“The main thing is to be moved, to love, to hope, to tremble, to live.” – Auguste Rodin
The Art of Dreaming... As we gradually emerge from our long unusual winter and step blinking into the sun, many of us have the same thoughts and feelings - those of relief, of joy, of trepidation, of excitement. Will we wonder, will we take a moment, will we appreciate more, what is important, what will be different, what will be the same, what will we value, what shall we do first? Over the last year, our art has allowed us to have a sense of escapism and to enjoy the world through the artists’ lenses. We have all seen images and depictions of years gone by, where at the Royal Academy shows and the big art Salons of the day, thronging, excited, engaged and expectant crowds studied the works of art around them. In a time before regular travel and an abundance of available media, art gave people the opportunity to dream and wonder about what they saw in those paintings - the places, the people, the sights, or the memories. Art was then as it is now, a form of escapism.
Throughout this catalogue you will see our ‘Art of Dreaming’ pages where we have each chosen an artwork that moved us to appreciate what we have missed during our time at home. Things that we took for granted and that we now approach with a stronger renewed appreciation. The power of these beautiful artworks to transport you to a completely different world a little bit of imagination and a moment of your time. We hope you will find inspiration to dream and escape to some amazing places that mean something to you within these pages of our catalogue. In the end, it is art that helps us return there, time and time again.
With all of our very best wishes, The G & P Team
Raymond Wintz French, (1884-1956)
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elebrated as a “painter of light”, Joseph Raymond Wintz enjoyed a reputation as one of the finest artists working in France in the early twentieth century. Wintz’ skill and complete command of his palette set him aside from his contemporaries. He gained a firm appreciation by critics and collectors as a leading painter of the Brittany coastline and was renowned for his charming window and balcony scenes bathed in sunshine which perfectly embody memories of holidays by the coast. Following his education, Wintz rejected the academic styles of his father and professors and like many of his contemporaries, decided to pursue his passion for painting outdoors ‘en plein air’ in the manner of the Impressionists. This technique demanded a free and spontaneous style of painting in order to catch the rapid changes in outdoor light. Wintz’ skill allowed him to extract the colours and shapes as well as the fragrances of nature, putting the total ambiance and experience directly onto the canvas. In a few swift brushstrokes Wintz captured the very essence of Breton life.
Le Port de Belon (Morbihan), Bretagne Oil on Canvas
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73 x 100 cms / 283/4” x 391/2” £29,500
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Raymond Wintz French, (1884-1956)
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s a young man Wintz became a key figure in the Parisian artistic circles of the early twentieth century, dividing his time between Paris and Brittany, occasionally travelling further afield to coastal towns such as Saint Tropez in the South of France. Drawn to the beauty of the Brittany landscape and the unique quality of light, Wintz delighted in the picturesque coastal landscape of the region, particularly in the Finistère department; there he would capture idyllic seascapes and charming river estuaries bathed in sunshine. Brightly coloured fishing boats and dinghies sway in the gentle breeze, waves rippling around their hulls, whilst the local Breton fishermen and bigoudènes in traditional dress mend fishing nets and go about their everyday business. Amongst Wintz’ most popular subjects are his delicately posed window and balcony scenes which allowed the artist to combine an interior and exterior setting within a single composition. This motif dates back to Renaissance traditions but was brought to the forefront of the twentieth century artistic imagination by Henri Matisse. Matisse exploited the window’s intrinsic duality - at once an opening and a barrier - to generate a tension between illusionistic depth and modernist flatness. Wintz’ interiors are simplistic, and he focuses the attention on the window or doorframe by placing a vase of vibrantly coloured flowers on a table or a windowsill providing a focus to the view beyond. Outside, boats sway in the quiet fishing ports and brightly coloured sails appear far out to sea on the horizon as Breton figures pass by bathed in the warm sunshine of a summer’s day. The delicate balance between the interior and exterior of these charming paintings celebrate, with arresting spontaneity, the warmth and brilliance of a Breton ‘room with a view’. Golfe de Saint Tropez, Côte d'Azur Oil on Canvas
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54 x 65 cms / 21” x 251/2” £7,500
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Raymond Wintz French, (1884-1956)
Bretagne, L'Escalier de la Cale Oil on Canvas
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54 x 65 cms / 21” x 251/2” £6,950
Retour de Pêche à Concarneau, Bretagne Oil on Canvas
44 x 54 cms / 171/4” x 21” £6,950
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Raymond Wintz French, (1884-1956)
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ladwell & Patterson’s history with this distinguished artist began after the Second World War. Herbert Fuller of Gladwell & Company, London, discovered the landscapes of Raymond Wintz during the pinnacle of the artists career, when he was recognized for his importance to the artistic milieu of mid-century art and was elected as President of the Jury of the Paris Salon in 1953. Since he first set eyes on Wintz’ 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. From 1951 to the present day, our galleries historic archives reveal the unfaltering demand for Wintz’ exquisite Brittany landscapes and window scenes. The gallery has both an outstanding library of his work and a highly cultivated knowledge of his practice.
Les Géraniums sur la Fenêtre Oil on Canvas 55 x 46 cms / 211/4” x 18” £16,500
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Wintz began to exhibit at the Salon des Artistes Français in 1910, becoming a member the following year. Collectors and critics admired his brightly coloured Brittany landscapes and Wintz received accolades of the highest merit, including the Silver Medal from the Salon in 1922 and both the Gold Medal at the Salon and the Corot Prize in 1924. His contribution to the arts was further formalized in 1934 when Wintz became a professor at the progressive Académie Julian and the artist was awarded the highest distinctions that his country could bestow; Knight of the Order of the Legion of Honour.
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Peter van Breda British, (Contemporary)
St. James Park in the Snow Oil on Canvas 54 x 65 cms 21¼” x 25½” £5,250 Chelsea Embankment Oil on Canvas
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"
fter a heavy night of snowfall St James’s Park was transformed into a winter wonderland with people feeding the birds and crunching crisp, white snow. The Park was magical with Horse Guards in the background, the Tiffany Fountain adding an air of celebration to the lake, and wildfowl of every description hovering for snacks from small children in wellies. It’s a reminder that life goes on, no matter what. And the squirrel tugging at my leg as I painted was a welcome distraction from the bitter cold."
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30 x 90 cms / 12” x 351/2” £4,950
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"
lbert Bridge, with its highly decorated Victorian ironwork, is a favourite of mine - not least of all because I see my daughter on her morning run there. This part of the Thames, with the Chelsea Embankment alongside, is a haven for Londoners and when people stop to talk to me while I’m painting, they tell me they’re seeing a new beauty in it during these quieter times. I was drawn to the coal-black of the barges contrasting with strong shards of winter sunlight on the water. The tide changes when you’re painting forcing you to be spontaneous and go with it, capturing the movement on the canvas. London seems more beautiful than ever right now."
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The Art of Dreaming... Endless blue skies and crystal clear sea… This vibrant landscape of Sandwood Bay by Donald Hamilton Fraser transports me directly to the beach, where I long to paddle in the surf and build sandcastles with my son under a delightful, warm sun. Inspired by the Scottish Highlands of his ancestors, Donald Hamilton Fraser depicted this rugged landscape like no other artist. Captured in all its myriad guises, according to the fleeting effects of light and atmosphere, Fraser transformed the beautiful landscape into vivid swathes of colour. Sandwood Bay, on the most north western point of Scotland, is one of the most beautiful beaches in Britain. The golden sandy beach stretches for one mile, framed by vast sand dunes and rocky cliffs making it one of the most spectacular and isolated beaches in the Western Highlands. I adore the expressive nature of Fraser’s application of paint; using both a brush and palette knife he juxtaposes the vivid blue of the sea and sky with the earthy tones of the dunes and beach. The pink undertones bring a delicious warmth to the composition and notes of purple, yellow and orange effortlessly enliven the landscape. This painting makes me long to be stood upon the sand, with a gentle breeze billowing across the rolling waves. For now, we will make do with our local playground sandpit and the hopes and dreams for future beach holidays embodied by this spectacular little landscape. Donald Hamiltion Fraser British, (1929-2009)
Sandwood Bay Oil on Paper
15 x 17 cms / 6” x 63/4” £3,950
Ella
Donald Hamilton Fraser British, (1929-2009)
East Anglian Landscape, 1956 Oil on Board 35 x 45 cms / 14” x 18” £9,950
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he Battle of Quiberon Bay in 1759 was the decisive naval engagement of the Seven Years War, a crushing victory by the Royal Navy over the French Fleet in their own coastal waters. As with so many important battles for the Royal Navy, the engagement was set against the backdrop of a possible invasion of the British Isles by a continental power. The British battle fleet had launched raids on Le Havre earlier in the year, and while they had managed to sink transport ships intended for the invasion, the main French forces still survived intact. With the Royal Navy now blockading St Nazaire, to both contain the French and strangle their commerce, a large battle was inevitable. In high winds, the Comte de Conflans tried to establish a French battle line, but in the face of tempestuous conditions, he decided to regroup amongst the reefs and shoals of Quiberon Bay, believing they offered protection from the British, assuming they would not follow into unknown and dangerous waters. However, despite these adverse conditions, the British admiral, Lord Hawke, pursued at extremely high risk, and decisively outgunned and outmanoeuvred the French. With the victory, the enemy fleet was blockaded in the bay, and eventually dismantled by the French as they were unable to escape.
Ronny Moortgat Belgian, (Contemporary)
The Battle of Quiberon Bay Oil on Canvas
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60 x 90 cms / 24” x 36” £23,000
Moortgat emphasises the rough seas that defined the engagement. The British three-decker in the foreground, possibly the 100-gun Royal George, is shown with most of her gun ports closed due to the swell of the violent North Westerly wind. As the battle would show, having lower ports open was often the leading cause of
capsizes in these stormy engagements, with two French ships sinking after taking on water. Although the British were not immune to the conditions, losing a third-rate to a reef, the rough seas gave them a decisive advantage. In a narrative common to the period, the British had the only sailors that had extensive knowledge of combat in rough seas, given how difficult it was to discharge cannons on a pitching ship. The sailors of the Royal Navy were routinely able to discharge two volleys faster than the enemy’s one, a fact lamented even by Napoleon when he planned his own invasion in 1803. In a period often demined by its symmetrical warfare and identical technology on all sides, this represents one of the few cases where an Early Modern nation held a significant military advantage. Even when rivals created navies to match the British fleet in size, as happened in 1805, the quality of British seamanship and gunnery inevitably prevailed. Quiberon Bay was a hugely important battle, and heralded the start of a half-century when Britain clamped down on the waves and became the world’s maritime hegemon. It was also seen as the premier victory in Britain’s Annus Mirabilis of 1759. With Britain and Prussia facing every other major European power, the Royal Navy had to hold the seas while Frederick the Great won the continental land war. As the conflict raged in the Indian and American theatres, the war is often described as the first ‘World War’, and as such control of the seas was critical to the eventual Anglo-Prussian victory.
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Ronny Moortgat Belgian, (Contemporary)
A Close Race Watercolour
25 x 50 cms / 10” x 20” £3,950
HMS Trusty preparing to sail for the Mediterranean Watercolour
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30 x 50 cms / 12” x 20” £3,950
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Peter Symonds British, (Contemporary)
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antham Beach is a deservedly popular and expansive beach hemmed in by the Avon Estuary to one side and low panoramic cliffs to the other. Backed by some beautiful sand dunes as well as a magnificent vista out to Burgh Island in the distance, Bantham ticks many boxes for the landscape artist. Because it is a long, gently shelving beach, at low tide there are always beautiful effects of the water reflecting on the wet sand amongst dark seaweed-covered rocks, and these all combine with the outstanding view to make this one of my favourite destinations on the south coast of Devon. In recent years, I have made several visits out of season without friends and family, and it has a very different feel to high summer when there can be so many visitors. On this occasion I had decided to plan a visit for later in the afternoon to do a painting 'a contre jour', and reap the effects of the lowering sun glimmering over the sea and highlighting the tops of the rocks. I was incredibly lucky to have a beautiful sky as it is this that holds the key to creating a good atmosphere. The pale salmonpink light that lay between the horizon and the darker blue-grey clouds above made a lovely foil to the light viridian sea below."
Burgh Island from Bantham, Devon Oil on Canvas
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56 x 91 cms / 22” x 36” £13,500
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Peter Symonds British, (Contemporary)
Lago Smeraldo and Monte Rosa, Italy Oil on Canvas
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19 x 29 cms / 71/2” x 111/2” £1,950
Mont Miné, Val d'Hérens, Swiss Alps Oil on Canvas
66 x 102 cms / 26” x 40” £11,000
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The Art of Dreaming...
Yvonne Canu’s Voilier, à Saint Tropez is beautifully coloured and very atmospheric. I could gaze at this painting all day, dreaming of the sun’s touch, a warm breeze bringing smells of grilled seafood and salt across the air while I drink a glass of chilled, crisp white wine with my sunglasses on. What I would give to be on a sailing boat in Saint Tropez right now! My summer holidays are always spent on the coast of Southern Europe and no holiday is complete without a trip on a sailing boat, to see those out of the way places and enjoy leaping from the boat into the clear, azure waters of the Mediterranean. I am firmly in the ‘born to be driven’ camp when it comes to sailing and love nothing more than dangling my legs over the side and enjoying the views that glide by. Views such as this one. In 1893 Paul Signac, greatly shocked by the death of his dear friend, Georges Seurat, voyaged around the Mediterranean on a yacht. It was during this trip that he discovered the little fishing village of Saint Tropez and through his paintings, he introduced this corner of the Cote d’Azur to many artists in Paris, Yvonne Canu being one of them. Yvonne Canu was a Neo-Impressionist, as was Signac and heavily influenced by the work of the Pointillists such as Georges Seurat. Her round brushstrokes of juxtaposed pure colours give the viewer the opportunity of fusing the colours with their own eyes. It works remarkably well in the water and the shaded buildings to the left of the picture. Born in Morocco in 1921, Canu studied at the École des Arts Decoratifs in Paris. After the Second World War she met Foujita who instructed her in drawing and composition and introduced her to the Impressionists. It was not long before she dedicated herself exclusively to Pointillism and adopted the technique for all of her paintings. She belongs to an interesting trend of French twentieth-century artists who looked to and expanded upon the theories of so-called Divisioniste artists of the late 19th century. Like them she often depicted seascapes, harbour and river scenes.
Yvonne Canu French, (1921-2008)
Voilier à Saint-Tropez Oil on Canvas
60 x 73 cms / 23¾" x 28¾" £40,000
Marie-Claire
Andre Hambourg
Andre Foneche
Dutch, (1890-1948)
French, (1851-1942)
A Marée Haute en Septembre à Deauville Oil on Canvas
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81 x 100 cms / 32” x 39½” £59,500
Marée Basse en Bretagne Oil on Canvas
24 x 35 cms / 91/2” x 133/4” £1,950
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Clive McCartney British, (Contemporary)
Boats at Honfleur Oil on Board
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42 x 60 cms / 16” x 231/2” £3,250
Sunset on the Thames Oil on Board
581/2 x 84 cms / 23” x 33” £6,250
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Jean Kevorkian French, (born 1933)
Bakewell Bridge, Derbyshire Oil on Canvas
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44 x 581/2 cms / 18” x 23” £3,950
Coulon Oil on Canvas
44 x 37 cms / 18” x 15” £3,500
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Dianne Flynn British, (born 1939)
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wash with bright, natural light and imbued with the exuberance of her sitters, Dianne Flynn’s affectionate, nostalgic scenes of walks in the British landscape and children at play are a delight to behold. With deft, flickering brushstrokes, Flynn brings her figures and their surroundings to sparkling life. Owing to the artist’s playful use of Edwardian costumes and picturesque landscapes, her work embodies a timeless quality and universal appeal. Born in Huddersfield in Yorkshire in 1939, Flynn has since embarked upon a celebrated career spanning over four decades. Flynn attended the Manchester School of Art, graduating in 1973 before becoming a qualified art teacher the following year. Following her studies, Flynn moved to France with fellow artist Paul Hedley, whom she later married, living and painting in the Languedoc in the South of France until 1997. Influenced by the French Impressionists preoccupation with light and application of paint, Flynn’s spontaneous brushstrokes, use of glowing colours, and the clarity of light define her as a significant figure in British figurative painting. Equally influenced by early Edwardian photography, Flynn considers the work Heinrich Kühn and Edward Steichen, regarded as the forefathers of fine art photography, to have been an influence on her as the French painters of the Impressionist period.
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A Summer Stroll Oil on Canvas
51 x 76 cms / 20” x 30” £5,950
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Luis Muntane Muns Spanish, (1899-1987)
Beauty Oil on Panel 411/2 x 271/2 cms / 16” x 11” £6,950
Elegance Oil on Panel 411/2 x 271/2 cms / 16” x 11” £6,950
The Art of Dreaming... A nineteenth century ball was the ultimate occasion for courtship, where friends and new couples would dance together under the watchful eyes of their peers, as their entry into society. It reminds me of many of the scenes in Netflix’s new hit TV series Bridgerton, which I’m sure many of you would have devoured. If you haven’t seen it yet, and enjoy nineteenth century fashion, dancing, and lots of drama then it is the perfect show for you! George Goodwin Kilburne’s paintings portrayed the upper classes and fashionable female beauties in opulent nineteenth century settings. The beauty of his subjects and interiors was further heightened by Kilburne’s immaculate attention to detail. Glistening chandeliers and ornate Regency furniture play a central role within the interiors, whilst his central subject, the fashionable beauty, at home or in society, is a vision in sumptuous silk and satin dresses adorned with the finest French lace. Kilburn’s unique ability to delight the viewer with dazzling details, and often witty, sub plots within these compositions enliven each work as the story unfolds. The glamour of the painting makes me yearn for our modern day social calendar filled with preview evenings and dinners, usually accompanied by a glass of champagne whist admiring the beautiful paintings adorning the walls. Our recent reality of endless walks and trips to my local supermarket sadly don’t quite require the same dress code… As I write this, I am wearing fluffy socks and slippers and I am dreaming of putting on a beautiful dress and some sparkly shoes. I look forward to seeing you all at our first gallery event, where I will probably be extremely and perhaps inappropriately overdressed, and we can all celebrate our re-entry into society together.
Emily
George Goodwin Kilburne British, (1839-1924)
The Fairest of them All Watercolour
36 x 53 cms / 14” x 21” £3,950
George Goodwin Kilburne British, (1839-1924)
Going Shopping Watercolour
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38 x 56 cms / 15” x 22” £3,950
Off to the Hunt Watercolour
38 x 56 cms / 15” x 22” £3,950
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Louis Haghe Belgian, (1860-1885)
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ainting was Haghe’s first and great love. After establishing himself as one of the finest lithographic draughtsmen in Europe, Haghe left Day & Son in 1852 to concentrate exclusively on painting. He rapidly gained a phenomenal reputation for his architectural scenes of northern Europe and for his charming seventeenth century interior scenes and genre paintings of jovial cavaliers and daily life in both oil and watercolours. Haghe’s highly detailed genre scenes, such as The Geography Lesson, painted in 1846, recall the magnificent compositions of the Dutch Golden Age. In this painting a Vermeer-esque glowing light shines through the hand cut glass windows to illuminate the map which hangs in pride of place within the opulent dining room. The incredible detail, from the majolica on the delicately carved mantlepiece to the hand painted wallpaper with its curled edges reveals Hague’s incredible skill and deft touch of this medium. Haghe was elected one of the founding members of the New Society of Painters in Water Colours, making his debut at their exhibition in 1835 and later become the President of the Society from 1873 to 1884. His paintings and lithographic prints are exhibited in the British Museum, the National Portrait Gallery and the Victoria and Albert Museum in London.
The Geography Lesson, 1846 Watercolour 581/2 x 72 cms / 23” x 28.5” £1,950
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Norman Rockwell American, (1894-1978)
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his joyous, rapidly executed sketch depicts Private Sammie Smith, a fresh-faced American soldier in the First World War holding up gifts sent from his family during the bitter cold Christmas of 1917. He is ecstatic with his gifts. He has prised open the crate to reveal an assortment of gifts; a baseball, a pair of boxing gloves, two books, cigarettes and a tin of pipe tobacco. In his hands he holds up the two most cherished presents, a scarf and warm socks, an indication of the bleak reality of the war time conditions hidden behind the Private’s gleaming smile. This charming drawing is the preparatory sketch for Rockwell’s iconic World War I painting They Remembered Me! which was reproduced on the cover of ‘Leslie’s Illustrated Weekly Newspaper’ on 22nd December 1917. The newspaper vividly depicted American life during the seven decades that it was published between 1855 to 1922. Often taking a strongly patriotic stance, it frequently featuring cover illustrations of soldiers and heroic battle stories. Several notable illustrators worked for the publication, including Rockwell who painted six covers for the newspaper between 1916 and 1919. Throughout Rockwell’s career, the theme of patriotism is consistently present in his paintings and illustrations. During the First World War Rockwell was ineligible for active duty and therefore served in the United States Naval Reserve for a short period of time. In addition to producing illustrations for the Navy, Rockwell’s support for the war is evident in each magazine cover he created of American servicemen.
Without thinking too much about it in specific terms, I was showing the America I knew and observed to others who might not have noticed. - Norman Rockwell
They Remembered Me! Pencil Drawing 231/2 x 19 cms / 91/4” x 7 1/2” £19,500
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Aris Raissis Greek, (Contemporary)
The Gypsy Girl Oil on Panel 40 x 30 cms 153/4” x 12” £9,950
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Lady in Red Oil on Panel 44 1/2 x 28 cms 17 1/2” x 11” £6,900
The Art of Dreaming...
This fascinating picture is very much from a bygone era. Apart from the accuracy of the drawing and the glorious colouring, the story the artist is telling reminds us all of the time not so long ago, in fact just before lock down, when we could all get out and enjoy the simple activities in life. In this painting which was accepted for Exhibition at the Royal Academy in 1862, William Knight displays his total mastery of the medium and his immaculate sense of design to their full effects. Whilst the dress style and male clothing has changed in the past 159 years, the gathering of this small group of youngsters wouldn’t be much different to today’s children if they were permitted the freedom to meet. Maybe the lane would be tarmac and the railings would be made of iron and very likely the children could not sit in the road because of the traffic but the joy of meeting up would be the same. The one difference between the two eras which is very significant, Knight has not included any mobile phones. Returning to the art for a moment, I feel that it is important to draw to your attention the detail the artist includes in the painting of the figures. Apart from including seven children in the foreground, all beautifully drawn, today's artists just do not have the time to create such an interesting scene. This alone makes the picture unique.
Anthony William Henry Knight British, (1823-1863)
Rivals to Blondin Oil on Panel
46 x 61 cms / 18” x 24” £5,950
Kees Terlouw Dutch, (1890-1948)
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ornelis Terlouw, otherwise known as Kees Terlouw, was born in Rotterdam in Holland. Terlouw began his artistic career in his hometown before moving to Utrecht and then The Hague. In 1926 Terlouw moved to Saint-Maur-des-Fossés in the south-eastern suburbs of Paris in France, where he lived and worked the rest of his life. Inspired by the Dutch masters, Terlouw excelled in interior and genre scenes, painted in a naturalistic Dutch style, with many of his sitters depicted in traditional Dutch clothing. The present work with light glistening through the window illuminating the central figure is typical of Terlouw's abililty to capture the character of his subjects. He was equally skilled in all subject matter, be it a peaceful French landscape or a seaside estuary. His stunning compositions combine his Dutch heritage with the French influences of Impressionism.
La Blanchisseuse Oil on Canvas 61 x 50 cms 24" x 19½" £4,950
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Auguste Bouvard French, (1875-1956)
Venetian Reflections Oil on Canvas 61 x 89 cms / 24" x 35" £32,000
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The Art of Dreaming...
The Scottish paintings and watercolours on my walls are a source of joy during lockdown, reminding me of great times fishing on the River Ness with my children and dear friends. The art of dreaming during this last year has transported me, on many occasions, to those rivers and mountains. When I look at the paintings, I breathe deeper, I am filled with the mixture of tranquillity and adrenaline in equal measure, I return to nature and celebrate all its glory. August in Scotland sees the river and hills so often bathed in a flood of evenings' golden light, very similar to the ethereal light in this painting but, as is so often the case, in an instant the sun is replaced by ominous moody inclement skies and a transitory shower. This summer the children and I will be lucky enough to return to the hills and rivers of stunning Loch Ness. Adventure aplenty with tales and excitement of a hard fought catch met with raucous cries. All it will take is a kingfisher darting along the bank, a silvery swish in an eddy or a shard of light breaking through the clouds to bring the art of dreaming back into the present. In the meantime, this wonderous painting by Alfred de Breanski lifts my spirits in this time of isolation of a very different kind.
Cory
Alfred de Breanski Snr. British, (1852-1928) Sunset over a Highland Loch, Benmore Oil on Canvas 76 x 127 cms / 30" x 50" £36,000
Martin Taylor British, (Contemporary)
When Snow the Landscape Sheets Oil on Canvas
61 x 71 cms / 24" x 28” £12,950
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Martin Taylor British, (Contemporary)
December Snow Oil on Board
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25 x 35 cms / 10” x 14” £2,850
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Eugene Leliepvre French, (1908-2013)
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ugène Leliepvre was one of France’s most prolific military and equestrian artists. He captured military battle scenes with painstaking attention to detail and accuracy and became renowned for his dynamic portrayal of hunting and sporting scenes. Leliepvre grew up in the midst of the First World War and witnessed firsthand a French cavalry charge against the German infantry on the cobbled streets of his hometown of Lille. In later years, the artist recounted this memory as the nucleus for his passion for military history. Inspired by the paintings of Edouard Detaille at the Invalides in Paris, and the military masterpieces of Ernest Meissonier, their attention to military detail delighted the young Leliepvre, who would go on to be named the official artist to the French Army in 1951. Leliepvre’s sporting pictures, executed in watercolour with vibrant colouring and dynamic brushstrokes, became highly sought after. Leliepvre’s passion for horses is evident in his superb rendering of the horses’ form. A keen rider from the days of his military conscription between the Wars, a riding accident in his late fifties left Leliepvre almost paralysed. Under his doctors orders to never ride again, Leliepvre instead fulfilled his passion painting his favourite subject instead and teaching horse riding when not in his studio.
The Royal Mail outside the Bell Watercolour 25 x 35 cms 10" x 14" £1,950
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Throughout Leliepvre’s long and illustrious career the artist won numerous awards and accolades in Parisienne artistic circles. On the occasion of his one hundredth year Leliepvre received the highest award honouring a military historian from the Military Historians Company in America.
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Eugene Leliepvre French, (1908-2013)
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On the Scent Watercolour
Beware Watercolour
A Welcome Drink Watercolour
Afore ye Go Watercolour
25 x 35 cms 10" x 14" £1,950
25 x 35 cms 10" x 14" £1,950
25 x 35 cms 10" x 14" £1,950
25 x 35 cms 10" x 14" £1,950
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The Swell Watercolour 57 x 20 cms 22½" x 8" £700
Jonathan Walker British, (Contemporary)
Swagger Watercolour
The Meet Watercolour
48 x 19 cms 17¼" x 7½" £650
79 x 55 cms 31" x 22" £1,250
Edward Waites British, (Contemporary)
Otter Duo Bronze (Edition of 12) 55 x 47 x 35 cms / 21¾" x 18½" x 13¾" £9,750
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Clarissa James Austrian, (Contemporary)
The Lake - a diptych Oil and White Gold on Canvas 68
100 x 305 cms / 431/2” x 120” £70,000 69
David Shepherd British, (1931-2017)
Estosha Waterhole, Gemsbok Painted in 1991 Oil on Canvas 42 x 66 cms / 161/2” x 26” £36,000
Leopard Oil on Canvas 23 x 41 cms / 9” x 16” £23,500
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King Oil on Canvas 23 x 41 cms / 9” x 16” £23,500 71
The Art of Dreaming... I have long harboured a dream to own a work by Simon Gudgeon. His outdoor bronze sculpture Dancing Cranes would be the perfect piece. Simon’s sculpture depicts a pair of cranes, aptly also known as birds of happiness, poised with necks arched and barely touching as they raise their beaks to the sky. Their wings and bodies fan out like lotus petals to mirror each other and the distance between them though small feels very potent. It is as though one bird couldn’t exist without the other. They are two separate figures but their gaze and intent is the same.
Simon Gudgeon British, (Contemporary) Dancing Cranes Bronze (Edition of 7) 213 x 147 x 30 cms 84" x 58" x 12" £95,000
When I looked at this sculpture earlier this year it seemed to symbolise beautifully how we human beings have an instinctive need to be together and bonded but that cruelly, we were living through a time when we had to show this commitment to the ones we loved by staying apart from them. I did find comfort in Simon's piece though as the prayerful, upwards swoop of the cranes searching gaze seemed hopeful. It suggested that if we just held our breath and endured that somehow the balance of things could be right again. This was what I saw in January and had I owned these fascinating Cranes they would have been the only bit of colour and light shrouded in the drab grey of my garden.
However this is spring. Suddenly watching the Dancing Cranes I see something different entirely. They are full of joyful excitement, giddy with the beauty of the natural world bursting into life around them. But most importantly they are celebrating being bonded once again with their loved one, as I hope we will too. That space between them is electric and they really are dancing. They’re flicking up their bodies like flamenco artists and reaching back out into the world. I hope that this is how we can all approach the rest of 2021 - mingling with the ones we love and… dancing, lots of dancing.
Rebecca
Kenneth Webb Irish, (Contemporary)
Secrets Oil on Canvas 31 x 36 cms / 12” x 14” £5,500
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Kenneth Webb Irish, (Contemporary)
Luscious Oil on Canvas 28 x 38 cms / 11” x 15” £5,750
Spectrum Oil on Canvas 40 x 30 cms / 16” x 12” £6,250
Nick Bibby British, (Contemporary)
Kingfisher Bronze (Edition of 12) 20 x 35.5 x 10 cms / 8" x 14" x 4" £6,500
Swallow in Flight Bronze (Edition of 12) 35.5 x 40 x 10 cms / 14" x 16" x 4" £6,250
Nick Bibby British, (Contemporary)
Long-Tailed Tits: “The Lovebirds” Bronze (Edition of 25) 33 x 15 x 15 cms 13" x 6" x 6" £6,000
Pieter Wagemans Belgian, (Contemporary)
Springtime Emotion Oil on Canvas 50 x 90 cms 193/4” x 351/2” £15,000
The Energy of Spring Oil on Canvas
White and Blue Campanula Oil on Canvas
50 x 100 cms / 193/4” x 391/4” £15,000
31 x 50 cms 12” x 193/4” £7,250
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Robert Chailloux French, (1913-2006)
Chardons Bleu Oil on Panel 35 x 27 cms 133/4” x 101/2” £4,950
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Monnaie du Pape Oil on Panel 35 x 27 cms 133/4” x 101/2” £4,950
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The Art of Dreaming... Many of us have delighted in our gardens throughout this last year, with so much more time to enjoy them and to spend cultivating them. Personally, I cannot wait to venture out and see what has become of some of my favourites around the country and those of my gardening friends. Stewart's magnificent Lemon Basil painting is so beautifully observed. Those gentle days of summer and the harvest that our gardens bring are just around the corner and I find myself dreaming of all the hours I will spend pottering and exploring, pruning and watering, digging and weeding. Heaven!
Graham
Stewart Lees British, (Contemporary) Lemon Basil Oil on Panel 60 x 50 cms 24” x 193/4” £12,950
Paul S. Brown American, (Contemporary)
A little snack, tasting the recently unwrapped wheel of stilton and opening a crate of very special wine. Welcoming the return of dinner parties with friends.
Cropwell Bishop Stilton & Chateau Haut Brion, 1982 Oil on Canvas 60 x 70 cms / 24” x 28” £23,000
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Paul S. Brown American, (Contemporary)
Croft's Vintage 1945 Port Ford Farm Cheddar Oil on Canvas 43 x 48 cms / 17” x 19” £12,950
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Fromage avec Sauternes Oil on Canvas 48 x 48 cms / 18” x 18” £9,500
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Alexandre Louis Jacob French, (1876-1972)
Neige et Soleil, vallée du Morin Oil on Canvas 55 x 46 cms / 21 1/2” x 18” £16,500
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A Tranquil Morning Oil on Board
Winter Reflections Oil on Board
27 x 23 cms / 10” x 9” £5,950
31 x 24 cms / 12 1/2” x 91/2” £5,950
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Georges Robin French, (1903-2002)
Sur La Route près de St. Brieuc Oil on Canvas 46 x 55 cms / 18” x 21” £16,500
The Art of Dreaming...
Ducks, walnuts and fresh goats cheese, the area of France around Rocamadour produces some fine food. It has also attracted pilgrims down the centuries, among them kings, bishops and nobles. The monastic buildings, shrines and pilgrim churches associated with Saint Amadour cling to the cliffs where a tomb was discovered in 1166, said to be that of the servant of Mary, the mother of Jesus.
Georges Charles Robin French, (1903-2003) Paysage de Dordogne à Rocamadour Oil on Panel 50 x 37 cms / 191/2” x 131/2” £7,500
This Robin painting captures the magnitude of the cliffs and grandeur of the landscape in this area, and brings back so many happy memories of our visits here. The reason for our visits is a much more contemporary attraction that can be found in a nearby village. There in a studio barn, the figures, cars and toys belonging to Walter Dolphyn and indeed the man himself find their home. Walter has made this corner of the department of Lot a home for his family for over ten years. It has allowed him to perfect his detailed still life painting learnt from his father and developed over time, just like a fine Cahors wine. A warm welcome always awaits us in the French sunshine and this beautiful Robin painting makes me yearn to visit again and dream of such fun times past.
Glenn
Georges Robin French, (1903-2002)
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he Quartier Latin in Paris was so named because of the Latin spoken by the students who frequented the winding, cobbled streets there during the Middle Ages.
Today those beautiful cobbled streets are still buzzing with students and the Quartier’s charisma draws tourists and locals alike to enjoy the Pantheon, numerous Medieval churches and thronging restaurants and bars that can be found there. In this colourful, meandering scene of the Seine, painted from the Rive Gauche looking towards the Sainte Chapelle, Georges Robin brings much of the joy and vibrancy of this area of Paris to his canvas. The sunlight illuminating the blue cabins on the Rive Droite against the beautiful, warm colour of the Parisian limestone makes one long to visit La Ville Lumière again, but for the time being, this painting and nostalgia shall have to do!
Paris, La Seine près du Pont Saint-Michel et du Quartier Latin Oil on Canvas
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56 x 731/2 cms / 22” x 29” £19,500
Georges Robin French, (1903-2002)
Chamesson, Painted in 1952 Oil on Canvas
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33 x 41 cms / 13” x 16” £9,500
Village près de Saint-Laurent-sur-Sèvre Oil on Canvas
461/2 x 55 cms / 18” x 21" £16,500
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Henri Bouvrie French, (1896-1972)
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Les Tuileries Watercolour
Sacré Cœur Watercolour
Morzine Watercolour
L'Isere à Sées Watercolour
251/2 x 201/2 cms 10” x 8” £850
25 x 20 cms 9¾” x 7¾” £850
25 1/2 x 20 1/2 cms 10” x 8” £850
25 x 20 cms 9¾” x 7¾” £850
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Henri Bouvrie French, (1896-1972)
Rue de l'Abreuvoir Watercolour
Promenade sur Les Quais, Paris Watercolour
Le Pointe du Raz, Finistere Watercolour
Sées Watercolour
28 x 351/2 cms 11” x 14” £950
28 x 351/2 cms 11” x 14” £950
18 x 23 cms 7” x 9” £750
20 x 25 cms 7¾” x 9¾” £800
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panoramic views and sweeping landscapes, or on architectural details such as the dome of Sacré-Coeur and the Louvre, his works all bear the hallmark of an artist with consummate skill.
Bouvrie was born in the picturesque village of Vertus in the Marne region of north-eastern France, where his passion and ability for drawing were evident from an early age. Enthralled by the enchanting river valleys that flowed through the local luxuriant countryside and the snowcapped mountains in the Alps, Bouvrie’s watercolours perfectly capture his passion for the landscape. Whether sharpening his focus on
Celebrated for his masterful watercolours and his ablity to capture subtleties of colour, Bouvrie consummate skill was widely recognised and he was highly decorated in the Salons of his day. One of his legacies being the “Prix Henri Bouvrie” which is still awarded to this day. Bouvrie’s work is held in the permenant collections of the museums of Saint-Dizier, Troyes, Reims, Nancy, Vesoul and Soissons, and his paintings continue to been highly influential for subsequent generations of artists.
enri Bouvrie was a superb water colourist and print maker. He captured idyllic French landscapes and picturesque city views with unfailing accuracy and with a sensitive feel for each view, be it nature or manmade.
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“Gallery in
the Garden”
Following the success of our Chelsea at Home show last year, we are once again going to reopen the gardens of Molecey Mill and The Granary for your enjoyment this year. 24th-31st May - 10am-6pm Please book your tickets at www.moleceyestates.com
Nevill Holt Opera Summer Opera Festival 2021 Verdi's La traviata
Mozart's Don Giovanni
4, 5, 7, 8, 10 August 2021
19, 21, 22, 24, 25 August 2021
Enjoy outstanding opera in an innovative outdoor staging, beautiful gardens, and an exceptional collection of British art and sculpture at Nevill Holt Opera this summer. www.nevillholtopera.co.uk
INDEX Nick Bibby
p 78-81
William Henry Knight
p 48-49
Auguste Bouvard
p 52-53
Stewart Lees
p 86-87
Henri Bouvrie
p 102-105
Eugene Leliepvre
p 60-63
Alfred de Breanski Snr.
p 54-55
Clive McCartney
p 30-31
Peter van Breda
p 12-13
Ronny Moortgat
p 18-21
Paul S. Brown
p 88-91
Luis Muntane Muns
p 36-37
Yvonne Canu
p 26-27
Aris Raissis
p 46-47
Robert Chailloux
p 84-85
Georges Charles Robin
p 94-101
Dianne Flynn
p 34-35
Norman Rockwell
p 44-45
Andre Foneche
p 29
David Shepherd
p 70-71
Donald Hamilton Fraser
p 14-17
Peter Symonds
p 22-25
Simon Gudgeon
p 72-73
Martin Taylor
p 56-59
Louis Haghe
p 42-43
Kees Terlouw
p 50-51
Andre Hambourg
p 28
Edward Waites
p 66-67
Alexandre Louis Jacob
p 92-93
Pieter Wagemans
p 82-83
Clarissa James
p 68-69
Jonathan Walker
p 64-65
Jean Kevorkian
p 32-33
Kenneth Webb
p 74-77
George Goodwin Kilburne
p 38-41
Raymond Wintz
p 4-11
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