Gladwell & Patterson | Summer 2018

Price Codes A: < £2,000 B: £2,000 – £5,000 C: £5,000 - £10,000 D: £10,000 - £20,000 E: £20,000 - £40,000 F: > £40,000

Summer Collection 20 June – 20 July 2018 Dear Friends,

In this wonderful year of anniversary celebrations, we have taken time An incredible number of you have come to the gallery to share in all o you for that. We have treasured your kind words and friendship. Your so much to Dad.

As we celebrate this incredible milestone, we should not and do no direction the Art Market is moving.

To prepare ourselves for the future and to ensure we are making the c experience and knowledge, with the aim of Gladwell & Patterson communication. Whilst striving to achieve excellence, we stay true to ou and personal client relationships above all.

At the beginning of May, Cory and I attended a superb conferen Our perceptions of how the world will change were challenged beyo affect the art world going forward want to share with you this brillia World Economic Forum in Davos in 2016. I believe it touches upon som world, and reminds us to take a moment to pause and enjoy the beau

Olafur comments that “…one of the great challenges today is that issues like climate change, even when we could easily do somethin global community, part of a larger we. Giving people access to data empowered and poised for action. This is where art can make a diff good work of art can connect you to your senses, body, and mind.”

He continues that art encourages us “to cherish creativity and to s unorthodox ways of approaching contemporary issues. This is one wa concludes “that by bringing us together to share and discuss, a work The encounter with art – and with others over art – can help us ide individual engagement in the world has actual consequences.”

We are entering an era where the speed and diversity of technolog lives in every way. Yet it is our contention that there will be even more that rise to prevalence during times of cultural wealth. It is inherent in to pause and to reflect.

Kind regards, Glenn

Summer Collection 20 June – 20 July 2018 Dear Friends, In this wonderful year of anniversary celebrations, we have taken time to reflect on some outstanding achievements over the last 50 years.

An incredible number of you have come to the gallery to share in all of our appreciation for Anthony’s 50 years with Gladwell’s. We thank you for that. We have treasured your kind words and friendship. Your tributes, cards and gifts have been deeply touching and have meant so much to Dad. As we celebrate this incredible milestone, we should not and do not lose sight of the importance in planning for and considering what direction the Art Market is moving.

To prepare ourselves for the future and to ensure we are making the correct decisions in the Art world, we endeavour to use our extensive experience and knowledge, with the aim of Gladwell & Patterson’s continuing success in the ever-changing face of technology and communication. Whilst striving to achieve excellence, we stay true to our core values as a family business, placing quality of service, integrity and personal client relationships above all.

At the beginning of May, Cory and I attended a superb conference entitled ‘Creating the Future’ hosted by our bank Weatherbys.

Our perceptions of how the world will change were challenged beyond measure. I have been thinking long and hard about how this will affect the art world going forward want to share with you this brilliantly written article by Olafur Eliasson, which was presented at the World Economic Forum in Davos in 2016. I believe it touches upon some very valid points about the importance of art in this fast-changing world, and reminds us to take a moment to pause and enjoy the beauty of art around us, to embrace the true value that art can bring.

Olafur comments that “…one of the great challenges today is that we often feel untouched by the problems of others and by global issues like climate change, even when we could easily do something to help. We do not feel strongly enough that we are part of a global community, part of a larger we. Giving people access to data most often leaves them feeling overwhelmed and disconnected, not empowered and poised for action. This is where art can make a difference. Art does not show people what to do, yet engaging with a good work of art can connect you to your senses, body, and mind.”

He continues that art encourages us “to cherish creativity and to search constantly for new ideas; artists aim to break rules and find unorthodox ways of approaching contemporary issues. This is one way that art can engage with the world to change the world.” Olafur concludes “that by bringing us together to share and discuss, a work of art can make us more tolerant of difference and of one another.

The encounter with art – and with others over art – can help us identify with one another, expand our notions of we and show us that individual engagement in the world has actual consequences.”

We are entering an era where the speed and diversity of technological change will bewilder the majority of us, while revolutionising our lives in every way. Yet it is our contention that there will be even more yearning for the traditional, classical paintings and sculptural pieces that rise to prevalence during times of cultural wealth. It is inherent in our psyche that through art we are able to connect with ourselves, to pause and to reflect.

Kind regards, Glenn

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

With no formal artistic training, Gustave Loiseau shaped his style through the observation of nature and by careful study of his Impressionist forebears. In 1895, Claude Monet and Pierre-Auguste Renoir introduced the young painter to their art dealer Paul Durand-Ruel, who signed an exclusive contract with Loiseau two years later. Under Durand-Ruel’s encouragement, and with the financial independence that ensued, Loiseau was able to travel to various landscapes outside Paris, from the Brittany coastline at Pont-Aven, to the small picturesque towns along the River Seine and the River Yonne.

L'Allée des Peupliers, painted in 1905, is a wonderful evocation of the French countryside. In this painting Loiseau pays homage to the landscapes of Alfred Sisley and Claude Monet; most notably the latter’s series of twenty-four views of poplars on the bank of the Epte in the spring of 1891.With their strict linearity and intrinsic decorative elegance, poplar trees were a favoured artistic motif in the late nineteenth and early twentieth century. A quintessential feature of rural France, poplars were often placed along roads and at the entrances of estates. They were used as windshields for tilled fields and as a form of fencing to demarcate property lines, and were planted along the banks of rivers to diminish the possibility of flooding. Moreover, the poplar tree had been deemed the tree of liberty after the French Revolution, possibly because of the derivation of the name from the Latin populus, meaning both "people" and "popular."

Two rows of poplar trees, beautifully rendered in loose brushstrokes, dominate the composition of L'Allée des Peupliers, guiding the viewer’s eye towards the vanishing point on a low horizon line and upwards to the bright blue sky. The painting’s rich surface, composed using spontaneous brushwork and areas of thickly applied paint, exemplifies Loiseau’s instinctive use of Impressionist and Post-Impressionist techniques.The still and serene landscape is animated by the movement of the clouds in the sky, which are painted with longer, fluid brushstrokes than the leafy branches of the trees. L'Allée des Peupliers is a magnificent example of Loiseau’s treatment of the gentle diffusion of light through the trees in order to attain chromatic harmony, whilst evoking the ambiance of a warm and breezy summer’s day.

Gustave Loiseau • L'Allée des Peupliers, Painted in 1905 French, (1865-1935) • Oil on Canvas • 32” x 25”, 81 x 65 cms • Price on Application

6

Loiseau was profoundly influenced by the great masterpieces en plein air, Loiseau embraced the use of bold colour as he

tyle through the observation of nature and by careful study of Auguste Renoir introduced the young painter to their art dealer eau two years later. Under Durand-Ruel’s encouragement, and able to travel to various landscapes outside Paris, from the along the River Seine and the River Yonne.

ation of the French countryside. In this painting Loiseau pays onet; most notably the latter’s series of twenty-four views of r strict linearity and intrinsic decorative elegance, poplar trees rly twentieth century. A quintessential feature of rural France, of estates. They were used as windshields for tilled fields and planted along the banks of rivers to diminish the possibility of ree of liberty after the French Revolution, possibly because of oth "people" and "popular."

shstrokes, dominate the composition of L'Allée des Peupliers, horizon line and upwards to the bright blue sky. The painting’s as of thickly applied paint, exemplifies Loiseau’s instinctive use serene landscape is animated by the movement of the clouds than the leafy branches of the trees. L'Allée des Peupliers is iffusion of light through the trees in order to attain chromatic summer’s day.

s • Price on Application

7

Raymond Wintz Bretonnes Devant un Maison, la Mer au Moin French, (1884-1956) Oil on Canvas 13” x 16”, 33 x 41 cms Price Code C

Raymond Wintz Ferme Bretonne près de Penmarch French, (1884-1956) Oil on Canvas 10” x 16”, 27 x 41 cms Price Code B

Raymond Wintz • Sur la Côte

French, (1884-1956) • Oil on Canvas • 21¼” x 25”, 54 x 65 cm 8

Raymond Wintz Bretonnes Devant un Maison, la Mer au Moin French, (1884-1956) Oil on Canvas 13” x 16”, 33 x 41 cms Price Code C

Raymond Wintz Ferme Bretonne près de Penmarch French, (1884-1956) Oil on Canvas 10” x 16”, 27 x 41 cms Price Code B

Raymond Wintz • Sur la Côte French, (1884-1956) • Oil on Canvas • 21¼” x 25”, 54 x 65 cms • Price Code C 9

Francis Picabia’s career was audacious and inventive. Throughout his seventy-four years, he explored the diverse artistic movements of his time, encompassing painting, performance, publishing and film; an exceptional feat during such an exciting period in art. He is most famously known as one of the founding fathers of the Dada movement, along with Marcel Duchamp and Tristan Tzara, but the young artist first made his name as an Impressionist painter at the debut of the twentieth century.

Martigues, painted in 1902, is one of the earliest dated works in Picabia’s Impressionist style and reveals the freshness and spontaneity of this young and experimental artist. Earlier that year, Picabia met Georges Pissarro, son of Camille Pissarro.

The two travelled to Le Midi to meet Georges’ brother Ludovic-Rodolphe Pissarro. It was during this trip that Picabia began experimenting with the Impressionist style. As well as the costal seascapes of Martigues and the south of France, Picabia was drawn to the medieval town of Moret-sur-Loing, which was favoured by his Impressionist forebears, particularly Alfred Sisley.

Following in Sisley’s footsteps, Picabia painted the landscape in changing atmospheric conditions and at different times of the day in order to capture variations of light and colours within the landscape.

Picabia continued to master the Impressionist technique. He exhibited his works regularly at the Salon des Artistes Français, the Salon des Indépendants and the Salon d’Automne. In 1905 he signed a three-year contract with the dealer Gustave Danthon, who held Picabia’s first solo exhibition at the prestigious Galerie Haussmann. His paintings were met with great acclaim, with critics stating that Picabia’s Impressionist work was personal and unique, far from being derivative of the work of the Impressionist masters. Picabia went on to hold a second successful exhibition with the Galerie Haussmann in 1907. In the following year his style changed to focus on Neo-Impressionism, influenced by Signac, and he abandoned his Impressionist tendencies.

Francis Picabia • Martigues, Painted in 1902 French, (1879-1953) • Oil on Canvas • 15” x 18”, 38 x 46 cms • Price on Application

10

ghout his seventy-four years, he explored the diverse artistic publishing and film; an exceptional feat during such an exciting g fathers of the Dada movement, along with Marcel Duchamp an Impressionist painter at the debut of the twentieth century.

ks in Picabia’s Impressionist style and reveals the freshness and t year, Picabia met Georges Pissarro, son of Camille Pissarro. ic-Rodolphe Pissarro. It was during this trip that Picabia began seascapes of Martigues and the south of France, Picabia was voured by his Impressionist forebears, particularly Alfred Sisley. in changing atmospheric conditions and at different times of hin the landscape.

xhibited his works regularly at the Salon des Artistes Français, 05 he signed a three-year contract with the dealer Gustave gious Galerie Haussmann. His paintings were met with great was personal and unique, far from being derivative of the a second successful exhibition with the Galerie Haussmann in o-Impressionism, influenced by Signac, and he abandoned his

• Price on Application

11

Marie Coulon-Serra View of Douarnenez

Paul Mâdeline • Côte Rocheuse French, (1863-1920) • Oil on Canvas • 24” x 39”, 63 x 99 cms • Price Code E

12

French, (1888-1975) Oil on Canvas 24” x 20”, 61 x 51 cms Price Code C

Marie Coulon-Serra View of Douarnenez French, (1888-1975) Oil on Canvas 24” x 20”, 61 x 51 cms Price Code C

s • Price Code E

13

Raymond Thibesart’s ethe early twentieth century. B rolling hills and the champ French landscape and th on the young Thibesart.

The family moved to Enghie and it was there, upon me Emilio Boggio, that Thibes continued to admire Bogg friendship.

In his early twenties Thibe the progressive Académie Fleury, who introduced a

In 1903 Thibesart moved encouraged by Boggio w travelled frequently to It and friend Henri Martin, outdoors, allowing him to m qualities of the landscap transfer the colours, move canvases whilst ensuring t

Raymond Thibesart • A French, (1874-1963) • Oil

14

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.

The family moved to Enghien-les-Bains, a northern suburb outside Paris close to Argenteuil, and it was there, upon meeting the Italian-Venezuelan pioneering Impressionist painter Emilio Boggio, that Thibesart’s talent for drawing and painting was fostered. Thibesart continued to admire Boggio throughout his long career, and the two formed a lasting friendship.

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 RobertFleury, who introduced a strong element of symbolism into his work.

In 1903 Thibesart moved to Vaux sur Seine in the countryside to the north-west of Paris, encouraged by Boggio who had moved to the area the year earlier. The two artists travelled frequently to Italy, Switzerland and Belgium, often with their fellow artist and friend Henri Martin, to find new sources of inspiration. 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.

Raymond Thibesart • Arbre en Fleurs Devant la Vallée de la Seine French, (1874-1963) • Oil on Canvas • 31” x 69”, 80 x 176 cms • Price Code D

15

Maurice Martin Allée d’Arbres en bord de l’Yonne à Misy

Pierre Eugène Montezin • Barques près des Arbres French, (1874-1946) • Oil on Canvas • 26” x 21”, 66 x 54 cms • Price Code E

16

French, (1894-1978) Oil on Canvas 26” x 21”, 66 x 55 cms Price Code C

Maurice Martin Allée d’Arbres en bord de l’Yonne à Misy French, (1894-1978) Oil on Canvas 26” x 21”, 66 x 55 cms Price Code C • Price Code E

17

Alexandre Louis J

French, (1876-1972

Alexandre Louis Jacob • Matinée Brumeuse Ensoleillée French, (1876-1972) • Oil on Panel • 14 x 16”, 37.5 x 41 cms

18

Alexandre Louis Jacob • Brume Matinale, Marais, Environs d’Amiens French, (1876-1972) • Oil on Canvas • 15” x 24”, 38 x 61 cms • Price Code D

Alexandre Louis Jacob • Matinée Brumeuse Ensoleillée French, (1876-1972) • Oil on Panel • 14 x 16”, 37.5 x 41 cms • Price Code C

19

Alexandre Louis Jacob L’Aurore d’Hiver

Alexandre Louis Jacob Matin d’Automne

French, (1876-1972) Oil on Canvas 15” x 18”, 38 x 46 cms Price Code C

French, (1876-1972) Gouache 13” x 10”, 33 x 25 cms Price Code B

Alexandre Louis Jacob • Novembre, Eclaircie Après la Pluie French, (1876-1972) • Oil on Canvas • 17” x 31”, 43 x 79 cms

20

Alexandre Louis Jacob Matin d’Automne French, (1876-1972) Gouache 13” x 10”, 33 x 25 cms Price Code B

Alexandre Louis Jacob • Novembre, Eclaircie Après la Pluie French, (1876-1972) • Oil on Canvas • 17” x 31”, 43 x 79 cms • Price Code D

21

22

Charles Perron • A Brittany Cottage

Joseph Louis Lep

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

French, (1867-194

Joseph Louis Lepine • Ruelle du Village Animée • Price Code B

French, (1867-1943) • Oil on Panel • 19” x 17”, 50 x 45 cms • Price Code B

23

A contemporary of the Post-Impressionists, Henri Le Sidaner’s approach to painting is whole-heartedly unique. His technique was close to Pointillism, but Le Sidaner did not share the Pointillists’ love of colour. He preferred to create mystery and atmosphere with greys and opals, using Pointillist techniques to make the surfaces of his paintings shimmer and blur.

Having begun his artistic education at the traditional École des Beaux-Arts in Paris in 1877, it was only during regular trips to the city of Étaples on the northern coast of France that Le Sidaner was free to experiment with a looser technique and devote his time to en plein air subjects outside the traditional confines of his academic background. As Le Sidaner himself put it, “Étaples – that is to say, Nature – revived me.” It was during a trip to this stunning coastal landscape in 1888 that Le Sidaner painted Sur les Dunes, Étaples; an idyllic pastoral scene of a peasant girl and a young shepherd alone in their thoughts under the late afternoon sun. This work pays homage to the paintings of peasant workers by Jean-François Millet but Le Sidaner interprets the subject in his own manner, using his variation of the Pointillist technique and pastel colours which evoke a sense of calm and contemplation.

After 1900, Henri Le Sidaner turned from figurative painting to landscapes, gardens and interiors. He became renowned for his moody scenes of urban and rural houses bathed in twilight and moonlight, undisturbed by human figures. His domesticated scenes of the gardens he created in the ruins of the medieval fortress at Gerberoy, in northern France, were popular with British and American collectors. These seductive views, with their recently vacated tables dappled in sunlight and overhung by roses, would cement his reputation as a distinctive and unclassifiable artist.

Henri Le Sidaner • Sur les Dunes, Étaples, Painted in 1888 French, (1862-1939) • Oil on Canvas • 18¼” x 24”, 46.5 x 61 cm • Price Code F

24

approach to painting is whole-heartedly unique. His technique ointillists’ love of colour. He preferred to create mystery and o make the surfaces of his paintings shimmer and blur.

es Beaux-Arts in Paris in 1877, it was only during regular trips Sidaner was free to experiment with a looser technique and al confines of his academic background. As Le Sidaner himself during a trip to this stunning coastal landscape in 1888 that Le cene of a peasant girl and a young shepherd alone in their ge to the paintings of peasant workers by Jean-François Millet his variation of the Pointillist technique and pastel colours which

o landscapes, gardens and interiors. He became renowned for and moonlight, undisturbed by human figures. His domesticated l fortress at Gerberoy, in northern France, were popular with heir recently vacated tables dappled in sunlight and overhung classifiable artist.

m • Price Code F

25

Georges Charles Robin Laveyroy au Rocher French, (1903-2003) Oil on Panel 10” x 13”, 25 x 33 cms Price Code C

Georges Charles Robin L’Abeyrona St. Antonin French, (1903-2003) Oil on Panel 10” x 13”, 25 x 33 cms Price Code C

Georges Charles Robin • Dans La Baie de Lermot (Près St. Brieuc) French, (1903-2003) • Oil on Canvas • 18” x 22”, 46 x 55.5 cms • Price Code D

26

Georges Charles Robin Laveyroy au Rocher French, (1903-2003) Oil on Panel 10” x 13”, 25 x 33 cms Price Code C

Georges Charles Robin L’Abeyrona St. Antonin French, (1903-2003) Oil on Panel 10” x 13”, 25 x 33 cms Price Code C

Brieuc)

ms • Price Code D

27

Georges Charles Robin Pont sur La Rivière French, (1903-2003) Oil on Canvas 17” x 22”, 45 x 56 cms Price Code D

Georges Charles Robin Village d’Hucheloup près de Clisson sur Sèvre French, (1903-2003) Oil on Panel 10” x 13”, 27 x 34.5 cms Price Code C

Georges Charles Robin • L'Ancienne Dordogne Route de F

French, (1903-2003) • Oil on Panel • 26" x 39¼", 66 x 100 cms 28

Georges Charles Robin Pont sur La Rivière French, (1903-2003) Oil on Canvas 17” x 22”, 45 x 56 cms Price Code D

Georges Charles Robin Village d’Hucheloup près de Clisson sur Sèvre French, (1903-2003) Oil on Panel 10” x 13”, 27 x 34.5 cms Price Code C

Georges Charles Robin • L'Ancienne Dordogne Route de Floirac French, (1903-2003) • Oil on Panel • 26" x 39¼", 66 x 100 cms

• Price Code E 29

30

Lionel Aggett • Reflections, Canal du Berry, Cher

Charles Edmund Rene His • Paysage de Bords de Seine

British, (1938-2009) • Pastel • 24” x 31”, 61 x 79 cms • Price Code B

French, (1877-1960) • Oil on Canvas • 13” x 16”, 33 x 41 cms

Code B

Charles Edmund Rene His • Paysage de Bords de Seine French, (1877-1960) • Oil on Canvas • 13” x 16”, 33 x 41 cms • Price Code B

31

Douglas Falconer Glen Shiel, Scotland British, (1910-1973) Oil on Board 9” x 13”, 24 x 34 cms Price Code A

Douglas Falconer Loch Ard, Scotland British, (1910-1973) Oil on Board 9” x 13”, 24 x 34 cms Price Code A

Alfred de Breanski • Loch Katrine British, (1852-1928) • Oil on Canvas • 24” x 36”, 61 x 91.5 cms 32

Douglas Falconer Glen Shiel, Scotland British, (1910-1973) Oil on Board 9” x 13”, 24 x 34 cms Price Code A

Douglas Falconer Loch Ard, Scotland British, (1910-1973) Oil on Board 9” x 13”, 24 x 34 cms Price Code A

Alfred de Breanski • Loch Katrine British, (1852-1928) • Oil on Canvas • 24” x 36”, 61 x 91.5 cms • Price Code D 33

Harry Sutton Palmer Epping Forest British, (1854-1933) Watercolour 16” x 25”, 41 x 63.5 cms Price Code C

Alfred Augustus Glendenning Haymaking

Edmund Warren Epping Forest British, (1834-1909) Watercolour 24” x 36”, 61 x 91 cms Price Code B

34

British, (1840-1910) Oil on Canvas 16” x 30”, 41 x 76 cms Price Code C

Harry Sutton Palmer Epping Forest British, (1854-1933) Watercolour 16” x 25”, 41 x 63.5 cms Price Code C

Edmund Warren Epping Forest

Alfred Augustus Glendenning Haymaking

Alfred Augustus Glendenning Arundel Castle from Swanbourne Lake

British, (1840-1910) Oil on Canvas 16” x 30”, 41 x 76 cms Price Code C

British, (1840-1910) Oil on Canvas 16” x 12”, 41 x 30 cms Price Code B

British, (1834-1909) Watercolour 24” x 36”, 61 x 91 cms Price Code B

35

Michail Markianovic Germasev The Sunlit Avenue Russian, (1867-1930) Oil on Canvas 18” x 22”, 47 x 56 cms Price Code D

Michail Markianovitc Germasev Winter Evening Russian, (1867-1930) Oil on Canvas 18” x 21”, 46 x 53 cms Price Code D

Michail Markianovitc Germasev • Hiver dans les Vosges Russian, (1867-1930) • Oil on Canvas • 18” x 21”, 46 x 53 cms 36

Michail Markianovic Germasev The Sunlit Avenue Russian, (1867-1930) Oil on Canvas 18” x 22”, 47 x 56 cms Price Code D

Michail Markianovitc Germasev Winter Evening Russian, (1867-1930) Oil on Canvas 18” x 21”, 46 x 53 cms Price Code D

Michail Markianovitc Germasev • Hiver dans les Vosges Russian, (1867-1930) • Oil on Canvas • 18” x 21”, 46 x 53 cms • Price Code D 37

38

Martin Taylor Into the Bluebell Wood

Martin Taylor Bluebells in Early May

Martin Taylor Badby Woods

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

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

British, (Contemporary) Oil on Panel 25” x 20”, 63.5 x 51 cms Price Code C

Martin Taylor Bluebells in Early May

Martin Taylor Badby Woods

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

British, (Contemporary) Oil on Panel 25” x 20”, 63.5 x 51 cms Price Code C

39

40

Allan Myndzak • The Poppy Painter

Allan Myndzak • Tranquil Past Times

Canadian, (born 1954) • Oil on Panel • 18” x 24”, 46 x 61 cms • Price Code B

Canadian, (born 1954) • Oil on Panel • 12” x 18”, 30 x 46 cms

Allan Myndzak • Tranquil Past Times • Price Code B

Canadian, (born 1954) • Oil on Panel • 12” x 18”, 30 x 46 cms • Price Code B

41

Charles Edward Wilson Feeding the Rabbit

Joseph Clark • Sharing Between Friends British, (1834-1926) • Oil on Canvas • 18” x 23”, 46 x 58.5 cms • Price Code D

42

British, (1854-1941) Watercolour 20” x 15”, 51 x 38 cms Price Code E

Charles Edward Wilson Feeding the Rabbit

Charles James Lewis Into the Woods

British, (1854-1941) Watercolour 20” x 15”, 51 x 38 cms Price Code E

British, (1830-1892) Oil on Canvas 14” x 10”, 35.5 x 25.5 cms Price Code C

s • Price Code D

43

44

Benson Landes Hammock

Benson Landes Preparation

Benson Landes Pirouette

British, (1927-2013) Bronze 27” x 10” x 10”, 69 x 25 x 25 cms Price Code C

British, (1927-2013) Bronze 15” x 6” x 7”, 38 x 15 x 18 cms Price Code B

British, (1927-2013) Bronze 33” x 16” x 13”, 84 x 41 x 33 cms Price Code C

Benson Landes Preparation

Benson Landes Pirouette

British, (1927-2013) Bronze 15” x 6” x 7”, 38 x 15 x 18 cms Price Code B

British, (1927-2013) Bronze 33” x 16” x 13”, 84 x 41 x 33 cms Price Code C

45

Robert Van Cleef Daniele Revense French, (1914-1986) Oil on Canvas 28” x 18”, 71 x 46 cms Price Code B

Sir William Russe

British, (1880-196

46

Robert Van Cleef Daniele Revense French, (1914-1986) Oil on Canvas 28” x 18”, 71 x 46 cms Price Code B

Sir William Russell Flint • Sitting model British, (1880-1969) • Pastel • 9” x 8”, 23 x 20 cms • Price Code B

47

Luis Muntane Muns The Blue Gown Spanish, (1899-1987) Oil on Panel 16” x 10”, 41 x 25 cms Price Code C

Luis Muntane Muns A Lady with a Parasol Spanish, (1899-1987) Oil on Panel 16" x 10", 41 x 25 cms Price Code C

48

Luis Muntane Muns An Afternoon Stroll Spanish, (1899-1987) Oil on Panel 16” x 10”, 41 x 25 cms Price Code C

Luis Muntane Muns The Blue Gown Spanish, (1899-1987) Oil on Panel 16” x 10”, 41 x 25 cms Price Code C

Luis Muntane Muns An Afternoon Stroll Spanish, (1899-1987) Oil on Panel 16” x 10”, 41 x 25 cms Price Code C

49

50

Nick Bibby Artemis

Nick Bibby Apollo

British, (Contemporary) Bronze (Edition of 9) 80” x 22” x 21”, 203 x 56 x 53 cms Price Code F

British, (Contemporary) Bronze (Edition of 9) 83” x 21” x 24”, 211 x 53 x 61 cms Price Code F

Nick Bibby Artemis

Nick Bibby Apollo

British, (Contemporary) Bronze (Edition of 9) 80” x 22” x 21”, 203 x 56 x 53 cms Price Code F

British, (Contemporary) Bronze (Edition of 9) 83” x 21” x 24”, 211 x 53 x 61 cms Price Code F

51

52

Simon Gudgeon • Athena

Simon Gudgeon • Firebird

British, (Contemporary) • Bronze (Edition of 9) • 75” x 31” x 31”, 190 x 80 x 80 cms • Price Code F

British, (Contemporary) • Bronze (Edition of 1) • 90” x 58” x 27

, 190 x 80 x 80 cms • Price Code F

Simon Gudgeon • Firebird British, (Contemporary) • Bronze (Edition of 1) • 90” x 58” x 27”, 228 x 148 x 70 inc base • Price Code F

53

Simon Gudgeon Falcon British, (Contemporary) Bronze (Edition of 9) 31” x 20” x 11”, 80 x 50 x 27 cms Price Code E

Simon Gudgeon • Abstrac

British, (Contemporary) • Bron

54

Simon Gudgeon Falcon British, (Contemporary) Bronze (Edition of 9) 31” x 20” x 11”, 80 x 50 x 27 cms Price Code E

Simon Gudgeon • Abstract Swan British, (Contemporary) • Bronze (Edition of 9) • 25” x 37” x 13”, 64 x 95 x 33 cms • Price Code E

55

Winifred Marie-Louise Austen White Front Geese

William E. Powell Mallards taking Flight

George Hogg Canada Geese

British, (1876-1964) Watercolour 10” x 14”, 25 x 36 cms Price Code B

British, (1878-1955) Watercolour 11” x 8”, 28 x 22 cms Price Code A

British, (born 1950) Watercolour 6” x 9”, 15 x 23 cms Price Code A

Clarissa James Morning Cranes I German, (Contemporary) Oil on Canvas mounted on Aluminium 29” x 25”, 75 x 65 cms Price Code D

56

Flight )

cms

George Hogg Canada Geese British, (born 1950) Watercolour 6” x 9”, 15 x 23 cms Price Code A

Clarissa James Morning Cranes I

Clarissa James Morning Cranes II

German, (Contemporary) Oil on Canvas mounted on Aluminium 29” x 25”, 75 x 65 cms Price Code D

German, (Contemporary) Oil on Canvas mounted on Aluminium 29” x 25”, 75 x 65 cms Price Code D

57

Miguel Angel Moraleda Covey Spanish, (Contemporary) Oil on Canvas 17” x 45¼”, 45 x 115 cms Price Code C

Miguel Angel Moraleda Partridge Amongst Leaves Spanish, (Contemporary) Oil on Canvas 18” x 31¼”, 48 x 79 cms Price Code C

Miguel Angel Moraleda • Covey of Red-Legged Partridge

Spanish, (Contemporary) • Oil on Canvas • 20” x 43”, 52 x 11

58

Miguel Angel Moraleda Covey Spanish, (Contemporary) Oil on Canvas 17” x 45¼”, 45 x 115 cms Price Code C

Miguel Angel Moraleda Partridge Amongst Leaves Spanish, (Contemporary) Oil on Canvas 18” x 31¼”, 48 x 79 cms Price Code C

Miguel Angel Moraleda • Covey of Red-Legged Partridges in the Snow Spanish, (Contemporary) • Oil on Canvas • 20” x 43”, 52 x 110 cms • Price Code D

59

David Shepherd • Cheetahs British, (1931-2017) • Oil on Canvas • 22” x 38”, 56 x 97 cms • Price Code F

60

• Price Code F

61

Nick Bibby Game Cock British, (Contemporary) Bronze (Edition of 12) 20” x 14” x 7”, 51 x 26 x 18 cms Price Code D

Nick Bibby Red Grouse British, (Contemporary) Bronze (Edition of 12) 14” x 12” x 7”, 36 x 30 x 18 cms Price Code C

Nick Bibby • Orangutan: “Old Man of the Woods”, Dagu

British, (Contemporary) • Bronze (Edition of 25) • 8” x 12” x 10” 62

Nick Bibby Game Cock

British, (Contemporary) Bronze (Edition of 12) 20” x 14” x 7”, 51 x 26 x 18 cms rice Code D

Nick Bibby Red Grouse

British, (Contemporary) Bronze (Edition of 12) 14” x 12” x 7”, 36 x 30 x 18 cms rice Code C

Nick Bibby • Orangutan: “Old Man of the Woods”, Dagu British, (Contemporary) • Bronze (Edition of 25) • 8” x 12” x 10”, 20 x 30 x 25.5 cms • Price Code C 63

Pieter Wagemans Hibiscus Belgian, (Contemporary) Oil on Canvas 20” x 20”, 50 x 50 cms Price Code C

Pieter Wagemans Magnolia

Pieter Wagemans • Pink Blossom Belgian, (Contemporary) • Oil on Canvas • 23” x 47”, 60 x 120 cms • Price Code D

64

Belgian, (Contemporary) Oil on Canvas 15¾" x 17¾", 40 x 45 cms Price Code D

Pieter Wagemans Hibiscus Belgian, (Contemporary) Oil on Canvas 20” x 20”, 50 x 50 cms Price Code C

Pieter Wagemans Magnolia Belgian, (Contemporary) Oil on Canvas 15¾" x 17¾", 40 x 45 cms Price Code D

20 cms • Price Code D

65

66

Pieter Wagemans • White Blossom

Pieter Wagemans • The Kendy Vase

Belgian, (Contemporary) • Oil on Canvas • 20” x 39”, 50 x 100 cms • Price Code D

Belgian, (Contemporary) • Oil on Panel • 20” x 20”

00 cms • Price Code D

Pieter Wagemans • The Kendy Vase Belgian, (Contemporary) • Oil on Panel • 20” x 20”, 50 x 50 cms • Price Code C

67

68

Charles Perron Vase de Rose Pâles

Charles Perron Bouquet de Roses Blanches

Dorothea Sharp Still Life with Lilies

French, (1893-1958) Oil on Board 10” x 8”, 25 x 20 cms Price Code B

French, (1893-1958) Oil on Panel 7” x 5”, 18 x 14 cms Price Code B

British, (1874-1955) Oil on Board 24” x 18”, 61 x 47 cms Price Code E

Charles Perron Bouquet de Roses Blanches

Dorothea Sharp Still Life with Lilies

French, (1893-1958) Oil on Panel 7” x 5”, 18 x 14 cms Price Code B

British, (1874-1955) Oil on Board 24” x 18”, 61 x 47 cms Price Code E

69

70

Stewart Lees • Flowering Thyme

Stewart Lees • Lemon Thyme

British, (Contemporary) • Oil on Panel • 9” x 12”, 24 x 30 cms • Price Code B

British, (Contemporary) • Oil on Panel • 12” x 16”, 30 x 40 cms

Stewart Lees • Lemon Thyme • Price Code B

British, (Contemporary) • Oil on Panel • 12” x 16”, 30 x 40 cms • Price Code B

71

Robert Chailloux • Honesty in a Pewter Mug French, (1913-2006) • Oil on Board 13” x 10”, 35 x 27 cms • Price Code C

Robert Chailloux was a remarkable French artist and a good friend to Anthony and the gallery. For over forty years Anthony paid regular visits to Chailloux, firstly in Paris and then subsequently at his home in the countryside near Dourdan, and he cherishes his memories of their time together.

Chailloux’s talent for painting was evident from a young age. In 1940, Chailloux became a member of the Salon des Artistes Français, and began exhibiting regularly. The recognition his work received allowed him the opportunity to enter the Salon de la Nationale exposition of 1943. In 1945, he exhibited at the Salon d’Independence and became a member of the Salon de la Marine.

All the charm of bucolic France was softly and timelessly captured within his paintings, and his beautiful rustic fruits and floral subjects were often taken directly from his gardens or carefully selected from the local market. Chailloux’s studio was also an Aladdin’s cave of treasures; he collected many fine examples of French provincial pottery and objects which provided limitless opportunities for their use in his compositions.

All were immortalised at one point or another in his pictures.

Chailloux’s garden was always buzzing and alive with insects and birdsong, in no small part due to the plants he grew from seed. Amongst these was the fascinating honesty plant with its amazing transparent seed pods, resembling silver coins, hence the French name of “Monnaie du Pape.” The paintings in which it features are an especial treasure.

Robert Chailloux • Nature Morte aux Fraises French, (1913-2006) • Oil on Panel 8” x 10”, 22 x 27 cms • Price Code B

72

Robert Chailloux • French Basket of Cherries, Grapes and French, (1913-2006) • Oil on Canvas • 18” x 22”, 46 x 56 cms

Robert Chailloux • Honesty in a Pewter Mug

French, (1913-2006) • Oil on Board 13” x 10”, 35 x 27 cms • Price Code C

Robert Chailloux was a remarkable French artist and a good friend to Anthony and the gallery. For over forty years Anthony paid regular visits to Chailloux, firstly in Paris and then subsequently at his home in the countryside near Dourdan, and he cherishes his memories of their time together.

Chailloux’s talent for painting was evident from a young age. In 1940, Chailloux became a member of the Salon des Artistes Français, and began exhibiting regularly. The recognition his work received allowed him the opportunity to enter the Salon de la Nationale exposition of 1943. In 1945, he exhibited at the Salon d’Independence and became a member of the Salon de la Marine.

All the charm of bucolic France was softly and timelessly captured within his paintings, and his beautiful rustic fruits and floral subjects were often taken directly from his gardens or carefully selected from the local market. Chailloux’s studio was also an Aladdin’s cave of treasures; he collected many fine examples of French provincial pottery and objects which provided limitless opportunities for their use in his compositions.

All were immortalised at one point or another in his pictures.

Chailloux’s garden was always buzzing and alive with insects and birdsong, in no small part due to the plants he grew from seed. Amongst these was the fascinating honesty plant with its amazing transparent seed pods, resembling silver coins, hence the French name of “Monnaie du Pape.” The paintings in which it features are an especial treasure.

Robert Chailloux • Nature Morte aux Fraises

French, (1913-2006) • Oil on Panel 8” x 10”, 22 x 27 cms • Price Code B

Robert Chailloux • French Basket of Cherries, Grapes and Plums French, (1913-2006) • Oil on Canvas • 18” x 22”, 46 x 56 cms • Price Code C

73

A true Classical Realist, Paul’s focus is on universal beauty. Paul classifies himself as a painter first and foremost and an artist second. He upholds rigorous standards in pursuit of this, working from life, emulating the techniques and materials of the old masters, painting on linen canvas, preparing his own paints by hand, and carefully selecting pigments and oils to his precise requirements.

Paul began his artistic training as an apprentice for the Classical Realist D. Jeffrey Mims.

He then travelled to Italy to study at Studio Cecil-Graves in Florence, before becoming a tutor at the prestigious Florence Academy of Art. Paul has an immeasurable talent for finding the beauty in all objects, be that a ball of twine and terracotta pots found in his garden shed or dusty vintage bottles of wine, ready to be poured as a delectable treat for a connoisseur. An exquisite landscape, figurative and still life painter, Paul’s keen passion for nature is felt throughout his work and the influence of his upbringing, a Huckleberry Finn childhood spent roaming the outdoors in North Carolina and studying the world around him, can be seen in every brushstroke.

Paul S. Brown • Château Lafite-Rothschild 1948 American, (Contemporary) • Oil on Canvas • 24” x 36”, 61 x 92 cms • Price Code E

74

Paul classifies himself as a gorous standards in pursuit erials of the old masters, d, and carefully selecting

cal Realist D. Jeffrey Mims.

Florence, before becoming

objects, be that a ball of y vintage bottles of wine, . An exquisite landscape, s felt throughout his work dhood spent roaming the him, can be seen in every

2 cms • Price Code E

75

Paul S. Brown Port and Stilton American, (Contemporary) Oil on Panel 18” x 18”, 46 x 46 cms Price Code C

Paul S. Brown Cropwell Bishop Stilton and Sauternes American, (Contemporary) Oil on Canvas 20” x 24”, 50 x 60 cms Price Code D

76

Paul S. Brown • Spring Bulbs

American, (Contemporary) • Oil on Panel • 24” x 36”, 61 x 92 c

Paul S. Brown Port and Stilton American, (Contemporary) Oil on Panel 18” x 18”, 46 x 46 cms Price Code C

Paul S. Brown Cropwell Bishop Stilton and Sauternes American, (Contemporary) Oil on Canvas 20” x 24”, 50 x 60 cms Price Code D

Paul S. Brown • Spring Bulbs American, (Contemporary) • Oil on Panel • 24” x 36”, 61 x 92 cms • Price Code E

77

78

Walter Dolphyn • “Sir… I think we’re slightly off course”

Walter Dolphyn

Belgian, (Contemporary) • Oil on Panel • 8¼” x 16”, 21 x 42 cms • Price Code C

Belgian, (Contem

ms • Price Code C

Walter Dolphyn • In Case of Emergency Belgian, (Contemporary) • Oil on Panel • 19” x 16”, 50 x 40 cms • Price Code C

79

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

Willem Dolphyn • Marine Delicacy Belgian, (1935-2016) • Oil on Panel • 20” x 24”, 50 x 60 cms • Price Code D

80

Willem Dolphyn Red, White and Blue

Willem Dolphyn Dark Treasures

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

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

• Price Code D

81

Kenneth Webb Sweet Pea Exuberance Irish, (Contemporary) Oil on Canvas 10” x 12”, 25 x 31 cms Price Code B

Kenneth Webb Ancient Boulders

Kenneth Webb • Distant Thunder Irish, (Contemporary) • Oil on Canvas • 20” x 30”, 51 x 76 cms • Price Code E

82

Irish, (Contemporary) Oil on Canvas 12” x 16”, 31 x 41 cms Price Code C

Kenneth Webb Sweet Pea Exuberance Irish, (Contemporary) Oil on Canvas 10” x 12”, 25 x 31 cms Price Code B

Kenneth Webb Ancient Boulders Irish, (Contemporary) Oil on Canvas 12” x 16”, 31 x 41 cms Price Code C • Price Code E

83

Peter Van Breda Sunlight on the Thames

Peter van Breda Snow, Berkeley Square, London

British, (Contemporary) • Oil on Canvas 23” x 31”, 60 x 80 cms • Price Code C

British, (Contemporary) • Oil on Canvas 23” x 28”, 60 x 73 cms • Price Code C

As one of Britain’s leading en plein air painters, Peter van Breda is dedicated to capturing the fleeting light effects and changing atmosphere of the city landscape. Peter grew up on a remote farm in Zimbabwe and his appreciation of nature and love of the outdoors has led to his enthusiasm for painting in the open air.

A keen traveller, Peter makes regular visits to Venice. Here he delights in painting the cityscape in the early morning and late evening, the light dancing on the water enabling him to capture the serene beauty of the city away from the bustling crowds.

Recently, Peter has returned from the Alhambra in Spain; he described painting the ancient palace as a magical experience.

Peter regularly sets up his easel beside the Thames, favouring views of the City of London and Westminster, with the sunlight reflecting off the river and architectural monuments illuminated by the bright city lights. Peter is a master at capturing the glistening reflections of light and water and it is this profound skill that has led him to become known as “a painter of light.”

84

Peter Van Breda Morning Light, Royal Courts of Justice, London British, (Contemporary) Oil on Canvas 21” x 18”, 55 x 46 cms Price Code B

Peter van Breda Snow, Berkeley Square, London British, (Contemporary) • Oil on Canvas 23” x 28”, 60 x 73 cms • Price Code C

Breda is dedicated to capturing the fleeting light effects and n a remote farm in Zimbabwe and his appreciation of nature g in the open air.

delights in painting the cityscape in the early morning and late e the serene beauty of the city away from the bustling crowds. escribed painting the ancient palace as a magical experience.

views of the City of London and Westminster, with the sunlight ed by the bright city lights. Peter is a master at capturing the skill that has led him to become known as “a painter of light.”

Peter Van Breda Morning Light, Royal Courts of Justice, London British, (Contemporary) Oil on Canvas 21” x 18”, 55 x 46 cms Price Code B

85

Peter van Breda First Light towards Salute, Venice

Peter van Breda First Light, Grand Canal towards Salute, Venice

British, (Contemporary) Oil on Canvas 25” x 21¼”, 65 x 54 cms Price Code B

British, (Contemporary) Oil on Canvas 31” x 39”, 80 x 100 cms Price Code C

Peter van Breda • Gondolas Pointing Towards San Giorgio

British, (Contemporary) • Oil on Canvas • 20” x 39”, 50 x 100

86

an Breda ht, Grand Canal towards Salute, Venice

Contemporary) Canvas 9”, 80 x 100 cms de C

Peter van Breda • Gondolas Pointing Towards San Giorgio Maggiore, Venice British, (Contemporary) • Oil on Canvas • 20” x 39”, 50 x 100 cms • Price Code C

87

88

Peter Van Breda • Alhambra, Granada, Spain

Peter van Breda • Early Spring, Alhamb

British, (Contemporary) • Oil on Canvas • 12” x 35”, 30 x 90 cms • Price Code B

British, (Contemporary) • Oil on Canvas •

cms • Price Code B

Peter van Breda • Early Spring, Alhambra, Granada British, (Contemporary) • Oil on Canvas • 15” x 18”, 38 x 46 cms • Price Code B

89

Colette Bouvard Venetian Reflections French, (1941-1996) Oil on Canvas 11” x 14”, 28 x 35.5 cms Price Code B

Auguste Bouvard Vue de Venise French, (1882-1956) Oil on Canvas 10” x 13”, 27 x 35 cm Price Code C

Auguste Bouvard (signed Marc Aldine) • Vue du Grand Ca

French, (1882-1956) • Oil on Canvas • 14” x 21¼”, 37 x 54 cms

90

Colette Bouvard Venetian Reflections French, (1941-1996) Oil on Canvas 11” x 14”, 28 x 35.5 cms Price Code B

Auguste Bouvard Vue de Venise French, (1882-1956) Oil on Canvas 10” x 13”, 27 x 35 cm Price Code C

Auguste Bouvard (signed Marc Aldine) • Vue du Grand Canal à Venise French, (1882-1956) • Oil on Canvas • 14” x 21¼”, 37 x 54 cms • Price Code E

91

Clive McCartney September Light, Trafalgar Square British, (born 1960) Oil on board 24” x 32”, 61 x 81.5 cms Price Code C

Jean Axatard A Winter’s Tale French, (born 1931) Oil on Canvas 18” x 21”, 46 x 53 cms Price Code B

92

Edouard Cortes • Rue Royale Madeleine French, (1882-1969) • Oil on Canvas • 13” x 18”, 34 x 46 cms

Clive McCartney September Light, Trafalgar Square British, (born 1960) Oil on board 24” x 32”, 61 x 81.5 cms Price Code C

Jean Axatard A Winter’s Tale French, (born 1931) Oil on Canvas 18” x 21”, 46 x 53 cms Price Code B

Edouard Cortes • Rue Royale Madeleine French, (1882-1969) • Oil on Canvas • 13” x 18”, 34 x 46 cms • Price Code F

93

94

Peter Symonds • Merope Rocks and Lifeboat Station, Mother Iveys Bay

Peter Symonds • Lower Slaughter, the Cotswolds

British, (Contemporary) • Oil on Canvas • 15” x 23”, 40 x 60 cms • Price Code C

British, (Contemporary) • Oil on Canvas • 9” x 12”, 23 x 30 cm

her Iveys Bay

Peter Symonds • Lower Slaughter, the Cotswolds

0 cms • Price Code C

British, (Contemporary) • Oil on Canvas • 9” x 12”, 23 x 30 cms • Price Code A

95

Ronny Moortgat Nelson in HMS Victory on the way to Trafalgar Belgian, (Contemporary) Oil on Canvas 31” x 39”, 80 x 100 cms Price Code D

Ronny Moortgat Marquis at Speed Belgian, (Contemporary) Acrylic on Panel 16” x 24”, 40 x 60 cms Price Code B

Ronny Moortgat • The Glorious First of June, 1794

Belgian, (Contemporary) • Watercolour • 11" x 20", 27 x 50 cm

96

Ronny Moortgat Nelson in HMS Victory on the way to Trafalgar Belgian, (Contemporary) Oil on Canvas 31” x 39”, 80 x 100 cms Price Code D

Ronny Moortgat Marquis at Speed Belgian, (Contemporary) Acrylic on Panel 16” x 24”, 40 x 60 cms Price Code B

Ronny Moortgat • The Glorious First of June, 1794 Belgian, (Contemporary) • Watercolour • 11" x 20", 27 x 50 cms • Price Code C

97

Albert Friedrich Schroder A Peaceful Moment

Albert Friedrich Schroder A Well Earned Stein

German, (1854-1939) Oil on Canvas 16” x 12”, 41 x 30 cms Price Code C

German, (1854-1939) Oil on Canvas 16” x 12”, 41 x 30 cms Price Code C

Roger Chapelet • The Battle between The James and The French, (1903-1995) • Oil on Canvas • 24” x 36”, 61 x 91 cms

98

Albert Friedrich Schroder A Well Earned Stein German, (1854-1939) Oil on Canvas 16” x 12”, 41 x 30 cms Price Code C

Roger Chapelet • The Battle between The James and The Bredrode French, (1903-1995) • Oil on Canvas • 24” x 36”, 61 x 91 cms • Price Code C

99

General Data Protection from 25 May 2018

We have updated our Privacy Policy to comply wit

Three great opportunities, one Great organization Lord Dannatt Round Britain Challenge (LDRBC) finale, September 1st, Tower of London

the Privacy Policy on our website at www.gladwell It details how we will store and use your personal

This event marks the conclusion of a round-UK programme, involving five armed forces charity partners, 50 wounded veterans and 96 disadvantaged inner city cadets, as part of the World War One centenary commemorations. We are expecting HRH Prince Henry of Wales (TBC), in his capacity as Patron of the Endeavour Fund, The Lord Mayor of London and The Lord Dannatt, amongst other dignitaries, will join us to conclude the programme in The Tower of London, celebrating the accomplishments of the crew. The event will take the form of a British garden party, with “last night of the proms” style music from a military band and food representing the best local produce.

You do not need to do anything if you are happy w

40th Anniversary Dinner, Sept 27th, Windsor Castle

admin@gladwellpatterson.com or by writing to us

Our Royal Patron, HRH The Duke of York KG, is graciously hosting a 40th Anniversary Gala Dinner at Windsor Castle. This is a black tie champagne Stateroom reception, followed by a three course dinner in the Waterloo Chamber, within the magnificent surroundings of this most historic Royal Palace. Throughout the evening, there will be a gentle infusion of JST, with contributions from our beneficiaries and charitable partners.

You will be able to change your preferences at any

The Cator Trophy 40th Anniversary Race, Oct 5th-7th, Southampton / The Solent This is a very special opportunity for our supporters to experience our work first-hand and to race our two ships in an “America’s Cup” style race, alongside our beneficiaries and partners. As part of the adventure, participants will join the ship as a member of crew on Friday October 5th and then, whilst staying on-board, participate in a two day race across the weekend. The event concludes with the JST’s 40th Anniversary Community Party at lunch time on Sunday October 7th.

If however, you would like to specify how we may

us to contact you about, you can let us know by se

With kind regards, Glenn Fuller

e Great organization

September 1st, Tower of London

ve armed forces charity partners, 50 wounded veterans and tenary commemorations. We are expecting HRH Prince Henry ord Mayor of London and The Lord Dannatt, amongst other on, celebrating the accomplishments of the crew. The event will yle music from a military band and food representing the best

Anniversary Gala Dinner at Windsor three course dinner in the Waterloo alace. Throughout the evening, there and charitable partners.

outhampton / The Solent

work first-hand and to race our two partners. As part of the adventure, h and then, whilst staying on-board, es with the JST’s 40th Anniversary

General Data Protection Regulation from 25 May 2018 We have updated our Privacy Policy to comply with this new legislation. You can review the Privacy Policy on our website at www.gladwellpatterson.com It details how we will store and use your personal data as a client to Gladwell & Patterson.

You do not need to do anything if you are happy with the terms of the Privacy Policy.

If however, you would like to specify how we may contact you and what you would like us to contact you about, you can let us know by sending us an email at admin@gladwellpatterson.com or by writing to us at the gallery address.

You will be able to change your preferences at any time by contacting us.

With kind regards, Glenn Fuller

INDEX Lionel Aggett

p. 28

Paul Madeline

p. 10

Winifred Marie-Louise Austen

p. 54

Maurice Martin

p. 15

Jean Axatard

p. 90

Clive McCartney

p. 90

Nick Bibby

p. 48-49, 60-61

Pierre Eugène Montezin

p. 14

Auguste Bouvard

p. 88-89

Ronny Moortgat

p. 94-95

Colette Bouvard

p. 88

Miguel Angel Moraleda

p. 56-57

Paul S. Brown

p. 72-75

Luis Muntane Muns

p. 46-47

Robert Chailloux

p. 67, 70-71

Allan Myndzak

p. 38-39

Roger Chapelet

p. 97

Charles Perron

p. 20, 66

Joseph Clark

p. 40

Francis Picabia

p. 8-9

Edouard Cortes

p. 90

William E. Powell

p. 54

Marie Coulon-Serra

p. 11

Charles Edmund Rene His

p. 29

Alfred de Breanski

p. 31

Georges Charles Robin

p. 24-27

Walter Dolphyn

p. 76-77

Sir William Russell Flint

p. 45

Willem Dolphyn

p. 78-79

Albert Friedrich Schroder

p. 96

Douglas Falconer

p. 30

David Shepherd

p. 58-59

Michail Markianovic Germasev

p. 34-35

Harry Sutton Palmer

p. 32

Alfred Augustus Glendenning

p. 33

Peter Symonds

p. 92-93

Simon Gudgeon

p. 50-53

Martin Taylor

p. 36-37

George Hogg

p. 54

Raymond Thibesart

p. 13

Alexandre Louis Jacob

p. 16-19

Peter Van Breda

p. 82-87

Clarissa James

p. 55

Robert an Cleef

p. 44

Benson Landes

p. 42-43

Pieter Wagemans

p. 62-65

Henri Le Sidaner

p. 22-23

Edmund Warren

p. 32

Stewart Lees

p. 68-69

Kenneth Webb

p. 80-81

Joseph Louis Lepine

p. 21

Charles Edward Wilson

p. 41

Charles James Lewis

p. 41

Raymond Wintz

p. 6-7

Gustave Loiseau

p. 4-5

Paul Madeline

p. 10

Maurice Martin

p. 15

Clive McCartney

p. 90

Pierre Eugène Montezin

p. 14

Ronny Moortgat

p. 94-95

Miguel Angel Moraleda

p. 56-57

Luis Muntane Muns

p. 46-47

Allan Myndzak

p. 38-39

Charles Perron

p. 20, 66

Francis Picabia

p. 8-9

William E. Powell

p. 54

Charles Edmund Rene His

p. 29

Georges Charles Robin

p. 24-27

Sir William Russell Flint

p. 45

Albert Friedrich Schroder

p. 96

David Shepherd

p. 58-59

Harry Sutton Palmer

p. 32

Peter Symonds

p. 92-93

Martin Taylor

p. 36-37

Raymond Thibesart

p. 13

Peter Van Breda

p. 82-87

Robert an Cleef

p. 44

Pieter Wagemans

p. 62-65

Edmund Warren

p. 32

Kenneth Webb

p. 80-81

Charles Edward Wilson

p. 41

Raymond Wintz

p. 6-7