Gladwells Rutland at The Game Fair 2023

Gladwells Rutland at The Game Fair

Gladwells Rutland are delighted to announce their participation at the Game Fair this July, at Ragley Hall in the heart of the English Countryside. As it is the 65th Anniversary of the UK's largest country show, the Gladwells Rutland team have a fantastic exhibition planned incorporating fine art with monumental sculpture.

We will be showcasing the giant, awe-inspiring sculpture of James Doran-Webb, one of the world’s leading driftwood animal artists. His ability to make monumental sculptures of long dead molave wood that stands the test of time and elements is unparalleled.

Alongside these beautiful sculptures we have finely tuned a collection of original oils by the famous David Shepherd, one of the finest wildlife artists.

We are proud to present an exceptional collection of post-Impressionist landscapes by Gustave Loiseau and Jeanne Selmersheim-Desgranges whilst showcasing impressionistic masterpieces by Georges Charles Robin and Alexandre Louis Jacob, whose work evokes the beauty of the European countryside with charming vistas of the lush river valleys of rural France such as the Loire and the Dordogne.

The team look forward to welcoming you to Stand F551

Stand F551

28 July – 30 July 2023

Ragley Hall

Alcester Warwickshire

B49 5NJ

Natalie Cieslik

natalie@gladwellpatterson.com

+44 (0) 7772 307 807

Cory Fuller

cory@gladwellpatterson.com

+44 (0) 7866 450 070

Rebecca Chaterton

rebecca@gladwellpatterson.com

+44 (0) 7949 653 063

Graham Magee

graham@gladwellpatterson.com

+44 (0) 7775 900 251

Ella Wells

ella@gladwellpatterson.com

+44 (0) 7900 286 792

Looking Forward to the Past: An Illustrious 275 Years

Gladwell & Patterson is proud to be London’s oldest art gallery. Founded in 1746, by the greatest print merchant of Georgian London, John Boydell, our business has always had the goal of dealing with the finest artists of their generation. We value quality and integrity very highly, and we understand the passion and creativity that comes hand-in-hand with being so talented.

Founded in the City of London, the gallery is proud to have remained an essential destination for anyone in search of fine paintings and sculpture. It has become apparent everyone remembers their first encounter with the gallery, and no wonder - over our centuries of history we have been committed to delivering wholesome and enjoyable experience to anyone who walks through our doors or visits our stands at Art Fairs across the globe.

The gallery’s history traverses many artistic movements, it contains incredible beauty, the wonder and power of artistic creation and its ability to bring such joy, contentment and unity to the World. The foundations of this fine art gallery are based on the pioneering and passionate work of many giants of the art world over the past 275 years. Their number include two Lord Mayors of London, a man who is credited with being the driving force behind the establishment of the National Gallery, the Head of the Fine Art Trade Guild and Masters of several of the Worshipful Companies in the City, amongst many other accolades.

The earliest custodians of our business, John Boydell in the eighteenth-century, and Henry Graves in the nineteenth-century, were the most successful print merchants in London at the time, specialising in publishing engravings from pictures by Joseph Mallord Wiliam Turner, John Constable, John Everett Millais, and other contemporary painters.

T. H. Gladwell was opened by Thomas Henry Gladwell, the son of a very talented carver and gilder, at 21 Gracechurch Street, in 1836. Initially the gallery specialised in fine prints, books, and stationery, but with his father’s knowledge of carving and gilding, it wasn’t long before they had added frame making to their repertoire. By the time of Thomas Gladwells’s death in 1879, the business had firmly established itself as one of the leading art galleries and frame makers in London. Thomas’s three sons; Henry, Arthur and Alfred Thomas took over the business and renamed it Gladwell Brothers in 1880. Their extensive network of fine artists continued to expand, and through their connections with European dealers and publishers such as the dealer Théodore Vibert, the publisher Alfred Cadart, and the dealer Adolphe Goupil, were vital in maintaining their position as one of the most ground-breaking, interesting, and knowledgeable art gallery in London.

Harry Gladwell, the eldest grandson of Thomas Henry Gladwell, would eventually take over the business at the start of the twentieth-century. Brought up as a hard-working, inquisitive, and religious lad, he yearned to join his father and uncles in the business. In 1875, aged eighteen, the intrepid Harry travelled to Paris to be apprenticed with the art dealer Adolphe Goupil in Paris. There, he became firm friends with another apprentice, Vincent van Gogh, who took the young Harry under his wing and showed him around the city. Vincent delighted in Harry’s idiosyncratic appearance, describing him as "thin as a stick with a pair of large red protruding ears", and his joie de vivre. Van Gogh’s letters to his brother Theo reveal the close relationship between the two young men.

Harry moved the gallery to its new home on the corner of 70 & 71 Cheapside, in the City of London, which soon became known as Gladwell’s Corner. With Harry’s experience gained through his various apprenticeships with his uncles and father and his spell at Goupils in Paris, he would go on to become the most successful art dealer of his time.

Two of Harry’s sons, Ernest and Algernon, joined their father at Gladwell & Company, learning the trade at the various branches of the company. In 1928, a year after Harry Gladwell died, the brothers went their separate ways. Algernon remained in the City and moved to a new gallery at the corner of Queen Victoria Street and Watling Street, where the gallery remained until 2012.

In 1968, Algernon retired and sold the business to Herbert Fuller, who had managed the gallery for him since 1932 and had been instrumental in steering the gallery through the hardships of the 1930s and then the blitz of London during the Second World War. Following the War, Algernon and Herbert regularly travelled to the Salons of Europe, meeting the best and most highly regarded artists with whom they started prosperous relationships. Herbert brought renowned French masters such as Georges Robin, Alexandre Jacob, Charles Perron, Edouard-Léon Cortès and Auguste Bouvard into the Gladwells fold. He introduced these artists to the British art market and subsequently around the world.

The same year that Herbert acquired Gadwell & Company, in 1968, his son Anthony Fuller joined him in the business. Father and son continued to take the gallery from strength to strength, cementing Gladwell & Company’s place as the most discreet and discerning Fine Art Gallery in London. It was the destination for any art collector wanting to build an honest and beautiful collection.

Upon Herbert’s untimely death in 1980, Anthony took over the company, and worked tirelessly to keep the old established gallery going. Anthony’s love of art soon found him his own group of clients, and there are precious few people who have met him in the gallery over the years who don’t comment on the infectious joy that paintings give him. Many people’s love of art has been founded on a few minutes in Anthony’s company with some paintings.

Anthony’s son Glenn joined the business in 1995, followed by his daughter, Cory, in 1998, following a successful and invaluable Masters degree at the Courtauld Institute of Art. In 2004, the Fuller family acquired the prestigious Mayfair gallery W H Patterson at 19 Albemarle Street. The gallery was opened in 1964 by Bill Patterson and became known as the premier gallery for contemporary artists painting in traditional styles, and artists from around the world wished to be represented by them.

In 2012, our two galleries in the City and in Mayfair were brought together under one roof in the equally distinguished environment of Knightsbridge. It is here, with the opening of Gladwell & Patterson, that two illustrious legacies combined in our new space at 5 Beauchamp Place, where we remain to this day.

In 2020 we opened the doors to Gladwells Rutland in the exclusive market town of Oakham in Rutland, offering a new and intimate space in which to show the works of our wonderful artists in the British countryside.

The Gladwell & Patterson ethos has been shaped by an informed yet fresh approach to what the separate parts have always done: presenting the finest works of art to those who appreciate them most, our perceptive, valued clients.

JAMES DORAN-WEBB

British, (Contemporary)

James Doran-Webb is one of the world’s leading driftwood animal artists and is unique among his peers in his ability to make monumental sculptures of long dead wood that will stand the test of time and the elements. His public work can be seen throughout the world.

Raised in Devon, James began his interest in wood through his parents’ antique restoration business. He became a fully-fledged cabinet maker in his late teens, years of whittling, carving and refinishing had made their mark. While attending college he had started his own antiques business with a weekend stand at Portobello Market in London. The exhilaration of being self-sufficient with a large chunk of cash in his pocket every Sunday afternoon made college seem unattractive by comparison.

He first travelled to the Philippines in 1989. It was love at first sight; James was entranced by the countryside, the beaches, the wildlife and above all by the people with their natural flair for colour and artistry.

In 1990, he set up a company designing and making a range of wooden objects which included papier mâché animals and fine furniture made from wood salvaged from old, demolished hardwood houses. In 2005, James started to explore the possibilities of driftwood as a medium. The natural and organic shapes naturally leant themselves to the forms and personalities of animal sculpture.

James has amassed an extensive collection of driftwood, varying in size and form from small pieces to large natural sculptures, each piece hewn by natural forces into a myriad of individual shapes. The wood is found along the shorelines, riverbeds and valleys of the archipelago and is predominantly molave wood which is incredibly oily and dense enough to withstand decades of exposure; both extreme tropical climate and intense frosts. Indeed, this wood has already withstood at least a half century of exposure since dying.

James has extensive local knowledge of the larger islands that make up the Philippines archipelago. He has built up a network of driftwood gatherers who provide much needed money to impoverished provincial villages. For every kilo of driftwood that James buys he plants a seedling on denuded hills in North and South Cebu. He has started a program called 80,000 trees which aims to plant 80,000 trees over the course of the next 15 years. James works in his studio in the Philippines alongside a small team of assistants who help him sort and clean the wood and weld the steel frames.

60 x 67 x 240 cms / 23¼" x 26¼" x 94¼"

JAMES DORAN-WEBB

British, (Contemporary)

The Flight of the Barn Owl

Driftwood Sculpture

The Wise Owls

Driftwood Sculpture

189 x 40 x 50 cms / 74½” x 15¼" x 19¼"

Sold Separately

Showdown at Richmond

Driftwood Sculpture

100 x 153 x 77 cms / 39” x 60” x 30”

JAMES DORAN-WEBB

British, (Contemporary)

The Barn Owls Respite

Driftwood Sculpture

30 x 33 x 190 cms / 12" x 13" x 74¾

Sold Separately

EDWARD WAITES

British, (Contemporary)

Completely self-taught, Edward Waites’ sculptures are created out of his passion for the vitality, energy and grace of his subjects. His passion lies with African and Equestrian wildlife, sculpting animals with distinct features that carry a powerful presence. Edward’s distinctive sculptural style has already earned him international recognition and acclaim as one of Britain’s most talented equine and wildlife sculptors.

Edward’s upbringing in Newmarket, Suffolk, has greatly inspired his passion for horses and large animals. Taking his inspiration from the more powerful of nature’s creatures, Edward’s bronzes exude strength and spirit whilst being true to anatomy and form. His knowledge of his material means he is confident and prefers leaving his sculptors marks visible on the surface which add to the liveliness of his work. Through careful observation, he captures 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.

His approach is very immediate and hands-on, and from very early on in his career he has worked closely with the foundry in Suffolk that casts his works. Following the ancient lost-wax method, Edward works first in clay, and then casts in bronze and silver in limited editions. This age-old process demands both skill and time, and each commission takes several months to complete. This personal touch adds character to the animals and makes them come alive for the audience. Edward then casts his finished sculptures in bronze to bring the true nature of his wildlife subjects into our everyday lives.

Edward’s sculptures feature in distinguished public, corporate and private collections around the world, including several royal collections. Notable commissions include those for the late Queen Elizabeth II and the Duke of Edinburgh, the ruling family of Dubai, Lord and Lady Bamford, the Bhartia family, Ivan Massow and Ben de Lisi.

Walking Stallion

Bronze (Edition of 12)

51 x 30.5 x 12.5 cms / 20” x 12” x 5”

DAVID SHEPHERD

British, (1931-2017)

David Shepherd is recognised as the finest wildlife artist of the last one hundred years. Shepherd’s distinctive style and inspiration stems from a personal attachment with the animals of Kenya. Throughout his career, he was inspired to protect the big cats, elephants, tigers and other animals that he depicted with such delight. His subjects were painted with dignity and grandeur and his compositions allowed them to take centre stage amongst the breath taking scenery of his beloved Africa.

Shepherd’s approach to portraying wildlife is wholeheartedly unique. The artist would often seek out the same subject multiple times due to the close bond he had with the animal, a process most apparent in the time he spent in Kenya’s Tsavo East National Park, alongside his close conservationist friends David and Daphne Sheldrick. An exquisite draughtsman, Shepherd’s attention to the character of his subjects is instantly arresting when set against the loose, broad brushstrokes of the sketchy backdrop.

Shepherd’s technique of combining photorealism with his broad impressionist style and his impeccably accurate palette, instantly strikes a chord with the viewer, but above all it is his love of the animals that shines through in his paintings creating an instant empathy for them with his audience. Shepherd’s work is an enduring statement to the masterpiece of nature itself.

Some Serengeti Notes

Painted in 1989

Oil on Canvas

56 x 112 cms / 22” x 44”

Provenance

Private Collection, USA.

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

Inquisitive Tiger in the Forest

Painted in 1988

Oil on Canvas

56 x 86.5 cms / 22" x 34"

Provenance

Willow Gallery, London.

Private Collection, UK; acquired from the above. Gladwell & Patterson, London; acquired from the above in 2023.

Deep in the Forest, Jaguar

Oil on Canvas

23 x 35 cms cms / 9" x 13¾"

DAVID SHEPHERD

British, (1931-2017)

Provenance

Private Collection, UK.

Gladwell & Patterson, London; acquired from the

DAVID SHEPHERD

British, (1931-2017)

Provenance

Private Collection, UK. Gladwell & Patterson, London; acquired from the above in 2023.

Rhino Oil on Canvas 14.5 x 14.5 cms / 5¾" x 5¾"

The Family at Rest

Painted in 1989

Oil on Canvas

46 x 66 cms / 18" x 26"

Provenance

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

SAM DOLMAN

British, (Contemporary)

Sam Dolman’s unique and mesmerizing portraits of wildlife and domestic animals have earned him great acclaim. Painted on aluminum, each work is created using layers of thin oil paint. The process is hugely time consuming, but with each layer of paint, the intricate details of his subjects come to life through the Dolman’s skillful use of miniature sable bushes.

Despite working as an accountant for many years, Dolman has recently returned to his childhood passion for painting. From the Cows of the Peak District, to Big Cats, Dolman finds inspiration from the natural world around him, in Britain and on his travels. Dolman has built a reputation for being a highly detailed realist artist, including as a runner up in the BBC Wildlife Artist of the Year competition. He has also been awarded with honors at the David Shepherd Wildlife Artist of the Year Exhibition.

Jacob

Oil on Aluminium

30 x 20 cms / 12" x 8"

Lupar

Oil on Aluminium

46 x 30 cms / 18” x 12”

Jasmine Oil on Aluminium

30 x 30 cms / 12" x 12"

SAM DOLMAN

British, (Contemporary)

Kato

Oil on Aluminium

30 x 47 cms / 12” x 18½”

Watercolour 13 x 10 cms / 5" x 4"

JONATHAN WALKER

British, (Contemporary)

Watercolour 28 x 20 cms / 11½" x 8"

The Snuffler

Jig-Foot

Jonathan Walker grew up in the heart of the Staffordshire Moorlands. He spent much of his childhood exploring the countryside in the company of his father and it is this closeness to nature that has inspired his artistic career.

The badgers, foxes and voles that Walker witnesses in nature near his home in Dartmoor have inspired his masterful watercolours. Walker’s rare ability to give to each of the animals he depicts their unique characteristics and personas, while dressing them up in old cast off human garments never robs them of their intrinsic “animalness”.

Although rooted in the heritage of English illustration, it is Jonathan’s unerring draughtsmanship and his humour that nevertheless makes his work unmistakably contemporary. His pallet is true to the siennas and ochres of the real landscape, but his characters, however, are of the mould and grime of the soil, unsentimental and honest.

The Regulars

Watercolour

21 x 16 cms / 8¼” x 6¾”

Watercolour

20 x 12.5 cms / 8" x 5"

Allotment Gaffer

JONATHAN WALKER

British, (Contemporary)

The

Thistle & Twine

Watercolour 57 x 33 cms / 23" x 13"

Many Seasons

Watercolour 17.5 x 10 cms / 7" x 4"

Twilight Lad

Watercolour 20 x 10 cms / 8" x 4"

Mallards Taking Flight

Watercolour 28 x 22 cms /11" x 8½"

WILLIAM POWELL

British, (1878 – 1955)

Provenance

Gladwell & Co, London. Private Collection, UK.

Grouse

Watercolour 19 x 24 cms / 7½" x 9½"

Provenance

Gladwell & Co, London. Private Collection, UK.

SARAH MARGARET GIBSON

British, (Contemporary)

Portrait of a Sparrow

Oil on Linen Panel 27 x 32 cms / 10½" x 12½"

NICK BIBBY

British, (Contemporary)

Nick Bibby is the preeminent sculptor of his generation. From a young age, Bibby’s passion has been nature and the natural world.

Fascinated by both form and detail, Bibby models with a fluidity and energy that few can equal, simultaneously and effortlessly combining that energy with a jewel-like attention to detail, resulting in sculptures that look as though they live and breathe. The resulting sculptures are both beautiful works of art and loving portraits, be they bird, animal, or human.

Bibby’s sculptures range from monumental to miniature, but all show an exquisite attention to detail. Beyond an initial thumbnail sketch, he rarely produces working drawings, preferring to document his subject through photographs and immediately begins working a concept into three-dimensions. Bibby initially creates a supporting armature of steel and aluminum that often closely matches the skeleton of his subject. Clay and wax are then added to the supporting armature as the form is built up, and constant adjustments to composition, pose and form, are made in the search for the perfect aesthetic balance. Once the form is complete, Bibby then uses a huge variety of tools to create the exquisite surface textures and details that replicate his subjects’ unique features. This part of the process is perhaps the most laborious, but it is what makes Bibby’s work so unique and full of life.

Throughout his artistic career Bibby has received many notable commissions including a scientifically accurate life size sculpture of a Dodo, on permanent exhibition at the Ashmolean Museum in Oxford, and in 2013 he was commissioned by Brown University to sculpt a monumental, life-size Kodiak Brown Bear, which stands in pride of place on their campus in Rhode Island.

Bronze (Edition of 12)

21.5 x 28 x 10 cms / 8½" x 11" x 4"

Lurcher (Grace)

Buttermere, Lake District

Oil on Canvas

25.5 x 35.5 cms / 10” x 14”

DOUGLAS FALCONER

British, (1913-2004)

Provenance

Private Collection, UK. Gladwell & Patterson, London; acquired from the above in 2023.

DOUGLAS FALCONER

British, (1913-2004)

Loch Lubnig, Stirlingshire, Scotland

Oil on Board 24 x 34 cms / 9½" x 13½"

Provenance

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

ALFRED DE BREANSKI SNR.

British, (1852-1928)

Provenance

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

Oil on Canvas

51 x 76 cms / 20” x 30”

Provenance

Private Collection, UK.

Gladwell & Co, London; aquired in 2003.

Private Collection, UK.

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

A Midsummer's Eve, The Lochay

Porte Saint Denis, Paris

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

ÉDOUARD CORTÈS

French, (1882-1969)

Provenance

Private Collection, UK.

Gladwell & Patterson, London; acquired in 2013.

Private Collection, UK; acquired from the above.

Gladwell & Patterson, London; acquired in 2021.

Provenance

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

Terrace

AUGUSTE BOUVARD

French, (1875-1956)

Provenance

Private Collection, UK. Gladwell & Patterson, London.

Signed “Pelletier”

Oil on Canvas

24 x 33.5 cmss / 9½" x 13"

AUGUSTE BOUVARD

French, (1875-1956)

Provenance

Private Collection. Gladwell & Co, London. Private Collection, UK.

GUSTAVE LOISEAU

French, (1865-1935)

Paysage en Normandie

Painted in 1926

Signed ‘G Loiseau’ (lower right) Oil on Canvas

53.5 x 64 cms / 21" x 25¼"

Provenance

The artist. Galerie Durand-Ruel, Paris (Stock Number 12583) and Galerie Georges Petit; jointly acquired from the artist on 23 February 1927. Galerie Walter Klinkhoff, Montreal, Canada; acquired from the above on 20 January 1965. Estate of Max Nathan, Jr., New Orleans, Louisiana; acquired from the above. Gladwell & Patterson, London; acquired in March 2023

This work will be included in the forthcoming Catalogue Raisonné being prepared by Didier Imbert.

GUSTAVE LOISEAU

French, (1865-1935)

One of the foremost Post-Impressionist painters, Gustave Loiseau was profoundly influenced by the great masterpieces of the Impressionists. A champion of painting the landscape en plein air , Loiseau embraced the use of bold colour as he explored and expanded the Impressionist style.

Loiseau rebelled against the traditional practices of painting and joined the famous artists’ colony at Pont-Aven in Brittany in 1890. There he became companions with Henry Moret, Maxime Maufra and Paul Gauguin and under their influence, Loiseau embraced the use of bold colour and sought to expand and seek new aspects of the Impressionist style. In his quest to create movement and light, Loiseau developed a distinct cross-hatching technique which resulted in the supple and ephemeral quality for which his work is known.

Claude Monet and Auguste Renoir recognised Loiseau’s artistic talent and introduced him to the art dealer Paul Durand-Ruel, who signed an exclusive contract with Loiseau in 1897. Loiseau’s first solo exhibition at Galerie Durand-Ruel took place from March to April in 1898. Loiseau’s work was exhibited widely during his lifetime and can be found in many notable museums and private collections.

The hallmark of truly great painters has always their ability to develop and adapt their style throughout the course of a career, while still staying true to their artistic goals. In this respect, Gustave Loiseau is without peer. In his quest to explore complex and often overlooked atmospheric effects, he would continually adapt and innovate over the course of his life. Like Loiseau was a champion of painting the landscape en plein air In his quest to create movement and light, Loiseau developed a distinct cross hatching technique which resulted in the supple and ephemeral quality for which his work is known.

GEORGES CHARLES ROBIN

French, (1903–2002)

Recognised as one of the best, but largely undiscovered, Post-Impressionist artists, Georges Charles Robin’s skill and complete command of his palette set him aside from his contemporaries. Following the en plein air practice of the Impressionist masters, in a few swift brushstrokes Robin brought life to the trees and rivers of the French countryside.

Robin was born in Paris. He studied at École des Beaux-Arts under the master painter Paul Michel Dupuy. Robin went on to become a well-known decorative artist, before securing a job as the scenery artist for the Charleville Theatre and the Dinan Casino.

Robin lived in the affluent suburb of Rueil Malmaison on the western outskirts of Paris throughout his life. The summer months were often spent near Morlaix in Brittany, where Robin had a second home; there he would capture idyllic seascapes and charming river estuaries bathed in sunshine. However, throughout Robin’s career, the Loire Valley and the Dordogne region inspired his greatest works.

Enthralled by the enchanting river valleys of rural France that flowed through the luxuriant countryside and rolling fields, Robin’s paintings perfectly capture rural French life.

Following the en plein air practice of the Impressionist masters, in a few swift brushstrokes, Robin brought life to the trees and rivers of the French countryside. Robin was a master at capturing the change in temperature and atmosphere. His restrained use of colour allowed him to capture a warm summer’s afternoon or a blanket of snow with profound skill. Combining his deft and delicate touch with vigorous, dramatic brushstrokes and palette knife work, he produced exceptional landscapes. Robin's skill in emphasising nature's basic structure and his sympathetic interpretation using pure colouring only enhances his total control of the medium of oil paint. His love of nature in all her moods inspires a fine sense of permanence in his craft and his treatment of the rustic architecture that exists in many of the towns and villages of France is unrivalled.

Robin was a member of the Salon des Artistes Français, the Salon des Paysagistes Français, and the Society of Arts, Science and Letters. He was an officer of the Académie des Beaux Arts, director of the Institute of “Instruction Publique”, and a former Professor of the Technical High School. He was highly lauded, achieving virtually every major award in French painting for his work, among which the Hors Concors stands out as one of the highest and most esteemed awards of an artist of the time.

Gladwell & Patterson’s history with this distinguished artist began after the Second World War. Herbert Fuller of Gladwell & Company, London, discovered the landscapes of Robin in the Paris Salon in 1948, and approached the artist in his studio. Since he first set eyes on Robin’s landscapes in Paris, Herbert Fuller, and the two subsequent generations of the Fuller family of Gladwell & Patterson have continued to share the legacy of this great artist. The gallery has both an outstanding library of his work and a highly cultivated knowledge of his practice. We are currently preparing a Catalogue Raisonné of his work.

Oil on Board

53 x 72.5 cms / 20¾” x 28½”

Provenance

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

Le Vieux Pont sur la Rivière

GEORGES CHARLES ROBIN

French, (1903–2002)

Les Ponts-Neuf près de Saint-Brieuc is a brilliant demonstration of Georges Robin’s ability to capture rural French life. From his summer home in Brittany, the artist would travel the region, seeking out the undisturbed villages and quiet estuaries for which he would become famous. In characteristic fashion, Robin has deftly balanced the creation of a landscape with the trappings of village life. Amidst the swathes of verdant green and glassy blue, the white houses of Brittany emerge, emphatic without ever detracting from their surroundings.

Robin’s great contribution to painting was his unparalleled understanding of tonal values, and his ability to position pure colours side by side on the canvas, each altering the appearance of the other to create startlingly naturalistic views. These qualities are masterfully displayed in Saint-Brieuc : the grassy verge in the foreground emerges from a complexity of different greens, the still water of the estuary is delineated in broad strokes of subtle blues, and each house and figure stand out effortlessly. Texturally, SaintBrieuc is also a brilliant example of Robin’s ability to combine dramatic brushstrokes with his characteristic palette knife work, each emphasising the fundamental structure of the landscape. As we follow the rural track which winds its way through this small village, we are reminded of Robin’s unmatched skill when it comes to creating a sense of place.

Oil on Canvas

53.5 x 71 cms / 21” x 28”

Provenance

Private Collection, UK; acquired in 1988-9. Gladwell & Patterson, London; acquired from the above in 2022.

Les Ponts-Neuf près de Saint-Brieuc (Côtes du Nord)

Environs de Ferrières, Le Loing

Painted in 1958-9

Oil on Board

35.5 x 28 cmss / 14" x 11"

Provenance

Omell Galleries, London. Private Collection, UK; acquired from the above in 1988-9. Gladwell & Patterson, London; acquired from the above in 2022.

GEORGES CHARLES ROBIN

French, (1903–2002)

Provenance

Omell Galleries, London

Private Collection, UK; acquired from the above in 1988-9.

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

La Sèvre

Oil on Board 33 x 40.5 cms / 13" x 16"

ALEXANDRE LOUIS JACOB

French, (1876-1972)

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

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

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

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

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

Belle Matinée, Etude près de le Cours

Oil on Board 24.5 x 22.5 cms / 9¾" 8¾"

Provenance

Private Collection, UK.

Gladwell & Patterson, London; acquired in 2023.

Étude d’Hiver, Seine-et-Marne

Oil on Board 30 x 36 cms / 12" x 14"

Provenance Private Collection.

Gladwell & Co., London; acquired from the above in 2002. Private Collection, UK; acquired from the above in 2003.

Gladwell & Patterson, London; aquired from the above in 2022.

JEANNE SELMERSHEIM-DESGRANGE

French, (1877-1958)

Jeanne Selmersheim-Desgrange’s series of balcony tables, painted in and around Saint-Tropez, are widely considered to be the best expression of her impeccable Neo-Impressionist style. Enduringly attractive for the way in which they seamlessly mix a subtle treatment of sea and sky, the jewelled textures of flowers, and a central still life composition, Selmersheim-Desgrange clearly considered the works from this series to be her masterpieces, and continually refined and developed the subject matter.

Le Petit Déjeuner devant une Fenêtre stands out for the exceptional nuance of its colouring as the artist captures the essence of morning light through a spectrum of vibrant hues. While Selmersheim-Desgrange initially rose to fame as the muse of her life partner, Paul Signac, she is increasingly recognised as a major Neo-Impressionist in her own right: a status confirmed in this brilliant painting.

Le Petit Déjeuner devant une Fenêtre

Oil on Canvas

65 x 92 cms / 25½” x 36¼”

Provenance

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

EMILE MESNANGER

French, (1880-1940)

Bouquet de Fleurs dans une Timbale Posée sur la Cheminée

Oil on Panel 46 x 38 cms / 18" x 15"

Provenance

Private Collection, France.

Gladwell & Patterson, Lonodn; acquired in 2022.

Émile Mesnager was a Breton painter born in Nantes, where he would work for the majority of his career.

Mesnager predominantly produced still lives and nudes, using his mastery of these genres as a basis for the continual refinement of his technique. Drawing on both pointillist and divisionist brushwork, Mesnager sought to convey the most subtle gradations of light and texture on his canvases. In his closely cropped compositions, the artist became well-known for intimist vignettes of the gardens and sitting rooms of Belle-Epoch France. Through this style, Mesnager became one of leading exponents of impressionist and post-impressionist technique as part of a loose group of artists extending these movements well into the twentieth century.

In his later career, his artistic skill led to his involvement in major restoration projects, including the preservation of Eugène Fromentin’s famous works in the Musée des Beaux-Arts in Nantes in 1931.

CHARLES PERRON

French, (1893-1958)

Bouquet d'Hortensias devant la Fenêtre

Oil on Board 25 x 20 cms / 10" x 8"

Provenance

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

Bouquet de Dahlias

Oil on Panel 18 x 23 cms / 7" x 9"

Provenance

Private Collection, France. Gladwell & Patterson, Lonodn; acquired in 2022.

Corps de Ferme Fleuri

Oil on Canvas

38 x 46 cms / 15”x 18”

Provenance

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

It is the combination of Perron’s two iconic subjects; the cottage and the floral still life, that ensures Les Géraniums en Bords de Fenêtre stands as one of the artist’s best works. Across the surface of the painting, Perron celebrates his complete mastery of shape and delicate hues, along with an inventive and subtle sense of composition. From his studio in Nantes, Perron always strove to bring a sense of both calm and joy to his viewer; and these qualities abound in Les Géraniums en Bords de Fenêtre

While the profuse floral harmonies at the centre of the composition show Perron’s masterful ability to depict a wide range of flowers, a dense network of perfectly placed brushstrokes and tiny tonal variations ensures that the multitude of Geraniums never breaks down into a confused mess of colour. Despite the boldness of many of the pigments on show, Perron’s light touch ensures that the painting remains alive and fresh. Complementing this colouristic centre the artist has, in characteristic fashion, brilliantly captures the brightness of the sun as its shadows moves across the clean white lines of the cottage window, creating the most subtle of backdrops. The captivating snapshot of rural French life that results in Les Géraniums en Bords de Fenêtre is a wonderful summation of what Perron’s technical mastery could achieve.

CHARLES PERRON

French, (1893-1958)

Les Géraniums en Bords de Fenêtre

Oil on Board 39 x 31 cms / 15¼” x 12¼”

Provenance

Private Collection, France. Gladwell & Patterson, Lonodn; acquired in 2022..

PIETER WAGEMANS

Belgian, (Contemporary)

Three Characters

Oil on Panel 50 x 50 cms / 19¾" x 19¾"

28 x 42 cms / 11" x 16½"

PAUL STONE

British, (Contemporary)

Eccles Cakes with Silver Jug

Oil on Canvasboard

Loaded Plums

Oil on Board

32 x 33 cms / 12½" x 13"

Pastel de Nata

Oil on Panel

24 x 39 cms / 9½" x 15½"

Passing Time

Oil and Wallpaper on Gesso Board

40 x 49.5 cms / 15¾" x 19½”

Three Animals in a Landscape

Oil on Board

16.5 x 29.5 cms / 6” x 11½”

PAUL CZAINSKI

British, (Contemporary)

Paul Czainski is the most sought after speciality trompe l’oeil artist, muralist and specialist decorator. He is inspired by pattern, decorative effects, chiaroscuro and the fantastic. In his paintings and drawings he is able to tell a story or bring to our attention the hidden beauty or excitement of the mundane. Czainski works in virtually any medium, from charcoal, etching and drawing through to oils and acrylics. He is equally at home with large scale and miniature works.

Paul is inspired by simple beauty, natural surroundings, sculpture and form. The subject matter in his paintings come from his own garden, which is a masterpiece of creation and an extension of his art. His depictions include both the familiar, the imaginary and out-of-this-world ideas but they strike a cord in the hearts and minds of many, making him highly collectable and wonderfully original.

MADELEINE BUNBURY British, (Contemporary)

Equine portraitist Madeleine Bunbury, delights in capturing a wide variety of horses on canvases in differing scales, from nearlife-size hunters, thoroughbreds, polo ponies, hacks and riding ponies to miniature novelty watercolours.

Bunbury studied in Italy at the Charles Cecil Studio in Florence, where she learnt to paint in the style and from life, using traditional Old Master techniques. Bunbury’s work descends from the line of the great English equine artists like Stubbs, Herring and Hopkins and works from life as a portraitist, as if her subject were a human sitter rather than a horse.

Banbury stresses that although her manner comes from painterly traditions, her work is personal. “My reason for painting is my love of horses. I think horses are the most beautiful creatures and they deserve to be painted and I want to be able to capture their incredible beauty on canvas. A lot of my work has been hunters and I am beginning to move into racehorses. I love painting thoroughbreds. However, I do also really enjoy painting scruffy little ponies because they have so much character. Unlike the thoroughbreds they have no muscle definition but they have this naughty little twinkle in their eyes, and cheeky little ears.”

MARTIN TAYLOR

British, (Contemporary)

Martin Taylor’s work reflects his love of nature, played out in exquisitely detailed studies of the countryside surrounding his studio, a converted stable on a farm in Northamptonshire.

Every season brings fresh inspiration, and to achieve the precision and focus so characteristic of his work Martin paints en plein air, returning to the same position for weeks at a time, even in deepest winter. The combination of intricate detail and careful composition in his work celebrates nature on every scale, from the twigs on the forest floor to the clouds skimming the vast skies.

Every detail he paints, from the daisies in his garden to fresh crisp snow in winter covering a muddy track, reveals his constant source of inspiration in the British countryside. To achieve his highly detailed, naturalistic style Martin totally immerses himself in his subject, painting what he sees in front of him.

January Snow

Oil on Canvas

20 x 25 cms / 8" x 10"

Snowscene near Church Brampton

Oil on Canvas 20 x 30 cms / 8" x 12"

Sacred Oak

Watercolour

30 x 27.5 cms / 11¾" x 10¾"

MARTIN TAYLOR

British, (Contemporary)

Sacred Oak II

Watercolour

34.5 x 27 cms / 13½" x 10½"

Loch Torridon, Scotland

Oil on Canvas

20 x 30 cms / 8" x 12"

PETER SYMONDS

British, (Contemporary)

PETER SYMONDS

British, (Contemporary)

Blà Bheinn, Isle of Skye

Cattle

GEORGINA POTTER

British, (Contemporary)

Under Windswept Skies

Oil on Panel

30 x 40 cms / 12" x 15¾""

GEORGINA POTTER

British, (Contemporary)

Sheep at Dusk

Oil on Board

30 x 30 cms / 12" x 12"

Warm Up, Badminton

Oil on Board

25 x 20 cms / 10" x 8"

Old Barns

Oil on Board 90 x 90 cms / 35½" x 35½"

GEORGINA POTTER

British, (Contemporary)

Cattle in the Water Meadows

Oil on Board

40 x 20 cms / 15¾" x 8"

CLARE HALEY

British, (Contemporary)

Light Dancing

60 x 60 cms / 25½" x 25½"

50 x 50 cms / 23½" x 23½"

Out for the Day

Oil on Board

Oil on Board

PETER WILEMAN

British, (Contemporary)

ROBERT WELLS

British, (Contemporary)

Resting South Downs

Oil on Panel

67.5 x 57 cms / 26½" x 22½"

Black Sheep

Oil on Linen Panel 19 x 19 cms / 7½" x 7½"

Gladwell & Patterson, London

A stones throw away from Harrods, in London's prestigious Knightsbridge, our gallery offers the very finest artworks in a luxurious and comfortable setting. Visit us for a coffee or glass of champagne on your next visit to London.

5 Beauchamp Place, Knightsbridge, London, SW3 1NG

Gladwells Rutland, Oakham

Situated in a beautiful historic market town in the very heart of Rutland, England’s smallest county, our country outpost has become a must visit destination for many. Away from the hustle and bustle of London, it is definitely worth taking the time to come and visit us here. 23b

Index

Nick Bibby p. 30-31

Auguste Bouvard p. 38-39

Alfred De Breanski Snr. p. 34-35

Madeleine Bunbury p. 64-65

Edouard Cortès p. 36-37

Paul Czainski p. 62-63

James Dorian-Webb p. 2-7

Sam Dolman p. 18-21

Douglas Falconer p. 32-33

Sarah Margaret Gibson p. 29

Clare Haley p. 74-75

Alexandre Louis Jacob p. 50-51

Gustave Loiseau p. 40-43

Emile Mesnanger p. 54

Charles Perron p. 55-57

Georgina Potter p. 70-73

William Powell p. 28

Georges Charles Robin p. 44-49

Jeanne Selmersheim-Desgrange p. 52-53

David Shepherd p. 12-17

Paul Stone p. 60-61

Peter Symonds p. 68-69

Martin Taylor p. 66-67

Pieter Wagemans p. 58-59

Edward Waites p. 8-11

Jonathan Walker p. 22-27

Robert Wells p. 77

Peter Wileman p. 76

For further information on any of these artworks please contact the gallery

Natalie Cieslik natalie@gladwellpatterson.com +44 (0) 7772 307 807

Design: Ella Wells

All Rights Reserved Gladwell & Patterson, 2023