Gladwell & Patterson | Peter Symonds 2013

PETER SYMONDS GL ADWELL & PATTERSON

Where would you like to go? p.5 p.25 p.29 p.37 p.45 p.63

Devon & Cornwall Alps Morocco & Oman Surrey & Sussex Scottish Highlands & Islands Ireland & Wales

PETER SYMONDS GL ADWELL & PATTERSON

PETER SYMONDS Peter Symonds almost needs no introduction. As one of the country’s leading landscape artists, we are honoured to be presenting an extensive collection of fifty new works by him. The scope of this show is unparalleled to Peter’s previous exhibitions. We are taken on a breathtaking journey through some of the world’s most spectacular landscapes: from the sweeping glens of the Scottish Highlands and the dramatic high cliffs of the Devon & Cornwall coast, to the idyllic, picturesque villages of Surrey & Sussex and the warm, quiet majesty of historic Morocco.

For those familiar with Peter’s work, the locations within the British Isles and Morocco will be familiar. However, it is incredibly exciting to see the start of a new love-affair with a very different type of landscape: the jagged rocks and ice fields of the Alps. A subject that Peter is developing for future exhibitions, we are delighted to be able to include a taster here.

Whilst Peter is undeniably a master at capturing the scale and awe of dramatic landscape vistas, this is not at the expense of delicate and intimate subject matter. A number of works depict human life either through figures at the beach or the depiction of homes and villages, boats and harbours. Such gentle rendering of human existence living in harmony with the nature Peter portrays, is surely one example of his versatility and immense talent as a landscape artist. Whether it is a spectacular panorama or a snapshot of British rural life, the range within his oeuvre is extensive.

A special mention must be given to the astonishing painting on the front cover of this catalogue. Commissioned by one of our loyalist clients, it is the largest painting Peter has ever undertaken. In his words ‘a dream commission’, he was given free rein to paint any scene of the mountains of Kerry. Clearly this freedom was a catalyst to producing what is arguably his best ever work. Technically it is flawless: the capturing of the light in the foreground to highlight the mountain stream under the imposing shadow of the dark mountain behind, all done on a much larger scale then he is used to working, it is a testament to the calibre of artist we are dealing with that the painting is such an overwhelming success.

All of Peter’s works speak for themselves, however it is fascinating reading his text contained within this catalogue that details some of the many adventures he went on to achieve the magnificent views represented. A man who clearly is passionate about landscape in every way, through hiking, camping and exploring the scenes he depicts, his work is not merely a subject for him but a reflection of the very person he is.

6

Devon & Cornwall

7

Bantham Beach & Burgh Island 32” x 40”

Visiting Bantham at the end of last September had a different feel than my past visits with the family during the summer holidays. Gone were the crowds, with just a few surfers attempting to ride some innocuous waves. As a result, it seemed seven more spacious than usual, particularly as the tide was far out. I was thrilled, therefore, to find this view of the stream gliding over the wet sands and leading the eye out towards Burgh Island in the distance.

The large white building on the island was built for the industrialist and film studio owner Archibald Nettlefold, in 1929, as a venue for the wild parties he would throw. It was enlarged and turned into a hotel in 1932 and the art deco interior is a living museum to the style. Apparently it was used as the setting for one of Agatha Christie’s novels.

At low tide a causeway links the island to the mainland, but at other times the journey has to be taken on a strange vehicle, described as a motorised first floor veranda on tractor wheels.

8

9

10

Pedn Vounder and Logan Rock 30” x 36”

The Cornish coastline is sublime and a compelling reason that our family often makes it the destination for our summer holidays. This fabulous beach is our favourite place in Cornwall.

My senses tend to go into overdrive when I gaze down onto a stunning scene like this, and it can be difficult to move on and know that henceforth that view will be confined to memory. My compulsion to paint landscapes is primarily a reaction to somehow trying to record my feelings of awe and wonder before such places, but is also a way of allowing those impressions to linger a little longer during the process of painting them. In doing so it can sometimes feel a rather self-indulgent profession, but if a painting can somehow also convey an artist’s real appreciation of the natural wonders of our world, then perhaps that painter’s time may be considered well spent.

11

I have painted Noss Creek and the villages of Newton Ferrers and Noss Mayo many times over the years. Shortly after leaving university a friend and I spent a superb week standing on the muddy shoreline painting a view looking up towards the church in the background here, and hardly a year passes when I don’t make a return journey to gather new material.

For years I had purposed to paint this prospect of the creek from the little cluster of buildings at Bridgend, right at the head of the estuary, but the weather and tidal conditions never seemed to come together as I wished for. It wasn’t until last September during a settled spell of good weather that I finally got what I had been seeking.

12

Noss Creek From Bridgend, Devon 20” x 36”

13

14

The Day’s Last Surf, Sennen, Cornwall 12” x 15”

South Sands, Salcombe, Devon

Passing Storm, Harlyn Bay, Cornwall

14” x 28”

12” x 14”

15

Bedruthan Steps from the North, Cornwall 12” x 16”

16

Bedruthan Steps from the South, Cornwall 12” x 16”

17

Low Tide, Noss Mayo, Devon 16” x 12”

18

Noss Mayo from Bridgend, South Devon 9” x 12”

Southpool Creek, Salcombe Estuary, Devon 8” x 12”

19

20

North Sands, Salcombe, Devon 16” x 22”

21

Over the last few years we have walked around the magnificent coastal path of the Penwith Peninsula, the westernmost tip of Cornwall between St. Ives and Penzanze. There is a real sense of being on the edge of things here – quite literally – as the cliffs are exposed to the full force of the prevailing winds that blow in from the Atlantic.

One of my favourite stretches is between Porthcurno and Lands End. The path can at times take a rather direct route, but I love to meander along the indented cliff-tops, and am rewarded with these fabulous views to paint. On fine days such as I have depicted here, the water has an enticing lure that makes the thought of swimming at nearby Nanjizal all the more alluring.

A Fine Day Near Land’s End, Cornwall 10” x 12”

22

Cornish Coast Near Land’s End

Cape Cornwall From Priests Cove

9” x 12”

9” x 12”

23

Carn Les Boel, Penwith, Cornwall 9” x 12”

24

Bolt Head, From Gara Rock, Devon 8” x 10”

25

26

Alps

27

My earlier trips to the Alps had for some inexplicable reason failed to motivate any inspiration to paint them, and I had foolishly dismissed them as being too “chocolate-box”. It was quite a revelation, therefore, to head high above the almost ‘too perfect’ valleys, and discover for myself the astonishingly beautiful world of jagged rock and icefields.

My painting life has been weaned in the hills of Britain, and more recently further afield, but the sheer majesty of the Alps and their relative proximity will be a huge pull in future years.

28

Corbassière Glacier, Val de Bagnes, Switzerland

Lac d’Ar Pitetta, Val d’Anniviers, Switzerland

8” x 12”

10” x 15”

29

30

Morocco & Oman

31

Dawn, Jebel Sahro, Eastern Morocco 9” x 12”

The Jebel Sahro is a wild and largely unpopulated region, lying between the Dades and Draa Valleys in eastern Morocco, not far from the Sahara. Though my 12 year old daughter would not agree – due to the rather inclement weather we experienced – we spent a memorable four days trekking from south to north across this dramatic wilderness.

After our first day’s walking we set up our tents just off to the left of this scene, aware that the mountains towards which we were heading the following day were experiencing some poor weather. Though the tent was motionless, I woke several times in the night hearing what I thought was the sound of a strong breeze in the nearby trees. Early next morning I noticed that the dry riverbed from the day before was now a rushing torrent, and the actual cause of the night’s interruptions.

This was a fabulous spot to experience a memorable dawn, and I was very lucky to have the light behave as it did.

32

Aremd, Toubkal Massif, Morocco

The High Atlas, Aremd, Morocco

10” x 12”

8” x 12”

These two views were painted within about fifty metres of each other but looking in opposite directions. The quality of the light here was superb and so different to our mountainous places in Britain. The walk up this valley is a popular trek and although it cannot be seen here, eventually leads up to Jebel Toubkal – at 4167 metres – the highest mountain in North Africa.

33

Valley of Roses, Central High Atlas, Morocco 24” x 20”

34

The Central High Atlas receives far fewer visitors than the mountains to the west, but trekking companies are starting to change this. The whole area is extremely paintable and portraying the warm tones of this particular valley was unlike any subject I had attempted before.

There had been unusually heavy rain during our visit in April and the rivers were in spate. I spent part of the afternoon watching a number of villagers unsuccessfully trying to ford this river on foot. They returned later with two very reluctant mules who were eventually persuaded to make the crossing with the men on their backs.

35

Al Mazari, Wadi Dayqah, Oman 24” x 34”

36

37

38

Surrey & Sussex

39

A Shady Path Near Leith Hill 9” x 12”

40

High Summer, River Wey, Send, Surrey 8” x 12”

41

Bosham is a very picturesque little village situated on the upper reaches of Chichester harbour and is a popular destination for all those who love to mess about in boats.

During the glorious, settled weather of the summer, I had the intention of producing a large painting of Bosham, and spent a couple of days sketching in the harbour. I felt this scene to be the most promising vantage point, but painting into the light with a rapidly moving tide proved quite a struggle.

Back in the studio my chastening experiences of the days before led me to back out of painting the subject to its originally intended size – a decision I quickly came to regret as the painting started to come under a degree of control that I had not anticipated.

42

Ebbing Tide, Bosham, West Sussex 9” x 16”

43

Beech Woods, Friday Street, Surrey 9” x 12”

44

Autumn, The Surrey Hills 9” x 15”

45

46

Scottish Highlands & Islands

47

Crystal Waters, Iona 24” x 36”

48

49

The White Sands of Traigh an T-Suidhe, Iona 20” x 42”

50

Iona, which lies a few hundred metres off the west coast of Mull, is a gem of an island. As its abbey affirms, it has a reputation as a pilgrims isle and is famed worldwide as one of the earliest centres of Christian learning in Europe.

Although it receives a lot of day-trippers of all nationalities, relatively few seem to discover the beautiful beaches that line its shores. On a sunny day the alluringly clear and blue sea looks very inviting, but only the hardier souls will go much further than dipping a toe or two in the water.

51

Aonach Eagach from Loch Achtriochtan, Glencoe 20” x 28”

This well-known viewpoint beside tranquil Loch Achtriochtan, just off the road that passes through Glencoe gives an impressive view of the long, serrated crest known as Aonach Eagach or “the notched ridge”.

It is difficult to appreciate the true character of the mountain from below, but it has the reputation of being the most sensational and taxing ridge on mainland Scotland, and is known for producing a good degree of excitement or fear for those who would tackle it.

I certainly fell into the latter category when my fearless wife and I scrambled along it many years ago.

52

53

54

An Teallach from Gleann na Muice 16” x 24”

Climbing the 3000ft Scottish mountains, widely known as Munro bagging is becoming an increasingly popular pastime. When my wife and I first started climbing them nearly twenty five years ago, one could easily spend several days in a row without seeing a single walker, but that has changed now as the number of books dedicated to climbing them testifies.

Amazingly An Teallach was not climbed until 1893 when a group from the Scottish Mounteering Club including Sir Hugh Munro, whose name is given to the list of 3000 ft. mountains, set off to explore it. Years before it had been described as “horrible and awful with summits broken, sharp and serrated and springing into all terrific forms”!

55

The Fisherfield Forest, which actually has very few trees, is a wild remote place surrounded by some stunning mountains.

Having already walked in from the south and north on previous visits I decided to approach from the north-west this time, along the Gruinard River and Loch na Sealga, which gave this fabulous, rather moody view to the distant hills.

I only saw four other people during my time there – surprisingly as the weather was remarkably good.

56

Fisherfield from Gruinard River, North West Highlands 16” x 24”

57

Glen Shiel, Western Highlands 12” x 15”

58

Lochranza, Isle of Arran 12” x 24”

Generally, the month of May brings the best chance of settled weather to the West of Scotland and is my preferred time to visit. It was no exception last year when I travelled to Arran with the intention of painting a couple of scenes amongst the impressively jagged peaks that are to be found there.

The walking was, as expected, superb, but the hazy, flat light and cloudless skies didn’t give the atmosphere that I was seeking.

I headed off instead to Lochranza, which I had read about before, and was supposed to be a great venue for artists seeking inspiration. With its cluster of whitewashed cottages and ancient castle ringing the shores of the loch, it did not disappoint.

Lochranza Castle is said to have been the spot at which Robert the Bruce landed in 1306 on his return from Ireland, and before his successful bid for the Scottish Crown.

59

Iona, Scotland 12” x 18”

60

A Strong Breeze, Traigh Bhan, Iona

Port Ban Beach, Iona

12” x 12”

9” x 12”

61

Sgurr Nan Gillean, Cuillin, Isle of Skye 7” x 14”

62

Glen Rosa, Isle of Arran

Cononish, Near Tyndrum, Scotland

9” x 12”

8” x 8”

63

64

Ireland & Wales

65

66

Cockle Gathering near Ballycarbery Castle, Cahersiveen, Kerry

Cottoners River, Near Killorglin, County Kerry

9” x 12”

12” x 16”

Lough Eagher and Carrauntoohil, Kerry, Ireland 16” x 20”

During the latter half of the 19th Century a number of painters became very popular for their depictions of loch and mountain scenes in Scotland and Wales. Early in my career, I was in awe of their work and was impatient to set off and find for myself the places from which they drew their inspiration. Generic and rather romanticized titles should have alerted me to the fact that their work was given a lot of licence, and bore relatively little likeness to the areas they sought to depict. As much as I love the mountains of the British Isles, at the time I was just a little disappointed that they were not quite as alpine as the artists had portrayed. There weren’t even highland cattle around every corner!

This beautiful loch beneath the western ramparts of Mount Carrauntoohil reminded me of the type of composition so loved by the Victorian painters. Low, swirling cloud and dashes of sunlight intermittently lighting the foreground made this a very evocative and dramatic place to spend the afternoon.

67

Hag’s Glen and Carrauntoohil Peak, Kerry 40” x 60”

This was a dream commission that I recently undertook, and the brief was both straightforward and liberating. Go to the mountains of Kerry in Ireland and do a substantial painting of your choice.

I had never visited Ireland, but knew that the peaks of Macgillycuddy’s Reeks, including Carrauntoohil, are the highest mountains in Ireland. Their proximity to the Atlantic also makes them extremely susceptible to some very interesting weather. This certainly proved to be the case on the day I ventured up Carrauntoohil. I spent several further days exploring the area but eventually found the scene I was looking for in the hauntingly beautiful Hag’s Glen to the east of the main peaks. The rain from the day before had largely petered out, but the wind was still gusting as violently as I had ever experienced. There is a lochan, unseen here, behind the middle-ground of the scene, and I will never forget the sequence of first hearing the furious gusts of wind sweeping down the mountainside and then seeing the spume from the lochan being blown over the hill towards me. I would then have about a second to brace myself against being thrown into the stream beside me.

I had to wait a long time for the sun to make its brief appearance, but the effect was superb and I knew I had the information to go ahead and make a painting.

It is easily the largest work I have ever undertaken and I was thrilled when the delightful man who commissioned it, knew the exact spot from which it was painted!

68

69

A Frosty Morning, Tryfan, Snowdonia 12” x 20”

GL ADWELL & PATTERSON

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