Summer Catalogue 2020 - Town and Country

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



Leisure by W.H.Davies (1911) What is this life if, full of care, We have no time to stand and stare. No time to stand beneath the boughs And stare as long as sheep or cows. No time to see, when woods we pass, Where squirrels hide their nuts in grass. No time to see, in broad daylight, Streams full of stars, like skies at night. No time to turn at Beauty's glance, And watch her feet, how they can dance. No time to wait till her mouth can Enrich that smile her eyes began. A poor life this if, full of care, We have no time to stand and stare.

Town and Country A time to reflect, a time to recharge and now a time to grow. Over the last few months, we have all been given a unique opportunity to take stock of what is important to us and to live life at a less hectic pace than before. We have been given time to appreciate the birds and the bees, to realise the joy in a slower, kinder existence, and to enjoy the rewards that come from a greener, more local lifestyle. Our enforced hibernation has shown to many of us the value that we place in our own refuge, how our homes can provide a place of solace and shelter. The challenge that we now all face is not to forget these lessons. A time to reflect allows us to appreciate the beauty in the world and much of that can be found in art. We can ‘stand and stare’ at our paintings or our sculpture and we can truly enjoy them. There is a warmth and feeling of wellbeing that comes from our art, and being afforded the time to enjoy it has been a wonderful gift. As the wheels of the world slowly start to turn again, we emerge from our segregation with a renewed energy and vigour, and now the gallery has three exciting locations for you to visit and enjoy.


Introducing Gladwells Rutland We are delighted to introduce our new gallery in the country to you. Situated in the historic market town of Oakham in Rutland, where the pace of life affords you the ‘time to turn at Beauty’s glance’, we have opened a charming and elegant new gallery for you to come and visit. Cory has styled and decorated the new space with her exquisite taste and we look forward to welcoming you there. You will find our normal blend of old and new but with a gentler, more modern feel. Conveniently situated towards the middle of the country, Oakham may well be easier for many of you to visit should the hustle and bustle of the big city not be your cup of tea right now. Cory does have a magnificent new coffee machine there and is becoming quite the barista!

Our Garden Gallery As a replacement for R.H.S. Chelsea and R.H.S. Chatsworth this year, we have set up an exhibition in the picturesque surroundings of the Molecey Mill Gardens in West Deeping, Lincolnshire. Running all summer, Glenn and Graham are presenting a beautiful selection of paintings and sculpture, together with an opportunity to look around the 20 acres of rivers, ‘streams full of stars’ and gardens and to explore this historic watermill. Recently covered in the Times on Saturday 13th June, it was part of an article entitled “The sky’s the limit: best outdoor art to see this summer”. It is well worth a day out and so please do get in touch should you wish to visit.

“Plus ca change, plus c’est la meme chose” London is and will always be our beating heart and home, from our old days of the Empire in the heart of the City, to our current home in the heart of Knightsbridge, and it is wonderful to see the resilience of this great city and how it is getting back on its feet so fast. Our gallery in Beauchamp Place is bursting with fresh and interesting paintings and Anthony, Marie-Claire and Emily are so excited to see you all there again, waiting to ‘enrich’ you all with a ‘smile’. Throughout the spring our artists have been revelling in the peace and quiet, as you will see from their artist’s diary pages in the catalogue, and we invite you to come and enjoy the fruits of their labours. It is time to grow, a time to cast off the shackles of our previous existence and embrace this brave new world, but to remember what is important. We also realise that it is at a time like this that you most need wise and expert advice, and we have helped and steered our clients through the vagaries of the art world for nearly three centuries. Now that our home has become so much more important to so many of us, let us help you to make it perfect. Then do allow yourselves the ‘time to stand and stare’. With all of our fondest regards, The G & P Team


Gladwell & Patterson is delighted to announce the opening of its country gallery, “Gladwells Rutland” with a beautiful new space on Mill Street, Oakham, Rutland in June 2020. Gladwells Rutland gives us the opportunity to share our love of art and our passion for beauty in a different setting that will complement the London based business. Our country gallery will be offering an exquisitely curated selection of paintings and sculpture, enhanced by beautiful furniture and treasures. Adversity usually brings a characteristically creative response from us, as a 268 year old company. Blackouts in the Blitz often meant clients viewed and purchased paintings by candlelight. Now more than ever we feel our clients need imaginative solutions to bring beauty, entertainment and a little solace through art into their homes and we will be looking to provide this in abundance at the new, spacious gallery. Gladwells Rutland will be launched under the direction of Cory Fuller, who has worked closely alongside her father Anthony and brother Glenn for the last 22 years. With Cory’s discerning eye, the gallery will be a modern space to enjoy many treasures that the Gladwell team have sourced from around the world. In keeping with the Gallery’s ethos of integrity, trust and a love of art, this new branch of the family business will focus on leading 19th and 20th Century Impressionist and Modern artists through to the outstanding talent of today. Cory will continue to grow Gladwell & Patterson's art advisory service which combines transparent advice with broad reaching art-market intelligence. This consultancy service offers advice on all levels of painting and sculpture acquisition alongside collection management and valuations. As always, Gladwell's warm welcome and enduring relationships with clients, help new and seasoned collectors navigate the art world and build a collection that brings great joy over the years. We look forward to welcoming you to our beautiful new space at 23 Mill Street, Oakham, Rutland, LE15 6EA

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If you would like to see a specific artwork, then would you please be so kind as to let us know in advance so that we may ensure that it is in the gallery on display ahead of your visit. You can contact us by email on cory@gladwellpatterson.com or by telephone on +44 7866 450070. Opening Times

Monday – Friday 10am – 4pm

Saturday 11am – 3pm

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Stewart Lees • The Garden Shelf British, (Contemporary) • Oil on Panel • 27½" x 39½" • 70 x 100 cms • Price Code E

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An Artist’s Diary by Stewart Lees As an artist, self-isolating was a huge issue for me at first. I felt completely alienated, totally alone in my studio every single day with just my easel. But that was nearly fifty years ago and I’ve since grown to really enjoy it. Then, in mid-March, here in France, lockdown happened and suddenly everyone was self-isolating. The house was no longer empty most of the day. My wife was home all day. Her walking groups, conversation groups and her visits to friends all came to an end. I found that every time I made a cup of coffee I had to make one extra. Lockdown in France immediately meant that every time we wanted to leave the house, we had to download a form, fill it in, sign it, date it and even add the time of signing. We had to tick a box next to one of the listed legitimate reasons for going out.

ly if working from and from work, but on

home was impossible.

• Getting to necessities. • Going shopping for or if home treatment ns io it nd co rm te ng lo hospital for • Visiting doctors or was not possible. people with children. or le op pe le ab er ln vu than • To help and going no further y da a ur ho e on of ax imum • To exercise, for a m e house. one kilometre from th summ onsed. • To attend court if trative department. is in dm /a t en m rn ve intment at a Go • To attend an appo 7


online which took a lot longer than usual to arrive but came just as I was about to use my last brush.

In my studio I had a large still life, The Garden Shelf, as my companion. I was working on it long before lockdown started and I was still working on it as it ended. I always keep a good stock of paints and brushes but, as the weeks passed, my Titanium white was going quickly enough to cause a little flurry of panic every time I had to squeeze out some fresh on to my palette. I use a particular small, handmade sable brush for the finer detail, which I buy in lots of ten, but as the painting progressed my stock dwindled. I ordered another batch from the UK supplier

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There was no significant panic buying and our local supermarket was almost deserted with most shelves well stocked. My wife, Caren, had a birthday in the second week of lockdown. The postman had stopped delivering which meant no cards and no presents. The doorbell did ring that morning, and on the doorstep was a present, while on the other side of the road, at a safe distance, were two friends loudly singing Happy Birthday. The cards and parcels did eventually trickle in over the next week or so. Restaurants and bars were shut. But friends who live by the canal have a bench opposite their house which strangely, but conveniently in this case, has its back to the canal and faces them instead. At a pre-arranged hour we would arrive there to find a tray


with two glasses of red wine left on the bench and our friends on the opposite side of the road, on the edge of their property, sitting in garden chairs ready for some long distance conversation. One thing we have certainly enjoyed is the peace and quiet. The canal is normally lively at this time of year, filled with rented boats and pleasure cruisers. At the moment it is absolutely deserted and the water perfectly still. We live in the middle of the village, on a street normally noisy enough to keep us awake at night unless we close windows and shutters. We are also not far from the village square. In summer there is a procession of events, with music earsplittingly loud and normally a Johnny Hallyday impersonator topping the bill who will never take the stage before midnight. Our bedroom is at the front of the house but in summer we usually move to one of the rooms at the back so that we can sleep in relative peace, even with the window open. This year all events are cancelled.

Annoyingly, while we heard the UK was basking in record amounts of sunshine throughout lockdown, France was enduring wind and rain. At one point we had over five days of constant, steady downpour, day and night, without stopping. Our garage was flooded and there was fear that the river Aude might burst its banks. When we could get out into the garden, we had to be resourceful about filling flower beds and containers. With garden centres closed, and no idea when they would reopen, we could only take cuttings from existing plants and divide others. We are very aware that we have been much luckier than some in this crisis. We have even managed to enjoy some aspects of lockdown but, on the whole, we are glad that, for us at least, life is gradually returning to some sort of normality. We are certainly looking forward to booking a table at our regular lunchtime haunt around the corner. S tewart Lees

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“As I observe a still life grouping with ever deepening intensity, the objects, and the space they occupy, become a landscape with depth and atmosphere revealed through the play of light across forms, all firmly rooted within a plane. And by adhering to strict accuracy in drawing and modelling, and by my pursuit of meticulous fidelity to form, texture and colour, I come up against all the challenges of a portrait painter, concerned with surface but trying all the time to say something deeper about the subject before me, to turn the familiar into something extraordinary.” – Stewart Lees

The dish risi e bisi (which should be translated as rice and peas, but which is actually much more) is a typical dish of the city of Venice and Veneto itself. Little by little it has become the typical recipe par excellence of the Venetian lands, where it is prepared all year round but with a marked preference for the spring period. The official recipe in fact sees the use of the first pods of freshly harvested peas (which can be easily found, in fact, in spring). The whole of the peas are used, including the skins that are thrown into the cooking water to make the stock that is the basis of the dish. It was the dish that was served to the Doge of Venice on the occasion of April 25th, a day dedicated to the celebrations for San Marco, patron of the city. The dish, now considered much more accessible, was at the time a real privilege for the very few, because it is rich in vegetables and made with a fine rice, fairly expensive ingredients at the time. Legend has it that there was precisely one pea for each grain of rice.

Stewart Lees • Risi e Bisi British, (Contemporary) • Oil on Panel • 16” x 20” • 40 x 50 cms • Price Code C

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Gustave Loiseau Anenomes French, (1865-1935) Oil on Board 13” x 10” • 33 x 26 cms Price Code D

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Gustave Loiseau One of the foremost Post-Impressionist painters, Gustave Loiseau was profoundly influenced by the great masterpieces of the Impressionists. With no formal artistic training, Loiseau shaped his style through the observation of nature and by careful study of his Impressionist forebears. He rebelled against the traditional practices of painting and joined the famous artist's colony at Pont-Aven in Brittany in the 1890s. There he became companions with Henry Moret, Maxime Maufra and Paul Gauguin and under their influence, Loiseau embraced the use of bold colour and sought to expand and seek new aspects of the Impressionist style.

Loiseau delights us with a playful palette of purples, reds, whites and greens grounded by the earthy browns to the lower third of the work. The still-life's rich surface, composed using spontaneous brushwork as the pigment is layered upon the canvas, reveals Loiseau’s experimental nature and exemplifies his instinctive use of both Impressionist and Post-Impressionist techniques in his quest to capture nature as he experienced it. A charming bijou of a painting, this would sit nicely in any collection and may form the start of a love-affair with this artist’s work.

In the latter part of Loiseau’s career, the artist produced several exquisite still-life compositions. Often painted on board, many of these works were painted at Pont-Aven between 1922 and 1928. As Didier Imbert has noted of the painter’s method and technique, ‘essentially impressionist in his depiction of landscapes or street scenes, it acquires for the stilllifes a certain classical resonance, a staid geometric composition, almost synthetic, in which one perceives his preoccupation with immobility, lack of movement, the static quality of the object represented.’ Derived from Greek to mean ‘windflower’, anemones are wildflowers that grow in many parts of northern Europe. They are so called because these delicate flowers are blown open by the wind each morning, and they close at the end of the day, at nightfall. Their transient beauty, captured for eternity under Loiseau’s brush resonates from this canvas. Gustave Loiseau circa 1904 Photograph Archives of Durand Ruel

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Les Bords de l’Yonne, painted in 1908 at the pinnacle of Loiseau’s Impressionist manner, is a wonderful evocation of the French countryside. Loiseau is recorded as staying in the town of Auxerre on the River Yonne, a tributary to the Seine which flows south east from Paris into Burgundy, in 1902 and 1908. Masterful evocations of the town with its splendid Gothic cathedral and serene river views of the surrounding countryside dominated Loiseau’s output during his visits to the region.

Painted upstream from Auxerre, Les Bords de l’Yonne is devoid of any human or man-made presence, Loiseau instead focuses on the fleeting light effects and gentle

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calm of the flowing river. The dappled reflections on the surface of the water are beautifully rendered in loose brushstrokes of thickly applied impasto oil paint. The layered impasto creates a distinction between land, water and sky as well as recreating the texture of the grasses in the foreground and the trees on the opposite bank. The painting resonates with the atmospheric quality of a warm and breezy summers day. The broad expanse of the River Yonne in the foreground delights the senses as Loiseau superbly captures the rippling effect of a warm breeze blowing across the surface of the water. This still and serene landscape is animated by the movement of the clouds in the sky, painted with longer, looser brushstrokes than their reflections in the water below, evoking a calming ambiance. Loiseau masterly depicted the clouded sky and abundant foliage with the use of delicate feathered brushstrokes, reminiscent of Monet’s technique. Les Bords de l’Yonne is a splendid example of Loiseau’s painting at the height of his Impressionistic period. The subject matter, composition and application of paint are all heavily indebted to the work of both Monet and Sisley. The heavy impasto and textured finish of Les Bords de l’Yonne reveals the very start of this development in Loiseau’s work. The painting’s rich surface, composed using spontaneous brushwork and areas of thickly applied paint, exemplifies Loiseau’s instinctive use of Impressionist and Post-Impressionist techniques.


Gustave Loiseau • Les Bords de L’Yonne, Painted in 1908 French, (1865-1935) • Oil on Canvas • 21¼" x 28¾" • 54 x 73 cms • Price Code F 15


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Rue de Clignancourt, soleil, le quatorze juillet, painted in the mid 1920’s, is an outstanding work from one of the most important series of Loiseau’s urban views. The excitement and spectacle of the 14th of July celebrations along the bustling Rue de Clignancourt, on the outskirts of Montmatre, is brilliantly evoked by the artist’s handling of paint. Loiseau painted this view of the Rue de Clignancourt, from the corner of the Boulevard de Rochechouart, frequently between 1924 and 1925 in order to explore the changes of light and atmosphere. This practice emerged in conjunction with the growing preference among artists to work directly from nature and to work outside, en plein-air, and was brought to its extreme by Claude Monet. Monet’s practice, of moving from canvas to canvas and working with the moving light throughout the day, caught on by many followers of Impressionism. Monet’s main dealer, Paul Durand-Ruel, had established a group of painters that he considered were of sufficient talent to follow-on in the Impressionists’ footsteps. Gustave Loiseau was one of those painters. Since 1897, Loiseau had been under contract to Durand-Ruel, who had directly purchased much of Loiseau’s work. Durand-Ruel exhibited the works in Paris and consistently included Loiseau’s work on his travelling tours in America. By the mid 1920’s, when the Rue de Clignancourt series was painted, Loiseau had already enjoyed considerable success both in Paris and abroad, where he was emerging as one of the few artists that were able to expand and seek new aspects of the Impressionist style. In his quest to create movement and light, Loiseau had developed a distinct style of the ‘cross hatching’ technique, referred to as

‘en treillis’ (latticework), thereby creating the supple and ephemeral quality for which his work is known. In Rue de Clignancourt, soleil, le quatorze juillet, Loiseau applied this unique technique to the crowds. A homogeneous and yet vibrating colour structure is created by his staccato-like brushwork, developed from the pointillism of Seurat and Signac. With a superbly confident use of brushstroke and colour, Loiseau creates a bustling and joyful mass of people, lending a vibrancy to the scene.

Photograph of the Rue de Clignancourt c.1920

In Rue de Clignancourt, soleil, le quatorze juillet the viewer’s eye is drawn over the lively square and to the façades of the buildings illuminated by the sun. From a bird’s eye view we are able to witness the numerous crowds below, filling the streets as far as the eye can see. The red, white and blue of the Tricolour billows from every façade and there is the faintest hint of a parade through the streets. 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.

Gustave Loiseau • Rue de Clignancourt, soleil, le quatorze juillet, Painted circa 1925 French, (1865-1935) • Oil on Canvas • 25½" x 21½" • 65.5 x 53.5 cms • Price Code F 17


Georges Robin’s Awards and Honours

Georges Charles Robin • Moulin prés du Clisson French, (1903-2003) • Oil on Card 9½" x 13¼" • 23 x 34 cms • Price Code C

“On a post-war visit to Paris my father discovered the artistic talents of Georges Robin - the same visit on which he came across the work of Alexandre Jacob. Being in his fifties, Robin had already established himself as one of the foremost French artists of the day; he continued to go from strength to strength, culminating in the award of the Medaille d’Honneur by the Société des Artistes Français. Sadly in his late seventies Robin lost his sight, but he continued to release examples of his earlier work to Gladwell & Company until shortly before he died in his one-hundredth year. His tonal values and his positioning of pure colours side by side on the canvas, each slightly altering the appearance of the other, remain his lasting legacy to future generations of artists. The numerous French museums who have examples of Robin’s landscapes in their collection are fortunate indeed. To cap it all, he was just the nicest man to deal with.” – Anthony Fuller 18

1948

French Landscape Prize, Paris Salon.

1948

Premier Prize, Salon des Paysagistes Français.

1954

Gold Medal, Paris Salon.

1954

Selected to be a member of the Jury, Salon des Paysagistes Français.

1954

Selected to be a member of the Jury, Salon d’Hiver.

1954

Selected to be a member of the Committee of Directors, Salon d’Hiver.

1954

Gold Medal, Salon des Artistes Français.

1954

Selected to be a member of the Jury, Salon des Artistes Français.

1954

Received the Hors-Concours, Salon des Artistes Français.

1954

Silver Medal, Salon des Artistes Français.

1958

Prize of the Town of Clichy.

1958

Prize of the Town of Asnieres.

1959

Premier Award, Salon du Printemps.

1960

Premier Award, Salon Levallois.

1961

Awarded Prix Taylor, Salon des Artistes Français.

1961

Awarded Bronze Medal, Salon des Artistes Français.

1961

Awarded Silver Medal, Conseil General de la Seine.

1961

Awarded Gold Medal, Société d’Arts, Sciences et Lettres.


Georges Charles Robin • Printemps à Château Landau French, (1903-2003) • Oil on Canvas • 18” x 22” • 46 x 56 cms • Price Code D 19


Léon Augustin Lhermitte • Les Laveuses près de Mont Saint-Père French, (1844-1925) • Pastel • 27½" x 35½" • 70 x 90 cms • Price Code F 20


Léon Augustin Lhermitte Léon Augustin Lhermitte is celebrated for his paintings and pastel drawings of rural genre scenes of the French countryside. Lhermitte was greatly admired by fellow artists, including Auguste Rodin, Vincent van Gogh and Puvis de Chavannes. His innovative use of pastels towards the end of the nineteenth century brought the image of rural life and landscape into the twentieth century. From his early submissions to the Paris Salon in the 1860s and 1870s Lhermitte's compositions inspired by his hometown of Mont-Saint-Père were highly lauded by both the artistic establishment and his fellow artists. This tranquil village on the banks of the River Marne in in the Aisne region of central France, offered a wealth of inspiration to the artist throughout his career. The countryside and farmland surrounding Mont-SaintPère provided Lhermitte's most famous motif of "The Harvest" for which he won recognition at the Paris Salon of 1874. The River Marne also provided much inspiration as Lhermitte regularly depicted the local washerwomen at work on the banks of the river outside the village.

Lhermitte sought great enjoyment in capturing images of everyday life which he saw around him, depicting them with a beautiful natural and distinctive technique and with the precise rendering of the tiniest details. Following the traditions of the Realist movement and in particular the paintings of Jean-Francois Millet, the washerwomen are captured under Lhermitte's delicate hand without any poise or planning. They are illustrated hard at work with the sun beating down upon them, surrounded by the blissfully calm landscape, evocative of the simple life in Mont-Saint-Père that Lhermitte so admired.

Les Laveuses près de Mont Saint-Père is one of the finest examples of this genre. Executed in 1911, this painting reveals Lhermitte's mature style and complete mastery of his medium. Feathered strokes of pigment enliven the grasses and wildflowers on the riverbank, whilst the softly smooth surface of the river itself reflects the endless blue sky and village on the horizon beyond. Léon Augustin Lhermitte circa 1890

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Danish School • A Stitch in Time Oil on Canvas • 18” x 22” • 46 x 56 cms • Price Code C

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Luis Muntane Muns A Careful Step

Luis Muntane Muns An Elegant Promenade

Spanish, (1899-1987) Oil on Panel 16¼" x 10½" • 41 x 27 cms Price Code C

Spanish, (1899-1987) Oil on Panel 16¼" x 10½" • 41 x 27 cms Price Code C

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Pierre Outin Pierre Outin was born in Moulins in 1840. His father was a wealthy trader who did not approve of his son’s taste for drawing and painting and discouraged Outin’s interest in the subject at his High School. He was sent to work for the silk trade in England, an attempt by his father to remove the creative flair his son so clearly possessed. Upon his return to France he was hired into the silk trade in Paris, much to his father’s satisfaction. Unhappy in his forced employment, Outin emancipated himself from his father and left the trade. Under the encouragement of the artist Charles Joseph Lecointe, a highly lauded landscape painter and a close family friend, Outin joined the studio of Alexandre Cabanel. Under Cabanel’s tutorage Outin embraced the traditional academic style celebrated in the Paris Salon of the day. In 1863 Outin was awarded the first prize at the Académie des Beaux-Arts. 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. In 1868 Outin submitted his first oil painting to the committee of the Paris Salon, and from this point onwards he became a regular Salon participant. His specialisation in historical scenes was favoured by the traditional Salon authorities and his genre scenes were adored by the public. During the Seige of Paris from 1870 to 1871 Outin settled in Auvers-sur-Oise on the edge of the city. 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. The experience of these new surroundings strongly influenced his work upon his return to Paris, his palette became richer with a greater use of lighter shades.

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As Outin’s style matured after his orientalist phase, his compositions were highly revered at the Paris Salon. During the 1880 Salon, the art critic Maurice du Seigneur recorded that Outin’s painting "Course d’Automne" was the main attraction. Following this phenomenal success, Outin was awarded many medals and was praised by the Salon critics. In his 1885 Guide du Salon Louis Enault, 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.

Episode de la Déroute de Quiberonby Pierre Outin, Painted in 1889

In 1889 Outin exhibited his most famous painting, “Episode de la Déroute de Quiberon”, a magnificent history painting of this decisive battle in 1759 between the French and British during the Seven Years War. This painting was unrivalled for its compositional prowess and historical accuracy whilst also sensitively capturing the emotive drama and destruction of war and Outin was awarded an Honourable Mention in the Paris Salon.


Pierre Outin The Flirtation French, (1840-1899) Oil on Canvas 32” x 25” • 81 x 64 cms Price Code F

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Anivitti Filippo • Fioraia della Scalinata di Trinità dei Monti Italian, (1876-1955) • Oil on Canvas • 15¾" x 17¾" • 40 x 45 cms • Price Code B

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Gustave Cariot • Rue de Campagne French, (1872-1950) • Oil on Canvas • 8½" x 10½" • 22 x 27 cms • Price Code B

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Paul S. Brown Paul’s still lifes always provide a visual banquet for the connoisseur of fine food and wine. Much of his work is deeply inspired by the flavours of produce that make their way onto his kitchen table and is often a celebration of the journey of farm and field to larder, cellar and kitchen. His still lifes breathe on the canvas; the shoots growing from onions, the daylight fading on a newly opened bottle of Brodeaux as a ripe brie oozes off a cheeseboard. Freshly harvested vegetables and a glorious abundance of foie gras and fowl provide an atmosphere of feasting to some works, whilst others become moments of pause and reflection – quiet glasses of the finest wine sipped in the afternoon sun with ripe slices of cheese. Paul’s timeless visions of vintage wine and liquor have found favour with connoisseurs all over the world. These paintings are reflective of Paul’s love of a craft that, like his artistic style, requires a strict discipline in its foundation. As he observes, “There’s a rigorous practice that has to be adhered to in the making of the wine and that is mirrored in the reverential process of decanting, airing and serving it. I love that. When I’m setting the paintings up I’m imagining the pride that a person feels when opening their bottle. That’s how I know it’s a good picture, when I’m understanding it and feeling the same kind of pride in telling that story.”

Paul S. Brown • Chateau Pichon Longueville, Comtesse de Lalande, 1982 Pauillac American, (Contemporary) • Oil on Canvas • 32" x 39" • 81 x 99 cms • Price Code E

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Paul S. Brown • El Mascarèr American, (Contemporary) • Oil on Canvas • 18" x 20" • 46 x 51 cms • Price Code D

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Paul S. Brown • Made in France American, (Contemporary) • Oil on Panel • 20” x 24” • 51 x 61 cms • Price Code D

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An Artist’s Diary by Paul S. Brown Lockdown begun. Watched the PM on the news directing us on what we could and could not do. I could still go to work. No need at this time for my backup home studio in the attic. Checked supplies. The inner boy scout and prepper in me - an experienced veteran of hurricanes and ice storms - had been released earlier and we were well prepared. Until I stretched a canvas and saw how little I had left… So panic buying ensued, not toilet paper, not hand sanitizer, not pancetta(!) but the finest Italian oil-primed linen and the only kind I use. Ten meters acquired, panic over. I knew I was ok on brushes. Work is intense, I have two pictures onthe easels with a lot of detail in each. I walk the dogs a good hour on the way to work to prepare my mind and

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body for the tiny brushes and a steady hand. Steady breathing, lots of holding my breath when executing a thread of paint that has to be laid smoothly and right on target. To misplace it or a slip of the hand could cost me a day in repairing, it’s that important. In my head I commune with my friend Walter Dolphyn, I know he is an expert breath holder too. Some goals have been met. Lockdown has been good for that. I did something that had been heavy on my mind throughout the winter. I taught my son to ride his bike without stabilizers. My joy is too much to be written. He rides like a natural and with our cycling range extended we went fishing. We wore our camo so the fish wouldn’t see us. The Grey Mullets had shooed away the trout but we enjoyed it and know that we’ll catch one soon. Still thinking of fish on the BBQ we went to the local fishmonger on our way home. He was practically giving away lobsters so with the global pandemic-inspired carpe diem attitude we agreed ‘why not?’.


The shops are well stocked. My friends in the US are still unable to find toilet paper. In my freezer I find some local venison a friend gave me. I have been using what we have in storag e to avoid going into town as much as possible. Protect our family bubble. I grill the venison on the BBQ with some homemade blueberry barbeque sauce. Cooking and painting are very much aligned for me, both inspire, reward and sometimes frustrate. Both cooking and painting always offer a next time to make it just a little bit different and, if I’m lucky, a little bit better. The studio continues to be an important place. It has always been a private refuge that artists are lucky to have to make their craft. It’s more important now to me because I know so many are not able to work. I don’t take that lightly and spend every hour in it endeavoring to get as much done in case things chang e. It’s a constant reminder. Another goal met: I finished a MiG. This is how I learned to mix paint a long time ago. Plastic models. Home schooling continues while I work, sometimes with extracurricular activities. I came home to find the classroom was outside and essential dog grooming was in session. Speaking of the dogs, they have picked up on the fact that we don’t go to the shops together any more (it’s a very dog friendly town) and know the value of the postman. They sit like sentries waiting for the sound of his van. They know he carries treats.

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Big dog walk in the morning, sometimes with my family. Dorset is beautiful in the lockdown, full of birdsong and the skies are bluer than ever. Everyday we are grateful of it and mindful that not everyone shares it. We’ve joined the world and have video drinks with friends, Zoom chats with roomfuls of people, glasses in hand and children asleep. The paintings are finished, more are being set up, thought out and considered. Most paintings are finished quietly. I simply run out of things to do and realize it’s finished. Sign and date it. No applause. However during lockdown we had a celebration for one painting before it was finished. I was making a dry martini painting. It seemed an apt subject for the lockdown. Once I reached the point in the picture where I was painting the martini glass I would make sure the

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painting and palette were ready, go to my studio ‘kitchen’ and reach into the freezer for one of a pair of glasses and a bottle of gin (as all good studios have). Then I’d make a perfect martini and get to work. My painting window would last maybe five minutes before the effect of the frost was gone. I think I made nine martinis. Never drank one of them, until we were doing some gallery-related filming one day. Pre-applause for a fine finish. It was great. Lockdown has eased, schools are open, shops are opening. We haven’t driven for months, the car needs a jump start. We go to one of the National Trust walks near us and hike down to the beach. Beach dance.

Paul Brown


Paul S. Brown • Sassicaia American, (Contemporary) • Oil on Canvas • 34” x 46” • 86 x 117 cms • Price Code F

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Paul S. Brown • French Onions American, (Contemporary) • Oil on Panel • 18” x 30” • 46 x 76 cms • Price Code D

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Paul S. Brown • Pears and Plums American, (Contemporary) • Oil on Panel • 18” x 30” • 46 x 76 cms • Price Code D

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Robert Chailloux I fondly remember my numerous visits to the wonderful artist who was Robert Chailloux. I used to get the early flight from Gatwick to Charles de Gaulle, a commuter train into central Gare du Nord and then the suburban train out to the other side of Paris to the sleepy rural house that Monsieur and Madame Chailloux had made their home for their entire married life.

on a par with that, and so we communicated by speaking loudly and slowly and using sign language and by drawing things. It must have been thoroughly entertaining to watch but we managed to have a terrific friendship for many decades.

I was always greeted so warmly, as though a member of the family. I recall the assault on the senses as you walked in of freshly brewed coffee - the strong black variety that the French are so fond of with their Galloises, and of freshly baked bread that Madame Chailloux rose early to bake every morning, although I’m sure she made it just for me.

Robert Chailloux in his studio in 2002

Robert was so adept at recreating the beautiful rustic French scenes that were part of everyday life in rural France. The abundance of fresh fruit, vegetables and bread, that the French are in a league of their own at producing which would come from the surrounding farms and farmers markets They were so proud of the food that we sat down to eat on each visit - it was always delicious, vibrant and succulent. It’s journey from soil or tree to table was so short that it couldn’t fail to be! Robert and Mrs Chailloux circa 1950

Then would begin the wonderful theatre that was Monsieur Chailloux and my way of communicating. Robert spoke no English and my French was about

The delicate nature of Robert’s paintings is exquisite. He managed not only to capture a simple still life on canvas but to capture the life and vibrancy of rural France - the beating heart of this passionate nation. – Anthony Fuller

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Robert Chailloux • Les Crevettes French, (1913-2006) • Oil on Canvas • 15” x 18” • 38 x 46 cms • Price Code C

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“In 1987 I met Perron’s daughter at an auction in Brittany; Madame Perron took me back to her father’s studio where his palette lay on the floor beside the easel, exactly where he put it on the day he died nearly thirty years earlier. This meeting renewed Gladwell’s relationship with the Perron family. I learnt that when the war began, the artist buried all of his paintings in his garden and moved to Brittany, where his subject matter expanded with the change of scenery. On the cessation of war Perron returned to his studio, dug up his pictures and resumed his career. The many accolades awarded him by the Art Institutes of France during his life confirm his status as one of the leading artists of his time.” - Anthony Fuller Charles Perron Gladwells have been championing Charles Perron’s charming paintings since the early 1930’s when Herbert Fuller first encountered Perron’s paintings on a visit to the Salon des Artistes Français for their Summer Exhibition in Paris. Herbert Fuller was so enchanted with the captivating depictions of rural French life, be they the intimate cottage scenes, the delicate still lifes or the beguiling nudes, that he travelled to meet Charles at his studio in Nantes. The two gentlemen hit it off and there began a rewarding lifelong friendship which has extended between the families through the generations. Perron’s studio was an ethereal and joyful place, full of light and beauty, and it is through Charles’ 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, Charles’ 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 the gold medal at the 1928 Salon and the silver medal 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.

Charles Perron • A Quiet Moment French, (1893-1958) • Oil on Canvas • 21” x 18” • 53 x 46 cms • Price Code B

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Raymond Wintz • Hameau Breton en Bord de Mer French, (1884-1956) • Oil on Canvas • 14¾" x 18" • 37.5 x 46 cms • Price Code C 42


Taken from out Gladwell’s archive, an old biography of Raymond Wintz, a photo of Herbert Fuller’s old diary and an old exhibition label. 43


Auguste Bouvard (signed Pelletier) • Paysage de Provence French, (1875-1956) • Oil on Canvas • 25½" x 36½" • 65 x 93 cms • Price Code C

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Auguste Bouvard (signed Pelletier) La Lavandière French, (1875-1956) • Oil on Canvas 19¾" x 25¼" • 50 x 65 cms • Price Code C

Renowned for his luminescent paintings of Venice, Auguste Bouvard’s beautiful canvases have captivated us for years. Lesser known, though just as gorgeous and luxuriant, are his depictions of the rustic and rural French Mediterranean scenes where he spent his holidays. Almost always signed with his pseudonym Pelletier (his wife’s maiden name), these sun filled canvases focus on the rural architecture and everyday French life and we see the boats, villas, countryfolk, and the simple life captured with Bouvard’s iconic golden hues. These elegant paintings exude a wonderful confidence, you can sense the relaxation that comes from being on holiday surrounded by such beautiful scenery.

Auguste Bouvard (signed Pelletier) Promenade vers le Port French, (1875-1956) • Oil on Canvas 19¾" x 25¼" • 50 x 65 cms • Price Code C

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Alexandre Louis Jacob • Au Temps des Giboulees, Neige et Soleil French, (1876-1972) • Oil on Canvas • 32" x 39½" • 81 x 100 cms • Price Code E 46


Alexandre Louis Jacob • Soleil d'Hiver, Gelée Blanche, Pained circa 1930 French, (1876-1972) • Oil on Panel • 16¼" x 13" • 41 x 33 cms • Price Code C 47


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Alexandre Louis Jacob Temps Gris, Bords de Riviere

Alexandre Louis Jacob Printemps, L’Abreuvoir

French, (1876-1972) Oil on Panel 9¾" x 10½" • 25 x 27 cms Price Code C

French, (1876-1972) Oil on Board 10" x 9½" • 25.5 x 41 cms Price Code C


Alexandre Louis Jacob • Asnières Sur Seine, Printemps au Marais French, (1876-1972) • Oil on Canvas • 18” x 22” • 46 x 56 cms • Price Code D

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Michel Robin Michel Robin was born in the wealthy suburb of Rueil Malmaison on the western outskirts of Paris in 1928. From a young age he showed great artistic talent. His father, Georges Charles Robin, was a successful Post-Impressionist painter and Michel began his artistic training under his father's expert tutelage. Michel Robin travelled across France in pursuit of his art. Enthralled by the enchanting river valleys of rural France, it was the Dordogne region and the Loire River Valley that particularly caught the young artists' attention. His father was a master of painting en plein air, following the practice of the Impressionists and the two artists would often paint side by side outdoors on their many visits into the countryside. Growing up with this artistic influence and learning the Post-Impressionist techniques first hand from his father, Michel Robin was able to capture the very essence of French rural life through his atmospheric handling of brush and palette. Michel Robin's technique was more stylised than his fathers; he built up his landscapes with thick brushstrokes of blocks of colour over heavily outlined forms, finished with a delicate rendering of trees and grasses, often using a palette knife. Michel Robin exhibited regularly at the Salon des Artistes Français, Salon des Independants and Galerie de Rohan. In 1968 he received an honourable mention in the Paris Salon, and was nominated as a member of the Society for the Salon. Robin’s Post-Impressionist landscapes appealed to the critics of the time, and in the following year his canvases won the French Landscape Painters Prize. Despite this success Michel Robin continued to work in his father's studio and his work has subsequently been largely overshadowed by his father's success. In 1981 his father became blind and Michel Robin completed many of his unfinished works, which he signed using his father’s name. As experts in the work of George Charles Robin since the gallery first acquired his work in 1948, Gladwell & Patterson have built up a knowledge into the work of both father and son and are able to identify their respective painterly styles in order that we can accurately authenticate each artist's paintings, from the fine brushstrokes, to the signatures of the two artists.

Michel Robin • Bormes Les Mimosas French, (1928-2005) • Oil on Canvas • 23½" x 35½" • 60 x 90 cms • Price Code D 51


Bormes-Les-Mimosas Painted on a warm summer's day, the heavenly blue of the Mediterranean Sea shines from the edges of the canvas. Uphill from the small town of Bormes-Les-Mimosas on the Cote d'Azur, Michel Robin captures the very essence of the South of France in this canvas. La Bréville, Charente Painted outside the town, Michel Robin captures the stillness of the canal in the unblemished reflection in the foreground, broken only by the small stream of water flowing through the sluice gate. Morning sunlight flows into the scene and one can imagine the calming splashing of water enveloping the senses. L'Indre, près de Loches The Loire Valley was one of Michel Robin's favourite locations in which to paint with his father. The two artists painted side by side on the banks of the River Indre on many occasions, perfectly capturing the winding river with its picturesque river basin. Often the two artists depicted scenes that were almost identical however the block shading of the poplar trees and the linearised banks of the River Indre reveal Michel Robin's identifiable style. Argenton-sur-Creuse Known as "The Venice of Berry", Argenton-sur-Creuse is a picturesque historic market town in central France, situated just south of the Loire Valley. Michel Robin rarely painted urban landscapes, preferring the quiet and calm of an empty riverbank, however the stunning historic buildings reflected in the River Creuse captured his artistic sentimentality on this occasion. L'Yonne à Mailly-le-Ville Michel Robin charmingly captures a tranquil morning on the banks of a canal in this exquisite oil painting. Today a popular stopping point for visitors on tours of the French rivers, Mailly-le-Ville is situated on the River Yonne, a tributary to the Seine which flows south east from Paris into Burgundy. With the town as a backdrop, Michel Robin captures the stillness of the canal in the unblemished reflection in the foreground. Animated by the fisherman, his wife and young child on the riverbank, the composition perfectly captures the tranquillity of everyday life on the banks of the Yonne. Map of France circa 1840 by Alexander Keith Johnston 23” x 20” • 59 x 51 cms • Image courtesy of The Map House, 54 Beauchamp Place 52



Michel Robin Le Bréville, Charente French, (1928-2005) Oil on Canvas 23¾" x 28¾" • 60 x 73 cms Price Code C

Michel Robin L’ Indre - près de Loches French, (1928-2005) Oil on Canvas 25½" x 35¾" • 65 x 91 cms Price Code C

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Michel Robin Argenton Sur Creuse French, (1928-2005) Oil on Canvas 23” x 28” • 58 x 71 cms Price Code C

Michel Robin L’Yonne à Mailly-la-Ville French, (1928-2005) Oil on Canvas 23½" x 28¾" • 60 x 73 cms Price Code C

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Willem Dolphyn • The Fig Harvest Belgian, (1935-2016) • Oil on Panel • 23½" x 30" • 60 x 75 cms • Price Code D 56


Willem Dolphyn Instantly recognisable as the master of still life painting in Antwerp, Willem Dolphyn has created some of the finest canvases ever produced in this historic city over the last eighty years. 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.

At the age of 17 Willem became the youngest student to ever enter the National Higher Institute for Fine Arts in Antwerp. Over the years Willem began to focus on still life, prioritising compositions of fruit and objets d’art. His canvasses are instantly recognisable, and each showcases the sheer technical virtuosity in handling of light and evocation of texture and atmosphere. In 1985 Willem met Bill Patterson and he held his first show in Mayfair at W.H.Patterson. Sell out shows were a regular feature as Patterson’s clients embraced Willem’s supreme talent and enhanced their collections. Since his first solo show in 1968, Willem’s paintings have been exhibited widely in Europe and Asia. Among his many achievements, the highlight was his appointment as Ambassador of Arts for the City of Antwerp.

Willem at the age of 10

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 in front of his historic studio in 2013

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Walter Dolphyn • Hammer It! Belgian, (Contemporary) • Oil on Panel • 10" x 19¾" • 25 x 50 cms • Price Code C

Walter Dolphyn • Screw It! Belgian, (Contemporary) • Oil on Panel • 5" x 23½" • 13 x 60 cms • Price Code B

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Walter Dolphyn • Princess and the Frog III Belgian, (Contemporary) • Oil on Panel (Diptych) • 5” x 5” • 13 x 13 cms • Price Code B

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Peter van Breda Winter Sunshine, York Minster British, (Contemporary) Oil on Canvas 21” x 18” • 53 x 46 cms Price Code B

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Peter van Breda • Morning Light towards Notre Dame, Paris British, (Contemporary) • Oil on Canvas • 12" x 35½" • 30 x 90 cms • Price Code B

Peter van Breda • Chelsea Embankment, London British, (Contemporary) • Oil on Canvas • 8" x 19¾" • 20 x 50 cms • Price Code B

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An Artist’s Diary by Peter van Breda Just days before lockdown I decided to drive my daughter into London for university to avoid her using the train and tubes. This created a perfect opportunity for me to paint Parliament Hill where people were enjoying outside spaces while they still could, unaware of the full implications of what was to come. I was capturing the last few days of normality for quite some time ahead. For the first week of lockdown I admit to a spate of panic-buying; not food or anything that would save me from starvation should the situation worsen, but canvasses, paints, and other essential materials. It was an impossible time to focus as the unimaginable was happening and the world fell silent. In no time at all the gallery kicked into gear with plans for new ways of working and their contagious energy got me back on track. By creating videos from my studio (filmed by my daughter) I already felt more connected to the outside world and the belief in an audience gave me hope for the future. I received a treasured message of support from a good friend who told me he took comfort from the paintings on his walls after watching the usual five pm messages from Downing Street.

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g in isolation, As an artist, I’m no stranger to workin en the case, whether in my studio or, as is more oft of strangers standing on a bridge in a crowded city full nce is, I’ve (now already unthinkable). The differe re in the world always had the freedom to work anywhe a day (keep and adjusting to being ‘let out’ for one slot world in my moving!) forced me to create an outside and sketch studio. I surrounded myself with studies k to the places books from my travels, taking myself bac mind became I love and know so well. Travelling with my church bells a new discipline and with birdsong and garden studio replacing the sound of the town from my . Time seemed I was able to paint without distraction new sense of no longer important and that gave me a freedom - ironically. course. When There have been strange moments, of ted a painting restrictions were first eased, I attemp ch and was of cliffs on a rem ote stretch of bea g in my secret joyfully dipping into my oils and baskin tilted directly space when a helicopter hovered and as I was sure overhead. My inner calm turned to panic ing terribly I’d been tracked down for doing someth of a freakish wrong; in retrospect I think I was more did put me off curiosity than anything more sinister. It t a bit longer for a while though and I decided to wai before venturing out with my paints again.

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It was frustrating not to be able to get out to paint, particularly when low April light was so perfect, but I’m now very much back in the flow of working and being productive. I’m keen to paint the parks, gardens and countryside that have been so uplifting for so many people during this pandemic. And Stamford, with its attractive Georgian architecture, is waiting patiently in my sketch book. The sense of urgency to capture new subject matter is stronger than ever and I’m making travel plans for the not too distant future, but first I must go to London, then most likely Paris and Venice - where if I close my eyes I can already see an amber aperitif on a canal-side table at the Dodo Café waiting for me. Peter van Br

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eda


Peter van Breda • Early Spring, Parliament Hill, London British, (Contemporary) • Oil on Canvas • 12” x 36” • 30 x 90 cms • Price Code B

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Eugène Galien-Laloue • Place du Théâtre French, (1854-1941) • Watercolour and Gouache • 7.5” x 12.5” • 19 x 30 cms • Price Code D

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Eugène Galien-Laloue • Brocante French, (1854-1941) • Watercolour and Gouache • 7.5” x 12.5” • 19 x 32 cms • Price Code D

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Martin Taylor Everdon Stubbs - Bluebells

Martin Taylor Bluebells, Paths and Shadows

British, (Contemporary) Oil on Canvas 10” x 8” • 25 x 20 cms Price Code A

British, (Contemporary) Oil on Board 15¾" x 12" • 40 x 30 cms Price Code B


An Artist’s Diary by Martin Taylor We are connected to Nature. Part of why I choose to be a landscape painter is in order to be out in the countryside, working in a way which tries to depict my responses to it. Therefore with the outbreak of the coronavirus and the subsequent lockdown, access to this was largely prohibited. No longer was I free to roam the fields. I had to try and see Nature in a different way. It is of course not only in the open countryside that we experience Nature, but more closely all around us. We are always aware of Nature in the cycle of the seasons. This is visible in the light of the day, morning, noon and night, in the sky and clouds, the sun, wind and rain.

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could have found a remote place far away from infection, in the fields, being close to home and family was more important. It also drew my focus onto the natural world which daily unfolds in my garden, front and back, such as the trees, which being spring were blossoming in front of me. We are fortunate in that we have a big garden, at the front and back of the house. Outside is a park, where many people take their daily exercise, something so important, that it became part of lockdown protocol.

Before the pandemic I was working on a painting at the end of a lane called Leys Lane in the village of Gt Houghton, Northamptonshire. My studio on the farm is fairly remote and isolated. However, with respect to the farmer from whom I rent, I chose to relocate at home, after all, before the studio, I had always worked from home. Though I probably 70

I set up once again in the loft, bringing back paintings which I had been working on before. However with the weather unusually good it was not long before I began working in the garden. We have a magnificent


passing by always stop and magnolia in the front garden. People hedral behind it seemed poignant admire as it is beautiful. With the cat g in mind, I began working and so with Stanley Spencers’ paintin on mine. es and blossom in our garden into In the garden I decided to paint the tre pear and our own young apple the book. Distant trees, the neighbours During it’s course I particularly all became connected in this one image. of traffic, or vapour trails in the noticed the birds. Now without the sound e more apparent. I was enjoying sky, the birdsong and their activity becam part of the world locked down. the solitude and peace which now became

During Lockdown, the nation switched onto Grayson Perry’s. Art Club on BBC’s Channel 4. It was a great programme and one we looked forward to every Monday night. It featured his own work in isolation and his response to being in the current situation. With different themes each week it showcased artwork produced by people at home. It made art accessible to everyone, everyone could do it. It was humorous, and featured the artworks of celebrity comics such as Harry Hill, Noel Fielding, Vic Reeves and Lisa Tarbuck, very entertaining and enlightening. All sorts of art was shown mainly on the theme of isolation, but not exclusively. ‘Britain’ was the last theme and submission was via a short video. I decided to submit. 71


We thought about our local community, neighbours along the street. We initially missed not getting on the bus, going out, we loved going to the cafe, seeing our family. None of which seemed so important now. Though distant we spoke more on the phone, saw each other on Facetime, in some ways became closer. Gradually things are easing, I am now able to continue with work outside and was able to complete the first painting of Leys Lane. Thoughts now as lockdown is gradually eased? Well, you can’t lock an artist down. The quiet was welcomed, a time for reflection is good, seeing and appreciating what is around you, being close at home brings me closer to myself and family. The studio seems cluttered now I return, I welcome clarity which comes from keeping life simple. I always advocated that all an artist needed was a pencil and a piece of paper. All else is an expansion of this. r Martin Taylo 72


Martin Taylor • The Broken Ash and Queen Anne’s Lace British, (Contemporary) • Oil on Canvas • 15¾" x 19¾" • 40 x 50 cms • Price Code B

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Edward Seago Edward Seago was born in Norwich in 1910. At the age of eight, Seago was diagnosed with a chronic heart condition and much of his childhood was spent confined to bed. Despite his health issues, Seago was determined to become an artist, however his ailments prevented an art school education. Largely self-taught, the young and eager artist sought advice from Sir Alfred Munnings and Bertram Priestman. Under their guidance he quickly developed his skill and technique, painting rapidly with expressive brushwork, a skill he developed into a virtuoso talent. Throughout his life Seago was inextricably linked to East Anglia; he lived in Norwich and then Ludham virtually all of his life, with a short sojourn travelling with the circus in the 1930s. East Anglia was the source of many of Seago's vivid and expressive landscapes, but its artistic heritage played an equally important role in Seago's artistic vision; the Norwich School of

Artists and the light and atmosphere of the paintings of the great East Anglican artist, John Constable, became Seago's main influence and inspiration. After settling in the Norfolk broads at Ludham in 1945, Seago, ever the eccentric, endeavoured to acquire a boat that would become his floating studio in which he could plan voyages over the English Channel to Holland, Belgium and France, a dream he had been determined to accomplish for many years. His first vessel, The Endeavour, a converted naval sailing boat, was not the most reliable although Seago did manage to sail to Belgium in her in 1948. His second yacht, The Capricorn, awarded Seago many highly successful voyages between 1951 and 1967, allowing the artist to explore the French countryside as he sailed along the Seine from Dieppe to Paris. Painted from the tow path beside the Orne Canal in Amfreville, a quiet village near the coast of Normandy, The Lock at Amfreville, France perfectly captures the tranquillity that delighted Seago on his many French adventures aboard The Capricorn. These painting trips across the Channel inspired the artist to use livelier brushstrokes, a looser style and a palette of heightened intensity with a greater emphasis on pure colour. The Lock at Amfreville, France is a symphony of green, intensified against the bright blue of the sky. The figures on the sunlit path lead the eye into the picture and towards the lock reflected on the surface of the water in the distance. The Lock at Amfreville, France is typical of Seago’s mature style, and his skill at capturing atmosphere with impressionistic brushstrokes. The composition is open and uncluttered, utilising the simplicity of composition and colour for individual expression and conveying Seago’s personal emotional response to nature.

Photograph of Edward Seago in his studio at the Dutch House, Ludham 74


Edward Seago • The Lock at Amfreville, France British, (1910-1974) • Oil on Canvas • 18” x 24” • 46 x 61 cms • Price Code E 75


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Peter Symonds Poldhu Cove, Lizard, Cornwall

Peter Symonds Soar Mill Cove, Devon

British, (Contemporary) Oil on Canvas 7” x 12” • 18 x 30 cms Price Code A

British, (Contemporary) Oil on Canvas 9” x 12” • 23 x 31 cms Price Code A


Peter Symonds • The Buttermere Fells from Crummock Water British, (Contemporary) • Oil on Canvas • 18” x 32” • 46 x 81 cms • Price Code C

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Peter Symonds • Loch Awe, Scotland British, (Contemporary) • Oil on Canvas • 10” x 15” • 25.5 x 38 cms • Price Code B

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Peter Symonds High Summer, North Cornwall

Peter Symonds Bedruthan Steps, Cornwall

British, (Contemporary) Oil on Canvas 14” x 12” • 36 x 31 cms Price Code B

British, (Contemporary) Oil on Canvas 11” x 16” • 28” x 41 cms Price Code B

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Peter Symonds Peter’s innate skill at finding the most tranquil scenes throughout our green and pleasant land and capturing them on canvas serves to remind us why we all love this island. It is this quality, when combined with his tremendous painting skill, that makes his paintings both enjoyable and collectable. He is identified most closely with his views of the English Lake District, Devon, Cornwall and Scotland, but in addition to the picturesque rivers, mountains and coastlines of the British Isles, Peter achieves great variety and scope travelling to and painting wild and remote places around the world. His paintings are informed by a love of the great outdoors and he is a keen admirer of the great traditional landscape painters, particularly those painting in Britain and France towards the end of the nineteenth and early twentieth centuries. In this tradition, he continually seeks to achieve more than just topographical accuracy and to create mood and atmosphere through the mastery of tone and light. Whilst Peter is undeniably a master at capturing the scale and awe of dramatic landscape vistas, this is not at the expense of delicate and intimate subject matter. A number of works depict human life either through figures at the beach or the depiction of homes and villages, boats and harbours. Such gentle rendering of human existence living in harmony with the nature Peter portrays, is surely one example of his versatility and immense talent as a landscape artist. Whether it is a spectacular panorama or a snapshot of British rural life, the range within his oeuvre is extensive. It is often that in braving the most severe of conditions at inhospitable times, Peter is able to find truly breathtaking scenes that stimulate him to craft his exceptional paintings, allowing us the viewers, a glimpse into what this beautiful world can really offer.

Peter Symonds • Low Tide, Polperro, Cornwall British, (Contemporary) • Oil on Canvas • 10” x 14” • 25.5 x 36 cms • Price Code B

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Ronny Moortgat • The Battle of Camperdown Belgian, (Contemporary) • Watercolour • 12" x 19¾" • 30 x 50 cms • Price Code C

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Ronny Moortgat • Evening Meeting Belgian, (Contemporary) • Oil on Canvas • 20” x 28” • 50 x 70 cms • Price Code C

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An Artist’s Diary by Ronny Moortgat This Corona virus has smacked us pretty hard around the ears and I am sure that it will stay with us maybe for ever, but if not for a very long time although one day we hope there eventually will be a serum. Here in Belgium, we were ordered to “stay in your dorm” and so we did. Everything came to a grinding halt - no more shopping, pub-crawls or eating out - everything shut down.

Fortunately, this was not too bad for me, as I retreated to my studio and only went out to do some physical exercise - something I was in dire need of because my physical condition was not much to be proud of!! Martine and I made it our daily purpose to walk at least 10,000 steps,

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and we also took the bikes out. Now we can happily cycle into Antwerp and back without much effort. I adapted very quickly to this new way of life and it gave me the chance to sort out things that I had left for a long time. First and foremost was to sort out my studio! The main drawback to everything coming to a halt was that I could not get new materials such as canvas, paint, or paper, and so had to use what I had in stock. This resulted in the reusing of old canvases and the scraping off of old unwanted paintings to put new gesso for a fresh start. On another occasion, I stumbled across an old ship model I had had lying about for about 50 years! So I started on that to try and finish it off – it’s funny that I kept it all these years. This new situation of confinement has proved that Martine and I can live together in a restricted area


without pulling each other’s hair out. Luckily we both have our ways to cope with this new situation and to escape into music - Martine has her piano to play, and I have my painting. Another positive thing is that as everything came to a standstill with virtually no cars or planes and the deserted cities, life was easy again with no rush or noise and we could breathe freely! A funny thing happened at the beginning of lockdown as we were going about our daily exercise walking around the village - we discovered places we had never been before! Now I know my way around London very well, but it turns out I don’t even know my own village. Of course there are things I miss during this lockdown. One of them is my weekly meeting with my friends in our local pub “ The KOLN “ in Antwerp. This was the pub that my great friend Willem Dolphyn (God bless him) used to go to after a hard day’s work !!!!!!!! A place where the world’s problems are solved amongst the derelict characters of society.

world. Very often plain clutter but then again I am old fashioned about this. For me an artwork should be a thing of beauty and that is what I often miss in modern art. I hope that this outbreak will change our way of life away from this rat race with always more… more… faster… faster… I thing I have learned from this is not to make a fuss about things when they don’t go the way I want them to go, so in the future I‘ll “try” and adapt a different and more relaxed way of looking at certain things . Something I can put into practice because last week I went to the shop to pick up the large canvas I ordered for the Camperdown painting. To my horror I found out that the canvas had been damaged in transport and so I had to refuse it. It will take another month or so to get the new one. Bad luck but not a problem… Ronny Moort

gat

I also miss the visits to museums and art galleries, to freshen up our views on art or see what’s new in the art 85


Ronny Moortgat • A Close Race Belgian, (Contemporary) • Watercolour • 10" x 19¾" • 25 x 50 cms • Price Code B

86


Ronny Moortgat • Cowes Week Belgian, (Contemporary) • Acrylic on Canvas • 24” x 36” • 60 x 90 cms • Price Code B

87


Simon Gudgeon 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 emotion captured with a visual harmony that is unmistakably his own. Nestled in 26 acres of Dorset’s glorious countryside lies Simon’s “Sculpture by the Lakes”. It is an oasis for art lovers and collectors alike. Simon’s vision was to create an environment for enthusiasts that blends nature’s beauty with inspiring works of art free from the constraints of enclosed spaces of a traditional gallery. The sculpture park has been carefully landscaped and curated to ensure each piece is positioned to enhance its aesthetic qualities as well as the visual surroundings.

Simon Gudgeon Thoth British, (Contemporary) Bronze (Edition of 6) 98½" x 59” x 39½" • 250 x 150 x 100 cms Price Code F

Simon Gudgeon • Embrace British, (Contemporary) • Bronze (Edition of 5) • 106" x 82¾" x 82¾" • 270 x 210 x 210 cms • Price Code F

88


89


Simon Gudgeon As Kingfishers British, (Contemporary) Bronze (Edition of 12) 71¾" x 33½" • 182 x 85 cms Price Code C

90


Simon Gudgeon Chase British, (Contemporary) Bronze (Edition of 7) 108¼ x 114 x 59" • 275 x 290 x 150 cms Price Code F

91


Nick Bibby Nick Bibby is widely regarded as one of the pre-eminent sculptors of his generation. From a young age Bibby’s passion has been nature and the natural world. Fascinated by both form and detail, Bibby models with a fluidity and energy that few can equal, simultaneously and effortlessly combining that energy with an incredible attention to detail. The resulting sculptures are both beautiful works of art and loving portraits, be they bird, animal, or human. Throughout his artistic career Bibby has received many notable commissions including a scientifically accurate life size sculpture of a Dodo, on permanent exhibition at the Ashmolean Museum in Oxford, and in 2013 he was commissioned by Brown University to sculpt a monumental, life-size Kodiak Brown Bear, which stands in pride of place on their campus in Rhode Island.

Nick Bibby Skylark British, (Contemporary) Bronze (Edition of 15) 15¼" x 5¾" x 6¾" • 39 x 14.5 x 17 cms Price Code C

92


Nick Bibby Water Snail

Nick Bibby Silver Pygmy Shrew

British, (Contemporary) Bronze (Edition of 12) 6” x 5” x 2” • 15 x 13 x 5 cms Price Code A

British, (Contemporary) Silver (Edition of 9) 2" x 1½" x 1½" • 5 x 4 x 4 cms Price Code B

93


94

Karl Martens Wren I

Karl Martens Wren II

Swedish, (Contemporary) Watercolour 22” x 15” • 56 x 38 cms Price Code B

Swedish, (Contemporary) Watercolour 22” x 15” • 56 x 38 cms Price Code B


Clarissa James • Morning Mist Rising Austrian, (Contemporary) • Oil and Gold Leaf on Canvas • 39½” x 59" • 100 x 150 cms • Price Code E

95


David Shepherd David Shepherd’s distinctive style and inspiration stems from a personal attachment with the animals of Kenya. His subjects were painted with dignity and grandeur and his compositions allowed them to take centre stage amongst the breath-taking scenery of his beloved Africa. David was a celebrated artist and conservationist for which he is remembered today. David’s technique of combining photorealism with his broad impressionist technique and his impeccably accurate palette instantly strikes a chord with the viewer. Above all it is his love of the animals that shines through in his paintings. It is this passion, clearly evident in his work, that creates an instant empathy with his audience.

David Shepherd surrounded by Elephants in Tsavo National Park

Gladwell & Patterson have long championed David’s artistic and charitable work, across the three generations of the Fuller family. Our 268 year old gallery has been privileged to display David’s superb paintings over the decades. Together with the David Shepherd Wildlife Foundation, the gallery held the first retrospective exhibition of David’s work after his death in January 2019. The exhibition raised awareness and funds for the Foundation's continuing work with a percentage of proceeds from the sale of the paintings during this exhibition donated to the Foundation for educational projects in Zambia. David Shepherd working on a new painting, circa 1980

David Shepherd • Glorious Tiger, Painted in 1975 British, (1931-2017) • Oil on Canvas • 18" x 34½" • 46 x 88 cms • Price Code F

96


97


David Shepherd Elephants, Painted in 1987 British, (1931-2017) Oil on Canvas 9½” x 14" • 23 x 36 cms Price Code E

David Shepherd Cheetahs in the Thorn Bush British, (1931-2017) Oil on Canvas 14” x 25” • 36 x 63.5 cms Price Code E

98


David Shepherd • In the Scrub, Painted in 1963 British, (1931-2017) • Oil on Canvas • 31” x 48” • 79 x 122 cms • Price Code F

99


INDEX Nick Bibby

p. 92-93

David Shepherd

p. 96-99

Auguste Bouvard

p. 44-45

Peter Symonds

p. 76-81

Peter van Breda

p. 60-65

Martin Taylor

p. 68-73

Paul S. Brown

p. 28-37

Raymond Wintz

p. 42-43

Gustave Cariot

p. 27

Robert Chailloux

p. 38-39

Walter Dolphyn

p. 58-59

Willem Dolphyn

p. 56-57

Anivitti Filippo

p. 26

Eugène Galien-Laloue

p. 66-67

Simon Gudgeon

p. 88-91

Alexandre Louis Jacob

p. 46-49

Clarissa James

p. 95

Stewart Lees

p. 6-11

Léon Augustin Lhermitte

p. 20-21

Gustave Loiseau

p. 12-17

Karl Martens

p. 94

Ronny Moortgat

p. 82-87

Luis Muntane Muns

p. 23

Pierre Outin

p. 24-25

Charles Perron

p. 40-41

Georges Charles Robin

p. 18-19

Michel Robin

p. 50-51, 54-55

Danish School

p. 22

Edward Seago

p. 74-75



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