Winter Collection 2019 | Gladwell & Patterson

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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

Winter Collection 20 November – 20 December 2019 Our biannual Gladwell’s catalogue is a wonderful opportunity to showcase our latest treasures. This winter edition brings together historic Gladwell biographies of familiar artists, and yet, we make room for the new and talented too. Superb works of art have restorative qualities, we can look at them as an antidote to current political uncertainty. We are living in an age where people have so much information to hand, more often than not at their fingertips. However, the fine art we present in our gallery is far more than facts, figures, and information, it is about beauty. The standards of beauty that we strive to protect have a firm base in human nature and we need to build them into our lives. If our need for beauty goes unsatisfied, so do we. Almost on a daily basis in the gallery we ask ourselves ‘what is beauty?’ On each occasion we do this looking at a painting and taking from it a personal viewpoint. We take great responsibility for taking care of the selection of works we choose for our gallery walls. In doing this we are encouraging our views on art to be those which prevail. Art is more than just an idea, it needs skill and creativity to be formed. Creativity is about sharing, it is a call to the world to see it. The way that we and our artists see it. We like to feel that we are in some way ‘custodians of beauty’, and we hope that this gives you a little glimpse of insight into the delight we get out of what we do for you, our clients. Three generations of my family have trained their eye, travelled, and made sense of what makes a good picture. From my grandfather and my father, to Glenn and I and now with our lovely team today, we are delighted to offer our interpretation of beauty to you all. We look forward to welcoming you to Beauchamp Place a space where you can take delight in the undiscovered genius of Raymond Wintz, or the splendour of the French Master Lhermitte, or joy in the whimsical and evocative Helen Bradley, to name but a few. We wish all of you all the beauty of this season. With my best wishes, Cory

Peter van Breda Sunrise at Tower Bridge, London British, (Contemporary) Oil on Canvas 9” x 12”, 24 x 30 cms Price Code B

Peter van Breda Evening Lights, St Martin-in-the-Fields, London British, (Contemporary) Oil on Canvas 9” x 12”, 24 x 30 cms Price Code B

Peter van Breda • Evening Reflections, South Bank, London British, (Contemporary) • Oil on Canvas • 23” x 31”, 60 x 80 cms • Price Code C



Peter van Breda Lobster Fishermen, Newhaven British, (Contemporary) Oil on Board 8" x 13", 20 x 33 cms Price Code A

Peter van Breda Le Royal Opera, Paris

Peter van Breda Carrousel La Belle Epoque, Paris

British, (Contemporary) Oil on Canvas 12” x 9”, 30 x 24 cms Price Code B

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

Peter van Breda • Evening Light, Eastbourne Pier British, (Contemporary) • Oil on Canvas • 12" x 35½", 30 x 90 cms • Price Code B



Recognised as one of the best Post-Impressionist artists, Robin’s skill and complete command of his palette set him aside from his contemporaries. Combining his deft and delicate touch with vigorous, dramatic brush strokes and palette knife work, he produced exceptional paintings. Enthralled by the enchanting river valleys of rural France that flowed through the luxuriant countryside and rolling fields, Robin’s paintings perfectly capture rustic and typical French life. Feted by the French artistic establishment and his many patrons during his lifetime, the multitude of awards that Robin garnered for his work illustrates the acclaim in which he was held. Gladwell & Patterson had a close relationship with Robin for the last 50 years of his life and are acknowledged as the world experts on his work.

Taken from our Gladwell’s archive; Georges Charles Robin’s awards.

Georges Charles Robin in his studio in Rueil Malmaison, France.

Georges Charles Robin • Neige à Vendres French, (1903-2003) • Oil on Canvas • 22" x 28", 56 x 71 cms • Price Code D



Georges Charles Robin La Sèvre Nantaise

Georges Charles Robin La Sèvre près de Clisson

French, (1903-2003) Oil on Canvas 17¼” x 21¼”, 44 x 54 cms Price Code D

French, (1903-2003) Oil on Canvas 18” x 21”, 48 x 55 cms Price Code D

Georges Charles Robin • Lavoir sur l’Eure French, (1903-2003) • Oil on Board • 18” x 24”, 46 x 61 cms • Price Code D




Pierre Eugène Montézin • Le Confluent du Loing, Veneux

Maurice Martin • Pêcheur sur le Fleuve, Giverny

French, (1874-1946) • Oil on Canvas • 23¾" x 28¾", 60.5 x 73 cms • Price Code E

French, (1894-1978) • Oil on Canvas • 19” x 24”, 50 x 60 cms • Price Code C



Gustave Cariot • Moissons au Soir

Henri Baptiste Lebasque • Travaux des Champs

French, (1872-1950) • Oil on Canvas • 18” x 31”, 47 x 79 cms • Price Code E

French, (1865-1937) • Oil on Board • 12” x 15¼”, 32 x 44 cms • Price Code E


Léon Augustin Lhermitte Jeune Fille Apportant Le Déjeuner, Moisson

Gustave Cariot Les Meules aux Environs de Guingamp, Painted in 1919

French, (1844-1925) Oil on Canvas 13” x 16¼”, 33.5 x 41.5 cms Price Code F

French, (1872-1950) Oil on Board 13” x 16”, 33 x 41 cms Price Code E

Léon Augustin Lhermitte is celebrated for his paintings and pastel drawings of rural genre scenes of the French countryside. Throughout his career, he enjoyed capturing the images of everyday life which he saw around him, depicting them with a beautiful natural and distinctive technique. He was equally adept at working in pastel and oil and although he worked in an academic way, his progressive approach was admired by his contemporaries and by his many patrons. Feted by his fellow artists including Auguste Rodin, Vincent van Gogh and Puvis de Chavannes, Lhermitte’s work was also highly valued by the establishment and he was awarded numerous accolades and prizes throughout his career. Today his work is proudly displayed in countless museums and private collections around the world.

Léon Augustin Lhermitte • Haymaking French, (1844-1925) • Oil on Canvas • 17” x 21”, 45 x 55 cms • Price Code F



Works from the Collection of a Gentleman A collector’s passion and knowledge grows with each new acquisition and the collection becomes richer with experience. This delightful group of works from a Channel Island residence began with an impulsive response to a tiny ad in the Sunday Times nearly fifty years ago. This led the emerging collector to Kent to purchase what he soon discovered was a wrongly attributed Old Master. The intrigue led to a focus on the signatures, markings, inscriptions of works, and additionally, create a sense of consistency. The works offered here are rare, the quality is excellent, and include important examples in the overall artists’ repertoire. The condition and provenance demonstrate the gentleman’s connoisseurship. When discussing his collection, it is important to note that they were acquired purely for their intrinsic beauty and quality. One trait of a fine modern collection is to include works by particular artists before the strike of fame and fashion. The Portrait de Femme, 1928, by Leonard-Tsuguharu Foujita (1886-1968) is evidence of this. Born in Japan, moving to Paris in his twenties, he set up studios in the bohemian Montparnasse, and shared success with fellow artists such as Picasso and Modigliani. In Paris, he developed the reputation of a bon viveur. He threw lavish parties and wore lavish dress always paired with gold accoutrement. He was instantly recognisable with his bowl haircut and round glasses from the famous atelier Maison Bonnet. Famously, he wore a lampshade as a hat, and when asked about it, was proud to inform that it was the traditional headwear in Japan. This signed pensive portrait is set on an unusual background where his subject has been given far more of a Rossetti influence than the usual oriental treatment for which he is of course recognised. Cats and beautiful women were his thing, and such a lady is so skilfully presented here. It is their simplicity, serenity, and purity of line that makes his nudes at once so lifelike. A predecessor to Foujita, Aristide Maillol (1861-1944) also had an affection for the nude. In this collection Etude de Nu was originally sold as part of the artist’s estate. Known chiefly for his powerful sculptures of the female form, Maillol’s drawings are usually executed in the same paper colour as here. It makes an attractive addition to anyone’s collection of Post-Impressionist art. This distinctive figure suggests that Maillol’s muse is Dina Vierny. Recent research has placed this red chalk drawing within this fruitful period in the artist’s oeuvre. In the full forms Maillol found the mixture of fecundity and statuesque simplicity that he was looking for in his sculptural language. “The nude is the purest form of all,” she would say. Originally from Russia, she went on to model both for Matisse and Bonnard, became a well- known art dealer and the driving force behind the Musée Maillol and the Foundation Dina Vierny-Musée in Paris. In 1900 Maillol invited his friends, known as the “Nabis” or “Prophets”, to his home: Maurice Denis, Ker Xavier Roussel, Edouard Vuillard, Pierre Bonnard and later Henri Matisse. The quick brisk portrait of Aïda by Sir John Lavery, R.A., R.H.A., R.S.A., we believe is one of Sir John’s favourite ladies in service. Lavery visited Tangiers in 1891 and 1920. An early ambition was to paint a Moorish dance. Lavery claimed that his first sight of a Moorish girl’s face was at the home of a rich Moor in Fez. It is suggested that the sitter of this 1909 drawing is Aisha Ilhralm. Lavery records detail that she preferred ‘to call herself Aïda because it sounded Spanish.’ The drapery of the headdress is arrested here, and the details of the face, not so significant. A full-face profile exists, and was originally purchased by the Italian King, Victor Emmanuel III. A realised portrait of this sitter in oil on canvas sold at auction in London in 2012.

Henri Le Sidaner • Le Matin, Villefranche-sur-Mer, Painted in 1927 French, (1862-1939) • Oil on Canvas • 36" x 28¾", 92 x 73 cms • Price Code F



John Lavery Head Study Irish, (1856-1941) Pen and Ink on Paper 10" x 8", 25 x 20 cms Price Code C


Leonard-Tsuguharu Foujita Portrait de Femme

Aristide Maillol Etude De Nu (Femme Accroupie)

French, (1886-1968) Pastel, Executed in 1928 14” x 10”, 37 x 27 cms Price Code E

French, (1861-1944) Sanguine on Buff Paper 12” x 9”, 32 x 24 cms Price Code D


George Romney was one of the finest society portrait painters of the eighteenth century. Throughout his career Romney strove to be renowned for elevated historical and literary subjects but instead carved a niche for lyrical and less formal portraits than those of his contemporaries George Reynolds and Thomas Gainsborough. Born the son of a cabinet maker, Romney was apprenticed first to his father and then in 1755 to the portrait painter Christopher Steel. Two years later, Romney set up his own portrait studio in Kendal in the north of England, but shortly after left his wife and family there to pursue his career in London. In 1773 Romney visited Rome to study Italian art, most notably that of Michelangelo and Raphael, and returned to England via Florence, Bologna, Ferrara, Venice and Parma, establishing his portraiture studio in London upon his return in 1775. Between 1776 and 1795 his sitter books record that he had over 1500 sitters. Romney excelled and delighted in painting glamourous society women. Their poses were inspired by the artist’s study of Italian art and were often depicted in allegorical or classical guise. During the French Revolution in the 1790s, Romney admired the flourishing school of history painting of David, Ingres and other neoclassical artists, but despite wishing to express himself as a history painter, he only produced a number of emotionally charged drawings and very few large history paintings over the course of his late career. In the last fifteen years of Romney’s working life, the artist became captivated by his favourite model and muse, Emma Hart, later the celebrated Lady Hamilton, mistress to Lord Nelson. Romney produced a series of Shakespearian and Classical subjects with Lady Hamilton as his model which count among the most imaginative and poetic canvases of their time. In 1798 Romney moved to a larger house and studio in Hampstead in London but shortly after suffered a series of strokes. In 1799 Romney moved back to his wife in Kendal, where he died three years later. His legacy as one of Britain’s most renowned portrait painters was assured, and his work now belongs to some of the most notable private and public institutions, including the National Portrait Gallery and the Tate Britain in London, the Museum of Fine Arts in Boston and the Huntington Art Gallery in San Marino, California.

George Romney • Portrait of a Lady (Elizabeth Warren), Painted circa 1775 British, (1734-1802) • Oil on Canvas • 16¼” x 14”, 41 x 37 cms • Price Code F




Pieter Wagemans • Harmony

Pieter Wagemans • Pink Roses

Belgian, (Contemporary) • Oil on Canvas • 12” x 12”, 30 x 30 cms • Price Code B

Belgian, (Contemporary) • Oil on Canvas • 19¾" x 39", 50 x 100 cms • Price Code D


“City 3824 how may I help you?” If you had called Gladwell and Company in 1948 my grandfather or grandmother may have greeted you like this. Your call could have been an enquiry for an idyllic Dorothea Sharp which was on show in the gallery. ‘Summer Bouquet’ would have been a delightful floral arrangement probably of delphiniums, daisies and foxgloves. Her relaxed vases of country flowers cheered the viewer as much after the end of World War Two as they still do today. The invoice we have included here is from such a sale in June 1948 and seventy years later to the month we sold another Sharp at the June 2018 Masterpiece fair. Her impressionist style of work delights and captures a joy in the natural world. This has ensured that she continues to hold her position as one of ‘England’s greatest living women painters.’ Beauty, whether nature’s purely romantic style or man or woman's depiction of it, is something we all turn to at a time of trouble or difficulty. We use art to find solace and relaxation when life gets tough. The gallery on Queen Victoria street provided a place of escapism to generations of city workers and even during the blitz when its windows lay shattered on the pavement, the stock of paintings were carefully lifted back into position ready to be rehung. Wartime shortages meant Dorothea’s painting career had to make the most of the materials available to her. Often she would use both sides of the canvas to maximise her potential for painting. It is incredible to reflect back on changing times and how fine art still brings us joy at a time of uncertainty. – Glenn Fuller


Dorothea Sharp Nature’s Harvest

Dorothea Sharp Summer Flowers

British, (1874-1955) Oil on Board 19” x 15”, 50 x 39 cms Price Code E

British, (1874-1955) Oil on Board 19” x 15”, 50 x 39 cms Price Code E


Stewart Lees Raspberries Reflected British, (Contemporary) Oil on Panel 4" x 6", 10 x 15 cms Price Code A


Stewart Lees A Taste of Summer British, (Contemporary) Oil on Panel 7” x 9”, 18 x 24 cms Price Code B

Stewart Lees A Bowl of Cherries

Stewart Lees Freshley Picked

British, (Contemporary) Oil on Panel 5" x 11", 13 x 28 cms Price Code B

British, (Contemporary) Oil on Panel 4” x 6”, 10 x 15 cms Price Code A

Stewart Lees Four in a Row

Stewart Lees Two Cherries and an Apricot

British, (Contemporary) Oil on Panel 4” x 6”, 10 x 15 cms Price Code A

British, (Contemporary) Oil on Panel 4” x 6”, 10 x 15 cms Price Code A


Stewart Lees brings to the genre of still life his years of experience as an illustrator and painter of figures, portraits and landscapes. Stewart has taken a great deal of inspiration from studying the Dutch Stilleven artists of the seventeenth-century but also finds himself returning again and again to the works of Andrew Wyeth, whose interiors, landscapes, figures and still life paintings captured light, texture and, above all mood and atmosphere, almost entirely through the most obsessive and meticulous draughtsmanship. Stewart’s paintings invariably start with one object, be that a weathered and gnarled piece of wood or a ripe and juicy tomato, plucked from the local market stall that morning, and from there tones, textures and flavours will draw a composition into being. Even the smallest still life compositions tell his story. Seeking to ‘turn the familiar into something extraordinary’, Stewart views the challenges of the genre of still life painting as being akin to those of portrait painting, combining a concern for surface detail with deeper understanding of the subject. ‘…just like the best portrait painters, I’m saying something much deeper about my subject. Far more than the monocular vision of a camera could ever hope to express.’ In every painting, Stewart strives to capture the essence and beauty of his model, be that a humble clove of garlic or a cracked and weathered clay pot. “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

Stewart Lees • Thymes Three British, (Contemporary) • Oil on Panel • 19” x 23”, 50 x 60 cms • Price Code C



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, where his talent as an exquisite draftsman was instantly recognised. 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.

Paul S. Brown • Rollercoaster American, (Contemporary) • Oil on Canvas • 23½" x 35½", 60 x 90 cms • Price Code E



Paul S. Brown Train

Paul S. Brown • Dugout

American, (Contemporary) Oil on Canvas 63" x 55", 160 x 140 cms Price Code E

American, (Contemporary) • Oil on Canvas • 33½" x 51", 85 x 130 cms • Price Code E



Paul S. Brown • Fortune American, (Contemporary) • Oil on Canvas • 37½" x 47½", 95 x 120 cms • Price Code E




Willem Dolphyn • The Artist’s Collection, Painted in 1983

Willem Dolphyn • Old Master Treasures

Belgian, (1935-2016) • Oil on Panel • 11" x 17", 28 x 34 cms • Price Code C

Belgian, (1935-2016) • Oil on Panel • 20” x 24”, 50 x 60 cms • Price Code D


Walter Dolphyn In Vino Veritas

Walter Dolphyn • Princess and the Frog II: When the Frog turns into the Most Boring Man in the World Belgian, (Contemporary) • Oil on Panel • 4¾" x 4¾", 12 x 12 cms each • Price Code B


Belgian, (Contemporary) Oil on Panel 4¾" x 3½", 12 x 9 cms Price Code B

Walter Dolphyn The Incredible Unknown History of the Moon Exploration, Part IX, The Rock Sample (“Houston, you won’t believe this…”) Belgian, (Contemporary) Oil on Panel 5¼" x 7½", 13 x 19 cms Price Code B


Happy and Glorious! In 1977 the Queen's Silver Jubilee became a huge countrywide celebration. At 19 Albemarle Street, Bill Patterson was stepping into the world of contemporary art, and the unique undiscovered artist that he had the privilege to present was Helen Bradley. The exhibition ‘Helen Bradley London 1977’ was destined to “bring to the Capital a breath of yesteryear that is long forgotten and indeed for some an insight to a world of charm that may never be recaptured.’

Helen Bradley with Bill Patterson at Number 19 Albemarle Street after she had autographed his personal copy of the exhibition catalogue.

Helen's creativity and story telling brought to life a world of wonderment from her childhood. Her characters progress from painting to painting, and those paintings are full of fun and frivolity. Historic and interesting snapshots of her formative life, where the colours are vivid and the memories are silver lined, captured the hearts of collectors in 1977 and continue to hold them to today. We have included here the opening page of the visitors book for the exhibition and a charming moment between Bill and Helen as the catalogue was autographed. We were prompted to look back at our W.H. Patterson archive of Helen’s exhibitions with the gallery as we had been fortunate again in 2019 to have collected together a fine group of her work.

Helen Bradley • The Mill Yard Front page of our visitor book for Helen Bradley London 1977.


British, (1900-1979) • Oil on Canvasboard • 16” x 19”, 41 x 50 cms • Price Code F


For most of the late 19th and early 20th centuries Paris was a bustling city at the heart of the art world, a thriving metropolis teeming with ideas and innovation that drew collectors and artists from all corners of the globe. The celebrated French painter Edouard Cortès became the city’s lyrical recorder, capturing the delicate intonations of its light, the vicissitudes of its weather, the passing of the seasons, its market stalls, tramcars and crowded streets with Impressionistic delicacy. “As long as I am able to get up and go to my easel,” Cortès said, “I will paint until my last breath, because I was born from and for painting.” He was, indeed, a prolific painter who found, in the many visitors to the city, a huge demand for his work.

Edouard Leon Cortès at his easel painting ‘Le Bouquet’, Lagny, France 1930.


Taken from our Gladwell’s archive; Edouard Leon Cortès’ biography.

Edouard Henri Leon Cortès • Porte St Denis, Paris French, (1882-1969) • Oil on Canvas • 11” x 18”, 27.5 x 46 cms • Price Code E


Johannes Lodweijk Klein The Frozen Mere

Johannes Lodweijk Klein Summer in Holland

Dutch, (1854-1928) Oil on Panel 9” x 12”, 24 x 32 cms Price Code C

Dutch, (1854-1928) Oil on Panel 9” x 12”, 24 x 32 cms Price Code C

Alfred de Breanski Snr. • Easedale Tarn British, (1852-1928) • Oil on Canvas • 15” x 27”, 39 x 71 cms • Price Code C



Alexandre Louis Jacob • Automne au Marais French, (1876-1972) • Oil on Canvas • 19¾" x 24", 50 x 61 cms • Price Code D


Taken from our Gladwell’s archive, late 1970s.



Alexandre Louis Jacob • Paysage de Neige

Alexandre Louis Jacob • Paysage Enneigé à Marcilly sur Seine

French, (1876-1972) • Oil on Board • 10” x 13”, 27 x 35 cm • Price Code C

French, (1876-1972) • Oil on Panel • 10” x 16”, 27 x 41 cms • Price Code C



Raymond Wintz • Bigoudènes et Barques au Bord de La Mer

Raymond Wintz • Les Filets Bleus à Concarneau

French, (1884-1956) • Oil on Canvas • 17” x 21”, 46 x 55 cms • Price Code C

French, (1884-1956) • Oil on Canvas • 33” x 45”, 86 x 114 cms • Price Code E



Kenneth Webb • Summer Poppies

Ivon Hitchens • A Bridge and Foliage, Painted in 1977

Irish, (Contemporary) • Oil on Canvas • 20” x 24”, 51 x 61 cms • Price Code E

British, (1893-1979) • Oil on Canvas • 20” x 42”, 53 x 107 cms • Price Code F


“My senses tend to go into overdrive when I gaze down onto a stunning scene like this, and it can be difficult to move on and know that henceforth that view will be confined to memory. My compulsion to paint landscapes is primarily a reaction to somehow trying to record my feelings of awe and wonder before such places, but is also a way of allowing those impressions to linger a little longer during the process of painting them. In doing so it can sometimes feel a rather self-indulgent profession, but if a painting can somehow also convey an artist’s real appreciation of the natural wonders of our world, then perhaps that painter’s time may be considered well spent.” – 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 country. 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 breath-taking 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 • Boatyard at Gweek, Helford River, Cornwall British, (Contemporary) • Oil on Canvas • 14” x 20”, 35.5 x 51 cms • Price Code C



Peter Symonds Late Afternoon, Booby's Bay, Cornwall British, (Contemporary) Oil on Canvas 11” x 16”, 28 x 40.5 cms Price Code B

Peter Symonds Days End, Camusdarach, Western Isles, Scotland British, (Contemporary) Oil on Canvas 9” x 14”, 23 x 30.5 cms Price Code B

Peter Symonds • Scalpay, Raasay and Skye from Applecross British, (Contemporary) • Oil on Canvas • 18” x 30”, 45.5 x 76.5 cms • Price Code C



Peter Symonds The Small Isles, Arisaig, West Scotland British, (Contemporary) Oil on Canvas 9” x 12”, 23 x 30.5 cms Price Code A

Peter Symonds Church Cove, Lizard Peninsula, Cornwall

Peter Symonds • The Isles of Eigg and Rum from Camusdarach Beach, West Scotland

British, (Contemporary) Oil on Canvas 8” x 12”, 20.5 x 30.5 cms Price Code A

British, (Contemporary) • Oil on Canvas • 16” x 22”, 40.5 x 56 cms • Price Code C



Peter Symonds Sailing Home, Chichester Harbour, West Sussex British, (Contemporary) Oil on Canvas 10” x 15”, 25.5 x 38 cms Price Code B

Peter Symonds Near Peaslake, The Surrey Hills British, (Contemporary) Oil on Canvas 8” x 12”, 20.5 x 30.5 cms Price Code A

Peter Symonds • Castle Tioram, Loch Moidart, West Scotland British, (Contemporary) • Oil on Canvas • 9" x 18", 23 x 45.5 cms • Price Code B



Martin Taylor December Snow British, (Contemporary) Oil on Canvas 8” x 12”, 20 x 30 cms Price Code B

Martin Taylor Sun Sets over Snow Fields British, (Contemporary) Oil on Canvas 8” x 12”, 20 x 30 cms Price Code B

Miguel Angel Moraleda • Stags Spanish, (Contemporary) • Oil on Canvas • 19” x 41¼”, 50 x 105 cms • Price Code C



Nick Bibby Little Owl Nick Bibby • Pangolin British, (Contemporary) • Silver (Edition of 25) • 3½" x 3" x 2" 9 x 8 x 5 cms • Price Code C


British, (Contemporary) Bronze (Edition of 15) 19½ " x 8½ " 50 x 21 cms Price Code C


Edward Waites Bull’s Head Maquette British, (Contemporary) Bronze (Edition of 15) 19” x 12” x 12”, 48 x 30 x 30 cms Price Code C


Clarissa James In Flight I

Clarissa James In Flight II

Clarissa James In Flight III

Edward Waites Peppermill

Austrian, (Contemporary) Oil on Canvas mounted on board 41¼” x 21”, 105 x 55 cms Price Code D

Austrian, (Contemporary) Oil on Canvas mounted on board 41¼” x 21”, 105 x 55 cms Price Code D

Austrian, (Contemporary) Oil on Canvas mounted on board 41¼” x 21”, 105 x 55 cms Price Code D

British, (Contemporary) Bronze (Edition of 9) 19” x 13” x 4”, 50 x 35 x 12 cms Price Code B


Simon Gudgeon Duel Belgian, (Contemporary) Bronze (Edition 4 of 12) 67” x 39” x 18”, 170 x 100 x 47 cms Price Code E


Simon Gudgeon • Oberon British, (Contemporary) • Bronze • 90” x 57” x 27”, 230 x 145 x 70 cms • Price Code E


David Shepherd is considered to be one of the finest wildlife artists of the last one hundred years. David’s distinctive style stems from a personal attachment with the animals of Kenya. As a boy, he dreamt of becoming a game warden to no avail, and was fortunate when his early artistic career as an aviation artist led to a commission from the RAF in 1960. On consignment in Kenya, inspired by the animals that he encountered, he painted his first wildlife painting which would change the course of his career; a rhinoceros chasing a Twin Pioneer aeroplane, capturing two of his great passions. It was also on this time trip in Kenya that David became passionate conservationist overnight when he saw 255 zebra poisoned to death by poachers. In the following years, David’s popularity grew and he quickly became the celebrated artist and conservationist for which he is remembered today. Throughout his career David was inspired to protect the elephants, tigers and other animals that he depicted with such delight. 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’s technique of combining photorealism with his broad impressionist style and his impeccably accurate palette, instantly strikes a chord with the viewer, but above all it is his love of the animals that shines through in his paintings creating an instant empathy for them with his audience. In 1984, David set up the David Shepherd Wildlife Foundation in order to repay his debt to the animals that had given him so much success as an artist. His campaigns have won widespread public support and delivered considerable success, as well as receiving conservationist awards. Today, the Foundation’s vision is ‘The Art of Survival’: to fight, protect and engage on behalf of endangered wildlife around the world. For more than thirty years it has worked to influence policy, shift attitudes and provide an unwavering voice for wildlife conservation from grass roots to the world stage. To date it has invested more than nine million pounds in key front line projects across Africa and Asia, that are helping to secure a future for threatened wildlife in natural habitats. Throughout his long career, David enjoyed numerous successful one-man exhibitions around the world, published five books and was the subject of numerous TV programmes, including the BBC’s 1972 documentary of his life story, The Man Who Loves Giants. In his later years David still lived his life at a fast pace: painting every day and devoting his time and art to wildlife through his Foundation and amassing a collection of steam engines, his other principal passion. David Shepherd passed away in September 2017 after a short battle with Parkinson’s disease, leaving behind an enduring legacy both in his art and with his wildlife foundation. Gladwell & Patterson have long championed David’s artistic and charitable work, across the three generations of the Fuller family. Our 266 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, since his death in January 2019. The exhibition raised awareness and funds for the Foundation’s continuing work. A percentage of the proceeds from the sale of the paintings during this exhibition were donated to the Foundation, for their education projects in Zimbabwe. David Shepherd • Cheetah Lookout, Painted in 2003 British, (1931-2017) • Oil on Canvas • 18” x 32”, 46 x 81.5 cms • Price Code F



David Shepherd Zebra

David Shepherd Elephants with Ant Hill, Painted in 2001

British, (1931-2017) Oil on Canvas 5” x 5”, 12.5 x 12.5 cms Price Code C

British, (1931-2017) Oil on Canvas 18” x 32”, 46 x 81 cms Price Code F

David Shepherd • Cape Buffalo British, (1931-2017) • Oil on Canvas • 28” x 44”, 71 x 112 cms • Price Code F



Africa’s most awe-inspiring wildlife features five animals which in colonial days were the hardest animals to track and hunt on foot. Trophy hunters sought out the lion, leopard, rhinoceros, elephant and buffalo across Africa as these animals were the most dangerous and challenging to seek and kill. Sadly today, illegal hunting still goes on, but now the Big Five refers to the animals which are awe inspiring to see as part of a safari visit to Africa. All of these species are still rapidly declining in numbers. For example, habitat loss has seen the range for lions declining by 94% over recent years with only twenty thousand big cats remaining in the wild. African Lion This is the only social big cat and with a society organised by the matriarchs, who also hold the territories, the females stay with the pride they are born into for life. Leopards These are the most elusive and smallest of the Big Five. They are mostly light coloured with dark spots called rosettes. These solitary cats will haul their large kills such as zebra or antelope into a tree to eat alone peacefully. Being up high also puts leopards out of harm’s way, if a lion can kill a leopard it will. African elephant The biggest of the five can weigh up to seven tons and has a major impact on the landscape. Elephants on the African Savannah pull up trees, create grassland, spread seeds and improve biodiversity an important part of the landscape of Africa. Long sought after by poachers for their ivory, elephants today have a fragmented range over land of which about 70% is protected. Rhinoceroses Left in Africa today are two species of rhinoceros the black and white, with five subspecies of which two are now extinct. A huge animal, poached for its horn, which can grow up to five feet long. The horn has perceived medicinal properties in the Far East. Around 20,000 white rhinos survive in Southern Africa where conservation measures have helped to protect them. Cape Buffalo These cow-like animals are hefty and congregate in their 1000’s especially in places like the Serengeti. Safety in numbers is a major defence against predators. Male and female buffalos have horns, the male’s horns curve upwards and fuse together in the centre forming a solid bony plate called a boss. This is a good defence as well as being three times heavier than their lion adversaries. This is why an attacking lion takes a huge risk of dying. Buffalo also come into dangerous contact with humans outside protected areas and from hunters.

David Shepherd • The Big Five, Painted in 1970 British, (1931-2017) • Oil on Canvas • 34” x 56”, 86.5 x 142 cms • Price Code F



The English painter, Henry Thomas Schafer was the son of a London tailor, Adam Schaefer, who originally came to England from Waldeck in Germany. Schafer lived in north London throughout his life and was a renowned painter, sculptor and also worked as a picture restorer. Schafer is best known as a genre, figure and still life painter, who predominantly painted young women in mythological guise or in timeless draperies rather than the fashions of the day. This classically inspired style of figurative painting is much indebted to Schafer’s artistic education under Raphael Pinti, but also shows a distinct influence of the mythological paintings of French Neo-Classical artists, such as Ingres. Percy Tarrant A Summer’s Day British, (1879-1930) Watercolour 14” x 9”, 37 x 25 cms Price Code B

Schafer exhibited both paintings and sculptures at the Royal Academy Exhibition throughout his career, and also exhibited at the Royal Scottish Academy and at the Royal Society of British Artists.

Henry Thomas Schafer • The Fragrant Rose, Painted in 1879 British, (1854-1922) • Oil on Canvas • 16” x 30¼”, 41 x 77 cms • Price Code D




Aris Raissis • Fallaha

Gaston La Touche • Femme à la Lecture au Salon

Greek, (Contemporary) • Oil on Panel • 15” x 12”, 40 x 30 cms • Price Code C

French, (1854-1913) • Oil on Panel • 24” x 24”, 61 x 61 cms • Price Code D



Donald Hamilton Fraser Study of a Dancer, Golden Age

Guy Seradour Portrait de Danseuse

British, (1929-2009) Pastel on Paper 23” x 13”, 58.5 x 34.5 cms Price Code B

French, (1922-2007) Pastel on Paper 21" x 18", 53.5 x 46 cms Price Code B


Dorothea Sharp Gathering Shells and Lobster Catching British, (1874-1955) Oil on Canvasboard 16” x 12”, 41 x 31 cms Price Code D

Henry Moret • La Récolte des Goémons à Névez French, (1856-1913) • Oil on Canvas • 25” x 36”, 65 x 92 cms • Price Code F



Gardner is widely considered to be the leading British marine painter of the 20th century. Entirely self-taught, he became a master of his art with an unmatched skill for conveying the colour, luminosity and atmosphere of the maritime setting. During World War II, he served with the Royal Navy on armed trawlers and destroyers in the North Atlantic and in the Mediterranean Sea. In 1988 the Royal Society of Marine Artists elected Gardner as their honorary vice-president for life. In 2005, as part of celebration of the bicentenary of the Battle of Trafalgar an exhibition of his work featuring a painting of every ship in which Nelson served, was presented in London. His work is included in several marine art books and held in public collections including the National Maritime Museum, Greenwich.


Derek G. M. Gardner • French Frigate ‘Belle Poule’ opening fire against the British Frigate ‘Arethusa’, June 1778

Montague Dawson • Smuggling off the Needles

British, (1914-2007) • Oil on Canvas • 13½" in diameter, 34.5 cms in diameter • Price Code C

British, (1890-1973) • Oil on Canvas • 20¼” x 30¼”, 51.5 x 77 cms • Price Code F



Ronny Moortgat • HMS Leopard vs USS Chesapeake

Ronny Moortgat • USS Ranger Battling Through the Seas

Belgian, (Contemporary) • Oil on Canvas • 23” x 35”, 60 x 90 cms • Price Code C

Belgian, (Contemporary) • Acrylic on Canvas • 23” x 31”, 60 x 80 cms • Price Code C


Kenneth Webb

Peter van Breda Piazzetta Reflections, Venice

29 April – 29 May 2020

British, (Contemporary) • Oil on Canvas 39½" x 47¼", 100 x 120 cms • Price Code C

Gladwell & Patterson Beauchamp Place, Knightsbridge, London SW3 1NG

Secrets of Venice 15 January – 7 February 2020 Gladwell & Patterson 5 Beauchamp Place, Knightsbridge, London SW3 1NG Please contact for further information

Please contact for further information

Kenneth Webb Poppy Cascade Irish, (Contemporary) Oil on Canvas 50" x 20", 127 x 51 cms Price Code F

INDEX Nick Bibby

p. 66-67

Aristide Maillol

p. 21

Helen Bradley

p. 42-43

Maurice Martin

p. 13

Alfred de Breanski Snr.

p. 46

Pierre Eugène Montézin

p. 12

Peter van Breda

p. 4-7, 90

Ronny Moortgat

p. 88-89

Paul S. Brown

p. 32-37

Miguel Angel Moraleda

p. 65

Gustave Cariot

p. 14, 16

Henry Moret

p. 85

Edouard Henri Leon Cortès

p. 44-45

Aris Raissis

p. 80

Montague Dawson

P. 87

Georges Charles Robin

p. 8-11

Walter Dolphyn

p. 40-41

George Romney

p. 22-23

Willem Dolphyn

p. 38-39

Henry Thomas Schafer

p. 79

Leonard-Tsuguharu Foujita

p. 20

Guy Seradour

p. 83

Donald Hamilton Fraser

p. 82

Dorothea Sharp

p. 26-27, 84

Derek G. M. Gardner

p. 86

David Shepherd

p. 72-77

Simon Gudgeon

p. 70-71

Henri Le Sidaner

p. 18-19

Ivon Hitchens

p. 55

Peter Symonds

p. 56-63

Alexandre Louis Jacob

p. 48-51

Percy Tarrant

p. 78

Clarissa James

p. 68

Martin Taylor

p. 64

Johannes Lodweijk Klein


Gaston La Touche

p. 81

John Lavery

p. 21

Edward Waites

p. 69

Henri Baptiste Lebasque

p. 15

Pieter Wagemans

p. 24-25

Stewart Lees

p. 28-31

Kenneth Webb

p. 54, 91

Léon Augustin Lhermitte

p. 16-17

Raymond Wintz

p. 52-53

5 Beauchamp Place, London SW3 1NG • +44 (0)20 7584 5512 • •