Our Collection
Beauty is worth creating, celebrating and preserving
The Art of Collecting
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s the Gladwell’s story enters its 270th year, we wanted to take the opportunity to thank and celebrate you, our valued collectors. We are forever grateful that you have found those special pieces that form your collection with our help. Our mutual trust and of course, our shared love of art have brought us together and we hope to have given you as much pleasure as you have given us. In conversation with many of you over the past few months we have delved deeper into your artistic passion and the stories of your own collections. One very kind collector wrote to us; “To even think of owning a painting from an artist that you have long admired is a dream… with Gladwell & Patterson’s help, it becomes a dream come true. To own a painting is a joy forever and it never ceases to amaze as to how happy you feel every time you gaze at it on a wall in your own home.” An enduring passion, joy and love of your artworks and collections has come across time and time again. This is what inspires us in our perpetual quest to unearth wonderful paintings and sculptures to help you realise your dreams of collecting.
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It is very easy to become immersed in our busy, complex lives and respond to the relentless, sensationalist news that we constantly get bombarded with. Fortunately we have the longevity and experience to maintain our sense of perspective. Art is created to be enjoyed for a lifetime and beyond, and as current custodians of our own pieces of art, we have no need for knee jerk reactions or panic. We can sit and enjoy the beauty in their creativity and in the works themselves. There is a wonderful resilience to the human spirit, and the time that we have been afforded allows us to reflect on what makes us happy. It has been incredibly satisfying to share in the passion that we see when you visit the galleries after time away and to see the joy and stimulus that art brings. As Rudyard Kipling wisely intimated to his son, life is a combination of success and failure, of joy and sorrow, of good times and bad times, and we should accept both and face both situations with similar treatment. In a world that sometimes seems to get more divided, it is art that reminds us of much of the beauty here and brings us together. After all, life can’t be so bad if you have some lovely art to enjoy. With my very best wishes, Glenn Fuller
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Henri Le Sidaner French, (1862-1939)
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contemporary of the Post-Impressionists, Henri Le Sidaner’s approach to painting was whole heartedly unique. The first generation of Impressionist painters, Claude Monet, Alfred Sisley and Camille Pissarro and Édouard Manet were highly influential to Le Sidaner, whose formative years occurred amidst the height of the Impressionist movement. At the age of twenty in 1882, Le Sidaner visited the seventh Impressionist Exhibition and became fascinated by the work of Claude Monet. Two years later his enthusiasm for the Impressionist style intensified after attending a retrospective exhibition of Édouard Manet. Le Sidaner’s work parallels that of Monet in terms of style as well as choice of motif; both artists would reiterate the same subject matter in all seasons and during all times of day in order to isolate the variations of light. The Impressionist technique of using short, fragmented brushstrokes and intensified colours was particularly suited to Le Sidaner’s desire to capture the nuances of natural light.
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Femme lisant dans un paysage Painted in 1898 Oil on Canvas 65 x 81.3 cms / 25 5/8” x 32”
Henry Moret French, (1856-1913)
La Récolte des Goémons à Névez Oil on Canvas 65 x 92 cms / 25.5” x 36”
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André Hambourg French, (1909-1999)
Deauville, Vent sur la Plage en Septembre Oil on Canvas 50.5 x 73.5 cms / 19¾” x 29”
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André Hambourg French, (1909-1999)
Beau Temps, Marée Basse à Deauville Oil on Canvas 27 x 46 cms / 10½” x 18”
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Pierre Bittar French, (born 1934)
Les Fleurs Sauvage Oil on Canvas 91.4 x 116.8 cms / 36” x 46”
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Jean-Baptiste Olive French, (1848-1936)
La Corniche, Malmousque
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Oil on Canvas 50 x 61 cms / 19¾" x 24"
View from the Cliffs, Marseilles, France
Oil on Canvas 43 x 55 cms / 17" x 21½" 15
Pierre Eugène Montézin French, (1874-1946)
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nspired by the popular subjects of haymakers and peasant workers, which had graced the Salon walls since the times of Jean-François Millet and Gustave Courbet in the mid nineteethcentury, Montézin delighted in capturing the natural landscape as he experienced it and figures, either working the land or at leisure are common themes throughout his oeuvre.
Throughout his career Montézin maintained an Impressionistic style but sought a greater freedom of expression in his use of colour and application of
paint, marking him out among the most influential Post-Impressionist artists of his generation.
Montézin’s naturalistic depictions of haymaking were highly lauded at the Paris Salon and in 1939 Montézin was commissioned to paint a vast fresco inside the Palais de Justice de Chambéry.
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Montézin’s landscapes are identifiable through their rich surface, composed using spontaneous brushstrokes of pure colour layered upon the canvas. The artists technique reveals the artists experimental nature and exemplifies Montézin’s instinctive use of both Impressionist and PostImpressionist techniques in his quest to capture nature as he experienced it.
Sous-bois à l’Autumne Oil on Canvas 60.5 x 73 cms / 24” x 28¾” £32,500
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Pierre Eugène Montézin French, (1874-1946)
Barques près des Arbres Oil on Canvas 66 x 54 cms / 26” x 21.5”
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Gustave Cariot French, (1872-1950)
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nspired by Monet’s famous studies of haystacks and the Rouen cathedral, Gustave Cariot was fascinated by the fluctuations of light and color brought about by the changing seasons. He devoted two series of paintings to exploring this theme. Entitled ‘Le Poème des Saisons’, with each picture representing a different month, these paintings were exhibited together at the 1903 Salon des Indépendants. It was there, as the artist’s correspondence reveals, that these pictures would
catch the eye of two of the most important collectors of the time, Serguei Dmitrievitch Cheremeteff and Armand Cabrol, leading to a surge in his popularity. Gustave Cariot was a largely self-taught French Pointillist and Impressionist artist born in the countryside near Paris. Inspired by the techniques of the Pointillists and Divisionists, he was to become a celebrated PostImpressionist painter whose work is gaining importance with every passing year.
Meules devant un Village, 1929 Oil on Canvas 50 x 65 cms / 20” x 26”
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Moissons au Soir
Oil on Canvas 47 x 79 cms / 181/2” x 31”
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Gustave Loiseau French, (1865-1935)
Gustave Loiseau circa 1904 Photograph Archives of Durand Ruel
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ne 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. Gustave Loiseau was born in Paris in 1865. In his youth, Loiseau became 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 family’s hometown of Pontoise in 1884. Located some twenty-five miles northwest of Paris, Pontoise was built on a hilltop, with the river Oise passing through it, elements which made it a highly picturesque environment in which to paint en plein air. In May 1890 the young artist travelled to Pont-Aven in Brittany to join the famous artists’ colony there. Largely untouched by tourism, Pont-Aven offered affordable accommodation to this group of artists who were drawn to the beauty of the surrounding countryside. The PontAven School soon developed an international reputation with artists enticed by the unique Bretagne characteristics of the natives and the landscape. Loiseau became companions with two older and more experienced artists; Henry Moret and Maxime Maufra with whom Loiseau would form a long lasting friendship. Under their influence, Loiseau embraced the use of bold colour and sought to expand and seek new aspects of the Impressionist style.
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 towns and villages outside Paris, from the Brittany coastline at Pont-Aven, to the small picturesque towns along the River Seine and the River Yonne. Like his Impressionist forebears, Loiseau was a champion of painting the landscape en plein air. By 1915 Loiseau had already enjoyed considerable success both in Paris and abroad, where he was emerging as one of the few artists that were able 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, called en treillis, which resulted in the supple and ephemeral quality for which his work is known. These later works, characterised by a homogeneous and yet vibrating colour structure formed through staccato-like brushwork, was developed from Loiseau’s influence of the pointillism of Seurat and Signac. Identifiable through a rich surface, composed using spontaneous brushwork as the pigment is layered upon the canvas, Loiseau’s later works reveal the artists 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.
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Gustave Loiseau French, (1865-1935)
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Painted in the winter months of 1899, Tournedos-sur-Seine, Gelée et Soleil was acquired by Loiseau’s Parisian art dealer, Paul Durand-Ruel, shortly after its completion.
Ruel wrote to Loiseau encouraging him to send these paintings directly to the Galerie Durand-Ruel where he assured the artist they would sell.
Renowned for fostering the talents of the Impressionists and the Post-Impressionists, Durand-Ruel supported Loiseau throughout his career. Correspondence between Loiseau and Joseph Durand-Ruel, the eldest son of Paul Durand-Ruel, reveals that the latter had visited the artist in early 1900 whilst he was staying in Saint-Cyr-du-Vaudreuil. During this period Loiseau painted a series of spectacular landscapes on the banks of the Seine at Tournedos-sueSeine, of which Tournedos-sur-Seine, Gelée et Soleil is one of the finest. Upon returning to Paris, Joseph Durand-
The evocative composition of Tournedos-sur-Seine, Gelée et Soleil depicts a winter’s morning in which the rays of the sun create a frosty shimmer across the tow path at Tournedos-sur-Seine. Loiseau’s vigorous, colourfully dappled brushwork is an example of the impeccable virtuosity of the Impressionist technique that Loiseau had achieved at the end of the 1890s, allowing him to capture not only the delicate effects of light, but also the transient mood of the atmosphere.
Tournedos-sur-Seine, Gelée et Soleil
Oil on Canvas 61 x 73 cms / 24" x 28.5” 25
Gustave Loiseau French, (1865-1935)
Les Peupliers depicts a vibrant landscape of the countryside surrounding the village of Nesle-la-Vallée where Loiseau lived from 1890. Painted in 1898 at this pivotal point in the artists career, this magnificent landscape represents the coming together of Loiseau’s greatest influences - the Pont-Aven School and Loiseau’s Impressionists forbears and reveals the young artists immeasurable talent and keen eye for observation through his ability to depict an atmospheric landscape through his application of paint. The motif of the poplar tree would appear frequently throughout Loiseau’s oeuvre and some of his most famous and highly regarded works are a development of the poplars that Loiseau captured at Nesle-la-Vallée in this majestic Les Peupliers of 1898. The paintings of Loiseau’s later years are characterised by the systematic exploration of a series of views of the same subject, a method deeply indebted to Monet, most notably Monet’s series of twenty-four views of poplars on the bank of the Epte in the spring of 1891. Focused upon a single compositional device, as Monet had achieved before him, Loiseau thoroughly investigated the different atmospheric conditions of one view point or landscape, capturing his subject in contrasting seasons. Identifiable through a rich surface, composed using spontaneous brushwork as the pigment is layered upon
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the canvas, this masterful painting reveals the artists 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 en plein air. Provenance Durand-Ruel, Paris. Private Collection, Switzerland. Sale; De Quay-Lombrail, Paris, France, 7th December 1995, Lot 13. Private Collection, New York. Michelle Rosenfeld Gallery, New York. Sale; Sotheby’s, New York, 14th May 1997, lot 147; sold by the above. Private Collection, New York. Gladwell & Patterson, London; acquired in May 2021 Exhibitions Galerie Durand-Ruel, Paris, Exposition de tableaux de M. Gustave Loiseau, 26th March – 9th April 1898.
Les Peupliers Painted in 1898 Oil on Canvas 81 x 65 cms / 32” x 251/2”
Gustave Loiseau French, (1865-1935) A startlingly vibrant painting, Tournant de Rivière, L' Eure was painted at the height of summer; the trees heavy with whispering leaves and pink flowers bobbing amongst the grasses gathered along the banks of the River Eure.
wealth of inspiration for a follower of the Impressionists. Furthermore, Vaudreuil was ideally situated on the train line that ran between Paris and Le Havre, which allowed a fast route to the city or the coast whenever the artist so required it. Loiseau painted the River Eure in all seasons and at various times throughout the day; veiled by the morning mist, infused with an autumnal glow or, as in Tournant de Rivière - Eure, in the bright sunshine of a warm summers day. This landscape, so loved by the artist, recalls the work of the Monet and Sisley in the themes and the manner that Loiseau has painted it, however Loiseau’s technique and innovative use of ‘en treillis’ brushwork adds a brilliant atmosphere and vibrancy to the composition.
The River Eure, a tributary of the Seine which runs between Normandy and Centre-Val de Loire in northwestern France, was a favoured theme to which Loiseau returned on many occasions throughout his artistic career. The River Eure is crossed by the picturesque village of Saint-Cyr-du-Vaudreuil, where Loiseau settled at the turn of the century with his wife Marie Michaud. Only a few kilometres from the River Seine, the area offered a 28
The broad expanse of the river in the foreground delights the senses as Loiseau superbly captures the rippling effect of a warm summers breeze blowing across the surface of the water. This still and serene landscape is animated by the movement of the gently rolling clouds in the sky, painted with longer, loose brushstrokes than their reflections in the water below, evoking the ambiance of a warm summers day. Short, swift brushstrokes dance across the canvas to the left, conveying the sway of the tall trees in the background. The palette of dusty pinks and peppermint greens accented with yellows, as the sun comes in between the trees to the right, gives brightness and spirit to the scene. Loiseau’s technique and the chromatic variety of his palette express an extraordinary ability to synthesise Impressionism and Post-Impressionism..
Tournant de Rivière, L'Eure
Oil on Canvas 73 x 92 cms / 28¾” x 36” 29
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Raymond Thibesart French, (1874-1968)
Raymond Thibesart’s ethereal landscapes won great acclaim in the French Salons in the early twentieth century. Born in the elegant town of Bar-sur-Aube, surrounded by gently rolling hills and the champagne vineyards of the Grand Est region, the beauty of the French landscape and the artistic possibilities that it evoked made a deep impression on the young Thibesart. In his early twenties Thibesart studied at the École des Beaux-Arts in Paris and later at the progressive Académie Julian under the tutorage of Jules Lefebvre and Tony Robert-Fleury, who introduced a strong element of symbolism into his work. Thibesart worked in pastel outdoors, allowing him to make rapid sketches of changing light effects and atmospheric qualities of the landscape. Within the tranquillity of his studio, Thibesart would then transfer the colours, movements and atmosphere captured in pastel onto large scale canvases whilst ensuring the spontaneity of his subject was never lost.
Printemps Oil on Canvas 65 x 81 cms / 25½” x 32”
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Fleur de Printemps Oil on Canvas 61 x 50 cms / 24" x 19½"
Raymond Thibesart French, (1909-1999)
Printemps sur les hauteurs de Vaux Oil on Canvas 50 x 61 cms / 19½" x 24"
Vallee de la Seine Oil on Canvas 50 x 61 cms / 15" x 18" 33
Les Laveuses près de Mont Saint-Père 34
Pastel 70 x 90 cms / 271/2” x 351/2”
Leon Augustin L'Hermitte French, (1844-1925)
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éon Augustin Lhermitte is celebrated for his paintings and pastel drawings of rural genre scenes of the French countryside. Lhermitte was greatly admired by fellow artists, including Auguste Rodin, Vincent van Gogh and Puvis de Chavannes. His innovative use of pastels towards the end of the nineteenth century brought the image of rural life and landscape into the twentieth century. From his early submissions to the Paris Salon in the 1860s and 1870s Lhermitte's compositions inspired by his hometown of Mont-Saint-Père were highly lauded by both the artistic establishment and his fellow artists. This tranquil village on the banks of the River Marne in in the Aisne region of central France, offered a wealth of inspiration to the artist throughout his career. The countryside and farmland surrounding Mont-Saint-Père provided Lhermitte's most famous motif of "The Harvest" for which he won recognition at the Paris Salon of 1874. The River Marne also provided much inspiration as Lhermitte regularly depicted the local washerwomen at work on the banks of the river outside the village.
Les Laveuses près de Mont Saint-Père is one of the finest examples of this genre. Executed in 1911, this painting reveals Lhermitte's mature style and complete mastery of his medium. Feathered strokes of pigment enliven the grasses and wildflowers on the riverbank, whilst the softly smooth surface of the river itself reflects the endless blue sky and village on the horizon beyond. Lhermitte sought great enjoyment in capturing images of everyday life which he saw around him, depicting them with a beautiful natural and distinctive technique and with the precise rendering of the tiniest details. Following the traditions of the Realist movement and in particular the paintings of JeanFrancois Millet, the washerwomen are captured under Lhermitte's delicate hand without any poise or planning. They are illustrated hard at work with the sun beating down upon them, surrounded by the blissfully calm landscape, evocative of the simple life in Mont-Saint-Père that Lhermitte so admired.
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Leon Augustin L'Hermitte French, (1844-1925)
According to Vincent van Gogh, the French artist’s secret was ‘that he knows the figure in general – namely the sturdy, severe workman’s figure – through and through, and takes his subjects from the heart of the people.’
Léon Augustin Lhermitte circa 1890
Jeune Fille Apportant Le Déjeuner, Moisson Oil on Canvas 33.5 x 41.5 cms / 13” x 16”
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Edward Seago British, (1910-1974)
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dward Seago was born in Norwich in 1910. At the age of eight, Seago was diagnosed with a chronic heart condition and much of his childhood was spent confined to bed. Despite his health issues, Seago was determined to become an artist, however his ailments prevented an art school education. Largely self-taught, the young and eager artist sought advice from Sir Alfred Munnings and Bertram Priestman. Under their guidance he quickly developed his skill and technique, painting rapidly with expressive brushwork, a skill he developed into a virtuoso talent. After settling in the Norfolk broads at Ludham in 1945, Seago, ever the eccentric, endeavoured to acquire a boat that would become his floating studio in which he could plan voyages over the English Channel to Holland,
Belgium and France, a dream he had been determined to accomplish for many years. His first vessel, The Endeavour, a converted naval sailing boat, was not the most reliable although Seago did manage to sail to Belgium in her in 1948. His second yacht, The Capricorn, awarded Seago many highly successful voyages between 1951 and 1967, allowing the artist to explore the French countryside as he sailed along the Seine from Dieppe to Paris. Painted from the tow path beside the Orne Canal in Amfreville, a quiet village near the coast of Normandy, The Lock at Amfreville, France perfectly captures the tranquillity that delighted Seago on his many French adventures aboard The Capricorn. These painting trips across the Channel inspired the artist to use livelier brushstrokes, a looser style and a palette of heightened intensity with a greater emphasis on pure colour. The Lock at Amfreville, France is a symphony of green, intensified against the bright blue of the sky. The figures on the sunlit path lead the eye into the picture and towards the lock reflected on the surface of the water in the distance. This beautiful painting is typical of Seago’s mature style, and his skill at capturing atmosphere with impressionistic brushstrokes. The composition is open and uncluttered, utilising the simplicity of composition and colour for individual expression and conveying Seago’s personal emotional response to nature.
Photograph of Edward Seago in his studio at the Dutch House, Ludham
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The Lock at Amfreville, France
Oil on Canvas 46 x 61 cms / 18” x 24” 39
Georges Charles Robin French, (1903–2002)
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ecognised as one of the best post-impressionist artists, Robin’s skill and complete command of his palette set him aside from his contemporaries. Combining his deft and delicate touch with vigorous, dramatic brush strokes and palette knife work, he produced exceptional paintings. Enthralled by the enchanting river valleys of rural France that flowed through the luxuriant countryside and rolling fields, Robin’s paintings perfectly capture rustic and typical French life. Feted by the French artistic establishment and his many patrons during his lifetime, the multitude of awards that Robin garnered for his work illustrates the acclaim in which he was held. Gladwell & Patterson had a close relationship with Robin for the last 50 years of his life and are acknowledged as the world experts on his work.
“On a post-war visit to Paris my father discovered the artistic talents of Georges Robin - the same visit on which he came across the work of Alexandre Jacob. Being in his fifties, Robin had already established himself as one of the foremost French artists of the day; he continued to go from strength to strength, culminating in the award of the Medaille d’Honneur by the Société des Artistes Français. Sadly in his late seventies Robin lost his sight, but he continued to release examples of his earlier work to Gladwell & Company until shortly before he died in his onehundredth year. His tonal values and his positioning of pure colours side by side on the canvas, each slightly altering the appearance of the other, remain his lasting legacy to future generations of artists. The numerous French museums who have examples of Robin’s landscapes in their collection are fortunate indeed. To cap it all, he was just the nicest man to deal with.” – Anthony Fuller
Saint-Cado, Morbihan Oil on Canvas 58.5 x 74 cms / 23” x 29” 40
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Sur Le Loing, Le Matin, Près de Nemours
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Oil on Canvas 46 x 55 cms / 18” x 21¾”
Georges Charles Robin French, (1903–2002)
La Sèvre Nantaise à l’entrée de Saint Laurent
Oil on Board 53 x 64 cms / 21” x 29”
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Été en Normandie
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Oil on Canvas 55 x 73 cms / 21½" x 28¾"
Georges Charles Robin French, (1903–2002)
La Sèvre Nantaise à Clisson Oil on Canvas 38 x 46 cms / 15” x 18”
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Georges Robin’s Awards and Honours 1937
Médaille d’Or, Exhibition Internationale.
1948 Médaille d’Argent du Salon des Artistes Français.
Moulin prés du Clisson
Oil on Panel 23 x 34 cms / 9.5” x 13”
Le Vieux Pont Oil on Panel 32.5 x 45.5 cms / 12¾” x 17¾”
1948
Premier Prix des Paysagistes du Salon des Artistes Français.
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Gold Medal, Paris Salon.
1954
Selected to be a member of the Jury, Salon des Paysagistes Français.
1954
Selected to be a member of the Jury, Salon d’Hiver.
1954
Selected to be a member of the Committee of Directors, Salon d’Hiver.
1954
Gold Medal, Salon des Artistes Français.
1954
Selected to be a member of the Jury, Salon des Artistes Français.
1954
Received the Hors-Concours, Salon des Artistes Français.
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Silver Medal, Salon des Artistes Français.
1958
Prize of the Town of Clichy.
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Prize of the Town of Asnieres.
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Premier Award, Salon du Printemps.
1960
Premier Award, Salon Levallois.
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Awarded Prix Taylor, Salon des Artistes Français.
1961
Awarded Bronze Medal, Salon des Artistes Français.
1961
Awarded Silver Medal, Conseil General de la Seine.
1961
Awarded Gold Medal, Société d’Arts, Sciences et Lettres. 47
Sur le Loire Oil on Canvas 53.5 x 65 cms / 21" x 25½"
Paysage du Nord Oil on Canvas 46 x 80 cms / 18" x 31½"
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Pierre de Clausade French, (1910-1976)
San Giorgio Maggiore, Venice Oil on Canvas 36 x 44 cms / 14½” x 17”
La Maison du Pecheur Oil on Canvas 56 x 102 cms / 22” x 40”
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Jean Kevorkian French, (born 1933)
Jean Kevorkian was born in Paris in 1933. He had no formal artistic training but is a self taught artist relying on his natural talent. Kevorkian excelled in the depiction of the French and British landscape and marine subjects. Extended stays in Brittany, Saint-Malo and their surroundings, as well as at Finistère in Brittany led to a widening of his artistic horizon. Enthralled by the enchanting river valleys the Ile-de-France, Kevorjian became renowned for his picturesque landscapes of the banks of the River Seine and River Oise flowing through the luxuriant countryside and rolling fields of rural France. Kevorkian was awarded numerous distinctions and exhibited his works in the great Salons in Paris, in various galleries around Europe and has had many one-man exhibitions around France.
Moret-sur-Loing Oil on Canvas 97 x 130 cms / 38” x 51”
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Jean Kevorkian French, (born 1933)
Le Saule Pleureur Oil on Canvas 91.5 x 72 cms / 36" x 28¼" 52
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Pieter Wagemans Belgian, (Contemporary)
“Every item has its own characteristics. You can see a thousand details, but you cannot paint everything you see. The art of omitting is very important.”
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White and Blue Campanula
Oil on Canvas 50 x 100 cms / 19¾" x 39¼"
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Pieter Wagemans Belgian, (Contemporary)
Last Summer Flowers Oil on Canvas 95 x 75 cms 37½” x 29½”
Spring Lilies
Oil on Panel 81 x 100 cms / 32” x 39½”
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Charles Perron French, (1893-1958)
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harles Clément Français Perron was born in Plessé, in the Loire-Atlantique. He commenced his art studies in Nantes, before moving to Paris and joining the Ecole Nationale des Beaux-Arts.
he travelled to meet Perron at his studio in Nantes. The two gentlemen hit it off and there began a rewarding lifelong friendship which has extended between the families through the generations.
His highly developed technical skills became his trademark, evident initially among his anatomical plates, used for teaching medical students. He continued to paint nudes and still life, the latter which he is probably best known for, combining his faultless technique with a soft muted palette. Whether his subject matter is the cottages of Brittany, a delicate still life or the nude female form, each of his paintings shows his complete mastery of shape and hue.
Perron’s studio was an ethereal and joyful place, full of light and beauty, and it is through Perron’s faultless technique and highly developed technical skills that he was able to translate all of this onto his canvases. With pure lines, reminiscent of Raphael and Michelangelo, and with compositions which draw comparisons from Chardin, Perron’s paintings drew acclaim from his peers, his patrons and indeed from the French establishment who awarded him many honours. Perron exhibited widely and gained several awards, including gold at the 1928 Salon and silver at the 1937 Exposition Universelle in Paris.
Gladwells have been championing Charles Perron’s charming paintings since the early 1930’s when Herbert Fuller first encountered Perron’s paintings on a visit to the Salon des Artistes Français for their Summer Exhibition in Paris. Herbert Fuller was so enchanted with the captivating depictions of rural French life, be they the intimate cottage scenes, the delicate still lifes or the beguiling nudes, that
He had a complete mastery of shape and of delicate hues, a wonderful sense of design and an expert command of his chosen medium. His paintings bring a sense of calm and joy to the viewer and their quality simply stands out.
Monnaie du Pape Oil on Canvas 60 x 73.5 cms / 24” x 29” 58
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Charles Perron French, (1893-1958)
Anenomes Oil on Canvas 24 x 19 cms / 9½" x 7½"
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Chardons Bleus Oil on Canvas 24 x 19 cms / 9½" x 7½"
Bouquet d’Hortensias devant la Fenêtre Oil on Panel 25 x 20 cms / 10” x 8”
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Stewart Lees British, (Contemporary)
“As I observe a still life grouping with ever deepening intensity, the objects, and the space they occupy, become a landscape with depth and atmosphere revealed through the play of light across forms, all firmly rooted within a plane.”
Risi e Bisi
Oil on Panel 40 x 50 cms / 16” x 20” £5,950 63
Lemon Parsley
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Oil on Panel 70 x 100 cms / 27½” x 39½”
Stewart Lees British, (Contemporary)
S
eeking to ‘turn the familiar into something extraordinary’, Stewart views the challenges of the genre of still life painting as being akin to those of portrait painting, combining a concern for surface detail with deeper understanding of the subject. ‘…just like the best portrait painters, I’m saying something much deeper about my subject. Far more than the monocular vision of a camera could ever hope to express.’ In every painting, Stewart strives to capture the essence and beauty of his model, be that a humble clove of garlic or a cracked and weathered clay pot.
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Kenneth Webb Irish, (Contemporary)
Fiesta Oil on Canvas 122 x 91 cms / 48” x 36”
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Kenneth Webb Irish, (Contemporary)
“One moves from a line, from a delicate stroke, to a point, to a patch ... just as one moves from a twig to a trunk of a tree. But everything must hold together, everything must be in place.” Nicolas de Staël
Cathedral Oil on Canvas 91 x 61 cms / 36” x 24”
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Kenneth Webb Irish, (Contemporary)
Nature’s Treasure Oil on Canvas 36 x 46 cms / 14” x 18”
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Summer Poppies Oil on Canvas 51 x 61 cms / 20” x 24”
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Boats on the Foreshore, Portskerra
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Oil on Paper 39 x 58 cms / 15½" x 22¾"
Donald Hamilton Fraser British, (1929-2009)
“Dream-Like Fields of Colour”
D
onald Hamilton Fraser was a master at capturing an array of subjects, from the natural landscape to vibrant still lives. He adored the expressive nature of paint and the striking juxtaposition of primary colours, often layering them onto the canvas with a palette knife to produce an almost collage-like effect.
Inspired by the Scottish Highlands of his ancestors, Donald Hamilton Fraser depicted this rugged landscape like no other artist. Captured in all its myriad guises, according to the fleeting effects of light and atmosphere, Fraser transformed the Highland landscape into vivid swathes of colour.
Overlooking Melvich Bay from Portskerra in the Highlands of Scotland, Fraser captures two fishing boats at rest on the foreshore in this vibrant painting. Facing straight into the teeth of the North Atlantic, the wild and spectacular headland of Melvich Bay juts out upon the horizon. This majestic oil painting displays Donald Hamilton Frasers subtlety of touch and his unsurpassable use of colour. This vibrant landscape makes one long to be stood upon the sand, with a gentle May breeze billowing across the gentle waves towards us as clouds pass
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Donald Hamilton Fraser British, (1929-2009)
"An Artist doesn't really choose what sort of pictures he paints. He paints what is there inside him. It is a sort of imperative."
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A Boat on a Foreshore
Oil on Canvas 61 x 76.5 cms / 24” x 30” 75
Smuggling off the Needles
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Oil on Canvas 51.5 x 76.75 cms / 20” x 30”
Montague Dawson British, (1895-1973)
O
ne of the greatest marine artists of all time, Montague Dawson was drawn to the lure of the open sea and was enchanted by the romantic history and the graceful design of the old sleek clipper ships.
During his time as a young naval officer in the First World War, Dawson combined his passion with his natural talent for drawing, and would spend the remainder of his life as a professional painter and illustrator. Dawson enjoyed painting magnificent clipper ships in battle scenes, in races and occasionally silhouetted alone against the horizon, almost as if he was painting a portrait of an old friend. He began exhibiting at the Royal Academy in 1917, was elected a fellow of the Royal Society of Arts in 1936 and later became a founder member of the Royal Society of Marine Artists. Dawson enjoyed the patronage of many influential figures of his day including President Lyndon B. Johnson and the British Royal Family.
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Montague Dawson British, (1895-1973)
Clearing Skies, The Sobron
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Oil on Canvas 61 x 92 cms / 24” x 36”
Flying Spume - the Adelaide
Oil on Canvas 81 x 107 cms / 32” x 42” 79
The British Ambassador mid-ocean under full sail
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Oil on Canvas 60 x 90 cms / 24” x 36”
Montague Dawson British, (1895-1973)
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Derek G.M. Gardner British, (1914-2007)
Gardner is widely considered to be the leading British maritime painter of the 20th century. Entirely self-taught, he became a master of his art with an unmatched skill for conveying the colour, luminosity and atmosphere of the maritime setting.
Gardner’s own life and upbringing was closely linked to the sea: his father was the Chief Engineer of the Clyde Trust and the Port of Glasgow, and he himself joined the Royal Navy Volunteer Reserve as a midshipman in 1934. During World War II, he served with the Royal Navy on armed trawlers and destroyers in the North Atlantic and in the Mediterranean Sea. He was mentioned in dispatches for distinguished service and left in 1948 with the rank of Commander. In 1988 the Royal Society of Marine Artists elected Gardner as their honorary vice-president for life. In 2005, as part of celebration of the bicentenary of the Battle of Trafalgar an exhibition of his work featuring a painting of every ship in which Nelson served, was presented in London. His work is included in several marine art texts and held in public collections including the National Maritime Museum, Greenwich.
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Sunrise: The Glory of the Seas in St. George's Channel, bound for Liverpool
Oil on Canvas 61 x 91 cms / 24” x 36”
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Derek G.M. Gardner British, (1914-2007)
The Battle of Camperdown, 12 October 1797
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Watercolour 30 x 54 cms / 11¾" x 19¼"
Sovereign of The Seas
Oil on Canvas 76 x 102 cms / 30" x 40"
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An Illustrious Deed Watercolour 34 x 51 cms / 13½” x 20”
U.S.S. Constellation vs L'Insurgente Watercolour 30 x 50 cms / 12” x 19¾”
Ronny Moortgat Belgian, (Contemporary)
The Battle Of Camperdown, 1797
Oil on Canvas 100 x 200 cms / 40” x 80” 87
Pierre Outin French, (1840-1899)
P
ierre Outin was born in Moulins in 1840. His father was a wealthy trader who did not approve of his son’s taste for drawing and painting and discouraged Outin’s interest in the subject at his High School. He was sent to work for the silk trade in England, an attempt by his father to remove the creative flair his son so clearly possessed. Upon his return to France he was hired into the silk trade in Paris, much to his father’s satisfaction. Unhappy in his forced employment, Outin emancipated himself from his father and left the trade. Under the encouragement of the artist Charles Joseph Lecointe, a highly lauded landscape painter and a close family friend, Outin joined the studio of Alexandre Cabanel. Under Cabanel’s tutorage Outin embraced the traditional academic style celebrated in the Paris Salon of the day. In 1863 Outin was awarded the first prize at the Académie des Beaux-Arts. Like many artists of his generation, he frequented the infamous Parisian café La Nouvelle Athènes, and became associated with Manet, Pissaro and Goeneutte, but his work retained its traditional style. In 1868 Outin submitted his first oil painting to the committee of the
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Paris Salon, and from this point onwards he became a regular Salon participant. His specialisation in historical scenes was favoured by the traditional Salon authorities and his genre scenes were adored by the public. During the Seige of Paris from 1870 to 1871 Outin settled in Auvers-sur-Oise on the edge of the city. In 1874, Outin travelled to Algeria, where he remained for many years, mesmerized by the African land, the colourful cities, luminosity and the oriental clothes. The experience of these new surroundings strongly influenced his work upon his return to Paris, his palette became richer with a greater use of lighter shades. As Outin’s style matured after his orientalist phase, his compositions were highly revered at the Paris Salon. During the 1880 Salon, the art critic Maurice du Seigneur recorded that Outin’s painting "Course d’Automne" was the main attraction. Following this phenomenal success, Outin was awarded many medals and was praised by the Salon critics. In his 1885 Guide du Salon Louis Enault, the French novelist, journalist and translator described that ‘there is no way to dream of a more charming escape from life’ than in Outin’s paintings.
The Flirtation Oil on Canvas 81 x 64 cms / 32” x 25”
Luis Muntane Muns Spanish, (1899-1987)
A Sunday Walk Oil on Panel 41 x 27 cms / 161/4" x 101/2”
An Elegant Promenade Oil on Panel 41 x 27 cms / 161/4" x 101/2”
Luis Muntane Muns Spanish, (1899-1987)
Victor Gilbert French, (1847-1935)
A Warm Welcome Oil on Canvas 56.5 x 46.5 cms / 22¼” x 18¼”
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Clovis Didier French, (1858-1939)
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La Lecture dans le Jardin Oil on Canvas 121 x 91 cms / 47½" x 35¾"
Feeding the Calves Oil on Canvas 30.5 x 36 cms / 12" x 14”
Harold Harvey British, (1874-1941)
H
arold Harvey was born in Penzance in Cornwall and is recognised as one of the leading painters of the Newlyn School. He is best known for his evocative landscapes, charming pastoral paintings of peasant life and fishermen in the harbour of the picturesque fishing villages surrounding his hometown of Penzance. Harvey’s father was a bank clerk, however against his wishes Harvey was determined to pursue a career as an artist and enrolled at the Penzance School of Arts under Norman Garstin. An Irish-born artist who settled in Cornwall, Garstin was, like many of his contemporaries, hugely influenced by Jules Bastien-Lepage, a painter who typified the principles of realism, working en plein air, and living within the communities where he was working. Under Garstin’s encouragement Harvey travelled to Paris to study at the pioneering Académie Julian from 1894 to 1896 where he studied under Benjamin Constant and Jean-Paul Laurens. From the 1880s to the early twentieth-century artists were drawn to the charming village of
Newlyn on the south coast of Cornwall. The colony of artists, with the Irish artist Stanhope Forbes as its head, quickly developed a national and international reputation as the Newlyn School. The local fishermen and farm workers provided a plentiful source of inspiration and subject matter and fellow artists flocked to the area attracted by the abundance of natural light and the purity of the Cornish air. Following his studies in Paris, Harvey returned to the family home in Penzance, and later settled in Newlyn in the very heart of this thriving artistic community. Harvey’s impressionistic style and beautifully captured scenes of rural life won him great acclaim. In 1896 Harvey was invited to exhibit at the inaugural exhibition of the Passmore Edwards Art Gallery in Newlyn alongside the likes of Forbes, Langley and Garstin. Two years later Harvey’s first work was exhibited at the Royal Acadmey in London and he continued to exhibit at the Academy as well as at Institutes and Academies in Birmingham, Liverpool, Glasgow for the rest of his highly successful career.
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Hans Hamza British, (1879-1945)
H
ans Hamza was born in Vienna and is recognised for his charming and highly detailed genre paintings and still lifes. Hamza inherited his artistic skill from his father Johann Hamza, a leading exponent of Viennese genre painting, which was hugely popular in Vienna in the 1880s. Hans Hamza studied at the Vienna Academy of Fine Arts before joining his fathers’ studio and perfecting his skill in depicting figurative and interior scenes. Famed for intimate portraits of female sitters, Hans Hamza was deeply inspired by the masterpieces of the Dutch Golden Age. He captured a humble peasant girl with the same elegant attention that he gave elite Viennese upper class beauties, often sitting poised to the side, either reading, embroidering or flower arranging, bathed in a warm light in the manner of Johannes Vermeer. Hans Hamza also depicted jovial gentlemen and peasants in a tavern or sat by the hearth. He delighted in capturing the finest details in all his subjects, rendering an abundance of texture and form within each masterful evocation.
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The Flower Girl Oil on Panel 19 x 14 cms / 7½” x 5½”
What can we see ? Oil on Canvas 56 x 90 cms / 22” x 36”
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A Moment’s Rest Oil on Canvas 51.5 x 90 cms / 20¼” x 36”
Adam Emory Albright American, (1862-1957)
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Sir William Russell Flint British, (1880-1969)
"Known for his remarkable technical watercolour skill, the work of Sir William Russell Flint hangs in collections and galleries around the globe"
K
nown for his remarkable technical watercolour skill, Sir William Russell Flint also painted in oil and tempera and produced fine drawings, etchings and book illustrations. Many will be familiar with the wide variety of his subject matter, which spanned picturesque gypsies and sensuous nudes, to luminous landscapes and seascapes of Scotland, France, Italy and Switzerland. He began his artistic career working for the Illustrated London Newsfrom 1903 to 1907, and as an illustrator his true renown arose from his illustrations of the 1912 version of Chaucer's Canterbury Tales and in 1924 he illustrated a new edition of Homer's The Odyssey. In the pre-war period, Flint and his wife rented a studio in Rome and it was in Italy that the artist
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discovered the charm and beauty of the watercolour medium. Flint fought in the First World War and after being decommissioned he travelled to Scotland, France, Italy and Spain, where he produced wonderful watercolours and drawings reflecting the local culture and customs. In 1962, almost at the end of his career, his genius was internationally acclaimed by a solo exhibition at the Royal Academy of Art, of which Flint had been a member since 1933. His widely recognisable work is still sought out and well-collected to this day, and examples can be viewed in major institutions including the British Museum, and the Victoria & Albert Museum.
Interior at Auticamp
Watercolour 38.5 x 57 cms / 15” x 22”
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Summer Rockpools
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Oil on Canvas 37 x 47 cms / 14½” x 18½”
Dorothea Sharp British, (1874-1955)
D
orothea Sharp was a British landscape painter. She studied at the Art School in Richmond under Charles Edward Johnson, and at the Regent Street Polytechnic working under Sir David Murray and George Clausen, and later studied in Paris. During a visit to Paris in 1900, Sharp saw first-hand the work of the Impressionists which had a profound and lasting effect on her work. Not only was Dorothea Sharp influenced by the work of the Impressionists, she also came to know and love the work of some of the American painters who were in Paris at the same time. Notably, Frank Benson (1862-1951) and Carl Frieseke (1874-1939). In the 1920s and 30s Dorothea Sharp travelled widely in Europe, visiting the South of France, Italy, Spain and Portugal. She worked within the tradition of the French Impressionists, and similarities with Monet can be seen in her treatment of light and colour. During her regular summer visits to St. Ives in the 1920s she began depicting playful scenes of children, often playing on the beach. Sharp’s charming depictions of children are now her most celebrated works. Spontaneous
brushstrokes, the use of glowing colours, and the clarity of light define her as a significant figure in twentiethcentury British painting. From 1901 to 1948 she exhibited at the Royal Academy. She exhibited at the Royal Society of British Artists in 1907 and was elected member the same year. She also exhibited at the Society of Women Artists, becoming a member in 1922 and in 1932 she served as their Vice President. Sharp was elected an honorary member of the St. Ives Society of Artists and in the late 1930s she settled there for a few years and exhibited alongside artists such as Dame Laura Knight and Stanhope Forbes. Manchester City Art Gallery, The Laing Art Gallery and the Museum of Newcastle upon Tyne hold examples of her work. In the mid 1940s Sharp returned permanently to her Blomfield Road studio in London, where she remained until her death in 1955. Alongside her contemporary Dame Laura Knight, Sharp was a pioneer of British Impressionism.
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Dorothea Sharp British, (1874-1955)
On the Jetty Oil on Canvas 62 x 74.5 cms / 24½" x 29½"
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Édouard CortÈS French, (1882-1969)
Gare de l’Est, Paris
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Oil on Canvas 36.5 x 44.5 cms / 14¼” x 17½”
Marché aux Fleurs, Place de la Madeleine, Paris
Oil on Canvas 46 x 76 cms / 18” x 30” 109
Édouard CortÈS French, (1882-1969)
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Boulevard Bonne Nouvelle, Soir de Neige, Paris Oil on Canvas 39 x 55.5 cms / 15¼” x 22”
Place de la Madeleine Oil on Canvas 33 x 46 cms / 13” x 18”
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H
elen Bradley began painting her unique and charming storytelling scenes at the age of sixtyfive. She painted in order to show her grandchildren what life was like when she was a child.
Helen Bradley British, (1900-1979)
W Characterized by the frank and uninhibited outlook of a young child, her bright, teeming pictures and her own delightful narrative, memorably reflect that gentle period. Helen's creativity and story telling brought to life a world of wonderment. Her characters progress from painting to painting, and those paintings are full of fun and frivolity. Historic and interesting snapshots of her formative life, where the colours are vivid and the memories are silver- lined.
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aiting at Liverpool to go to the Isle of Man, Father decided we should all go for a holiday to the Isle of Man. He said the sail and the pleasant air of the Island would do us good. George and I were a little afraid of the paddle steamer. It made such a noise. Grandma and the two aunts and the dogs, Gyp and Barney, came with us, so also did Miss Carter (who wore pink) and Mr Taylor (the Bank Manager). I heard the aunts' whisper that perhaps, with the journey across the water being so romantic, Mr Taylor might propose to Miss Carter, but he was most attentive to Aunt Frances and Aunt Charlotte in turn which made our holiday most enjoyable and the year was 1906. Helen Layfield Bradley
Waiting at Liverpool to go to the Isle of Man
Oil on Canvasboard 46 x 61 cms / 18” x 24” 113
Helen Bradley British, (1900-1979)
“Dear Me”, cried Miss Carter (who wore Pink), “Jane’s talking to the Policeman” Oil on Canvas laid on board (A Diptych) Left side: 61 x 66 cms, 24” x 26” / Right side: 61 x 52 cms, 24” x 20½”
“Dear Me”, cried Miss Carter (who wore Pink), “Jane’s talking to the Policeman” and Mother, the three Aunts and Grandma (and the dogs Gyp and Barney) were all outside James Alfred Buckley’s Chemist Shop. We were late coming home from visiting Great Aunt Jane up Springhead and Aunt Frances was in a hurry to speak to James Alfred (they had a secret understanding) so George and I were forgotten and being small we got caught in the rush of mill workers hurrying home. George started to cry “Mother, where’s Mother?”, I can hear the Thing which lives up Springhead roaring and it’s coming nearer. It will bite all of our heads off “Dear Dear”, said the kindly mill women, “What shall we do with these poor Children,” but big Joe the P.C. soon heard George and we hadn’t far to go before reaching home and the year was 1906. Helen Layfield Bradley
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Helen Bradley British, (1900-1979)
“Oh! The Pot Market's arrived. George and I were delighted. We knew that grandma, mother, the aunts and Miss Carter, (who wore Pink) would stop and look at all the Pots and buy something, although they hadn't brought bags with them, "Because", they said "the market's earlier than usual". The Pot Markets only came about once every six months and they were exciting. All the men showing their wares and some offering a huge clothes basket full of pots for very little money. We are on our way to visit Great Aunt Buckley who, alas, George and I didn't like, so by the time all the pots had been looked at and we'd walked quite a long way, there wouldn't be much time to spend at Great Aunt Buckley's and the year was 1907.” Helen Layfield Bradley 1975
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“Oh! The Pot Market's Arrived ” Oil on Canvas laid on board 39.7 x 49.5 cms, 15½” x 19½” 117
Willem Dolphyn Belgian, (1935-2016)
The Fruits of Summer Oil on Canvas 80 x 102 cms / 31½” x 40”
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The Water Seller Oil on Panel 47 x 32 cms / 18½” x 12½”
Aris Raissis Greek, (Contemporary) “There is more to art than simply trying to compose an image. The actual process of creating an image is just as important as its outcome and the ability to observe the world in a unique manner, may introduce greater sensitivity and maturity to the work.” - Aris Raissis Working in oil paint, charcoal and pastels, Aris’ work as a whole is underpinned by a continuing fascination for expressionism and realism, as ever evident in his sensitive portrait interpretations. Referencing artists such as Van Dyke and Rembrandt, Aris’s consistent aim is to apply the techniques of the Old Masters, whilst addressing contemporary subject matter. In 2010 Aris became the Artist in Residence at the Leighton House Museum. More recently, Aris was commissioned to paint a portrait of the philosopher Professor William Emmanuel Abraham for All Souls College at the University of Oxford in 2018.
Lear Oil on Panel 41 x 30.5 cms / 16” x 12”
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Peter Van Breda British, (Contemporary)
“My painting is about atmosphere and light and the mood that you are trying to get when you walk through the streets. Trying to find that balance of light is what excites me.”
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Morning Light, Waterloo Bridge, London
Oil on Canvas 50 x 100 cms / 19¾" x 39½"
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Peter Van Breda British, (Contemporary)
Morning Light, Royal Courts of Justice Oil on Canvas 55 x 46 cms / 21½” x 18”
Embankment towards The London Eye Oil on Canvas 33 x 55 cms / 13" x 21½"
P
eter van Breda is one of Britain’s leading en plein air painters. Dedicated to working outdoors, Peter’s enthusiasm for painting is driven by his excitement at capturing the light, mood and atmosphere of a scene on canvas. Light reflecting on water and the bridges of London that cross the River Thames have always been of foremost interest to Peter in his painting. He first came to us in the City at Gladwell & Co where he charmed the gallery with his scenes of St. Paul’s Cathedral and Tower Bridge, amongst others. Peter’s mesmerising impressionistic landscapes of London, Venice and Paris have since amassed a large following of dedicated collectors who delight in his record of these cities as they know it, in all weathers and at all times of day.
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Eugene Galien-laloue French, (1854-1941)
Place du Théâtre
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Watercolour and Gouache 19 x 30 cms / 71/2” x 121/2”
Brocante
Watercolour and Gouache 19 x 30 cms / 71/2” x 121/2”
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Venetian Gold
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Signed Marc Aldine Oil on Canvas 60 x 81 cms / 24” x 32”
Auguste Bouvard French, (1875-1956)
"One of the greatest seagoing mercantile cities, Venice's beauty and richness is founded with water"
T
he Earth is a watery place, over 70 percent of the surface of the planet is water, and the oceans hold about 95 percent of all Earth’s water. The seas and oceans provide the water for life on land. From the atmosphere to the skies water falls to nourish everything it comes in contact with. Humans first took to the water around 60,000 years ago. The quest for exploration, adventure and movement had started. Harvesting the seas for fish had begun and whaling started in pre-history, around 6000 B.C. Romans and Egyptians traded and fought from rivers and seas which have huge importance for civilisation. The Nile flows for over 4000 miles and saw people along its banks develop art and agriculture. One of the greatest seagoing mercantile cities is Venice.
Developing markets in India and Arabia, it fired economic growth across Europe from the Middle Ages. Venetians created trading routes across seas and oceans and the wealth that returned built some of the finest and most gracious of Palazzos and civic buildings. For Christmas, I have taken home this painting by Beraud. Painted under his real name, before his fame and the creation of his pseudonym Bouvard. This wonderfully vibrant painting allows me to travel along the canals and waterways of historic Venice. To smell and hear the sounds of daily life, business and markets the exotic trade in spices. To hear the excitement of new discoveries and people from far afield. Today the city floating on the sea enchants and beguiles the visitor as much today as through history.
Venice, which is situated at the far end of the Adriatic Sea, was once the richest and most powerful sea going city at the heart of Europe.
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Auguste Bouvard French, (1875-1956)
Venetian Reflections
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Oil on Canvas 61 x 89 cms / 24” x 35”
Les Barques
Oil on Canvas 55 x 65 cms / 21½” x 25½”
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Alexandre Louis Jacob French, (1876-1972)
We have been championing the work of Alexandre Louis Jacob since my grandfather Herbert Fuller came across his work at the Paris Salon in 1954. Discovering the quality of this superb artist who was highly decorated by the various French artistic institutions, we have been collecting his work ever since. Jacob has become one of our most sought after artists and has formed the basis for many of our collector’s collections. “We were looking for a painting, no clear ideas, but here were these wonderful representations of a time and place so far removed from the bustle of our everyday – French rural life. We came away with what was the first of several paintings by Alexandre Louis Jacob. All of his paintings have a common theme of a sky, a house, a toiling worker, often hauling nets into a boat, and a river with trees. But it is his ability to catch the mood of a season and time of day that I love. He was very good at pinning that mood to a board or canvas that later emits it endlessly into our home. Each painting is a little window of ingress for the beam of mood from a distant time and place, existing nowhere else. They are so atmospheric, they make me want to put my coat on to look at.” “I first came across Alexandre Louis Jacob at a Gladwell’s exhibition of large and small paintings by the artist. I loved his gentle, peaceful, scenes often with minute figures so skilfully portrayed that a few brush strokes a couple of millimetres long clearly showed a boatman about to cast off, or a man bent over a horse securing its harness with sun warming part of his back.” - Discerning Collectors
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Winter in Asnières Oil on Board 33 x 41 cms / 13” x 16”
Alexandre Louis Jacob French, (1876-1972)
Pêcheurs, Bord de Seine Oil on Panel 27 x 21.5 cms / 10¾” x 8½”
Lever de Soleil sur la Neige
Oil on Canvas 50 x 55 cms / 20” x 21¾” 135
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Pêcheurs sur le Marais Oil on Panel 23 x 26 cms / 9” x 10”
Alexandre Louis Jacob French, (1876-1972)
La Digue au Marais Oil on Panel 63.5 x 81 cms / 25” x 32”
Temps Gris, Bords de Riviere Oil on Panel 25 x 27 cms / 9¾” x 10½”
Peter Symonds British, (Contemporary)
“Peter Symonds’ paintings of Cornwall beaches and Scottish landscapes are breathtaking in their composition and un-matched in their use of colour and light. He is a master of his craft, and my only regret is not buying some of his other works. No one who has seen his paintings on my walls has ever passed by without a small gasp of wonder and with a comment; 'surely that must be a photograph? It looks so realistic!’” - A Discerning Collector
Isles of Eigg and Rum from Arisaig, Scotland Oil on Canvas 401 x 87 cm / 16¼" x 34¼"
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Dawn Light, The Cuillin from Sligachan, Isle of Skye Oil on Canvas 63.5 x 119.5 cms 25” x 47”
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Peter Symonds British, (Contemporary)
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Peter Symonds British, (Contemporary)
Ben Nevis Oil on Canvas 25.5 x 61 cms / 10” x 24”
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Alfred de Breanski Snr. British, (1852-1928)
Sunset over a Highland Loch, Benmore Oil on Canvas 76 x 127 cms 30” x 50”
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Alfred de Breanski Snr. British, (1852-1928)
Benmore
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Oil on Canvas 51 x 76 cms / 20” x 30”
A Highland Stream at Sunset
Oil on Canvas 51 x 76 cms / 20” x 30”
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George Edward Lodge British, (1860-1954)
A Golden Eagle Perched on a Rock Oil on Canvas 48 x 35.5 cms 18” x 14”
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Sir Alfred James Munnings British, (1878-1959)
S
ir 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. This led to his deepening interest in the equine world that would later propel him into becoming the foremost English twentieth-century painter of sporting pictures. His love for the East Anglian landscape and its rural pursuits encompassed the enthralling world of gypsy travellers as well as that of hunting and horse racing, offering Munnings a wide range of subject matter that would tie in with his passion for landscape and horses. Munnings was an entrenched traditionalist, who in his later career would take a strong stand against ‘Modern Art’ but in his early work his style is clearly influenced by the Impressionists with its flickering light and quick, expressive brushstrokes.
A Huntsman and Hounds Oil on Canvas 55 x 57 cms / 211/2” x 221/2”
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Sir Alfred James Munnings British, (1878-1959)
Sir Alfred James Munnings is acclaimed as the greatest equestrian artist of the twentieth century, being recognized specifically for his energetic hunting and sporting scenes. A figurative painter who outwardly rejected Modernism, Munnings’ style and brushstrokes were influenced by Impressionism, using naturalistic colours to depict the English countryside and surrounding areas. Painted whilst Munnings was living in Cornwall in 1913, December Morning, Cornwall depicts a huntsman surrounded by his scampering, eager dogs trotting along the Cornish lanes in the crisp morning sun of a winter’s day. Munnings captures the limitless rolling landscape of the area around Zennor in December Morning, Cornwall. The distant sea is visible upon the horizon and the deep, tree-lined valleys are painted in bold blocks of colour, while the horse and rider are lit up in the crisp, bright morning light. An active member of the Western Foxhounds at Zennor, this exquisite painting represents Munnings passion for riding, the hunt and also the beauty of the windswept Cornish landscape.
December Morning, Cornwall Painted in circa 1913 Oil on Canvas 51 x 61 cms / 20” x 22”
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Paul S. Brown American, (Contemporary)
French Onions 154
Oil on Canvas 46 x 76 cms / 18” x 30”
Wild Turkey Oil on Canvas 137 x 107 cms / 54” x 42”
Paul S. Brown American, (Contemporary) “Things can just fall into place when I’m making a painting. Occasionally when I’m walking the dogs round a corn field near our house I see a man putting out his decoys and looking like he’s having a very good time. It puts me in mind of the old homestead corn fields where I grew up, and how you’d come across a hunter from time to time, or a turkey buzzard picking at their leavings.
Leather and brass are always fun to paint, especially as fall comes round. I found the decoys at our local market and, maybe because of our walks, I liked the idea of them for a painting. They’re old fibreglass and handpainted. The modern ones are more realistic but I like this half-shell, worn-down appearance and the craft that went into making them. They make me think of a nice day spent outside with a tough target.”
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Grey Grouse Morning
Oil on Canvas 61 x 80 cms / 24” x 31½” 157
Paul S. Brown American, (Contemporary)
Screaming Eagle 2007 Oil on Canvas 60 x 90 cms / 24” x 34”
Cropwell Bishop Stilton and Château Haut Brion, 1982 Oil on Canvas 61 x 71 cms / 24” x 28”
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Paul S. Brown American, (Contemporary)
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Sassicaia
Oil on Canvas 86 x 117 cms / 34” x 46”
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Paul S. Brown American, (Contemporary)
Paul S. Brown American, (Contemporary)
Tiger Oil on Canvas 85 x 186 cms / 33.5” x 73”
Martin Taylor British, (Contemporary)
“And then I begin to see the first falling leaf, but no then another. So Autumn has begun It takes seconds to see them, hours to draw them and then weeks, months and years to bring a few seconds to full realisation.” - Martin Taylor
Under the Shadow of the Great Oak
Oil on Canvas 50 x 60 cms / 19¾” x 23¾”
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Martin Taylor British, (Contemporary)
Lost Wood and Snow on Brampton Fields
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Oil on Canvas 51 x 76 cms / 20" x 30”
First Shades of Summer Oil on Canvas 60 x 50 cms 24” x 20” 167
Walter Dolphyn Belgian, (Contemporary)
Sold! Oil on Panel 50 x 60 cms / 19¾” x 23¾”
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The Princess and the Frog, Chapter IV (a Frog in a suit is still a Frog)
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Oil on Panel Each panel: 12 x 12 cms / 4¾” x 4¾”
Walter Dolphyn Belgian, (Contemporary)
What’s on an Artist’s Mind: ‘’Martha, Can you please stand still for a moment?’’
Oil on Panel 16.5 x 23 cm / 6¼” x 9”
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Simon Gudgeon British, (Contemporary)
Origins Bronze (Edition of 7) 350 x 30 x 40 cms 138” x 12” x 15¾”
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“A work of art is a way of working on very private feelings about behaviour and the way life is. Origins, came from a beautiful abstract shape, an 'S' curve. It was moulded into the shape of a bird, but unlike Reflection and Serenity which are inward-looking and contemplative, this one is looking the the Universe, trying to understand the reason for our existence: where we have come from and whre we are going. The bird is making a silent scream in solitude, not enlightened but accepting of its fate; acknowledging its significance in the order of the Univers; searching for something more than mere existence”
Simon Gudgeon British, (Contemporary)
As Kingfihsers Bronze (Edition of 12) 182 x 85 cms 71” x 331/2”
Chase Bronze (Edition of 7) 275 x 290 x 150 cms 108” x 114” x 59”
Simon Gudgeon British, (Contemporary)
O
ne of Britain’s leading contemporary sculptors, Simon Gudgeon has a signature smooth-style that marvellously concentrates spirit and nature. His minimalist, semi-abstract forms depict both movement and emotion captured with a visual harmony that is unmistakably his own. Nestled in 26 acres of Dorset’s glorious countryside lies Simon’s “Sculpture by the Lakes”. It is an oasis for art lovers and collectors alike. Simon’s vision was to create an environment for enthusiasts that blends nature’s beauty with inspiring works of art free from the constraints of enclosed spaces of a traditional gallery. The sculpture park has been carefully landscaped and curated to ensure each piece is positioned to enhance its aesthetic qualities as well as the visual surroundings.
Thoth Bronze (Edition of 6) 250 x 150 x 100 cms 981/2” x 59” x 391/2" Embrace Bronze (Edition of 5) 270 x 210 x 210 cms 106” x 83” x 83”
176
177
Peregrine II: “Lightning Bolt” Peregrine (Lightning Bolt) Bronze (Edition of 15) 81 x 46 x 25 cms Bronze (Edition32" of 15) x 18" x 10" 81 x 46 x 25 cms £17,500 32" x 18" x 10"
Nick Bibby British, (Contemporary)
“In a flash”
T
he idea for a new piece often ticks away in the background for years, even decades, before emerging into the light of creation. Sometimes inspiration comes almost instantly. The birth of Peregrine II: “Lightning Bolt” was a combination of both. I had in mind to sculpt another Peregrine for years, but without a clear vision of the finished sculpture. The spark ignited when I was given a copy of The Peregrine by J. A. Baker. The cover showed a stooping Peregrine. The image of that bird was the last thing I saw each night before sleep… suddenly, I knew exactly what I wanted to create! First task was to construct a poseable, supporting armature, using aluminium wire, wood and copper sheet. Measuring everything. Cutting, shaping and assembling dozens of accurate “feather blanks” for the wings and tail, fitting them to the body of the armature, posing, and attaching it to a steel support. Starting to add oil-based, modelling clay, building up the basic anatomy and form. Then, a personal thing, I take the head off. I find it easier to sculpt the fine details of the head free from the body. Once the head is re-attached, it is time for the final stage of sculpting. My favourite - that of slowly refining the form, adding subtle little details and touches that bring my subject to life. A hint of muscular tension here, a tiny fold or flick of a feather there. Then it is time to step away, give myself a couple of days “distance” to look objectively at the finished sculpt, and if I’m still happy, deliver it to the foundry, to be cast into bronze. 179
Woman Encircling her Baby Leguna Verde Marble 58 x 85 x 65 cms / 23” x 33½” x 25½”
Stella Shawzin South African, (1920-2020)
Mother & Baby X Portuguese Pink Marble 54 x 97 x 56 cms / 21" x 38" x 22"
Nursing Mother Bronze 17 x 38 x 21 cms / 7” x 15” x 8”
181
David Shepherd British, (1931-2017)
Rhinos Painted in 1997 Oil on Canvas 25 x 41 cms / 10" x 16"
Three Buffalo Painted in 1997 Oil on Canvas 25 x 41 cms / 10" x 16"
Black Rhino
Oil on Canvas 71 x 112 cms / 28” x 44”
183
The Threatening Bull
184
Oil on Canvas 49 x 98 cms / 19¼” x 38½”
David Shepherd British, (1931-2017)
"Above all it is David's love of the animals that shines through in his paintings"
I
have been fortunate enough to have spent a bit of time travelling around Africa as a child and in my family, I have the title of ‘chief spotter’. This meant that it was my responsibility to sit at the front of the safari truck and be on the lookout for wild animals. I would spend hours looking out across the beautiful African terrain, hoping that I would catch a glimpse of an animal staring back at me.
and natural skills of painting. The impasto detail of the dense vegetation in the foreground is dynamic and passionate, filled with a multitude of colours. The immediacy of the brilliant brushwork and observations bring the work to life and you feel if you are in the bush with the artist.
I have chosen this painting as it reminds me of these treasured memories, as well as my love of travelling. With the current lockdown restrictions, a lot of us have been unable to enjoy our favourite winter getaways so we are very lucky to have such beautiful paintings that can transport us to these places and provide a sense of escapism (without needing our passports)! One of the reasons I think David Shepherd is so talented is because he always manages to capture the personalities of his elephants, almost as you would expect if the sitter was human. These ancient beasts have a timeless elegance and stature about them. Their wrinkled skin and oversized features have a slightly comic nature, something so different from anything else we can see today.
Gladwell & Patterson has had the privilege of displaying David’s superb paintings over the decades and this painting would be a handsome addition to any collection.
To me, this painting in particular shows off David’s instinctive 185
The Big Five
186
Painted in 1970 Oil on Canvas 86.5 x 142 cms / 34” x 56”
David Shepherd British, (1931-2017)
Glorious Tiger
Painted in 1975 Oil on Canvas 46 x 88 cms / 18” x 34”
187
David Shepherd British, (1931-2017)
D
avid Shepherd’s distinctive style and inspiration stems from a personal attachment with the animals of Kenya. 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. David was a celebrated artist and conservationist for which he is remembered today.
David Shepherd working on a new painting, circa 1980
David Shepherd surrounded by Elephants in Tsavo National Park
David’s technique of combining photorealism with his broad impressionist technique and his impeccably accurate palette instantly strikes a chord with the viewer. Above all it is his love of the animals that shines through in his paintings. It is this passion, clearly evident in his work, that creates an instant empathy with his audience. 188
Gladwell & Patterson have long championed David’s artistic and charitable work, across the three generations of the Fuller family. Our 268 year old gallery has been privileged to display David’s superb paintings over the decades. Together with the David Shepherd Wildlife Foundation, the gallery held the first retrospective exhibition of David’s work after his death in January 2019. The exhibition raised awareness and funds for the Foundation's continuing work with a percentage of proceeds from the sale of the paintings during this exhibition donated to the Foundation for educational projects in Zambia.
In the Scrub
Painted in 1963 Oil on Canvas 79 x 122 cms / 31” x 48”
189
Edward Waites British, (Contemporary)
“ My bronze sculptures are shaped by my passion for the vitality, energy and grace of my subjects”
“I adopt a very hands on approach from start to finish with my work from the miniature pieces you can hold in the palm of your hand to the 9 foot horse head in the making this year. I think its vital to be heavily involved in the whole process and I work on every stage from armature to finished bronze.” 190
Gorilla
Bronze, Edition of 12 40 x 30 x 16 cms 15¾” x 12” x 6¼”
Lion Duo
192
Bronze, Edition of 12 60 x 30 x 45 cms 23¾” x 12” x 17¾”
Edward Waites British, (Contemporary)
The Process: Concept: • I wanted to create a piece depicting two male lions with the emphasis on the competition to be the head of the pride. An older male lion on top and currently head of the pride and a younger male hungry to compete for his position.
Stages: • Initially make a skeletal steel and aluminium frame to add the clay to. Leaving the work loose to create life and energy in the piece. • Once the clay is finished I then send the piece to my mould maker to create a complex rubber and fiberglass mould. • A wax replica is taken from this mould by pouring in hot wax and leaving it to set. • The wax is then chased to clean the joins and cut up into sections. • These sections are 'run up' into a wax plumbing system that allows the channels of bronze to fill the mould but also to let all the gasses out when the molten bronze is poured.
• This wax structure is dipped in ceramic slurry over a period of time to thicken up and create another mould. • This ceramic mould is heated up to melt and release the wax from the inside. • This mould is then ready to take the molten bronze which is poured in at 1150 degrees centigrade. • Once left to cool the ceramic mould is broken off to reveal the bronze sections. • These sections are cleaned up and welded back together to create the final positive sculpture. • The final stage is to apply the patina to the sculpture.
193
Peter Pharoah South African, (Contemporary)
Dube
194
Oil on Canvas 115 x 115 cms 45¼” x 45¼”
I
have a passion for Africa and its people. The heat, dust and textures are my inspiration and the beauty, strength and pride of the people make interesting subjects, their faces providing a vehicle to portray a feeling of Africa. My wildlife, seascapes and abstracts are created with the same strength, colour and energy as the African tribes; all these subjects characterise the warmth and strength of the African continent.
End of Days
Oil on Canvas 115 x 115 cms 45¼” x 45¼” 195
Ewoud De Groot Dutch, (Contemporary)
Out of the Mist Oil on Linen 110 x 110 cms 43¼” x 43¼”
Descending Owl Oil on Linen 100 x 100 cms 39½” x 39½”
"To me, as an artist, producing a good painting is about exploring all the different facets of composition, colour and technique and not just reproducing an image in a photorealistic way. Although I consider myself a figurative painter, I always try to find that essential balance and tension between the more abstract background and the realism of the subject(s). In a way you could say that I am on the frontier between figurative and non-figurative, or the traditional and the modern.“ 197
Gary Stinton British, (Contemporary)
Rothschild's Giraffe - Large as Life III Pastel 96.5 x 99.1 cms 38" x 39"
198
Wilhelm Kuhnert German, (1965-1926)
A Stag in a Stream Oil on Canvas 40 x 67 cms 16" x 26.5"
200
201
Wilhelm Kuhnert German, (1965-1926)
Tiger in the Grass
202
Watercolour 28 x 38 cms 11” x 15”
Lion on the Prowl
Oil on Canvas 48 x 66 cms 19” x 26”
203
INDEX
Adam Emory Albright
p 100-101
Andre Hambourg
p 8-11
Nick Bibby
p 178-179
Hans Hamza
p 98-99
Pierre Bittar
p 12-13
Harold Harvey
p 96-97
August Bouvard
p 128-131
Alexandre Louis Jacob
p 132-137
Helen Bradley
p 112-117
Jean Kevorkian
p 50-53
Alfred de Breanski Snr.
p 144-147
Wihelm Kuhnert
p 200-203
Peter van Breda
p 122-125
Stewart Lees
p 62-65
Paul S. Brown
p 154-163
Henri Le Sidaner
p 4-5
Gustave Cariot
p 20-21
Leon Augustin Lhermitte
p 34-37
Pierre de Clausade
p 48-49
George Edward Lodge
p 148-149
Edouard Leon Cortes
p 108-111
Gustave Loiseau
p 22-29
Edward Cucuel
p 90-91
Pierre Eugène Montézin
p 16-19
Montague Dawson
p 76-81
Ronny Moortgat
p 86-87
Willem Dolphyn
p 118-119
Henry Moret
p 6-7
Walter Dolphyn
p 168-171
David Mueller
p 84-85
Clovis Didier
p 94-95
Sir Alfred Munnings
p 150-153
Sir William Russell Flint
p 102-103
Luis Muntane-Muns
p 90-91
Donald Hamilton Fraser
p 72-75
Jean Baptiste Olive
p 14-15
Eugene Galien-Laloue
p 126-127
Pierre Outin
p 88-89
Derek G.M. Gardner
p 82-85
Charles Perron
p 58-61
Victor Gilbert
p 92-93
Peter Pharoah
p 194-195
Simon Gudgeon
p 172-177
Aris Raissis
p 120-121
Ewoud de Groot
p 196-197
Georges Charles Robin
p 40-47
Edward Seago
p 38-39
Martin Taylor
p 164-167
Dorothea Sharp
p 104-107
Raymond Thibesart
p 30-33
Stella Shawzin
p 180-181
Edward Waites
p 190-193
David Shepherd
p 182-189
Pieter Wagemans
p 54-57
Henri Le Sidaner
p 4-5
Kenneth Webb
p 66-71
Gary Stinton
p 198-199
Raymond Wintz
p 40-45
Peter Symonds
p 138-143
Gladwell & Patterson 5 Beauchamp Place, London, SW3 1NG 0207 584 5512 Glenn@gladwellpatterson.com - 07866 450070 Graham@gladwellpatterson.com - 07775 900251 Marie-claire@gladwellpatterson.com - 07813 202272
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