Our Palm Beach Collection

Our Palm Beach Collection

O ur Palm B each Collec t ion We are delighted to return to Florida for our annual visit to the sunny state to showcase a selection of our latest and finest acquisitions.

Embracing old and new , we are exhibiting at two shows this year, one with a more modern and contemporary focus, the other celebrates the 20th century with antiques, art and jewellery on display.

Our first exhibition is with Art Palm Beach, where we will be showcasing a special collection of Pete Wileman’s paintings exclusively for our US clients.

Bold brushwork and bright colours; these works bring life to any wall.

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

Alongside these we have new pieces by Paul S. Brown and Kenneth Webb, whose joyful and fun style will be sure to bring a smile to your face.

We will have a selection of pieces hidden away in the cupboard during the show, so if you have seen any pieces on our website that interest you, please do let us know and we would be thrilled to share them with you.

Emily Campin

Booth 812 Wednesday 24 January – Opening Night Thursday 25 – Sunday 28 January – General Admission Palm Beach County Convention Center 650 Okeechobee Blvd.

West Palm Beach FL 33401

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emily@gladwellpatterson.com +44 (0) 7983 518 526

We return to Florida in mid February for The Palm Beach Show with an exquisite display of our finest Post-Impressionist collection yet.

Our focus this year is for our booth to create a space of inspiration and drive a passion for collecting.

Art is often considered last in the design of a room or home and it is our goal to change that by using a beautiful work of art as the starting point in thinking about design. Art does, after all, give us much pleasure and that can only be enhanced by making sure that it is displayed to the best effect.

Cory Fuller cory@gladwellpatterson.com +44 (0) 7866 450 070

Highlights of our collection are five stunning landscapes by Gustave Loiseau, and an exceptional work by Raymond Thibesart spanning almost two metres wide.

We hope our booth, designed to mirror your homes, will inspire you and your collecting journey.

We look forward to seeing you at one or hopefully both of these shows.

Marie-Claire Meredith marie-claire@gladwellpatterson.com +44 (0) 7813 202 272

Booth 900/1001 Thursday 15 February – Opening Night Friday 16 – Tuesday 20 February – General Admission Palm Beach County Convention Center 650 Okeechobee Blvd.

West Palm Beach FL 33401

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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)

Painted at the height of Loiseau’s Impressionist period in 1905, Le Quai du Pothuis à Pontoise embodies the influence of his Impressionist forebears, most notably that of Alfred Sisley and Claude Monet. Painted en plein air, Loiseau captures the very essence of a warm summer’s day with harmonious tones of warm blues and the use of delicate feathered brushstrokes.

Le Quai du Pothuis à Pontoise depicts a viewpoint that was deeply personal and familiar to Loiseau. It was at this exact location beside the River Oise where Loiseau built his home and studio from 1903 until 1905, when the present work was painted.

The richly pigmented surface is composed of spontaneous brushwork that is layered to create a scintillating dance

Le Quai du Pothuis à Pontoise Painted in 1905 Signed ‘G Loiseau 1905’ (lower right) Oil on Canvas 55 x 72.5 cms, 21½” x 28½” 8

of light. Tall trees line the riverbank and they cast deep, purpled shadows on a path that appears to glow with the heat of a summer sun. The water and grass lining the bank dazzle with staccato strokes of blue, green, yellow, and violet. Two small figures, a woman and child, can be seen at the focal point of the composition. Their miniscule presence serves to accentuate the broad expanse of river and land under the sweeping blue sky.

The painting resonates with an atmospheric quality; the viewer can almost feel a light breeze upon their skin. This still and serene landscape is animated by the movement of the clouds in the sky, painted with longer, loose brushstrokes than their reflections in the water below, evoking a calming ambiance. Impressionistic in style, it is an early masterpiece by this profoundly talented artist.

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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" 12

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)

The 1920s was a period of great exploration for Loiseau.

La Criée aux Poissons à Fécamp, painted in 1925, is an outstanding work from one of the most important series of Loiseau’s urban views outside Paris. The bustling fish market of Fécamp is brilliantly evoked by the artist’s handling of paint and lively en trellis brushstrokes. A homogeneous and yet vibrating colour structure is created by his staccato-like brushwork, developed from the Pointillism of Seurat and Signac.

Surrounded by the tallest cliffs in Normandy, reaching over three-hundred feet tall, Fécamp stands in a dramatic location along the north coast of France, fifteen kilometres east of Étretat. The picturesque fishing port offered a rich supply of subject matter; sailing ships docked the port, the spray-swept jetty, and outside the town a plentiful supply of majestic cliffs.

La Criée aux Poissons à Fécamp Painted in 1925 Signed ‘G Loiseau’ (lower right) Oil on Canvas 50 x 61 cms / 19½” x 24”

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Loiseau painted this work as part of a series of eight canvases of Fécamp, in which he carefully investigated the movements of fishing boats and the shifting patterns of crowds upon the Quai, revealing his focus was not only on the effects of weather and light, but also on the atmosphere created by changes in activity of boats, fishermen and tourists.

Compositionally, the elevation of La Criée aux Poissons à Fécamp gives the viewer a clear picture of the angular Port and allowed Loiseau to look down on the boats and fishermen in the port. The viewer’s eye is drawn over the lively Quai and to the façades of the buildings illuminated by the sun. It is a painting full of energy and joy, and where every inch of the canvas has been skillfully employed to seize the atmosphere of the day.

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

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’’ 23

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” 29

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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

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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Georges Charles Robin Frenc h (19 0 3-2 0 02) Printemps sur le Fusain près de Château-Landon Oil on Canvas 51 x 61 cms / 20" x 24"

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.

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G eorges Ch arles Robin Frenc h (19 03-2002)

Bords du Loing vers Nancy, Seine-et-Marne Oil on Canvas Oil on Panel, 8 x 46 cms / 15" x 18" 34

Montigny-sur-Loing Oil on Canvas 45.5 x 56 cms / 18" x 22" 35

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Georges Ch arles Robin French (190 3-20 02)

Le Port de Sainte-Marine, Finistère Oil on Canvas 46 x 61 cms / 18" x 24"

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G eorges Ch arles Robin Frenc h (19 03-2002)

Lavoir sur L'Eure Oil on Canvas 27 x 34 cms / 10½" x 13¾" 38

Village de La Brigue Oil on Canvas 46 x 38 cms / 18" x 15" 39

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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" 41

Alex an dre L ou is Jac ob Frenc h (1 876-19 72)

Moulin de Crecy Oil on Panel 40.5 x 38 cms / 16" x 15" 42

Un Beau Jour d'Été Oil on Panel 25.5 x 23.5 cms / 10" x 9¼"

Winter Evening Oil on Panel 23 x 33 cms / 9" x 13" 43

Promenade Automnale au Bord de la Rivière Oil on Canvas 46 x 55 cms / 18" x 21½" 44

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

Le Pêcheur, Matin Oil on Board 27.5 x 22 cms / 10¾" x 8½"

Lever de Soleil sur le Marais Oil on Canvas 21 x 25 cms / 8¼" x 9¾" 45

E dmon d Marie Pet it j ean Frenc h (1 84 4-19 25)

Paysage à Villeneuve Oil on Canvas 46 x 66 cms / 18" x 26" 46

Fr anc ois de Mon t holon French (1856-1940)

Berger et son Troupeau dans les dunes fleuries pres de la Ciotat Oil on Canvas 53 x 81 cms / 21" x 32" 47

R aymon d Wint z Frenc h (18 84-19 56 ) Ploumanach, Côte du Nord Oil on Canvas 89 x 117 cms / 35" x 46"

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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R ay mon d Win t z French (1884-19 5 6)

Left Page: Le Petit Port Oil on Canvas 46 x 55 cms / 18" x 21½"

Scène de Port Oil on Canvas 38 x 46 cms / 15" x 18" 51

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” 52

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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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An dré H ambourg Frenc h (19 0 9 -19 9 9) Trois Voiles l'après Midi Oil on Canvas 16 x 27 cms / 6¼” x 10¾"

Born in Paris, André Hambourg showed considerable artistic promise from a young age and was enrolled at the École des Beaux-Arts. Hambourg had his debut solo exhibition at the Galerie Taureau in Paris, aged just nineteen, which was met with great acclaim.

Following the Second World War, Hambourg became the official painter to the French Navy, which provided an opportunity to travel to almost every corner of the world.

Throughout his travels Hambourg created numerous drawings and studies that would later become the inspirations for his vivid canvases.

Hambourg is best known for his romantic compositions of Venice, luminous seascapes and charming beach scenes, painted with an impressionistic brush and expressive colouring.

Hambourg’s dramatic marine seascapes and delightful beach scenes offer a spontaneous interpretation through the rapid application of vibrant colours. Vast areas of sky often dominate his compositions and his canvases are imbued with a feeling of endless space and time.

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An dré H amb ou rg French (190 9-1999)

Plage à Deauville Oil on Canvas 60.5 x 73 cms / 24" x 28¾" 59

Andy Warhol Americ an (19 2 8 -19 8 7) Candy Box Executed in circa 1981 Graphite on Paper 80.5 x 60 cms / 131¾” x 23¾”

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Andy Warhol Americ an (19 2 8 -19 8 7) Widely considered as one of the most influential artists of the twentieth century, Andy Warhol is celebrated for his signature depictions surrounding daily objects of mass production.

Identified as the first artist to convey the influence of mass media culture on the American life, Warhol created his most prolific works in the 1960s, when the USA was quickly becoming a culture built upon television and mass consumerism. Consequently surrounded by a fascination with impactful and lasting images, audiences soon began to reject typical print media to embrace Warhol’s representation of media and commercialism.

Throughout his successful career and numerous iconic collaborations, Andy Warhol continued to firmly establish his patented impact of imagery on the development of our environment and identity. His beloved Campbell’s Soup cans and Coke bottles, as well as his silkscreen prints of famous personalities such as Marilyn Monroe and Elvis Presley are still widely celebrated today.

Regarded as the King of Pop Art, Warhol's influence went beyond painting and printmaking.

Shoe and Leg Executed in circa 1956 Ink on Paper 28 x 21.5 cms / 11" x 8½" 62

Woman in Decorative Dress Executed in circa 1955 Black Ballpoint Pen on Paper 42.5 x 35 cms / 16¾” x 13¾” in 63

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

Monnaie du Pape Oil on Panel 22 x 26.5 cms / 8¾" x 10½" 64

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.

Upper Right: Bouquet d'Hortensias devant la Fenêtre Oil on Panel 25 x 20 cms / 10" x 8" Lower Right: Les Géraniums en Bords de Fenêtre Oil on Board 39 x 31 cms / 15¼" x 12¼" 65

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" 66

R ay mon d Thibésart French (1874-1968)

Still life with Lilacs in a Vase Oil on Canvas 46 x 55 cms / 18" x 21½" 67

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)

USRC "Bear" Watercolour 30 x 50 cms / 12" x 19¾" 74

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

Coastguard Eagle Watercolour 30.5 x 49.5 cms / 12" x 19½" 75

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E d gar Freyberg German (1927-201 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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Donald H amilton Fr as er B ritis h (19 2 9 -2 0 0 9) Abstract Composition Oil on Canvas 75.5 x 55.5 cms / 29¾" x 21¾"

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.

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Pet er Wilem an B ritis h (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)

Across the Bar Oil on Canvas 40 x 40 cms / 15¾” x 15¾” 82

Endless Solitude Oil on Panel 40 x 40 cms / 15¾" x 15¾"

The Ballad of Dusk Oil on Canvas 80 x 80 cms 31½” x 31½” 83

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” 84

Cobalt Drift Oil on Panel 122 x 122 cms / 48" x 48"

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Peter Wilem an B rit ish (Cont emporary)

Timeless

The Light of That Morning

Oil on Canvas 70 x 70 cms / 27½" x 27½"

Oil on Canvas 30 x 30 cms / 11¾" x 11¾" 87

Calling Me Home Oil on Canvas 50 x 60 cms / 19¾" x 23¾"

Winter Dawn Oil on Panel 40 x 40 cms / 15¾" x 15¾" 88

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Ken n eth Webb Irish (Cont emporary)

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.

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.

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 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.

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

Spring Reeds Oil on Canvas 61 x 91.5 cms / 24" x 36" 91

Ken n et h Webb Iris h (Contempor ary)

Spring Reeds Oil on Canvas 61 x 91.5 cms / 24" x 36" 92

Right Page: Delight Oil on Canvas 30.5 x 25.5 cms / 12" x 10"

Ken n et h Webb Iris h (Contempor ary)

In Memory Oil on Canvas 25.5 x 30.5 cms / 10" x 12" 94

Ken n eth Webb Irish (Cont empor ary)

Euphoria Oil on Canvas 25.5 x 30.5 cms / 10" x 12" 95

En Fête Oil on Canvas 25.5 x 30.5 cms / 10" x 12"

Kenneth Webb Irish (Cont empor ary)

With Affection Oil on Canvas 25.5 x 30.5 cms / 10" x 12"

Tulips, Red & Gold Oil on Canvas 25.5 x 30.5 cms / 10" x 12" 97

Clarissa J ames Au s tri an (Con t emporary) Jewels Gold Leaf and Oil on Canvas 110 x 160 cms / 43” x 63”

Clarissa James transports the viewer to a world of opulence and elegance in this monumental painting. Against a luminescent gold background that shimmers with an otherworldly glow, a muster of magnificent peacocks take centre stage. These regal birds, meticulously rendered with exquisite detail, stand proudly, their feathers glinting in a breath taking display of iridescent splendour. Clarissa captures the play of light and shadow with a stunning realism.

The juxtaposition of the luminous gold backdrop and the rich teal of their feathers creates a harmonious symphony of colours that enchants the senses, inviting viewers to bask in the timeless beauty of nature’s majesty.

Inspired by the sense of richness and vibrancy of colour that different kinds of peaocks show in nature, Clarissa departed from her original intention to capture white peacocks for this composition. Here, she places a bold Burford Bronze in the foreground with its beautiful green neck, and a variety of peacocks behind providing Clarissa with the opportunity to explore the diverse, jewel-like glow of the feathers.

This painting is a testament to the artist’s mastery in capturing the sublime in every brushstroke, a visual symphony that leaves an indelible impression of grace and grandeur.

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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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Simon Gudgeon B ritis h (Con t emporary) Dancing Cranes Bronze (Edition of 12) 60 x 42 x 7 cms / 23½" x 16½" x 3"

One of Britain’s leading contemporary sculptors, Simon Gudgeon has a signature smooth style that marvellously concentrates spirit and nature.

His minimalist, semi-abstract forms depict both movement and the emotion of a moment, captured with a visual harmony that is unmistakably his own.

Simon is best known for his monumental sculpture ‘Serenity’ installed in London’s Hyde Park, and ‘Search for Enlightenment’ installed on the banks of the Thames.

The Crane, otherwise known as the ‘bird of happiness’, inspired this sculpture. The motif of the Dancing Crane with its stylised wing span was inspired by the shape of the Strelitzia, a South African flower, which is also known as the crane flower. Cranes have appeared in art and mythology for millennia and Simon imbues the bird form here with centuries of history.

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Pet er Ph aroah S outh African (Contemporary) Seeker (Cheetah) Diptych: Oil on Canvas 115 x 230 cms / 45¼” x 90½”

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E dward Wait es B ritis h (Contemporary) 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" 108

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” 109

Kingman (Maquette) Bronze (Edition of 12) 28 x 23 x 10 cms / 11” x 9” x 4”

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E dward Wait es Walking Stallion Bronze (Edition of 12) 51 x 30.5 x 12.5 cms 20” x 12” x 5”

B rit ish (Contemporary)

Paul S. Brown Americ an (Con t emporary) Power Trac Oil on Canvas 120 x 120 cms / 47” x 47”

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.

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Pau l S. B row n American (Contemporary)

Zephyr Oil on Canvas 120 x 90 cms / 47” x 35½” 115

Paul S. Brown Americ an (Con t emporary)

Sassicaia Oil on Canvas 86 x 117 cms / 34" x 46" 116

Pau l S. B row n Americ an (Contempor ary)

Rosehip Tea Oil on Canvas 20 x 40 cms / 8" x 15¾" 118

Pau l S. B rown American (Cont emporary)

Sloe Gin Oil on Canvas 20 x 40 cms / 8" x 15¾" 119

Paul S. Brown Americ an (Con t emporary)

Simple Tastes Oil on Panel 30 x 45 cms / 11¾" x 17¾" 120

Pau l S. B row n Americ an (Contempor ary)

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Parfum de Savon Oil on Board 20.5 x 60 cms / 8” x 23½”

Old Favourites Oil on Panel 20 x 60 cms / 8" x 24"

Willem D olp hyn B elgian (19 35-201 6)

Instantly recognisable as the master of still life painting in Antwerp; demonstrating the sheer technical virtuosity in the handling of light, texture and atmosphere, his works contain a rich purity which sets them apart from others.

Willem gained a great deal of experience and professional knowledge from his father Victor, who was a teacher at the Academy and the founder of the new Classic School of Traditional painting. This developed Willem’s keen understanding of composition, detail and colour.

For Willem the most important thing in life was his painting.

He worked in his studio off Venustraat from 1963 to his death in 2016. For over 50 years, from that one spot, Willem created around 2,500 paintings. A monumental achievement for one man.

Willem was an avid collector of traditional Japanese armour, Dutch Roemer glassware, Arabian fabrics and ceramics which he carefully composed into his still life

The Fig Harvest Oil on Panel 60 x 75 cms / 23½" x 30" 124

paintings. The rooms were crowded with historic furniture, the shelves were loaded with treasures, fabrics, glassware and ceramics which span the centuries, gleaming and glinting in the Northern light, each piece collected with pride and all contributing to his incredible compositions.

The ideas for these compositions came to Willem during the night. Even in his dreams he worked, seeing Roman glass, Delft tiles, Flemish tapestry, fine fruits and expensive china drawn from across the continent and coming all together in his mind. Willem often undertook commissions for friends, family and his collectors. Portraits, cherished places or his exceptional still lifes created with that personal touch to strike an enduring chord.

W. H. Patterson held Willem’s first solo exhibition at in 1985 to great acclaim. Sell out shows became a regular feature as Patterson’s clients embraced Willem’s supreme talent and enhanced their collections with his spectacular composotions.

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A Succulent Crop Oil on Panel 60 x 50 cms / 24" x 20" 126

Willem D olphyn B elgian (193 5-201 6)

Ripe and Ready Oil on Panel 60 x 50 cms / 24" x 20"

Burgundian Plums Oil on Panel 50 x 40 cms / 20" x 16" 127

S t ell a S h aw zin S ou th Af ric an (19 20-2020)

Figure in Movement IX Bronze 56 x 48 x 25.5 cms / 22" x 19" x 10" 128

Mother & Baby on a Rock Portuguese Pink Marble 60 x 38 x 35 cms / 24" x 15" x 14"

Contemplation Acrylic on Canvas 92 x 61 cms / 36" x 24" 130

Dav id S c hoc k American (Cont empor ary)

Digging for Gold Acrylic on Canvas 92 x 61 cms / 36" x 24"" 131

My les B irket Fo s t er B ritis h (1 825-1 89 9) Springtime Oil on Canvas 41 x 50.5 cms / 16" x 19¾"

Arthu r J. Me adows B ritis h (1 843-19 0 7)

Amboise On The Loire Oil on Canvas 61 x 91 cms / 24" x 36" 132

Ch arles Rene H is French , (1877-1960) A Dordogne Shepherd Oil on Canvas 55 x 74 cms / 21½" x 29"

Willi am Kay Bl ac kloc k B rit ish , (1872 -192 4) The Flower Stall Oil on Board 20.5 x 25.5 cms / 8" x 10"

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Augu s t e B ou vard Frenc h (1 875-19 56)

Terrace Conversations Oil on Canvas 28 x 36 cms / 11" x 14" 134

G abriel D es c h amps French (1919-198 0)

La Grande Bastide près de Grasse Oil on Canvas 46 x 61 cms / 18" x 24" 135

Boulevard Bonne Nouvelle, Soir de Neige Oil on Canvas 39 x 55.5 cms / 15¼" x 22" 136

É d ouard Cort es French (1882-1969)

Porte Saint Denis, Paris Oil on Board 33 x 46 cms / 13" x 18" 137

Antoin e B l anc h ard French (19 10-19 88)

Porte Saint Denis en hiver Oil on Canvas 46 x 53.5 cms / 18" x 21" 138

John Whit e Alex an der American (1856-191 5) The Daydreaming Iris Cutter Oil on Canvas 76 x 51 cms / 30" x 20"

G eorges Ricard- Cordingley French (1873-1939) Jeune Normande Assise sur la Plage Oil on Canvas 41 x 50.5 cms / 16" x 19¾" 139

Dan iel G raves B rit ish (Contemporary) The Gaze Oil on Panel 60 x 50 cms / 24" x 19¾"

Daniel Graves is a painter of figures and portraits, landscapes and still life, and is an etcher. His artwork can be found in both public and private collections throughout Europe, the U.S., and Japan. Born in 1949, in Rochester, New York, Daniel Graves graduated from the Maryland Art Institute of Art in 1972. He continued his studies at the Villa Schifanoia Graduate School of Fine Art in Florence, Italy, and later taught at the Atelier Lack Studio of Fine Art. In the late 1970s, Graves returned to Florence and undertook individual study with Nerina Simi, who maintained a classical nineteenth-century studio. With such a rich background of training, Graves has created a style of oil painting that blends the Florentine tradition of Simi and the realist painter, Pietro Annigoni, with the draftsmanship of the French artist, Charles Bargue.

In 1991, Graves established The Florence Academy of Art (FAA).

His philosophy, which underlies the Academy’s curriculum and method of instruction, demands a return to discipline in art, to canons of beauty, and to the direct study of nature. In April 2008, Daniel Graves and The Florence Academy of Art received the Excellence in Art Education Award from the Portrait Society of America.

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Dan iel G r av es B ritis h (Contempor ary)

The Wise Man Oil on Panel 50 x 35 cms / 19¾" x 13¾" 142

A Restful Moment Oil on Panel 46 x 36 cms / 18¼" x 14¼"

Dan iel G r aves B rit ish (Cont emporary)

Contemplation Oil on Panel 50 x 40 cms / 19¾" x 15¾"

In Thought Oil on Panel 50 x 42 cms / 19¾" x 16½" 143

J ohn A L om ax B ritis h (1857-19 2 3)

The Treasurer Oil on Board 25.5 x 30.5 cms / 10" x 12" 144

H enry Woods B rit ish (1846-192 1) 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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Frances c o Bergamini I tali an, (1 8 51-19 0 0)

The Lesson Oil on Canvas 26 x 40 cms / 10" x 15½" 146

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 Francesco Bergamini

p 146

Arthur J Meadows

p 132

Miles Birket Foster

p 132

Emile Mesnager

p 66

William Kay Blacklock

p 133

François de Montholon

p 47

Antoine Blanchard

p 138

Ronny Moortgat

p 72-75

Auguste Bouvard

p 134

Luis Muntane Muns

p 147

Paul S. Brown

p 112-123

Charles Perron

p 64-65

Gustave Cariot

p 28-31

Edmond Marie Petitjean

p 46

Édouard Cortes

P 136-137

Peter Pharoah

p 104-105

Gabriel Deschamps

p 135

Charles Rene His

p 133

Willem Dolphyn

p 124-127

Georges Ricard-Cordingley

p 139

James Doran-Webb

p 100 -101

Georges Charles Robin

p 32-39

Donald Hamilton Fraser

p 78-79

David Schock

p 130-131

Edgar Freyberg

p 76-77

Jeanne Selmersheim-Desgrange

p 52-55

Derek G. M. Gardner

p 68-71

Stella Shawzin

p 128-129

Simon Gudgeon

p 102-103

Raymond Thibésart

p 24-27, 67

Daniel Graves

p 140-143

Edward Waites

p 106-111

Alexandre Louis Jacob

p 40-45

Andy Warhol

p 60-63

Clarissa James

p 98-99

Kenneth Webb

p 90 - 97

André Hambourg

p 56-59

Peter Wileman

p 80-89

Modest Huys

p 22-23

Raymond Wintz

p 48-51

Gustave Loiseau

p 4-21

John White Alexander

p 139

John A Lomax

p 144

Henry Woods

p 145

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 148

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