadell exhibited frequently and with this came increasing popularity and numerous commisisons. Following the First World War, Cadell adopted a new intensity of colour and the use of thickly applied paint. His palette, although still light in tone, tended towards primary colours, and his brushwork lost its pre-war vigour. Cadell's canvases began to show a greater debt to the tenets of still life painting laid down by French Impressionist artist Paul Cezanne in his structured approach to the application of colour. The flat application of paint and the use of increasingly brilliant colour resulted in interiors, still lifes, figure studies and notable landscapes of the island of Iona which count amongst the most noteworthy paintings in British art of the period.

Francis Campbell Boileau Cadell • Summer Garden, Painted in 1907 British, (1883-1937) • Oil on Canvas • 39” x 26”, 99 x 66 cms • Price on Application

David Smith • River Gipping near Needham Market, Suffolk British, (Contemporary) • Oil on Canvas • 20” x 30”, 52 x 76 cms • Price Code B

Martin Taylor Late Summer

Martin Taylor Bluebell Path

British, (Contemporary) Oil on Board 8” x 10¼”, 22 x 26 cms Price Code A

British, (Contemporary) Oil on Board 15¾" x 12", 40 x 30 cms Price Code B

Kenneth Webb • Evermore Irish, (Contemporary) • Oil on Canvas • 30” x 60”, 76 x 152 cms • Price Code F

Kenneth Webb • View from McCarthy Mor Castle Irish, (Contemporary) • Oil on Canvas • 19¼” x 23¼”, 49 x 59 cms • Price Code C

Jonathan Walker High Stakes

Jonathan Walker Between the Sun and the Moon

British, (Contemporary) Watercolour 19” x 22”, 50 x 55 cms Price Code A

British, (Contemporary) Watercolour 22” x 13”, 58 x 35 cms Price Code A

Paul Czainski • Butterflies

Paul Czainski • Blue Bugs

British, (Contemporary) • Mixed media on paper (iridescent) 6” x 10”, 17 x 27 cms • Price Code B

British, (Contemporary) • Mixed media on paper (iridescent) 7” x 10”, 19 x 27 cms • Price Code B

Paul Czainski • Monsters

Paul Czainski • Seventeen Beetles

British, (Contemporary) • Mixed media on paper (iridescent) 8” x 11¼”, 20 x 29 cms • Price Code B

British, (Contemporary) • Mixed media on paper (iridescent) 10” x 13”, 27 x 35 cms • Price Code B

Walter Dolphyn • Bottled Up! Belgian, (Contemporary) • Oil on Panel • 9” x 21”, 24.5 x 54.5 cms • Price Code D

Walter Dolphyn • Gentlemen Drivers Belgian, (Contemporary) • Oil on Panel • 3” x 19¼”, 9 x 49 cms • Price Code C

Willem Dolphyn Blue Designs Belgian, (1935-2016) Oil on Panel 16” x 20”, 40 x 50 cms Price Code C

Willem Dolphyn Summer Plums Belgian, (1935-2016) Oil on Panel 12” x 16”, 30 x 40 cms Price Code C

Willem Dolphyn Fresh from the Vine Belgian, (1935-2016) Oil on Panel 24” x 20”, 60 x 50 cms Price Code D

Pieter Wagemans • Blue Lilac and Tulips Belgian, (Contemporary) • Oil on Canvas • 19” x 23”, 50 x 60 cms • Price Code C

Pieter Wagemans Cherry Blossom in a Venetian Glass

Pieter Wagemans Royal Burgundy Blossom

Belgian, (Contemporary) Oil on Canvas 23” x 19”, 60 x 50 cms Price Code C

Belgian, (Contemporary) Oil on Canvas 19” x 19”, 50 x 50 cms Price Code C

Stewart Lees • Red Wine and Gremolata British, (Contemporary) • Oil on Panel • 27” x 39”, 70 x 100 cms • Price Code C 76

Stewart Lees The Garlic Jar

Stewart Lees Fresh from the Market

British, (Contemporary) Oil on Panel 12” x 15”, 30 x 40 cms Price Code B

British, (Contemporary) Oil on Panel 29” x 23”, 75 x 60 cms Price Code C

Robert Chailloux • Pain de Campagne French, (1913-2006) • Oil on Canvas • 20” x 24”, 51 x 61 cms • Price Code C

Robert Chailloux Monnaie du Pape

Charles Perron Yellow Roses

French, (1913-2006) Oil on Panel 13" x 10", 33 x 25.5 cms Price Code B

French, (1893-1958) Oil on Panel 15” x 18”, 38 x 46 cms Price Code B

André Hambourg A Marée Haute en Septembre à Deauville French, (1909-1999) Oil on Canvas 32" x 39½", 81 x 100 cms Price Code F

Modern Masters

Gladwell & Patterson on the Isle of Man Wednesday 12 June 11am – 3pm Thursday 13 June 3 – 8pm The Nunnery Estate Homefield Road, Douglas, Isle of Man, IM2 6RB View the collection online Contact marie-claire@gladwellpatterson.com for more information

Masterpiece London 26 June – 3 July 2019 The Royal Hospital, Chelsea – Booth B48 www.masterpiecefair.com View the collection online Contact us for tickets

Gustave Loiseau Le Verger en Hiver French, (1865-1935) Oil on Canvas 23½" x 25½", 60 x 73 cms Price Code F

Kenneth Webb Summer Poppies Irish, (Contemporary) Oil on Canvas 20" x 24", 51 x 61 cms Price Code E

Guardian Fine Art Asia 30 October â&#x20AC;&#x201C; 3 November 2019 Guardian Arts Centre, No 1 Wangfujing St, Beijing

www.cguardianart.com

Please contact emily@gladwellpatterson.com for tickets and further information

Winter Collection 20 November – 20 December 2019 Gladwell & Patterson 5 Beauchamp Place, Knightsbridge, SW3 1NG Please contact emily@gladwellpatterson.com for further information

Alexandre Louis Jacob Winter Landscape, Thatch Cottage on a Riverbank French, (1876-1972) Oil on Canvas 17¾" x 14½", 45 x 37 cms Price Code C

INDEX Lionel Aggett

p. 8

Francis Picabia

p. 4-5

Unknown Artist

p. 51

Georges Charles Robin

p. 10-11, 13

Nick Bibby

p. 54-55

David Shepherd

p. 58-59

EugĂ¨ne Boudin

p. 22-23

Henri Le Sidaner

p. 38-39

Auguste Bouvard

p. 36-37

David Smith

p. 64

Helen Bradley

p. 46-49

Peter Symonds

p. 30-31

Alfred de Breanski Snr.

p. 60

Martin Taylor

p. 65

Peter van Breda

p. 32-35

Raymond Thibesart

p. 12

Francis Campbell Boileau Cadell

p. 62-63

Pieter Wagemans

p. 74-75

Gustave Cariot

p. 9

Edward Waites

p. 56

Robert Chailloux

p. 78-79

Ethel Walker

p. 44

Paul Czainski

p. 69

Jonathan Walker

p. 68

Jeanne Selmersheim-Desgrange

p. 42-43

Kenneth Webb

p. 66-67, 80

Walter Dolphyn

p. 70-71

Raymond Wintz

p. 41

Willem Dolphyn

p. 72-73

Simon Gudgeon

p. 57

Alexandre Louis Jacob

p. 20-21, 81

Constantin Kluge

p. 45

Stewart Lees

p. 76-77

Gustave Loiseau

p. 14-19

Florence Marlowe

p. 50

Maurice Martin

p. 24-26

Pierre EugĂ¨ne Montezin

p. 6-7

Ronny Moortgat

p. 28-29

Sir Alfred James Munnings

p. 52-53

Jean-Baptiste Olive

p. 27

Harry Sutton Palmer

p. 61

Charles Perron

p. 40, 79

5 Beauchamp Place, London SW3 1NG • +44 (0)20 7584 5512 • glenn@gladwellpatterson.com • gladwellpatterson.com