RHS Chelsea Flower Show 2024

Page 1

Chelsea Flower Show 2024

5 Beauchamp Place



Tel: +44 (0) 207 584 5512

admin@gladwellpatterson.com www.gladwellpatterson.com


1 High St, Stamford Lincolnshire, PE9 2AL

Tel: +44 (0) 7772 307807

stamford@gladwellpatterson.com www.gladwellpatterson.com


Our Chelsea Flower Show Collection

Gladwell & Patterson was the first art gallery to exhibit at the Chelsea Flower Show, and after nearly twenty years, we are always happy to be back.

We are delighted to be back at RHS Chelsea Flower Show. We have been joined by a collection of British birds and bees along with 14 hand painted butterflies at this years RHS Chelsea Flower Show.

We are thrilled to present our latest collection, ‘Art inspired by Nature’. Artists take their inspiration from the natural world, and we have done the same this year.

Working with landscape designer Eleanor Oborne, we have beautiful vivid blue iris and bright hardy geraniums, placed throughout the stand, growing alongside the artworks. Hydrangeas and wisteria are twirling up the walls imminently going to bloom. Jazmin van Breda, daughter of Peter van Breda, has brought the stand alive, with her charming painting of birds and insects delicately placed amongst the paintings. With an exciting week ahead, we have special visits from our talented artists, who will be painting and sculpting on the stand.

We look forward to seeing you at the RHS Chelsea Flower Show.


Gustave Loiseau

French (1865-1935)

A champion of painting the landscape en plein air, Loiseau embraced the use of bold colour as he explored and expanded the Impressionist style.

Peupliers sur les bords de l’Yonne reveals the masterful treatment of one of Loiseau’s most emblematic subjects: poplars by a riverside. In his focus upon poplars as a subject, 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.

The evocative composition of Peupliers sur les bords de l’Yonne depicts a bright summers day on the banks of the Yonne, upstream from the town of Auzerre. The current work is a rare example of one of the few river scenes that the artist produced outside of Auxerre in 1907, and stands as a wonderful evocation of the French countryside at the pinnacle of Loiseau’s Impressionist manner.

Peupliers sur les bords de l'Yonne

Painted in 1907

Signed ‘G Loiseau 1907’ (lower left)

Oil on Canvas

23¾" x 28¾" / 60 x 73 cms

Price on Application

The painting was subsequently acquired by Durand-Ruel on the 24th July 1907, whilst the deep rich impasto oil paint was barely dry, revealing Durand-Ruel’s confidence in its commercial value. The brushwork and harmonious colour palette of Peupliers sur les bords de l’Yonne reveal Loiseau’s profound skill in capturing the ambiance of nature. The vibrating colour harmonies of the foliage on the river bank and the feathered brushstrokes of the gently sweeping clouds enliven this bright summer landscape.

Identifiable through a rich surface, composed using spontaneous brushwork as the pigment is layered upon the canvas, this masterful painting reveals Loiseau’s instinctive use of the Impressionist techniques of his forebears in his quest to capture nature as he experienced it en plein air


Raymond Thibésart

French (1874-1968)

Les Pommiers en Fleurs

Oil on Canvas

80 x 75 cms / 31½" x 29½"

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.

Maurice Martin

French (1894-1978)

Pommiers en Fleurs

Oil on Canvas

54 x 65 cms / 21¼" x 25½"


A master of bold colours and strong form, Maurice Martin was a key practitioner in the Moret School of painting. This talented group of artists were indebted to the Impressionist artists, most notably Alfred Sisley, who painted at Moret-sur-Loing in the 1890’s. Martin was frequently seen painting en plein-air, believing this to be the only way to capture the immediacy of the scenery.

Martin’s technique demanded a free and spontaneous style of painting in order to catch the rapid changes in outdoor light. He attempted to extract the colours and shapes as well as the fragrances of nature, putting the total ambiance and experience directly onto the canvas.

The highlights of Martin’s career were the Gold Medal he was awarded at the 1946 Paris Salon, and becoming Vice President of the Society of French Landscape Painters.


Charles Perron

French (1893-1958)

Oil on Canvas

38 x 61 cms / 15" x 24"


Elégante et l'Ombrelle


Oil on Panel

27 x 34 cms / 10½" x 13½"


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.


Marcel Dyf

French (1899-1985)

Oil on Canvas

73 x 60 cms / 23¾" x 23½"


In Marcel Dyf's oil on canvas still life painting Fleurs de Soleil , the artist's profound connection to nature and light is vividly expressed through a bouquet of sunflowers. Dyf's upbringing, steeped in the Impressionist and Post-Impressionist movements, undoubtedly influenced his approach to capturing the essence of Provence's landscapes and flora. The textured surface of the painting, achieved through his use of impasto brushwork, reflects Dyf's keen observation and reverence for the natural world, a trait cultivated during his formative years spent in Paris and Normandy.

Dyf's relocation to Arles in Provence in 1922 marked a pivotal moment in his artistic journey. In the South of France the artist immersed himself in the region's luminous landscapes, later translating these impressions onto canvas with unparalleled skill. The bold palette of vibrant yellows and oranges in Fleurs de Soleil not only evokes the sunflower's inherent radiance but also pays homage to Dyf's lifelong pursuit of capturing the interplay of light and colour. Through this work, Dyf not only showcases his technical skill but also invites viewers to partake in his enduring fascination with the natural world, echoing the joyous spirit of the sunflower itself.

Fleurs de Soleil

Henri Le Clerc

French, (1905-1970)

Oil on Panel

34 x 35 cms / 13¼" x 14"

L'Heure du Thé

Charles Camoin

French (1879-1965)

Rendered with thick impasto brushwork, Camoin’s still life has a rich surface texture that adds depth and dynamism to the composition. The bold use of vibrant reds and purples is characteristic of Camoin's style, reflecting his early Fauvist influences and his connection to the movement's core artists like Matisse and Marquet. The varied flower arrangement adds visual interest, while the translucent vase and the checked tablecloth contribute to the painting's overall complexity. This work illustrates Camoin's evolution as an artist, showcasing his mastery of colour and texture, and highlighting his ability to infuse still life with a lively, almost palpable energy. Anémones dans un pot en verre is thus an illustration of Camoin's artistic journey, from his early days at the École des Beaux-Arts in Marseilles to his interactions with key figures of the Fauvist movement and beyond.

Anémones dans un pot en verre

Oil on Canvas

37 x 30 cms / 15½" x 12"


Georges Charles Robin

French (1903-2002)

Le Maine à Saint Fiacre

Oil on Canvas

46 x 55 cms / 18" x 21½"


Enthralled by the enchanting river valleys of rural France that flowed through the luxuriant countryside, Georges Charles Robin’s paintings perfectly capture rural French life.

Following the en plein air practice of the Impressionists, in a few swift brushstrokes, Robin brought life to the trees and rivers of the French countryside. Robin was a master at capturing the change in temperature and atmosphere. His restrained use of colour allowed him to capture a warm summer’s afternoon or a blanket of snow with profound skill. Combining his deft and delicate touch with vigorous, dramatic brushstrokes and palette knife work, he produced exceptional landscapes.

Throughout Robin’s career the Loire Valley and the Dordogne region inspired his greatest works. Robin's love of nature in all her moods inspires a fine sense of permanence in his craft and his treatment of the rustic architecture that exists in many of the towns and villages of France is unrivalled. These landscapes retained Robin’s unfaltering commitment to capturing the very essence of the French countryside.

Robin exhibited at the Salon des Artistes Français, the Salon des Paysagistes Français and the Salon d'Hiver, where he was highly lauded. Our gallery discovered his work in the Paris Salon of 1948. Since then, three generations of the Fuller family of Gladwell & Patterson have continued to sh are the legacy of this great artist. The gallery has both an outstanding library of his work and a highly cultivated knowledge of his practice and are recognised as the leading authority on his painting. We are currently preparing a Catalogue Raisonné of his work.


Georges Charles Robin

French (1903-2002)

Oil on Canvas 64 x 49 cms, 25" x 19"

Ploumanach, Côtes-du-Nord

Georges Charles Robin

French (1903-2002)

Finistère Oil on Canvas 64 x 49 cms, 25" x 19" £18,500

46 x 61 cms / 18" x 24"

Matin sur la Rivière près de Montreuil Bellay Oil on Canvas

Georges Charles Robin

French (1903-2002)

27 x 41 cms / 10½" x 16"

La Dordogne Oil on Canvas

Georges Charles Robin

French (1903-2002)

Récolte en Normandie

Oil on Canvas

50.5 x 65 cms / 20" x 25"



Sur le Thouaret, près de Thouars

Oil on Canvas

46 x 55 cms / 18" x 21"

Bords du Beuvron près de Cande (Près de Blois)

Oil on Canvas

46 x 55 cms / 18" x 21"


Jean Kevorkian

French (b. 1933)

Jean Kevorkian’s large-scale work Un Jour d’Été presents a breath-taking view of Moret-Sur-Loing, an idyllic French settlement and former commune, once home to the impressionist artist Alfred Sisley. The scene is bathed in the golden light of a summer's day, evoking a sense of tranquillity and warmth. Flowers in full bloom fill the foreground, their colours rendered with a vibrancy that draws the viewer’s eye into the composition. The nearby pathway, dappled with leafy shadows, adds a dynamic element to the scene, suggesting the gentle rustling of leaves in a light summer breeze. This pathway leads the viewer's gaze through the painting, serves as a visual journey into the heart of the settlement below.

Kevorkian’s use of a high viewpoint not only showcases his technical skill but also imbues the painting with a sense of expansiveness. The perspective allows for a comprehensive view of the setting, creating an almost panoramic experience for the viewer. The soft, diffused

light, a hallmark of Kevorkian’s style, enhances the painting's serene and inviting atmosphere, making it a perfect encapsulation of a peaceful summer day in rural France.

Kevorkian had no formal artistic training but is a self taught artist with a raw, natural natural talent. Kevorkian excelled in the depiction of the French landscape and marine subjects. Extended stays in Brittany, Saint-Malo and their surroundings, as well as at Finistère in Brittany led to a widening of his artistic horizon in his earlier years

Kevorkian was awarded numerous distinctions and exhibited his works in the great Salons in Paris, in various galleries around Europe and has had many one-man exhibitions around France. In 2015, a retrospective exhibition was held in his hometown of Plouhinec in Brittany..

Un Jour d'Été

Oil on Canvas

96.5 x 129.5 cms / 38" x 51"



Jean Kevorkian French (1933)

Oil on Canvas

38 x 46 cms / 15" x 18¼"


Bord de Rivière

Alexandre Louis Jacob

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.

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.

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

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 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.

Marécages de la Vesle, environ de Reims

Oil on Canvas

55 x 46 cms / 21½" x 18"



Alexandre Louis Jacob

French (1876-1972)

Oil on Board

26 x 32 cms / 10¼" x 12½"


Raymond Leach

British, (b.1949)

Sailing on the Broads

Oil on Board

44 x 59 cms / 17¼" x 23¼"



Georges Lebacq

Belgian, (1876-1950)

La Moisson ou Meules, Fin de Journée

Oil on Canvas

32 x 46 cms / 12½" x 18"


Gustave Cariot

French (1872-1953)

Spring Wisteria Oil on Canvas 27.5 x 41 cms / 10¾" x 16" £11,000

Jeanne Selmersheim-Desgrange

French (1877-1958)

This distinctive post-impressionist painting captures a serene courtyard breakfast scene with a table set amidst the tranquil morning light. At the centre of the table, a vibrant bouquet of pink roses adds a touch of elegance and warmth, contrasting beautifully with the soft blue hues that suffuse the entire composition. The paintings characteristic luminosity evokes a sense of calm and harmony, drawing viewers into the quiet, intimate moment. Selmersheim-Desgrange's delicate brushwork and use of colour highlight the simple beauty of everyday life, transforming an ordinary scene into a captivating visual experience.

Selmersheim-Desgrange’s series of table scenes, painted in and around Saint-Tropez, are widely considered to be the best expression of her impeccable Neo-Impressionist style. Paintings of this type have proved enduringly attractive for the way in which they seamlessly mix a subtle treatment of setting, the jewelled textures of flowers, and a central still life composition. These paintings stand out for the exceptional subtlety of its colouring. Selmersheim-

Desgrange captures very the moment of sunset through a range of opalescent hues.

Selmersheim-Desgrange is renowned for her relationship with Paul Signac. The pair met in Paris in the 1890s whilst Signac was still married to his wife Berthe and Selmersheim-Desgrange became his pupil and later his mistress. Through this relationship Selmersheim-Desgrange embraced the Neo-Impressionist pointillist style for which Signac had developed alongside Paul Seurat.

In 1913 Signac rented a charming house in Antibes, in the South of France, 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.

73 x 92.5 cms / 28¾" x 36½"

Le Petit Déjeuner, Lumière Bleue Oil on Canvas

Jeanne Selmersheim-Desgrange French (1877-1958)

le Soir

Oil on Canvas

64 x 91 cms / 25¼" x 35¾"


Depicting a luminescent evening in Venice, this painting exemplifies Selmersheim-Desgrange’s distinctive approach in capturing the effect of light. The work is constructed out of small adjacent dabs of primary colour, carefully arranged to juxtapose one another. Brilliant, sunset hues of orange, pink and purple, contrast against an array of sea blues and greens. When close to the painting, all that is discernible to the viewer are the individual brushstrokes; a technique known as Pointillism as termed by the artist Paul Signac (with whom Jeanne lived in the South of France). When viewed from a further distance however, the result is a vibrant portrayal of Venice on a summer’s night.

In the early twentieth century Venice was frequented by the Impressionists; most notably Claude Monet in 1908. This composition echoes views of the Ducal Palace painted by Monet during this trip. Paul Signac considered these paintings to be one of Monet’s greatest achievements, and the influence of both Monet and the artists lover informed the composition of this magnificent postimpressionist work.


David Shepherd British (1931-2017)

David Shepherd is regarded by many as being the worlds leading wildlife artist. He started his artistic career as an aviation artist, and an early commission for the RAF took him to Kenya where David painted his first wildlife subject and he never looked back.

David's love of wildlife is apparent in all aspects of his life. In 1984 he established the David Shepherd Wildlife Foundation to fund vital enforcement and community projects that protect wildlife survival in the natural habitat and has since received many conservationist awards including an OBE.

David's distinctive style stems from a personal attachment with the animals of Kenya. His impasto brushwork in the foreground contrasted with the detailed and intricate depiction of the wild animals highlights the details of the rich African terrain and the fragility of the animals within.

48 x 79 cms / 19" x 31"


Burning Bright Oil on Canvas

Edward Waites

British (Contemporary)

Completely self-taught, Edward's sculptures are created out of his passion for the vitality, energy and grace of his subjects. His passion lies with African and Equestrian wildlife, sculpting animals with distinct features that carry a powerful presence.

Following the ancient lost-wax method, Edward works first in clay, moulding the animal with his hands, creating the rough texture you can see in the final sculpture. This personal touch adds character to the animals and makes them come alive for the audience. Edward then casts in bronze and in silver for limited editions. This age-old process demands both skill and time, and after several months of work, his finished sculptures bring the true nature of the wildlife into our everyday lives.

Edward’s collection comprises of animals and wildlife and is shaped by his passion for the vitality, energy and grace of his subjects. Waites’ careful observation of his subjects allows for him to capture the unique personalities of these majestic animals, from mighty racehorses such as Dubawi and Makfi, to the native creatures of the vast plains of Africa.

Edward's sculptures feature in distinguished public, corporate and private collections around the world, including a commission for Her Majesty Queen Elizabeth II.

1/3 Life-Size Colt

Bronze (Edition 3 of 7)

3 x 2.5 x 1 feet / 35¾" x 33¾" x 12"




Etruscan Horse Bronze & Oak (Edition of 12) 90 x 22 x 28 cms, 35" x 9" x 11"
Walking Lion Bronze (Edition of 12) 45 x 30 x 15cms, 18" x 12" x 6" £6,250 Edward Waites British (Contemporary)

Edward Waites

British (Contemporary)

165 x 40 x 15 cms, 65" x 16"


Horse Trio Bronze (Edition of 12) x 6"
American Black Bear Bronze (Edition of 12) 58 x 35 x 14 cms, 23" x 13 ¾" x 5½" £8,200

Simon Gudgeon

British (Contemporary)

Reclining Hare Bronze (Edition of 25) 12 x 30 x 12 cms / 5" x 12" x 5"

Simon Gudgeon

British (Contemporary)

Buddha Hare Bronze (Edition of 25) 22 x 66 x 27 cms / 9" x 26" x 11" £4,250


Original Bastion Large

Bronze, Edition of 12

72.5 x 27 x 21.5 cms

28½” x 10½” x 8½”


Right: Bastion 3 Small

Bronze, Edition of 24

33 x 7.5 x 7 cms

13” x 3” x 2¾”


Anthony Theakston

British (Contemporary)

Known for his distinctive style and profound appreciation of the natural world, Anthony Theakston has carved a unique niche in British contemporary sculpture. His work is celebrated for its graceful forms, meticulous craftsmanship, and an emotive resonance that transcends mere representation.

Theakston’s background in ceramic art and a deep understanding of materiality have profoundly influenced his approach to bronze sculpture. Theakston studied ceramics at the University of Bristol and Cardiff University before establishing his ceramic studio from which his ethereal bird and Avarian forms have become renowned. Through his ceramic work, Theakston has received numerous awards, and his ceramic work can be found in notable public collections including The British Council Crafts Collection in London, The Ashmolean Museum in Oxford and the Fitzwilliam Museum in Cambridge.

Each sculpture is a testament to his skill and vision, capturing the essence of his subjects with elegance and subtlety. Theakston’s sculptures often draw inspiration from avian forms, showcasing his fascination with the grace and fluidity of birds in motion. His ability to distil the essence of these creatures into simplified, abstracted forms is nothing short of remarkable.

As one of the UK’s leading sculptors, we are delighted that Anthony is joining Gladwell & Patterson’s roster of highly talented artists. His distinctive bronze masterpieces are inspired by the sculptural shape, elegance and movement of the bird form using angular and geometric shapes and sit harmoniously in the home and in the outdoors alike.

Anthony Theakston

British (Contemporary)

Winged Sideways

Bronze, Edition of 12

65 x 53.5 x 14 cms / 25½” x 21” x 5½”


Theakston works in his overlooking views of the River Trent and British farmland; a landscape that never ceases to inspire. Quick, rough sketches of direct observations from nature are rapidly transformed into a myriad of shapes and elegant lines. Before casting his sculptures in bronze, Theakston hews his models out of blocks of plaster in a reductive process.

The bronze medium, with its rich history and enduring qualities, allows Theakston to imbue his sculptures with a timeless presence. His meticulous attention to detail and the tactile quality of his work invites viewers to engage with each piece on a sensory level. Cast at the world-renowned bronze foundry Castle Fine Arts Foundry in Wales, the patinas Theakston employs add depth and character, enhancing the organic feel of his sculptures.


Bronze, Edition of 24

37 x 15.5 x 15.5 cms

14½” x 6” x 6”


Bronze, Edition of 12

70 x 16.5 x 18 cms

27½” x 6½” x 7”


Left: Bastion 2 Medium Right: Peaceful 70

“My art and activity is a continued process of distilling, where ideas and feelings are concentrated, refined and simplified until, if successful, they have a purity which is no longer about me or the design or the age we inhabit.”

Large Bastion 2

Bronze, Edition of 12

119.5 x 23 x 25.5 cms

47” x 9” x 10”


Anthony Theakston

British (Contemporary)


Bronze, Edition of 12

53.5 x 13 x 14 cms / 21” x 5” x 5½”


Bronze, Edition of 24

31.5 x 16.5 x 9 cms / 12¼” x 6½” x 3½”



Paul S. Brown

American (Contemporary)

Plot to Plate

Oil on Canvas

60 x 90 cms / 23½" x 35½"


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, his latest diversion upon this theme is a series inspired by whimsical childhood memories. Paul is an exquisite draftsman, and his perfectly composed works are rich with atmosphere, colour and detail.



Oil on Canvas

26 x 60 cms / 10" x 23½"


Oil on Panel

18 x 25.5 cms / 7" x 10"

Garden Christmas Clementines

Paul S. Brown

American (Contemporary)

Hit for Six! Oil on Canvasboard 18.5 x 18.5 cms / 7¼" x 7¼" The Art of Writing Oil on Canvas 22.5 x 22.5 cms / 9" x 9" £4,250

American (Contemporary)

White Truffles Oil on Canvas 40.5 x 61 cms / 16" x 24" £16,500 Paul S. Brown

Stewart Lees

British (Contemporary)

35 x 45 cms / 13¾" x 17¾"


Compact Marjoram in the Potting Shed Oil on Gesso Panel


Reflection, Lemons and Parsley Oil on Gesso Panel 50 x 70 cms / 19½" x 27½"

Pieter Wagemans

Belgian (Contemporary)

Building on the legacy of the Dutch Masters, Pieter Wagemans’ transcendent still life paintings have propelled the artist to the forefront of contemporary realist painting. Pieter studied at the Royal Academy of Fine Arts in Antwerp and was inspired by the Dutch still life painters David de Heem, Willem Heda and Rachel Ruys.

Pieter carefully composes each floral arrangement in his studio in Antwerp. This enables the artist to control the effect of light and the transitory nature of his subjects. Pieter bypasses the use of underpainting and paints each flower in turn, 'alla prima', so that each flower is captured in its prime.

Recognisable for the balance of light and shadow within elegantly composed floral vignettes, an exquisite colour harmony and intricate details, Pieter’s work appeals to and resonates with the contemporary collector.

Top: Poppies and Gold

Oil and Gold Leaf on Panel

32 x 32 cms / 12¾" x 12¾"


Bottom: Violets and Gold

Oil and Gold Leaf on Panel

20 x 20 cms / 8" x 8"



32 x 32 cms / 12¾"


Roses and Gold Oil and Gold Leaf on Panel x 12¾"

Pieter Wagemans

Belgian (Contemporary)

20 x 20 cms / 8" x 8"


20 x 20 cms / 8" x 8"


Magnolia and Gold Oil and Gold Leaf on Panel Amaryllis wand Gold Oil and Gold Leaf on Panel

Kenneth Webb

Irish (Contemporary)

Kenneth Webb’s paintings are an exploration and celebration of the natural world through colour. Experimenting with colour in a free, expressionist manner, Kenneth has arrived at a joyous aesthetic that captivates and envelops the viewer. Taking inspiration from the natural landscape around him, his paintings are rooted in place and are deeply personal.

One of Webb’s most cherished inspirations is his enchanting Ballinboy Studio garden nestled in the heart of the peatlands of Connemara, on the west coast of Ireland. This idyllic sanctuary has served as a fountain of creativity, a place where he has poured his love for nature onto canvas.

Kenneth now lives and works near to the Forest of Dean, where he spent his adolescence in the post-war

years. However, his memories of the cherished garden at Ballinboy remain at the forefront of his creativity. The Forgotten Corner fuses this memory with the reoccurring themes of poppies, wildflowers, and the Sighle-nagigs. Kenneth’s painting of a quiet corner of his garden is a testament to his deep connection with the Irish countryside.

Kenneth skilfully conveys the tranquillity and serenity of this secluded nook. The rich, earthy tones of the rocks blend harmoniously with the vibrant blooms, creating a symphony of colours. The dappled sunlight filtering through the leaves evokes a sense of peace and contentment, inviting viewers to step into this enchanting garden retreat. Through his brushstrokes, Kenneth invites us to reflect on the beauty and serenity of nature, an enduring source of inspiration for his timeless art.

Sweet Peas in Purples Oil on Canvas 25.5 x 30.5 cms / 10" x 12" £4,950

Kenneth Webb Irish (Contemporary)

Silver Setting

Oil on Panel

14 x 18.5 cms / 5 ½" x 7¼"


Set in Gold

Oil on Panel

16 x 21.5 cms / 6 ¼" x 8½"


Spring Vase Oil on Canvas 10" x 12" / 25.5 x 30.5 cms £4,950

Donald Hamilton Fraser

British (1929-2009)

Faraid Head IV

Oil on Paper

23 x 30 cms / 9" x 12"


Donald Hamilton Fraser is a highly acclaimed British painter. Fraser attended the prestigious St. Martin's School of Art alongside notable contemporaries, including Frank Auerbach, and over the course of his career had frequent one-man exhibitions at Gimpel Fils in London and Paul Rosenberg Gallery in New York.

Fraser’s predominant subject matter was the landscape. Inspired by the Scottish landscape of his ancestors, he com-bined this with his affinity with French Modern painting experienced firsthand in Paris during his studies there in the 1950s. His landscapes were executed with vibrant colours and broad brushstrokes. Fraser layered thick bright paint with a palette knife to produce an almost collage-like effect, whilst forming abstract dream-like fields of colour.

Fraser taught at the Royal College of Art for much of his career and received numerous awards for his painting. He was elected as a member of the Royal Academy in 1975.


Peter van Breda

British (Contemporary)

Dedicated to working outdoors, Peter van Breda’s enthusiasm for painting is driven by his excitement at capturing the light, mood and atmosphere of a scene on canvas.

Peter was born in Zimbabwe in 1957, and now lives and works in Lincolnshire in the heart of England. His childhood experience of growing up on a remote farm in Zimbabwe, close to nature, has strongly influenced his perception and ability to read his surroundings. London, Sussex and now Lincolnshire, where Peter’s studio is located, provides great stimulus and a strong contrast with the African landscapes Peter left behind. He has travelled widely and painted in many major cities, providing great diversity in subject matter.

Peter’s chosen method is to work directly from the subject, en plein air, and he draws much of his inspiration from the immediacy of the process. He works at speed, and to dynamic effect, to capture an effect of light and atmosphere before it changes. From Botswana to Venice to the Thames, Peter’s paintings offer bursts of colour and a magical evocation of time and place that invites the viewer to share an experience.


8½" x 10½"/ 22 x 27 cms

21 x 34 cms / 8¼" x 13½"


St. Paul's Across the Millennium Bridge, London Oil on Canvas Snow, South Bank towards St. Paul's, London Oil on Canvas

Peter van Breda

British (Contemporary)

50 x 100 cms / 19¾" x 39½"


Sunset on the Thames, London Oil on Canvas St. Mary le Strand, London Oil on Canvas 19¾" x 15¾" / 50 x 40 cms £4,950 Morning Light, Grand Canal, Venice Oil on Canvas 100 x 80 cms 9½" x 31½"

Peter van Breda

British (Contemporary)

Gondolas, Evening Light, Venice Oil on Canvas 32 x 54 cms / 12½" x 21¼" £3,950

Georgina Potter British (Contemporary)

Georgina Potter is a contemporary landscape artist who is fast becoming one of Britainís leading en plein air painters. Georginaís prominent online presence led to Gladwell & Pattersonís discovery of her in 2022 where her art has quickly found a following amongst keen collectors. Her unique and highly energetic style reflects the joy she finds in a glimpsed ray of sunlight after the rain, or the fierce drama of a sky before the sun slips below the horizon.

Capturing fleeting moments and passing impressions, her landscapes are romantic and raw and strike a chord with the viewer. After realising fashion school wasnít for her and inspired by British mid-century greats such as Munnings and Seago, Georgina decided to pursue her impulse to paint and finally rested upon her joyfully free style.

Her motivation when picking up her brushes is always to develop on what she has learned from her previous work, and her technique is to work quickly and ìget the feeling downî. Covering the whole canvas or board loosely regardless of size, she is careful not to over work her paintings.

She likes to change her colour palette to keep her work fresh and enjoys painting in Europe for a change in light, experimenting with Spanish street

Light Between the Rocks Oil on Canvas 50 x 76 cms / 20” x 30” £2,450

Georgina Potter

British (Contemporary)

By the Gateway

Oil on Panel

30 x 40 cms / 12” x 16”


Sunset Hues over Farmland

Oil on Panel

20 x 25 cms, 8” x 10”


Shifting Shade, Summer’s Day Oil on canvas 50 x 50 cms 20” x 20” £1,950

Peter Symonds

British (Contemporary)

As one of Britain’s leading landscape artists, Peter Symonds is undeniably a master at capturing the scale and awe of dramatic landscape vistas. Whether it is a spectacular panorama of the Scottish Highlands, the dramatic high cliffs of the Devon and Cornwall coast or the jagged rocks and ice fields of the Alps, the range within his oeuvre is extensive.

Working exclusively in oils on canvas, Peter is primarily a landscape painter. He is identified most closely with his views of the English Lake District, Devon, Cornwall and Scotland, but in addition to the picturesque rivers, mountains and coastlines of the British Isles, Peter achieves great variety and scope travelling to and painting wild and remote places around the world.

His paintings are informed by a love of the great outdoors,

and he is a keen admirer of the great traditional landscape painters, particularly those painting in Britain and France towards the end of the nineteenth and early twentieth centuries. In this tradition, he continually seeks to achieve more than just topographical accuracy, and to create mood and atmosphere through the mastery of tone and light.

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.

Path to Dow Craig Coniston Oil on Canvas 46 x 35.5 cms / 18" x 14"

March Grange in Borrowdale


Oil on Canvas 11" x 18¼" / 28 x 46.5 cms

British (Contemporary)

on Canvas 20 x 30 cms / 8" x 12"

Loch Torridon, Scotland Oil

Martin Taylor

British (Contemporary)

Martin’s work reflects his love of nature, played out in exquisitely detailed studies of the countryside surrounding his studio, a converted stable on a farm.

Every season brings fresh inspiration, and to achieve the precision and focus so characteristic of his work Martin paints ‘en plein air’, returning to the same position for weeks at a time even in deepest winter.

The combination of intricate detail and careful composition in his work celebrates nature on every scale, from the twigs on the forest floor to the clouds skimming the vast skies.


Into the Field Oil on Board 12" x 12" / 30 x 30 cms

Martin Taylor

British (Contemporary)

January Snow

Oil on Canvas

20 x 25 cms / 8" x 10"


Snowdrops in the Healing Garden


22x 35.5 cms / 8½" x 14"

Summer by the Oak Oil on Canvas 30 x 40 cms / 12" x 16"

Martin Taylor

British (Contemporary)

Bluebell Wood Oil on Board 25.5 x 35.5 cms /10" x 14"

x 61 cms / 14¼" x 24"

Eventide Oil on Board 36

Joe Hargan

Scottish (Contemporary)

Blue Sky Thinking

Oil on Canvas

51 x 51 cms / 20" x 20"


The body of Joe’s paintings are remarkable for their diversity. But his paintings are immediately recognisable and follow the rich tradition of vibrant, bold colourist Scottish paintings. Contemporary paintings by Joe Hargan of the renowned character ‘Sniffy’ have featured in many of his paintings and are now collected by art lovers worldwide. Over the years Hargan has been awarded a number of art prizes reflecting and rewarding the quality and breadth of his talent.

Hargan draws inspiration from many sources: Italian renaissance art, Spanish art, American influences such as Rothko and Newman; and of course British artists Francis Bacon, Philipson and David Donaldson.

Joe has received numerous awards including Painting Prize, Glasgow School of art; Cargill Award, Royal Glasgow Institute; Torrance Award, Glasgow Institute; Mayor Oppenheim Award, Royal Scottish Academy; The Paisley Art Institute Award, Paisley Art Institute; PAI Diploma, Paisley Art Institute; Contemporary Fine Art Award, Paisley Institute; William Bowie Award, Paisley Art Institute; Maude Gemmell Hutchinson Award, Royal Scottish Academy; Reid Kerr College Award and the Paisley City of culture bid award. Hargan was elected as a member of the Royal Academy in 1975.


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

5 Beauchamp Place, London SW3 1NG • +44 (0)20 7584 5512 • admin@gladwellpatterson.com • gladwellpatterson.com OPENING SOON 1 High St, Stamford, Lincolnshire PE9 2AL • +44 (0)77 7230 7807 • stamford@gladwellpatterson.com • gladwellpatterson.com

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