G&P at Charleston 2024

The Charleston Show

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O ur Charles ton Collec t ion Gladwell & Patterson are delighted to exhibit at The Charleston Show - Antiques - Art – Design this March. Inspired by the rich historical, architectural and cultural heritage of Charleston, The Charleston Show is a premier destination for art and antiques collectors and enthusiasts who enjoy seeing and learning about incorporating antiques into modern-day décor.

Gladwell & Patterson will be showcasing an exquisite selection of the finest Post-Impressionist landscapes, twentieth-century marine and figurative paintings alongside traditional contemporary paintings and sculptures of the highest quality. Highlights will include post-impressionist landscapes

by Gustave Loiseau and Alexandre Louis Jacob whose paintings are a celebration of the French landscape.

Glenn Fuller glenn@gladwellpatterson.com +44 (0) 7767 824 245

Gladwell & Patterson will also be exhibiting work from the finest contemporary painters, including oil paintings by American contemporary classical realist painter Paul S. Brown and abstract oil paintings by acclaimed British artist Peter Wileman.

We lookforward to welcoming you to the show this weekend.

Graham Magee graham@gladwellpatterson.com +44 (0) 7775 900 251

Booth 20 Thursday 21 – Sunday 24 March 2024 56 Beaufain St Charleston South Carolina 29401 USA

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Gustav e L ois e au Frenc h (18 6 5-19 3 5)

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 a 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.

Les Peupliers was exhibited in Loiseau's very first solo exhibition at Galerie Durand-Ruel, which took place from March to April in 1898. No exhibition catalogue was made for this exhibition, however the art critic Thadée Natanson wrote a critique in La Revue Blanche

Les Peupliers Painted in 1898 Signed ‘G. Loiseau’ (lower left) Oil on Canvas 81 x 65 cms, 32” x 25½” 4

in which he praised paintings of ‘trembling haystacks and poplar trees, clearly describing the present work.

The brushwork and vibrant colours of Les Peupliers reveal Loiseau’s profound skill in capturing the ambiance of nature. The vibrating colour harmonies of the field of golden wheat and the gestural brushstrokes of the gently swaying poplars enliven this sun drenched pastoral scene.

Identifiable through a rich surface and composed using spontaneous brushwork as the pigment is layered upon 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.

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Gu s tav e L ois e au French (1865-193 5)

Le Chemin en Bord de Rivière is a masterful evocation of a breezy autumnal day. Painted at the turn of the century between 1899 and 1900, at the height of Loiseau’s Impressionist period, the work embodies the young artist's influence of his Impressionist forebears, most notably that of Alfred Sisley and Claude Monet.

In 1899, Loiseau's early technique gave way to the virtuosic impressionist style for which the artist is best known. Le Chemin en Bord de Rivière is a seminal work of this period, displaying all the compositional maturity and technical ability that had secured Loiseau’s position as a leading Post-Impressionist artist.

Painted en plein air, Loiseau set up his easel on the riverbank to capture a lone figure walking along the tow path, isolated in the midst of nature and the broad expanse of the sweeping curve of the river. His rich palette full of deep browns, bright reds and vibrant greens set against the cool blue of the sky highlights Loiseau’s virtuosity with colour.

The painting is enlivened by thick and staccato impasto brushstrokes which are contrasted with sweeping brushstrokes across the cool autumnal sky. Loiseau layered the paint with precision, building up the texture that is vibrant and interesting when viewed up close, and magical once we step back to admire the scene as a whole.

Le Chemin en Bord de Rivière Painted circa 1899-1900 Signed ‘G. Loiseau’ (lower right) Oil on Canvas 50 x 61 cms / 19½” x 24” 7

Gustav e L ois e au Frenc h (18 6 5-19 3 5)

A richly atmospheric painting, Rivière en Normandie captures the unique violet light of the late afternoon in one of Loiseau's most favoured painting spots on the banks of River Eure.

Loiseau painted the Eure in all seasons and at various times throughout the day; veiled by the morning mist, lit by bright sunlight or, as in Rivière en Normandie, in the complex purple light of the early evening. This view of the Eure, so loved by the artist, recalls the work of the Monet and Sisley in its themes and composition, however Loiseau’s technique and innovative brushwork adds a brilliant atmosphere and vibrancy to the composition, which is entirely the artist’s own.

By 1913, Loiseau had began to adopt a much freer pictorial approach, characterised by a looser application of paint and a turn towards increasingly intense pigments.

Rivière en Normandie Painted in 1913 Signed ‘G Loiseau 1913’ (lower right) Oil on Canvas 54 x 65 cms / 21½" x 25¾" 8

The broad expanse of the river in the foreground delights the senses as Loiseau superbly captures the rippling effect of a wind blowing across the surface of the water.

This energetic landscape is animated by the movement of the rolling clouds in the sky, painted with longer, looser brushstrokes than their reflections in the water below. The sweep of foliage on the riverbank is captured in spontaneous brushstrokes, in contrast to the clouds and poplars which are rendered in larger, more heavily worked patches of colour and en trellis brushstrokes.

The complex tapestry of texture and the artist's varied use of brushstrokes within Rivière en Normandie enlivens the composition and reveals his skill in synthesising the Impressionist and Post-Impressionist techniques in his mature career.

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Gu stave L oiseau French (1 8 65 -193 5)

Maison au Bord de l’Eau, Effet de Neige Painted in 1920 Signed ‘G Loiseau 1920’ (lower right) Oil on Canvas 51 x 61 cms / 20” x 24”

Loiseau’s Maison au Bord de l’Eau, Effet de Neige is a brilliant demonstration of the artists’ colouristic subtlety, a quality that often receives less attention than his compositions or complex brushwork. In this work, the artist engenders a particularly striking contrast between the vibrant, icy blue tone of the sky and the alluring purple and saturated browns used to capture the bare trees on the river bank. Loiseau employs contrast between these colours to create a unique impression of winter in his work, conveying at once the bareness and the beauty of the season.

Loiseau’s rich brushwork is on display in full force in this mesmerising winter landscape. In characteristic fashion, the artist has covered the surface of the canvas with thick areas of impasto which protrude from the painted background. The most notable instances of this technique are found in the rendering of the snow on the river bank and upon the roof of the house.

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Gustav e L ois e au Frenc h (18 6 5-19 3 5)

A remarkably energetic painting, Le Close de Monsieur Janson, Le Vaudreuil, Eure imbues one of Loiseau’s favorite subjects with a startling kineticism; vigorous brushwork complements ruffled trees and racing clouds that frame the orchard and the distant village of Vaudreuil beyond. The evocative composition depicts a warm autumnal day in the countryside surrounding the picturesque village of Vaudreuil in Normandy.

In 1901, Loiseau moved to Vaudreuil, a few kilometres from the River Seine. The area offered a wealth of inspiration for a follower of the Impressionists. The village crossed the River Eure, allowing plentiful opportunities to capture water reflections and tall upright poplars, and was surrounded by luscious farmland and orchards as depicted in this work.

The lively en trellis brushstrokes and delicate balance of colours and textures enliven the composition and reveal the artist’s skill in synthesising the Impressionist and Post-Impressionist techniques in his mature career.

Le Close de Monsieur Janson, Le Vaudreuil, Eure Painted in 1926 Signed ‘G Loiseau’ (lower right) Oil on Canvas 46 x 54.5 cms / 18” x 21½”

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The composition of Loiseau’s 1926 Le Close de Monsieur Janson, Le Vaudreuil, Eure is dominated by the autumnal foliage of trees, and the play of horizontal and vertical lines created in the juxtaposition between the upright trees and the luscious green hedge that runs across the painting, separating the orchard from the farm buildings beyond. In his Vaudreuil paintings, Loiseau turns away from the bright colours and violent contrasts that are often seen in his river views at around the same time period, and instead creates a harmonious composition which vibrates with his unique staccato brushwork and texture, enlivening the scene.

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Modes t H u y s B elgian (1874-193 2)

Regarded as one of the greatest Belgian painters of the twentieth-century, Modest Huys stands out for his Post-Impressionist landscapes. Huys sought to capture the luminosity of natural light upon the landscape, which earned him a place in the Vie et Luminière group.

Painted in 1912, The Harvest captures the artist’s mastery as he balanced complex textures and colours with rural subject matter to create startling evocations of light and atmosphere. Huys’ work was preoccupied with the way that light and colour could transform ordinary scenes of daily life into extraordinary depictions of the sublime. In this respect, The Harvest stands not only as an encapsulation the artist’s unique quality, but a painting which dramatically expanded the vocabulary of the nascent Luminist movement.

Building on iconic depictions of farmworkers by Millet, Huys sought to imbue his figures with a sensitivity and reverence. Depicted from a low angle, the figures are given a monumentality, standing out from the landscape they inhabit. The painting is suffused with the brilliant glowing light of the late afternoon. Yellows and oranges mix with cooling purples and opals as shadows begin to extend, further silhouetting the central figures.

Deftly combining brilliantly coloured and textured brushwork with realist subject matter, The Harvest is a masterful encapsulation of the Luminist project.

Produced at the apex of the artist’s career, this vibrant painting illuminates the often-overlooked farmworkers that fascinated Huys and his contemporaries.

The Harvest Painted circa 1912 Signed ‘M Huys’ (lower right) Oil on Canvas 71 x 82 cms / 28’’x 32¼’’ 15

R aymon d Thibésart Frenc h (18 74-19 6 8) Les Pommiers en Fleurs Oil on Canvas 80 x 175 cms / 31½” x 69”

Raymond Thibésart’s Les Pommiers en Fleurs is a mesmerizing portrayal of trees in full blossom and captivates the viewer with its exceptional scale.

This monumental artwork stands as a testament to nature’s grandeur, commanding attention and evoking a sense of awe. The delicate trees, meticulously rendered with empassioned brushwork, burst forth with vibrant pink and purple blossoms. The valley of the Seine unfurls into the hazy distance beyond, and one becomes immersed in the tranquil beauty of springtime.

The scale of this stunning painting amplifies its impact, enveloping the observer in a lush world of renewal and vitality.

Each brushstroke is a testament to the artist’s profound connection with nature.

Thibésart’s exceptional work invites us to appreciate the grandeur of nature on an extraordinary scale, reminding us to reflect on the profound beauty that surrounds us.

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Gu stave Cariot French (1 8 72-19 5 0)

Meules dans un Paysage Vallonné Painted in 1927 Oil on Canvas 60 x 81 cms / 23½” x 31¾” 21

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.

This landscape by the Post-Impressionist artist Gustave Cariot is distinguished by its remarkably vivid palette.

At first glance, one might see a simple depiction of haystacks dotting a rural landscape. But Cariot’s work goes beyond the surface; he invites us to delve into the complexities of colour and pigmentation through the juxtaposition of vibrant strokes of pure

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pigment which from afar blend together to create a harmonious effect.

Inspired by Claude Monet’s series paintings of haystacks dating from the 1890s, Cariot was fascinated by the fluctuations of light and colour brought about by the changing seasons and wholeheartedly embraced Monet’s vison in his vibrant depictions of the rural landscape following the harvest. Look closely, and you’ll notice the play of light and shadow on the haystacks.

Cariot’s skillful brushwork captures the essence of a fleeting moment, when the sun gently kisses the golden fields.

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Alexandre L ou is Jac ob French (1876-1972)

Alexandre Louis Jacob, a remarkable artist of the midtwentieth century, left a lasting mark on the art world with his tranquil and subtle toned landscapes of the picturesque regions of northern France.

on fleeting clouds above, fringed with luminous light. The vast open skies create a sense of calm and contemplation, punctuated by elongated poplar trees that rise from below.

Jacob was celebrated for his unique ability to capture the sombre allure of frost, mist and atmospheric effects.

He delighted in studying the tranquil waterways of the Marne region and the meandering rivers around Amiens and the Somme. His landscapes stand as poetic tributes to the quietude of these regions.

Jacob was a master at capturing the French landscape as it subtly changed between the seasons. In autumn, his paintings contain a golden aura, in winter, a soft creamy light diffuses across the landscape with hues of pinks and blues reflected in snow on the riverbanks, and his depictions of springtime resonate with the crisp morning light. His legacy endures as a testament to the enduring allure of this enchanting corner of northern France.

Throughout his career, it was the endless skies of the French landscape that appealed to Jacob. The horizon sits in the lower third of his compositions, with the focus

Buée Matinale, Bords de la Marne Oil on Board 55 x 46 cms / 21¾" x 18" 25

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R ay mon d Win t z French (1884-19 56) Le Petit Port Oil on Canvas 46 x 55 cms / 18" x 21½" Celebrated as a painter of light, Raymond Wintz enjoyed a reputation as one of the finest artists working in France in the early twentieth century. His skill and complete command of his palette set him aside from his contemporaries. Wintz gained a firm appreciation by critics and collectors for his paintings of the Brittany coastline and was renowned for his charming window and balcony scenes bathed in sunshine which perfectly embody memories of holidays by the coast.

Many artists were drawn to the beauty of the Brittany landscape and the unique quality of light. Wintz delighted in the picturesque coastal landscape of the region, particularly in the Finistère department; there he would capture idyllic seascapes and charming river estuaries bathed in sunshine.

Wintz masterfully encapsulates the essence of traditional Breton life in his paintings through meticulous attention to detail and an innate understanding of the region’s culture.

His charming paintings breathe life into picturesque coastal villages. Brightly coloured fishing boats and dinghies sway in the gentle breeze, with waves rippling around their hulls, whilst the local Breton fishermen and bigoudènes in traditional dress mend fishing nets. His use of soft, luminous colors and delicate brushwork brings forth the region’s unique atmosphere and light. Wintz’ landscapes and seaside scenes of humble Breton village folk transport the viewer into this unspoilt and cherished environment.

Through his paintings, Wintz invites us to embrace the timeless beauty and serene tranquility of Brittany. His works continue to captivate collectors, serving as a testament to the enduring allure of this picturesque French region.

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J ean ne S elmers heim-D es gr ange Frenc h (18 77-19 58)

Le Petit Déjeuner devant une Fenêtre Oil on Canvas 65 x 92 cms / 25½” x 36¼” 28

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

celebrated and she exhibited regularly at the Paris Salon des Indépendants from 1909.

Le Petit Déjeuner devant une Fenêtre stands out for the exceptional nuance of its colouring as the artist captures the essence of morning light through a spectrum of vibrant hues. While SelmersheimDesgrange initially rose to fame as the muse of her life partner, Paul Signac, she is increasingly recognised as a major Neo-Impressionist in her own right: a status confirmed in this brilliant painting. SelmersheimDesgrange was born into a highly creative family, in which the women were artists and costume designers, and the men were architects and draftsmen. Following in their footsteps, she began her artistic career in the decorative arts before becoming a painter under Signac’s instruction. Her paintings were highly

Selmersheim-Desgrange spent a great deal of time in the South of France, particularly around St. Tropez, where Signac owned a house called “La Hune” with his wife. In 1913, Signac rented a charming house in Antibes, where he settled with Jeanne shortly before the birth of their daughter Ginette. The relaxed atmosphere, the intense light, the brilliant earthen colors, and azure seas all helped to form SelmersheimDesgrange’s aesthetic. Life in the South of France was focused around the beautiful Mediterranean Sea, and Selmersheim-Desgrange’s most spectacular works are those composed of view from a balcony looking onto the glistening Mediterranean beyond.

Selmersheim-Desgrange’s direct talent as an artist may be seen in the distinctive compositions of her brilliant still lifes and landscapes. Her watercolours and oil paintings are executed with a delicate palette of orange, yellow, rose, light blue and green pastel tones. But she also uses greys, which make for glistening opalescent nuances.

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Ch arles Perron Frenc h (1 89 3-1 58)

Monnaie du Pape Oil on Panel 22 x 26.5 cms / 8¾" x 10½" 32

Charles Perron’s depictions of rural French life, be they an intimate cottage scene, a delicate still life or a beguiling nude, demonstrate a faultless technique and highly developed technical skills.

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.

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.

Les Géraniums en Bords de Fenêtre Oil on Board 39 x 31 cms / 15¼" x 12¼" 33

E mile Mes nager Frenc h (1 880-19 40)

Bouquet de Fleurs dans une Timbale Posée sur la Cheminée Oil on Panel 46 x 38 cms / 18" x 15" 34

An toin e B l anc h ard French (1910 -1988)

Porte Saint Denis en Hiver Oil on Canvas 46 x 53.5 cms / 18" x 21" 35

É d ouard Cort es French (1 8 82-1969)

Edouard Cortès’ Porte Saint Denis en Hiver encapsulates the bustling atmosphere of a winter’s evening in Paris. The composition presents an eastern view of the iconic Porte Saint-Denis triumphal arch, with the Boulevard Saint Denis stretching out before it.

Cortès skilfully captures the dynamic energy of the moment as the streets come alive with activity. Horse-drawn carts and coaches fill the road, whilst locals gather around the restaurants and bars as they begin to open. Noteworthy is Cortès' adept handling of light, as he expertly captures the unique ambiance of the winter evening. His treatment of light and shadow creates a mesmerizing chiaroscuro effect, enhancing the depth and drama of the composition. Furthermore, the artist’s ability to capture the subtle nuances of natural and artificial light not only showcases his technical proficiency but also underscores his keen understanding of how light shapes perception and emotion.

In Porte Saint Denis en Hiver, Cortès looks beyond the confines of mere representation to craft a captivating visual narrative that transports viewers to the heart of a winter evening in Paris, where the play of light becomes an integral part of the city's enchanting allure.

Porte Saint Denis en Hiver Oil on Board 33 x 46 cms / 13" x 18" 37

Derek G . M . G ardner B ritis h (19 1 4-2 0 0 7) The Battle of Trafalgar with the British and French Fleets in Close Action Painted in 1961 Oil on Canvas 46 x 61 cms / 18” x 24”

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D erek G. M . Gardn er B ritis h (191 4-20 0 7) Fifty South Ice to Port Painted in 1912 Oil on Canvas 51 x 76 cms / 20” x 30”

Widely considered to be the leading marine painter of the twentieth century, Derek Gardner was not only capable of the unparalleled detail required in capturing ships, but stood unmatched in conveying the atmosphere of the ocean.

Fifty South Ice to Port is a captivating marine painting that transports the viewer to the frigid waters of the Southern Ocean. This stunning artwork captures the essence of a perilous journey through icy, turbulent seas. The deep, sapphire-blue waters dominate the canvas, their expanse seemingly endless. Amidst this icy expanse, a mighty ship battles the elements, its sails billowing in the fierce wind.

The play of light is masterfully rendered in the painting, with the sun’s luminescent rays struggling to break through the thick, brooding clouds. The icebergs, colossal and foreboding, jut out of the water like ancient sentinels on the horizon, a testament to nature’s raw power.

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Ronn y Mo ortgat B elgi an (Con t emporary) Vitesse Oil on Canvas 50 x 80 cms / 19¾" x 31½"

Ronny Moortgat is one of the foremost contemporary artists of marine painting. Following in the footsteps of the great maritime masters of the twentieth-century, he depicts his subjects with great discipline, capturing every minute detail of the vessels.

Moorgat’s skill in portraying contemporary and historic ships with such accuracy, whilst also imbuing their unique spirit in his paintings, is due to his lifelong passion for the sea and all that sail on her. This passion was born from growing up by the River Schelde close to Antwerp, Europe’s second largest port, and watching the hustle and bustle of the shipping from a very young age.

Trained as a technical draftsman, Moortgat has since combined his own more Impressionist approach with the strictly classical. Loose brushstrokes and the evocation of detail and atmosphere characterise his work. Further to maritime scenes, Ronny also paints landscape and still life scenes, the latter of which evoke the style of the Flemish Old Masters and bear testimony to his classical artistic education.

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Ron n y Mo ortgat B elgian (Contempor ary)

Pride of Baltimore on Patrol Watercolour 22 x 46 cms / 9" x 19" 44

Ron n y Moortgat B elgian (Cont emporary)

Coastguard Eagle Watercolour 30.5 x 49.5 cms / 12" x 19½" 45

Edgar Frey berg G erm an (19 2 7-2 01 7) Breakers on the Seashore Oil on Canvas 49.5 x 58.5 cms / 19½" x 23"

Born in Berlin in 1927, Edgar Freyberg emerged from a difficult wartime youth with a passion for the arts. Receiving meticulous training at the hand of the genre painter and portraitist Hein Konig, the observational qualities of which remain evident throughout his oeuvre, Freyberg would emerge as one of the leading European marine painters of the latter 20th century.

The simplicity of Freyberg’s palette, largely blues, whites and pinks, is juxtaposed against a mastery of highlights and brushwork that creates the texture of crashing waves, illuminated by sunlight emerging through the clouds.

His work remains popular for its subtle and unique understanding of the sea, captured by Freyberg with such brilliant simplicity.

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Peter Wilem an B rit ish (Contemporary) A Silent Promise Oil on Canvas 100 x 100 cms / 39½” x 39½”

Highly acclaimed British abstract artist Peter Wileman is one of the UK’s leading contemporary landscape artists today. Known for his dazzling abstracted oil landscapes, Wileman’s style is bold and vigorous, both in the use of colour and handling of paint, as he explores the effect of light on his subject. Seeking atmosphere through light and colour, he works in varying degrees of abstraction.

Interested in painting from a young age, upon leaving school he went straight into his first job at Hallmark Cards, a card company, where his innate artistic talent was immediately recognised. Here Peter spent five years studying lettering and design, his first artistic training - which gave him a solid grounding in colour awareness and formal structure.

Wileman later became the art editor on a number of magazines. Looking for an opportunity to develop his own artwork, Peter left his budding design career to become a freelance artist; a decision from which he has never looked back.

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Pet er Wilem an B ritis h (Contempor ary)

“My painting is all about light and how we see it and react to it.”

“For me, painting is as much a part of the day as eating and sleeping. In fact, it’s more important than that, more like breathing! I could not imagine a single day passing without talking about, reading about, or actually taking part in some kind of activity concerning art. Like a moth is drawn to a flame, a painter is drawn to the light, and although I have tried to express myself with painting in many different forms, mediums and styles over the years, my path has lead me inexorably, like so many others before me, to try and capture that elusive quality of light, that only a shimmering sunset, dawn of a new day, dazzling sparkle of reflection off both sea and river presents to one who is prepared to both look and see.”

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Peter Wileman

Oceans of Echoes Oil on Canvas 100 x 100 cms / 39½” x 39½” 50

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Dav id S c hoc k American (Contemporary)

Born in Boston in 1962, David Schock would hone his craft on both sides of the Atlantic, gaining a degree in Massachusetts, studying in Exeter and then returning to work with New York’s Art Students League. Working with English painters like Michael Mayer, and American portraitists such as Aaron Shikler, his student travels have lent his paintings a diversity that is still apparent today.

While David would begin his career working as a portrait painter, he would soon add realist landscapes to his output, exhibiting his skill at both in one man shows in both Britain and the States.

His best works have come from his ability to seamlessly combine both styles, creating informal portraits of figures situated in richly realised landscapes from around the world. Schock’s subtle and multifaceted treatments of a range of subjects have been widely collected, appearing in collections in Asia, Europe and the US.

Digging for Gold Acrylic on Canvas 92 x 61 cms / 36" x 24"" 53

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James D oran-Webb B rit ish (Contemporary) Wobble Duckling Driftwood Sculpture 23 x 16 x 12 cms / 9" x 6¼” x 4¾"

James Doran-Webb’s mesmerising animal sculptures crafted from driftwood are a testament to his extraordinary artistic vision and commitment to sustainability. Using weathered driftwood collected from shores of the Philippines archipelago, James breathes life into these discarded fragments of nature. His meticulous attention to detail and masterful craftsmanship results in incredible sculptures that capture the essence of the majestic beasts that inspire him.

Each sculpture is a harmonious blend of texture, form, and character, carefully assembled to create lifelike representations of creatures ranging from majestic horses to fierce predators.

These sculptures not only celebrate the beauty of wildlife but also carry a powerful environmental message, highlighting the importance of preserving natural habitats and protecting our world. James’ work serves as a captivating reminder of the delicate balance between humanity and the animal world, inspiring admiration for nature’s wonders and the imperative to safeguard them.

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Edward Wait es B ritis h (Con t emporary) 1/3 Life-Size Colt Bronze (Edition of 7) 3 x 2.5 x 1 feet 35¾" x 33¾" x 12"

Edward Waites’ bronze Colt is a masterful testament to the artist’s prowess in capturing the essence of strength and grace in equine form. Standing proudly as a symbol of timeless elegance, this remarkable piece exudes an air of classical grandeur that immediately draws the viewer’s gaze.

As one gazes upon the sculpture, the play of light and shadow across the smooth surface of bronze adds depth and dimension, bringing this colt to life.

Edward’s attention to detail, coupled with his keen understanding of equine anatomy, results in a work of art that resonates with both art connoisseurs and lovers of equestrian beauty. His bronze stallion is not merely a sculpture; it is a living testament to the enduring allure of classical aesthetics.

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E dward Wait es B ritis h (Contempor ary)

Peppermill Bronze (Edition of 9) 50 x 35 x 12 cms / 19¾" x 13¾" x 4¾" 58

E dward Wait es B rit ish (Cont emporary)

Buffalo Head Bronze (Edition of 12) 29 x 27 x 23 cms / 11½” x 10½” x 9” 59

Paul S. Brown Americ an (Con t emporary) Hard Day Done Oil on Canvas 61 x 71 cms / 24" x 28"

A true Classical Realist, Paul’s focus is on universal beauty.

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 was apprenticed to D. Jeffrey Mims, before honing his talents at the Cecil-Graves Studio in Florence, where his talent as an exquisite draftsman was instantly recognised. Paul went on to teach at the prestigious Florence Academy of Art, renowned for its commitment to the academic tradition.

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. His perfectly composed works are rich with atmosphere and detail.

Renowned for his exquisite still lives, Paul is an exquisite draftsman, and his perfectly composed works are rich with atmosphere, colour and detail.

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S t ell a S h aw zin South African (1920 -2020)

There is remarkable energy and a passion for life in the muscular male figures Shawzin portrays. Their bronze forms are always well composed and one senses a tension that impresses the eye in these soaring figures that seem to defy gravity.

Shawzin’s characteristic acrobats are composed in a particularly dramatic manner, amazingly balanced on top of one another holding on from hand to foot. In other sculptures of men we see athletes with outstretched hands reaching to the sky and with feet stretching backwards, only the toes of one foot touching the ground. These figures seem to be in almost impossible positions and yet they are convincingly real.

Their soaring images fly in the sky and yet at the same time they stand on the earth.

“My main theme is the human form in its infinite variety. I am terribly excited by the never ending variations in position, feeling, movement, its animal quality. It is limitless... timeless.”

Stella Shawzin

Figure in Movement IX Bronze 56 x 48 x 25.5 cms / 22" x 19" x 10" 63

Willi am K ay B l ac klo c k B ritis h, (1 872-19 24)

The Flower Stall Oil on Board 20.5 x 25.5 cms / 8" x 10" 64

G eorges Ric ard -Cordingley French (1873-1939)

Jeune Normande Assise sur la Plage Oil on Canvas 41 x 50.5 cms / 16" x 19¾" 65

H en ry Wo od s B ritis h (1 846-19 21) An Alpine Village Oil on Board 29 x 18 cms / 11" x 6¾"

A celebrated ‘Neo-Venetian’ artist in the realist style, British born Henry Woods, travelled to Venice at the age of thirty and, transfixed by the cities beauty and light, remained in the city throughout the rest of his career, depicting the tranquil waterways of the city and the bustling Grand Canal.

Wood met Whistler in Venice and become a close friend of Sargent in 1880, both of whom had a lasting impact on his creativity.

A passionate artist from a young age, Woods studied at the South Kensington School of Art. Upon graduation Woods became an illustrator for The Graphic where he would become associated with the Pre-Raphaelites and John Everett Millais. The older artist encouraged Woods to begin exhibiting at the RA in the same year, where he would continue to exhibit throughout his career, becoming a celebrated academician in the process.

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Lu is Mu ntane Mu ns S panish , (1899-1987) An Afternoon Stroll Oil on Panel 41 x 24 cms / 16" x 9½"

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Index

William Kay Blacklock

p 64

Ronny Moortgat

p 42-45

Antoine Blanchard

p 35

Luis Muntane Muns

p 67

Paul S. Brown

p 60-61

Charles Perron

p 32-33

Gustave Cariot

p 20-23

Georges Ricard-Cordingley

p 65

Édouard Cortes

P 36-37

David Schock

p 52-53

James Doran-Webb

p 54-55

Jeanne Selmersheim-Desgrange

p 28-31

Edgar Freyberg

p 46-47

Stella Shawzin

p 62-63

Derek G. M. Gardner

p 38-41

Raymond Thibésart

p 16-17

Alexandre Louis Jacob

p 24-25

Edward Waites

p 56-59

Modest Huys

p 14-15

Peter Wileman

p 48-51

Gustave Loiseau

p 4-13

Raymond Wintz

p 26-27

Emile Mesnager

p 34

Henry Woods

p 67

For further information on any of these artworks please contact the gallery Glenn Fuller (Director) glenn@gladwellpatterson.com +44 (0)776 782 4245 Research & Design: Ella Wells All Rights Reserved Gladwell & Patterson, 2024 68

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