Gladwell & Patterson | The San Francisco Fall Show

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Gladwell & Patterson at the San Fr ancis co Fall S how Gladwell & Patterson celebrate a historic 275 years in 2023, making us London’s oldest art gallery. Over the course of our history, the gallery has always sought out the finest artists and their work. Our collection comprises of some of the finest British and European artists of the past one-hundred years. From equine masterpieces by Sir Alfred Munnings, to exceptional Post-Impressionist landscapes by Gustave Loiseau, the paintings on display will showcase fine art of the highest standard and quality. Alongside these we will be exhibiting masterpieces by Georges Charles Robin and Alexandre Louis Jacob to bring La Dolce Vita of the European countryside to the west coast. The highlight of our exhibition is a unique bronze relief sculpture by Pablo Picasso of his last and final love, Jacqueline Roque. In memorialising this linocut, conceived in 1962, in bronze, Picasso made a statement expressing not only the importance he attributed to his printmaking methods but to the individual quality of this composition with Jacqueline at its heart. We are delighted to present new canvases by British contemporary artist Peter Wileman, whose vibrantly coloured abstract landscapes and seascapes are instantly recognisable for their gestural brushstrokes and nautical references.

Booth B4 11th – 15th October 2023 Festival Pavilion, Fort Mason Center for Arts & Culture 2 Marina Blvd, San Francisco CA 94109

Glenn Fuller +44 (0) 7767 824 245

Cory Fuller +44 (0) 7866 450070

We hope that you enjoy this collection, and we look forward to welcoming you at the show. Natalie Cieslik +44 (0) 7772 307807

Gustav e L ois e au French (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 of light. Tall trees line the riverbank

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”


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.



Gu s tav e L ois e au Frenc h (1 8 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.

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.

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


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

A remarkably energetic painting, Paysage en Normandie 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 of Paysage en Normandie depicts a warm autumnal day in the countryside surrounding the picturesque village of Vaudreuil in Normandy. In 1901, Loiseau moved to the 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 Paysage en Normandie. The lively en trellis brushstrokes and delicate balance

Paysage en Normandie Painted in 1926 Signed ‘G Loiseau’ (lower right) Oil on Canvas 53.5 x 64 cms / 21” x 25¼” 6

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. The composition of Loiseau’s 1926 Paysage en Normandie 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.



Pierre E ugène Mont ézin French (1 8 74-1946)

Les Iris Painted circa 1905-1910 Signed ‘Montézin’ (lower left) Oil Based Pastel on Canvas 74 x 93 cms / 29” x 36½”

At first glance, this painting by Pierre-Eugène Montézin transports us to a serene oasis of nature’s wonders. The canvas is awash with pastel colors, dominated by lush, sun-kissed purple irises swaying gracefully beside a tranquil pond. In the heart of Montezin’s masterpiece, nature’s poetry unfolds. As we gaze upon it, you can imagine the gentle caress of a warm breeze, the faint rustling of leaves, and see the floral reflections in the calm waters. It’s as if we are transported into the very heart of nature’s embrace. Montezin was profoundly influenced by the work of Claude Monet, and remained loyal to the principles of Impressionism throughout his career. The interplay of light and colour, the attention to detail in the irises, and the subtle play of shadows on the water’s surface are all testament to his artistic prowess. 9

G eorges Ch arles Robin French (19 03-2002)

Recognised as one of the best, but largely undiscovered, Post-Impressionist artists, Georges Charles Robin’s skill and complete command of his palette set him aside from his contemporaries. Following the en plein air practice of the Impressionist masters, in a few swift brushstrokes Robin brought life to the trees and rivers of the French countryside. Robin lived in the affluent suburb of Rueil Malmaison on the western outskirts of Paris throughout his life. The summer months were often spent near Morlaix in Brittany where Robin had a second home; there he would capture idyllic seascapes and charming river estuaries bathed in sunshine. However, throughout Robin’s career the Loire Valley and the Dordogne region inspired his greatest works. Enthralled by the enchanting river valleys of rural France that flowed through the luxuriant countryside and rolling fields, Robin’s paintings perfectly capture rural French life. 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. Robin's skill in emphasising nature's basic structure and his


sympathetic interpretation using pure colouring only enhances his total control of the medium of oil paint. His 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. Robin was a member of the Salon des Artistes Français, the Salon des Paysagistes Français, and the Society of Arts, Science and Letters. He was an officer of the Académie des Beaux Arts, director of the Institute of “Instruction Publique". He was highly lauded, achieving virtually every major award in French painting for his work, among which the Hors Concors stands out as one of the highest and most esteemed awards of an artist of the time. Gladwell & Patterson’s history with this distinguished artist began after the Second World War. Herbert Fuller of Gladwell & Company, London, discovered the landscapes of Robin in the Paris Salon in 1948, and approached the artist in his studio. Since he first set eyes on Robin’s landscapes in Paris, Herbert Fuller, and the two subsequent generations of the Fuller family of Gladwell & Patterson have continued to share the legacy of this great artist. The gallery has both an outstanding library of his work and a highly cultivated knowledge of his practice. We are currently preparing a Catalogue Raisonné of his work.

Les Gorges du Loup et Village de Tourette Oil on Canvas 46 x 55 cms / 18" x 21¾" 11

Calvignac et le Lot Oil on Canvas 46 x 55 cms / 18" x 21¾" 12

G eorges Ch arles Robin Frenc h (19 0 3-2002)

La Forêt-Fouesnant, La Cale Oil on Canvas 33 x 40.5 cms, 13" x 16"

La Sèvre Oil on Board 33 x 40.5 cms, 13" x 16" 13

R aymon d Wint z French (18 84-19 5 6 )

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. Wintz’ skill and complete command of his palette set him aside from his contemporaries. He gained a firm appreciation by critics and collectors as a leading painter 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. Following his education, Wintz rejected the academic styles of his father and professors and like many of his contemporaries and decided to pursue his passion for painting outdoors en plein air in the manner of the Impressionists. This technique demanded a free and spontaneous style of painting in order to catch the rapid changes in outdoor light. Wintz’ skill allowed him to extract the colours and shapes as well as the fragrances of nature, putting the total ambiance and experience directly onto the canvas. In a few swift brushstrokes, Wintz captured the very essence of Breton life. From 1951 to the present day, our gallery's historic archives reveal the unfaltering demand for Wintz’ exquisite Brittany landscapes and window scenes. Gladwell & Patterson has both an outstanding library of his work and a highly cultivated knowledge of his practice. 14


Renée Carp en t ier Win t z French (19 13-2003)

L’Escalier Oil on Canvas 22 x 27 cms / 8½” x 10½”

Contre-Lumières sur le Golfe Oil on Canvas 22 x 27 cms / 8½” x 10½”

René Carpentier Wintz was a talented artist known for her vibrant, impressionistic paintings. Her work was profoundly influenced by her husband, Raymond Wintz, a highly lauded artist almost thirty years her senior. Summers spent in the Finistère department of Brittany painting the picturesque coastline and the traditional Breton life greatly inspired the young artist. Her work is characterised by its vibrancy of colour and the intimacy of subject matter, with picturesque, thatched cottages in quiet seaside hamlets her preferred theme. Together with Raymond Wintz, she formed a creative partnership that enabled a sensitive approach to depicting Breton life, leaving a lasting legacy that continues to inspire and captivate art enthusiasts. 16

Nuages d’Automne au-dessus du Marais Oil on Canvas 44.5 x 33 cms, 18" x 15" 18

Alex an dre L ou is J ac ob Frenc h (1 8 76 -1972)

Alexandre Louis Jacob is best known for his atmospheric and luminous landscapes. He gained his rare understanding and love for nature through studied inspection, transferring his observations skillfully on to canvas. His masterful evocation of light, atmosphere, colour and sense of place are remarkable, and have a true ability to transport the viewer to the very banks of the River Seine and River Marne where Jacob would patiently wait, paintbrush poised to capture his unique visions of the French countryside. 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 river banks and his depictions of springtime resonate with the crisp morning light. Jacob preferred to paint in the quiet moments after a storm had passed, and each of his landscapes have a unique atmosphere of calm and tranquility, achieved by the still watery reflections in the foreground.

Herbert Fuller, of Gladwell & Company, London, first came across Jacob’s work in the Paris Salon after the Second World War, and it was at this point that Jacob’s work began to attract the international clientele of this historic art gallery in the City of London. Initially Jacob was represented by Galerie Haussmann in Paris, but as his popularity grew, Gladwell & Company acquired work directly from the artist from the early 1960’s until Jacob’s death in 1972. In recent years, Gladwell & Patterson have had the good fortune to collect some unique drawings by Jacob which the artist would send to his close friends. They reveal his direct observation of nature, sketching out compositions with brown and black pencil. Jacob heightened these drawings with white chalk, picking out a smooth reflection upon the surface of water or the glowing clouds in an endless sky. These sketches, have a unique atmosphere of calm and tranquility, achieved by the still watery reflections in the foreground. Since Jacob’s death, three generations of the Fuller family of Gladwell & Patterson have continued to place Jacob’s illuminating oil paintings in illustrious private collections worldwide. In recent years, Jacob’s paintings have risen in popularity. Gladwell & Patterson is currently preparing a Catalogue Raisonné of his work.



Alex an dre L ou is J ac ob French (1 8 76-1972)

Neige et Soleil, bord de Marne Oil on Canvas 46 x 38 cms, 18” x 15” 21

Modest H u y s B elgi an (1 8 74-19 3 2)

From 1908 to 1914, Modest Huys received unprecedented international recognition for his brilliant contributions to the Luminist movement. His 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. Above all else, 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 that previous artists had rarely afforded them. By portraying the dignity of their work, Huys challenged the prevailing notion that manual labor was an occupation unsuitable for the canvas. Depicted from a low angle, the workers in Huys’ The Harvest are

The Harvest Painted in 1912 Signed ‘M Huys’ (lower right) Oil on Canvas 71 x 82 cms / 28’’x 32 ¼’’ 22

given a certain monumentality, standing out from the landscape they inhabit. Resting on a stick or raising up a bundle of hay, they assume almost sculptural poses, undiminished by their labours. While the painting is suffused with a brilliant light, Huys has chosen to capture the glow of the late afternoon, thereby softening the heat of the sun. 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, Modest Huys’ The Harvest is a masterful encapsulation of the Luminist project. Produced at the apex of the artist’s career, The Harvest remains as vibrant today as it was over a century ago, shedding its shining light upon the oftenoverlooked farmworkers that fascinated Huys and his contemporaries. It serves as a reminder that the message often elevates the medium to new heights: creating masterpieces in the process.


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”

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. Inspired by Monet’s famous studies of haystacks and the Rouen cathedral, Gustave Cariot was fascinated by the fluctuations of light and color brought about by the changing seasons. He devoted two series of paintings to exploring this theme. Entitled Le Poème des Saisons, with each picture representing a different month, these paintings were exhibited together at the 1903 Salon des Indépendants. It was there, as the artist’s correspondence reveals, that these pictures would catch the eye of two of the most important collectors of the time, Serguei Dmitrievitch Cheremeteff and Armand Cabrol, leading to a surge in his popularity. 25

É d ouard Cort ès French (1882-1969)

Porte Saint Denis, Paris Oil on Board 33 x 46 cms / 13" x 18 26

Marché aux Fleurs, Place de la Madeleine, Paris Oil on Canvas 46 x 76 cms / 18" x 30" 27

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”

The Battle of Trafalgar is a showcase of Derek Gardner’s brilliant ability to create atmosphere in the marine landscape. The viewer is presented with thickly impastoed flying jets of water and gunpowder smoke spread across the lower register of Trafalgar, giving a sense of the noise and movement inherent in the battle. These moments of movement are balanced by a beautifully worked impressionistic sky. From this backdrop, the fine details and textures of his ships emerge: webs of rigging are illuminated by gunfire, masts bend and snap, the tiny silhouettes of men scurry across warships. The Battle of Trafalgar succeeds in conveying its subject because of this balance. One feels that Gardner was able to so succinctly convey the sense of battle precisely because he himself had experienced naval combat. Serving in the Mediterranean and North Atlantic theatres of the Second World War, he was well acquainted with the gunfire and smoke of battle. The intensity of Trafalgar, the climactic naval battle of the Napoleonic War, is well known. Nelson’s bold attack upon the French centre produced some of the fiercest fighting seen in the age of Sail, ultimately costing the Admiral his life as he led his flagship into the eye of the battle. It is this ferocity that Gardner has brilliantly captured, choosing the reality of smoke and confusion over more typical depictions of neatly ordered warships. 30 30


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. 33

Pierre O u t in French (1840 -1 8 9 9)

The son of a wealthy tradesman, Outin was born in Moulins but much to his father’s disappointment decided to pursue a career as a painter. Outin joined the studio of Alexandre Cabanel. Under his tutorage Outin embraced the traditional academic style celebrated in the Paris Salon of the day. In 1868 Outin submitted his first oil painting to the committee of the Salon, and from this point onwards he became a regular participant. His specialisation in historical scenes was favoured by the traditional Salon authorities and his genre scenes were adored by the public. Like many artists of his generation, he frequented the infamous Parisian café La Nouvelle Athènes, and became associated with Manet, Pissaro and Goeneutte, but his work retained its traditional style. His specialisation in historical scenes was favoured by the traditional Salon authorities and his genre scenes were adored by the public.

The Flirtation Oil on Canvas 81 x 64 cms, 32” x 25” 34

In 1874, Outin travelled to Algeria, where he remained for many years, mesmerized by the African land, the colourful cities, luminosity and the oriental clothes. These new surroundings strongly influenced his work upon his return to Paris, his palette became richer with a greater use of lighter shades. Outin’s orientalist works of this period were gracious and elegant, and showcased his talent as a draughtsman and colourist. As Outin’s style matured, his compositions were highly revered at the Paris Salon. Outin was awarded many medals and was praised by the Salon critics. The French novelist, journalist and translator described that ‘there is no way to dream of a more charming escape from life’ than in Outin’s paintings. Throughout his career Goupil & Cie purchased Outin’s paintings directly from the artist and his work was also collected by English, American and German collectors that admired his elegant and lyrical paintings of the historical genre.


Sir Alfred Munning s B ritis h (1878 -19 56 )

One of Sir Alfred Munnings’s most impressionistic works, A Huntsman and Hounds represents one of the most important early paintings by the leading british artist. A Huntsman and Hounds was painted in 1906, when Munnings was 28, and depicts a huntsman surrounded by his scampering, eager dogs as they travel down a path in the Norfolk countryside. At the time, Munnings was living and working in Swainsthorpe, near Norwich, inspired by the surrounding area. A Huntsman and his Hounds is one of only a handful of known works depicting the horse and rider ‘head on’ in Munnings oeuvre. Munnings may well have experimented with this more complex compositional approach in response to seeing Lucy Kemp Welch's masterpiece Colt Hunting in the New Forest (Tate Britain), which was painted and exhibited at the Royal Academy in 1897, nine years before the present work was painted. In 1913 Munnings revisited the depiction of the horse from the front in Hunting Morning (Munnings’ Museum,

A Huntsman and Hounds Painted in 1906 Signed ‘A. J. Munnings 06’ Oil on Canvas 55 x 57 cms, 21½” x 22½ 36

Dedham), Going to the Meet (Laing Art Gallery, Newcastle upon Tyne) and December Morning, Cornwall (Gladwell & Patterson, London). The forward movement of the horse and rider in each of these four works greatly animates the scene and brings the viewer into the very midst of the chase. A Huntsman and his Hounds exudes energy with the lively foxhounds and their patchwork variety of brown, white and black markings scampering at the feet of the red coated rider as they all move through a loosely depicted woodlands. The low sun filters through the branches of the trees overhead, the light catching the whites of the hounds’ coats. Munnings was an entrenched traditionalist that later would take a strong stand against ‘Modern Art’ but here his style is clearly influenced by the Impressionists with its flickering light and quick, expressive brushstrokes. This indicates clear influences from a previous visit to Paris in 1902 when he saw and admired the work of Degas, Fantin-Latour and Sorolla. Like Sorolla, Munnings was an avid openair painter.


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S ir Alf red Mu nnings B rit ish (1878-19 56)

Sir Alfred Munnings is acclaimed as the greatest equestrian artist of the twentieth century, being recognized specifically for his energetic hunting and sporting scenes. December Morning, Cornwall depicts a huntsman surrounded by his scampering, eager dogs trotting along the Cornish lanes in the crisp morning sun of a winter’s day. Munnings lived in Cornwall from 1910 to 1914, first at Newlyn and later in the small village of Lamorna, known for its wonderfully scenic cove. Established as an artist’s colony since the 1880s, the Newlyn School was centred around the art school ran by Stanhope Forbes and his wife Elizabeth, which focused on realist subject matter painted en plain air. Munnings was struck by the beauty of the landscape in Cornwall. Concentrating on landscapes of the interior of the Cornish landscape rather than the more popular coast, Munnings continued to paint his favoured subjects of horses and hunting scenes, exploring the motif of a

single majestic huntsman. Munnings captures the limitless rolling landscape of the area around Zennor in December Morning, Cornwall. The distant sea is visible upon the horizon and the deep, tree-lined valleys are painted in bold blocks of colour, while the horse and rider are lit up in the crisp, bright morning light. This exquisite painting represents Munnings passion for riding, the hunt and also the beauty of the windswept Cornish landscape. Celebrated as a great colourist, Munnings preferred painting outdoors in natural light, even on the coldest of days, only later working up his studies in the studio. Munnings applied his paint in sure, thick strokes achieving a densely textured surface, thus enlivening the scene. Munnings was the first painter to note that the coat of a living horse reflects the colours of the sky and its surroundings and it was this technique combined with the vigour of Munnings’s rich impasto brushwork that marks him out as the greatest equestrian artist of the twentieth century.

December Morning, Cornwall Painted circa 1913 Signed ‘A. J. Munnings’ (lower left) Oil on Canvas 51 x 61 cms, 20” x 24” 39

Pablo Picas so S pan is h (1 8 8 1-19 73)

Jacqueline au Bandeau Conceived in 1962 Cast in bronze in 1964 Bronze relief sculpture cast from a linocut 34.6 x 26.6 cms ; 13½” x 10½” Stamped with the foundry mark ‘E. GodArd Fondr Paris’ Unnumbered edition of 2 Claude Picasso has confirmed the authenticity of this work.

Pablo Picasso’s Jacqueline au Bandeau encapsulates the startling vitality of the artist’s late period, memorialising not only the expressive style which he pioneered, but also his reinvention of the possibilities of printmaking. Picasso commissioned this bronze relief in 1964, of an original linocut entitled Femme au Cheveux Flous which he created two years prior, as a unique encapsulation of one of his most accomplished print series. Cherished first by Picasso and then his descendants for nearly sixty years, we are proud to present this distinctive work to the public for the first time. Following his marriage to Jacqueline Roque in 1961, Picasso would embark upon a period of intense experimentation and production which would characterise his final decade. In these years, the great artist focused his gaze upon subjects he considered to be pure archetypes; foremost amongst these were the face of his muse, Jacqueline. Picasso always experienced bursts of creative energy when in love, and Jacqueline au Bandeau was conceived in 1962 only shortly after his marriage, one of a group of portraits testifying to his intensity of feeling. More than simple representations, Picasso composed his portraits of Jacqueline from memory, creating some of his most personal and subjective interpretations of the human character. 40


Giulio D 'An na I tali an (19 0 8 -19 78)

Born in rural Sicily in 1908, Giulio D’Anna spent his childhood between Palermo and Messina, the two largest cities on the island. After becoming deeply influenced by Italian Futurism in his late teens, D’Anna would soon drop out of university to dedicate himself to painting. While he would adopt a highly modernist idiom in his paintings, D’Anna would always remain rooted in the Sicilian landscape, evident throughout the background of his works. D’Anna’s style is most closely associated with the Aeropittura phase of futurism, a movement largely preoccupied with capturing the flight, dynamism and energy of airplanes and the views that they afforded.

Paesaggio Simultaneo Signed ‘D’ANNA FUTURISTA’ Made in circa 1927/28 Tempera and paper collage on cardboard 60 x 83 cms, 23½" x 32¾" 42

Embracing modernity and its characteristics of the Marinettian movement, aeropainting manifests the enthusiasm for flight, as well as the dynamism and speed of the airplane. The aeropictorical style also responds to the artists need for escape and aspiration to those journeys that he can only achieve through his imagination, without direct experience of flight. Through bold colours and striated surfaces, D’Anna sought to capture the kinetic energy of the modern plane. Such was his success that Marinetti, one of the progenitors of futurism, publicly praised D’Anna for capturing the ‘essence of the machine’ at his first exhibition.




Peter Wileman B rit ish (Cont emporary)

Highly acclaimed British abstract artist Peter Wileman is one of Britains 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. 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. Working exclusively in oils, the medium most adaptable to changes of light and mood, he evokes atmosphere through light and colour through varying degrees of abstraction. Wileman’s work is reminiscent of the great master Joseph Mallord William Turner through its atmospheric quality. His work has a superb energy, with paint applied in washes and also with areas of impasto. The foregrounds are complex, but not disctracting to the subject within his work. Over the last two decades Wileman has exhibited regularly at a number of prestigious art venues including the Royal Society of Marine Artists, the New England Art Club and the Royal Institute of Oil Painters of which he is an associate member. Wileman has built a distinguished reputation as one of the finest abstract landscape artists practising today.

Sea Interlude Oil on Canvas 100 x 100 cms / 39½" x 39½" 45

Tranquil Bay Oil on Canvas 50 x 60 cms / 19¾" x 23¾" 46

Timeless Sea Breeze

Oil on Canvas 50 x 60 cms / 19¾" x 23¾" 47

A Silent Promise Oil on Canvas 100 x 100 cms / 39½" x 39½"


Ocean of Echoes Oil on Canvas 100 x 100 cms / 39½" x 39½"


50 50

Pau l S. Brow n American (Contemporary)

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.

Celebration Oil on Canvas 60 x 102 cms, 24” x 40” 51

Willem D olp hy n B elgi an (19 3 5-2 01 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. Willem was an avid collector of traditional Japanese armour, Dutch Roemer glassware, arabian fabrics and ceramics which he carefully composed into his still life paintings, gleaming and glinting in the Northern light. 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 compositions.

The Fruits of Summer Oil on Canvas 80 x 102 cms, 31½" x 40" 52 52


Willem Dolphy n B elgian (193 5-201 6)

A Bountiful Harvest

Grapes and Mandarins

Oil on Panel 59 x 48 cms, 23'' x 19''

Oil on Panel 70 x 60 cms, 27½" x 23½" 55

S imon G u d geon B ritis h (Contemporary)

One of Britain’s leading contemporary sculptors, Simon Gudgeon has a signature smooth style that marvellously concentrates spirit and nature. His minimalist, semiabstract forms depict both movement and the emotion of a moment, captured with a visual harmony that is unmistakably his own. “Making an object that is not essentially utilitarian defines humanity; it is the concept of beauty. A sculpture, on a superficial level must encapsulate beauty; it must uplift the spirit and enhance its surroundings. But on a deeper level it should resonate with the viewer and have a subconscious appeal to their emotions, whether those emotions are the same as the artist intended is not important, what is important is that the viewer connects with the art.” 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.

Lyrebird Bronze (Edition of 50) 36 x 12 x 8 cms / 14” x 5” x 3”


S t ell a S h aw zin S ou t h Af rican (192 0 -2 020)

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

Shawzin’s gentle family groups are carved in marble or cast in bronze and have a special kind of energy that shows the loving relationship between mother and child. A number of Shawzin’s works portray the figures rising out of a common base which creates a compelling image. Some are shown in circular forms as if they are both part of the same being. The inter-relationship of the forms seems to portray their unity as well as their individuality. The inner spaces are as sensitively designed as the forms themselves. In all of these masterfully created compositions there remains an impressive interplay of form between the figures. Recalling the seated and lying sculptural forms by Henry Moore, one can always find distinctive and impressive compositions in each sculpture. They are sensitive images that show both playfulness and loving relationships. Shawzin almost never shows facial features, and it may be because she portrays universal figures Those featureless heads are symbolic portrayals of human existence, while the forms of their bodies and postures show the universal emotions of their lives. 57

Nic k B ibby B ritis h (Contempor ary)

Nick Bibby is widely regarded as one of the preeminent sculptors of his generation. Largely self-taught, the three-dimensional form has always been at the forefront of Bibby’s creativity. From a young age Bibby’s passion has been nature and the natural world. Bibby’s sculptures range from monumental to miniature, but all show an exquisite attention to detail. Beyond an initial thumbnail sketch, he rarely produces working drawings, preferring to document his subject through photographs and immediately begins working a concept into three-dimensions. Bibby initially creates a supporting armature of steel and aluminum that often closely matches the skeleton of his subject. Clay and wax are then added to the supporting armature as the form is built up, and constant adjustments to composition, pose and form, are made in the search for the perfect aesthetic balance. Once the form is complete, Bibby then uses a huge variety of tools to create the exquisite surface textures and details that replicate his subjects’ unique features. This part of the process is perhaps the most laborious, but it is what makes Bibby’s work so unique and full of life. The sculptures are cast in bronze by Pangolin Editions, the most prestigious bronze foundry in England, and all bear the Pangolin Foundry mark along with the limited-edition number and artists mark. Pangolin excel in their application of the pattination, the coloured surface of the bronze, which is created by applying different chemicals to the surface under extreme high temperatures to create a variety of patterns and colours on the surface of the bronze. In Bibby’s work, the colours and textures of the pattination replicate the unique colouring of his subjects. More recently Bibby was commissioned by Brown University in the United States to sculpt a monumental, life-size Kodiak Brown Bear, (the University’s mascot), which stands in pride of place on their campus in Rhode Island. Named “Indomitable”, the fifteen-foot bear was installed in 2013 and a second edition was installed just off Oxford Street in London the following year.


Artemis Maquette Bronze (Edition of 12) 49.5 x 15 x 12.5 cms / 19½" x 6" x 5"

Apollo Maquette Bronze (Edition of 12) 49.5 x 15 x 12.5 cms / 19½" x 6" x 5" 59

Looking Forward to the Past: An Illustrious 275 Years Gladwell & Patterson is proud to be London’s oldest art gallery. Founded in 1746, by the greatest print merchant of Georgian London, John Boydell, our business has always had the goal of dealing with the finest artists of their generation. We value quality and integrity very highly, and we understand the passion and creativity that comes hand-in-hand with being so talented. Founded in the City of London, the gallery is proud to have remained an essential destination for anyone in search of fine paintings and sculpture. It has become apparent everyone remembers their first encounter with the gallery, and no wonder - over our centuries of history we have been committed to delivering wholesome and enjoyable experience to anyone who walks through our doors or visits our stands at Art Fairs across the globe. The gallery’s history traverses many artistic movements, it contains incredible beauty, the wonder and power of artistic creation and its ability to bring such joy, contentment and unity to the World. The foundations of this fine art gallery are based on the pioneering and passionate work of many giants of the art world over the past 275 years. Their number include two Lord Mayors of London, a man who is credited with being the driving force behind the establishment of the National Gallery, the Head of the Fine Art Trade Guild and Masters of several of the Worshipful Companies in the City, amongst many other accolades. The earliest custodians of our business, John Boydell in the eighteenth-century, and Henry Graves in the nineteenth-century, were the most successful print merchants in London at the time, specialising in publishing engravings from pictures by Joseph Mallord Wiliam Turner, John Constable, John Everett Millais, and other contemporary painters. T. H. Gladwell was opened by Thomas Henry Gladwell, the son of a very talented carver and gilder, at 21 Gracechurch Street, in 1836. Initially the gallery specialised in fine prints, books, and stationery, but with his father’s knowledge of carving and gilding, it wasn’t long before they had added frame making to their repertoire. By the time of Thomas Gladwells’s death in 1879, the business had firmly established itself as one of the leading art galleries and frame makers in London. Thomas’s three sons, Henry, Arthur and Alfred Thomas took over the business and renamed it Gladwell Brothers in 1880. Their extensive network of fine artists continued to expand and through their connections with European dealers and publishers such as the dealer Théodore Vibert, the publisher Alfred Cadart, and the dealer Adolphe Goupil, were vital in maintaining their position as one of the most ground-breaking, interesting, and knowledgeable art gallery in London. Harry Gladwell, the eldest grandson of Thomas Henry Gladwell, would eventually take over the business at the start of the twentieth-century. Brought up as a hard-working, inquisitive, and religious lad, he yearned to join his father and uncles in the business. In 1875, aged eighteen, the intrepid Harry travelled to Paris to be apprenticed with the art dealer Adolphe Goupil in Paris. There, he became firm friends with another apprentice, Vincent van Gogh, who took the young Harry under his wing and showed him around the city. Vincent delighted in Harry’s idiosyncratic appearance, describing him as "thin as a stick with a pair of large red protruding ears", and his joie de vivre. Van Gogh’s letters to his brother Theo reveal the close relationship between the two young men.

Harry moved the gallery to its new home on the corner of 70 & 71 Cheapside, in the City of London, which soon became known as Gladwell’s Corner. With Harry’s experience gained through his various apprenticeships with his uncles and father and his spell at Goupils in Paris, he would go on to become the most successful art dealer of his time. Two of Harry’s sons, Ernest and Algernon, joined their father at Gladwell & Company, learning the trade at the various branches of the company. In 1928, a year after Harry Gladwell died, the brothers went their separate ways. Algernon remained in the City and moved to a new gallery at the corner of Queen Victoria Street and Watling Street, where the gallery remained until 2012. In 1968, Algernon retired and sold the business to Herbert Fuller, who had managed the gallery for him since 1932 and had been instrumental in steering the gallery through the hardships of the 1930s and then the blitz of London during the Second World War. Following the War, Algernon and Herbert regularly travelled to the Salons of Europe, meeting the best and most highly regarded artists with whom they started prosperous relationships. Herbert brought renowned French masters such as Georges Robin, Alexandre Jacob, Charles Perron, Edouard-Léon Cortès and Auguste Bouvard into the Gladwells fold. He introduced these artists to the British art market and subsequently around the world. The same year that Herbert acquired Gadwell & Company, in 1968, his son Anthony Fuller joined him in the business. Father and son continued to take the gallery from strength to strength, cementing Gladwell & Company’s place as the most discreet and discerning Fine Art Gallery in London. It was the destination for any art collector wanting to build an honest and beautiful collection. Upon Herbert’s untimely death in 1980, Anthony took over the company, and worked tirelessly to keep the old established gallery going. Anthony’s love of art soon found him his own group of clients, and there are precious few people who have met him in the gallery over the years who don’t comment on the infectious joy that paintings give him. Many people’s love of art has been founded on a few minutes in Anthony’s company with some paintings. Anthony’s son Glenn joined the business in 1995, followed by his daughter, Cory, in 1998, following a successful and invaluable Masters degree at the Courtauld Institute of Art. In 2004 the Fuller family acquired the prestigious Mayfair gallery W H Patterson at 19 Albemarle Street. The gallery was opened in 1964 by Bill Patterson and became known as the premier gallery for contemporary artists painting in traditional styles, and artists from around the world wished to be represented by them. In 2012, our two galleries in the City and in Mayfair were brought together under one roof in the equally distinguished environment of Knightsbridge. It is here, with the opening of Gladwell & Patterson, that two illustrious legacies combined in our new space at 5 Beauchamp Place, where we remain to this day. In 2020 we opened the doors to Gladwells Rutland in the exclusive market town of Oakham in Rutland, offering a new and intimate space in which to show the works of our wonderful artists in the British countryside. The Gladwell & Patterson ethos has been shaped by an informed yet fresh approach to what the separate parts have always done: presenting the finest works of art to those who appreciate them most, our perceptive, valued clients.

Gladwell & Patterson, London A stones throw away from Harrods, in London's prestigious Knightsbridge, our gallery offers the very finest artworks in a luxurious and comfortable setting. Visit us for a coffee or glass of champagne on your next visit to London. 5 Beauchamp Place, Knightsbridge, London, SW3 1NG

Tel: + 44 (0) 207 584 5512 Email: Open: Monday - Friday 10am - 6pm / Saturday 11am - 4pm

Gladwells Rutland, Oakham Situated in a beautiful historic market town in the very heart of Rutland, England’s smallest county, our country outpost has become a must visit destination for many. Away from the hustle and bustle of London, it is definitely worth taking the time to come and visit us here. 23b Mill Street Oakham, Rutland, LE15 6EA

Tel: + 44 (0) 1572 756518 Email: Open: Monday - Friday 10am - 4pm, / Saturday 11am - 3pm

Index Giulio d'Anna

p. 42-43

Gustave Loiseau

p. 2-7

Nick Bibby

p. 58-59

Pierre-Eugène Montézin

p. 8-9

Pauk S. Brown


Sir Alfred Munnings

p. 36-39

Gustave Cariot

p. 24-25

Pierre Outin

p. 34-35

Édouard Cortès

p. 26-27

Pablo Picasso

p. 40-41

Willem Dolphyn

p. 52-55

Georges Charles Robin

p. 10-13

Derek G. M. Gardner

p. 30-33

Stella Shawzin

p. 57

Simon Gudgeon

p. 56

Peter Wileman

p. 44-49

Modest Huys

p. 22-23

Raymond Wintz

p. 14-15

Alexandre Louis Jacob

p. 18-21

Renè Carpentier Wintz

p. 16

For further information on any of these artworks please contact the gallery +44 (0) 7772 307 807

All Rights Reserved Gladwell & Patterson, 2023


5 Beauchamp Place, London SW3 1NG • +44 (0) 7983 518 526 • •

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