Gladwell & Patterson | Palm Beach 2021

postcard from London

to palm beach

Life is better at the beach

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 - £100,000 G: > £100,000

Greetings from across the pond ...

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sually the winters in London are bearable because I know that it is only a matter of weeks before we will be getting on a flight to Florida and opening the show in Palm Beach. It is the show that everyone in the gallery wants to go to and not only for the sunshine, although that does help!

Over the years we have built up a very special community of friends and clients that we look forward to seeing enormously. We curate a bespoke collection of paintings

to exhibit, some of which I have to hide away from Glenn to stop him putting them in a catalogue or exhibition so that you are the first to see them, anywhere.

Our contemporary artists paint works of art especially for the show and it is an exhibition that takes months of work to bring together, and for which we source particular paintings that we believe you will love â&#x20AC;&#x201C; and want to take home with you!

This is driven by our passion for what we do. Bringing the best quality paintings and sculptures we can find and sharing them and our knowledge with our dear clients and friends, inspiring you and, in our very small way, making the world a better place.

Art is a form of healing and recovery, and provides solace and therapy during times of stress. It helps safeguard mental and spiritual health, and reduce barriers between people, cultures and languages. Something we all need in current times.

We have exhibited in Palm Beach for fifteen years and since we began, we have not missed a single year.

This year we shall sincerely miss seeing you, enjoying our easy conversations about art, but also about our lives, sharing stories and anecdotes that become the thread that keeps us together, laughter! We shall miss the warm air blowing through the palm trees as we leave the

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convention centre, cocktail hour at Breakers, morning walks on the beach before the show, wearing bright and colourful clothes (no one can carry off a floral suit like Graham) that automatically lift our spirits, enjoying for a moment American life that is so distinctly different from British life, and we revel in it.

And so, in our typical upbeat and innovative way, we hope to still be able to enjoy each others' company, albeit from afar. We shall be hanging our gallery on Beauchamp Place with the collection of paintings that were due to be winging their way to Florida this week. We invite you to sign in and join us for a private brunch, lunch, tea or cocktail and we can walk you through the show. We may even wear floral suits and colourful clothes (with the heating on full!) and there shall most definitely be laughter!

We sincerely hope you will take us up on this offer and very much look forward to seeing your faces and chatting in the coming weeks.

This year we wish the 18th Annual Palm Beach Show all good luck as it returns from February 11-16. In London we can give you our own private vernissage, please do get in touch with me to arrange your remote appointment.

We all wish you a very Happy and Prosperous New Year.

Best wishes, Marie-Claire

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HENRI

LE SIDANER

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contemporary of the Post-Impressionists, Henri Le Sidaner’s approach to painting was whole heartedly unique. The first generation of Impressionist painters, Claude Monet, Alfred Sisley and Camille Pissarro and Édouard Manet were highly influential to Le Sidaner, whose formative years occurred amidst the height of the Impressionist movement. At the age of twenty in 1882, Le Sidaner visited the seventh Impressionist Exhibition and became fascinated by the work of Claude Monet. Two years later his enthusiasm for the Impressionist style intensified after attending a retrospective exhibition of Édouard Manet. Le Sidaner’s work parallels that of Monet in terms of style as well as choice of motif; both artists would reiterate the same subject matter in all seasons and during all times of day in order to isolate the variations of light. The Impressionist technique of using short, fragmented brushstrokes and intensified colours was particularly suited to Le Sidaner’s desire to capture the nuances of natural light.

The environment and the colours of the South of France in particular captivated Le Sidaner and every year throughout the 1920s he would stay in the small, medieval town of Villefranche-sur-Mer. Situated in the heart of the Côte d'Azur, between Monaco, Nice

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and Cannes, Villefranche-sur-Mer had enthralled the artist since his initial visit there in 1910. Between 1924 and 1928, Le Sidaner lived periodically at the Hôtel Welcome, situated in the centre of the old port overlooking the harbour. It was here that Le Sidaner would create an exquisite series of images recording the still calm and loveliness of the quiet, coastal town that so bewitched him.

Painted at the height of his career, Le Matin, Villefranche-sur-Mer is characteristic of Le Sidaner’s majestic and richly painted compositions from the 1920s. In his late works, human figures rarely appear in Le Sidaner’s compositions, however the fisherman seated in the boat in the foreground animates the quiet tranquillity of the dawn. The sense of understated mystery and gentle poetry, evident in the present work, reveals Le Sidaner's artistic inheritance from his Symbolist-inspired early years; while the brighter and more intense palette, subtly worked contrasts and dappled application of pigment owed its debt to Impressionism. Le Matin, Villefranche-surMer is striking for its glistening and jewel-like palette but above all for being exemplary of the artist’s muchfêted ability to capture the intangible and mystical atmosphere of a particular moment in time.

Henri Le Sidaner French, (1862-1939) Le Matin, Villefranche-sur-Mer, Painted in 1927 Oil on Canvas 92 x 73 cms / 36â&#x20AC;? x 283/4â&#x20AC;?

Price Code F

PIERRE EUGÈNE

MONTÉZIN

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nspired by the popular subjects of haymakers and peasant workers, which had graced the Salon walls since the times of Jean-François Millet and Gustave Courbet in the mid nineteethcentury, Montézin delighted in capturing the natural landscape as he experienced it and figures, either working the land or at leisure are common themes throughout his oeuvre.

Throughout his career Montézin maintained an Impressionistic style but sought a greater freedom of expression in his use of colour and application of

paint, marking him out among the most influential Post-Impressionist artists of his generation.

Montézin’s naturalistic depictions of haymaking were highly lauded at the Paris Salon and in 1939 Montézin was commissioned to paint a vast fresco inside the Palais de Justice de Chambéry.

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Montézin’s landscapes are identifiable through their rich surface, composed using spontaneous brushstrokes of pure colour layered upon the canvas. The artists technique reveals the artists experimental nature and exemplifies Montézin’s instinctive use of both Impressionist and PostImpressionist techniques in his quest to capture nature as he experienced it.

Pierre Eugène Montézin French, (1874-1946)

Le Fenaison Oil on Canvas

54.5 x 65.5 cms / 21¼” x 25¾” Price Code F 7

Pierre Eugène Montézin French, (1874-1946) 6

Pâturages à Veneux par une Belle Journée d’Été Oil on Canvas

60 x 74 cms / 23¾” x 29¼” Price Code E

PIERRE EUGÈNE

MONTÉZIN

Pierre Eugène Montézin French, (1874-1946) La Gardienne du Troupeau, Painted circa 1930 Oil on Canvas 93 x 74 cms / 36.5” x 29” Price Code E 9

PIERRE EUGÈNE

MONTÉZIN “ The subjects of the landscape painter are less in front of the artist’s eyes, than in his heart.”

Pierre Eugène Montézin to Louis Vauxcelles

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Pierre Eugène Montézin French, (1874-1946)

Fenaison Oil on Canvas

54 x 73 cms / 21¼” x 28¾” Price Code E 11

Florida Moments...

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Henry Flagler and Palm Beach

ravelling to Florida began more than 5,000 years with the first Native American tribes, the Jaegas, who inhabited the area. Although control of the area changed over centuries from Spain to England and the Confederate States of America the area remained relatively undeveloped until the 20th century.

By the 1870s and 1880s, non-Native American settlers had inhabited many areas of Florida. In the vicinity of West Palm Beach and referred to the settlement as "Lake Worth Country". However, the population remained very small until the arrival of Henry Flagler, founder of Standard Oil from Ohio.

Henry visited Florida and realised its potential for tourism.

For this he realised transport and hotels were important. He bought in a railroad, renamed the Florida East Coast Railway in 1895 which went on to reach Biscayne Bay by 1896.

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In the Biscayne area Flagler dredged a channel, built streets, instituted the first water and power systems, and financed the town's first newspaper, the Metropolis. When the town was incorporated in 1896, its citizens wanted to honour the man responsible for its growth by naming it "Flagler." He declined the honour, persuading them instead to use an old Indian name for the river the settlement was built around, Miama or Miami.

A year later, Flagler opened the exclusive Hotel Royal Palm in Miami. Florida, this timeless corner of the tropics, allowed some of Americaâ&#x20AC;&#x2122;s most influential families to come and enjoy a relaxed life. They left behind a trail of beautiful homes and impressive history that few other communities can claim.

Flagler constructed for his wife and family his own Florida home- Whitehall. When it was completed in 1902, the New York Herald proclaimed that Whitehall, Henry Flagler's Gilded Age estate in Palm Beach, was "more wonderful than any palace in Europe, grander and more magnificent than any other private dwelling in the world." What was to become the Flagler's winter home had more than 100,000 square feet and 75-plus rooms.

Using the best architects, design, materials and filling them with stunning furniture and art meant the state saw some of the finest homes and interiors in America. Palm Beach island in particular has spent a century glowing in the sun.

Flagler originally intended for West Palm Beach to serve as a residential area for the workers at his hotels in Palm Beach. In 1893, George W. Potter surveyed and platted the original 48 blocks of the city. West Palm Beach would be incorporated as a town on November 5, 1894.before becoming a city in 1903.

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GUSTAVE

CARIOT

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nspired by Monet’s famous studies of haystacks and the Rouen cathedral, Gustave Cariot was fascinated by the fluctuations of light and color brought about by the changing seasons. He devoted two series of paintings to exploring this theme. Entitled ‘Le Poème des Saisons’, with each picture representing a different month, these paintings were exhibited together at the 1903 Salon des Indépendants. It was there, as the artist’s correspondence reveals, that these pictures would catch

the eye of two of the most important collectors of the time, Serguei Dmitrievitch Cheremeteff and Armand Cabrol, leading to a surge in his popularity.

Gustave Cariot was a largely self-taught French Pointillist and Impressionist artist born in the countryside near Paris. Inspired by the techniques of the Pointillists and Divisionists, he was to become a celebrated PostImpressionist painter whose work is gaining importance with every passing year.

Gustave Cariot French, (1872-1950) Rue de Campagne Oil on Canvas 22 x 27 cms / 81/2” x 101/2” Price Code B

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Gustave Cariot French, (1872-1950)

Moissons au Soir Oil on Canvas

47 x 79 cms / 181/2” x 31” Price Code E

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GUSTAVE

LOISEAU

Gustave Loiseau French, (1865-1935) Anemones Oil on Board 33 x 26 cms / 13” x 10” Price Code D 16

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ne 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.

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.

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 painting, this would sit nicely in any collection and may form the start of a love-affair with this artist’s work.

Gustave Loiseau circa 1904 Photograph Archives of Durand Ruel

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GUSTAVE

R

LOISEAU

ue 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. DurandRuel 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

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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.

Photograph of the Rue de Clignancourt c.1920

With a superbly confident use of brushstroke and colour, Loiseau creates a bustling and joyful mass of people, lending a vibrancy to the scene.

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 French, (1865-1935) Rue de Clignancourt, soleil, le quatorze juillet, Painted in 1925 Oil on Canvas 65.5 x 53.5 cms 251/2” x 211/2” Price Code F

GUSTAVE

LOISEAU

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startlingly vibrant painting, Ête, L’Eure en Normandie was painted at the height of summer; the trees heavy with whispering leaves and pink flowers bobbing amongst the grasses gathered along the banks of the River Eure.

The River Eure, a tributary of the Seine which runs between Normandy and Centre-Val de Loire in northwestern France, was a favoured theme to which Loiseau returned on many occasions throughout his artistic career.

Poplars and alders line the banks of the River Eure, forming enchanting reflections on the surface of the water which delighted Loiseau’s artistic curiosity. Loiseau captured the gentle curve of the flowing river, framed by the grassy river bank and an abundance of folliage.

Loiseau painted the River Eure in all seasons and at various times throughout the day; veiled by the morning mist, infused with an autumnal glow or, as in Ête, L’Eure en Normandie, in the bright sunshine of a warm summer's day.

The broad expanse of the river in the foreground delights the senses as Loiseau superbly captures the rippling effect of a warm summer's breeze blowing across the surface of the water. This still and serene landscape is animated by the movement of the gently rolling clouds in the sky, painted with longer, looser brushstrokes than their reflections in the water below, evoking the ambiance of a warm summer's day. Loiseau’s technique and the chromatic variety of his palette express an extraordinary ability to synthesise Impressionism and Post-Impressionism.

The River Eure is crossed by the picturesque village of Saint-Cyr-du-Vaudreuil, where Loiseau settled at the turn of the century with his wife Marie Michaud. Only a few kilometres from the River Seine, the area offered a wealth of inspiration for a follower of the Impressionists.

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This landscape, so loved by the artist, recalls the work of Monet and Sisley in the themes and the manner that Loiseau has painted it, however Loiseau’s technique and innovative use of ‘en treillis’ brushwork adds a brilliant atmosphere and vibrancy to the composition.

Gustave Loiseau French, (1865-1935)

Ête, L’Eure en Normandie Oil on Canvas

65 x 81 cms / 25¾” x 32” Price Code G 21

GUSTAVE

LOISEAU

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es 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 calm of the flowing river. The dappled reflections on the

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surface of the water are beautifully rendered in loose brushstrokes of thickly applied impasto oil paint.

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 French, (1865-1935)

Les Bords de Loing, Painted in 1908 Oil on Canvas

54 x 73 cms / 21” x 29” Price Code F 23

Florida Moments...

The Norton Museum of Art

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nother eminent industrialist, Ralph Norton, ran the Acme Steel Company in Chicago. He and his wife Elizabeth began travelling to Florida. They collected art to decorate

their Chicago home, slowly they became interested in art for its own sake and formed a sizable collection of paintings and sculpture.

In 1935, Mr. Norton semi-retired, and the couple began to spend more time in Palm Beach. In contemplating what to do with their art collection they decided much had already been left to Chicago and so decided to found their own museum in West Palm Beach, to give South Florida its first such institution.

In 1940, construction began on the Norton Gallery and School of Art located between South Olive Avenue and South Dixie Highway in West Palm Beach. Mr. Norton commissioned Marion Sims Wyeth of the distinguished firm

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We visited the Norton museum in 2014 and again in 2019.

The gallery has changed almost out of all recognition and the domestic scale and setting have almost all gone. The new galleries allow for a huge space to exhibit, the chance to show more contemporary work and engage with larger groups of people.

One of our personal favourites from the original Norton collection include this garden landscape by Claude Monet from 1884, â&#x20AC;&#x153;The gardens of the Villa Moreno Bordighera.â&#x20AC;?

of Wyeth, King & Johnson to design the Museum. The Art Deco building opened to the public on February 8, 1941.

Norton continued to add to his collection until his death in 1953, and the works that he and his wife gave the Museum form the core of the institutionâ&#x20AC;&#x2122;s collection today.

The Italia Geografica Illustrata published in 1881, said "the Moreno gardens are not only the most beautiful and most delightful location of the Mediterranean, but also one of the most beautiful and famous gardens of Europe."

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Léon Augustin Lhermitte French, (1844-1925) 26

Les Laveuses près de Mont Saint-Père Pastel

70 x 90 cms / 271/2” x 351/2” Price Code F

LÉON AUGUSTIN

LHERMITTE

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éon 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-Saint-Père 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.

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.

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 JeanFrancois 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.

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LÉON AUGUSTIN

LHERMITTE According to Vincent van Gogh, the French artist’s secret was ‘that he knows the figure in general – namely the sturdy, severe workman’s figure – through and through, and takes his subjects from the heart of the people.’

Léon Augustin Lhermitte French, (1844-1925)

Léon Augustin Lhermitte circa 1890

Jeune Fille Apportant Le Déjeuner, Moisson Oil on Canvas 33.5 x 41.5 cms / 13” x 16” Price Code F

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EDWARD

SEAGO

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dward 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.

After settling in the Norfolk broads at Ludham in 1945, Seago, ever the eccentric, endeavoured to acquire a

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

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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.

This beautiful painting is typical of Seagoâ&#x20AC;&#x2122;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 Seagoâ&#x20AC;&#x2122;s personal emotional response to nature.

Edward Seago British, (1910-1974)

The Lock at Amfreville, France Oil on Canvas

46 x 61 cms / 18” x 24” Price Code E 31

LETTERS FROM 32

THE LOIRE

GEORGES CHARLES

ROBIN “Pretty nice weather but not enough sun for painting.

We hope it will become better. Please present my friendly regards to all our fellows at the workshop.” Cordially, G. Robin.

W

e recently had the good fortune to discover this rare gouache painting by George Charles Robin of Montoire in the Loir-et-Cher region in central France. Attached to the back of this tranquil river scene was an envelope containing a charming postcard sent by the artist to a Monseiur Euloge on 26 July 1942.

Robin was an avid traveller, enthralled by the enchanting river valleys of rural France that flowed through the luxuriant countryside and rolling fields, Robin’s paintings perfectly embody rural French life.

Throughout Robin’s career the Loire Valley and the Dordogne region inspired his greatest works. Robin lived in the affluent suburb of Rueil Malmaison on the western outskirts of Paris throughout his life. The summer months were often spent near Morlaix in Brittany where Robin had a second home; there he would capture idyllic seascapes and charming river estuaries bathed in sunshine. As this postcard reveals,

during July of 1942, in the midst of World War Two, Robin was visiting the Loire Valley and settled upon Montoire. This picturesque town spanning the Loir River is renowned for its beautiful romantic riverbanks and picturesque historical buildings, captured so delightfully under the artist’s delicate brush strokes.

As his friendly note to Monseiur Euloge attests, like all en plein air painters, Robin sought the perfect weather conditions in which to capture the landscape he loved so dearly. He was a master at capturing the change in temperature and atmosphere. His restrained use of colour allowed him to capture a warm summer’s afternoon or a blanket of snow with profound skill. Combining his deft and delicate touch with vigorous, dramatic brushstrokes and palette knife work, he produced exceptional landscapes for which he is recognised as one of the best, but largely undiscovered, Post-Impressionist artists of the twentieth century.

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Georges Charles Robin French, (1903-2002)

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Sur Le Loing, Le Matin, Près de Nemours Oil on Canvas

46 x 55 cms / 18” x 21¾” Price Code D

Georges Charles Robin French, (1903-2002)

Bords de la Varenne, Domfront (Orne) Oil on Board

61 x 91 cms / 24” x 36” Price Code E

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Georges Charles Robin French, (1903-2002) 36

Harvest Time Oil on Canvas

56 x 74 cms / 22” x 29” Price Code D

GEORGES CHARLES

ROBIN

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ecognised 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.

“To me the attraction of Robin's work is the pure colouring that he puts on the canvas.

The juxtaposition of each colour softens them and they have a quiet richness."

Anthony Fuller

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.

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Georges Robin’s Awards and Honours 1937

Médaille d’Or, Exhibition Internationale.

1948 Médaille d’Argent du Salon des Artistes Français.

Moulin prés du Clisson Oil on Panel

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23 x 34 cms / 9.5” x 13” Price Code C

1948

Premier Prix des Paysagistes du Salon des Artistes 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.

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

1954

Gold Medal, Salon des Artistes Français.

“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.

1954

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

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Received the Hors-Concours, Salon des Artistes Français.

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Silver Medal, Salon des Artistes Français.

1958

Prize of the Town of Clichy.

1958

Prize of the Town of Asnieres.

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 onehundredth 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.”

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.

– Anthony Fuller

Georges Charles Robin French, (1903-2002)

Printemps à Château-Landon 46 x 56 cms / 18” x 22” Oil on Canvas Price Code D 39

Raymond Wintz French, (1884-1956) 40

Les Filets Bleus à Concarneau Oil on Canvas

86 x 114 cms / 34” x 45” Price Code E

RAYMOND

WINTZ As a young man Wintz had a brilliant military career before he became a key figure in the Parisian artistic circles of the early twentieth century. Wintz divided his time between Paris and Brittany, occasionally travelling further afield to coastal towns such as Saint Tropez in the South of France.

C

elebrated as a “painter of light”, Joseph Raymond Wintz enjoyed a reputation as one of the finest artists working in France in the early twentieth century. Wintz’ skill and complete command of his palette set him aside from his contemporaries. He gained a firm appreciation by critics and collectors as a leading painter of the Brittany coastline and was renowned for his charming window and balcony scenes bathed in sunshine which perfectly embody memories of holidays by the coast.

Following his education, Wintz rejected the academic styles of his father and professors and like many of his contemporaries, decided to pursue his passion for painting outdoors ‘en plein air’ in the manner of the Impressionists.

This technique demanded a free and spontaneous style of painting in order to catch the rapid changes in outdoor light.

Wintz’ skill allowed him to extract the colours and shapes as well as the fragrances of nature, putting the total ambiance and experience directly onto the canvas. In a few swift brushstrokes Wintz captured the very essence of Breton life.

Drawn to the beauty of the Brittany landscape and the unique quality of light, Wintz delighted in the picturesque coastal landscape of the region, particularly in the Finistère department; there he would capture idyllic seascapes and charming river estuaries bathed in sunshine. Brightly coloured fishing boats and dinghies sway in the gentle breeze, waves rippling around their hulls, whilst the local Breton fishermen and bigoudènes in traditional dress mend fishing nets and go about their everyday business. Wintz’ landscapes and seaside scenes of humble Breton village folk transport the viewer into this unspoilt and cherished environment.

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RAYMOND

WINTZ

Raymond Wintz French, (1884-1956) Les Géraniums sur la Fenêtre Oil on Canvas 55 x 46 cms / 21½” x 18” Price Code C

Raymond Wintz French, (1884-1956) Retour de Pêche à Concarneau, Bretagne Oil on Canvas 44 x 54 cms / 17½” x 21” Price Code C

A

mongst Wintz’ most popular subjects are his delicately posed window and balcony scenes which allowed the artist to combine an interior and exterior setting within a single composition. This motif dates back to Renaissance traditions but was brought to the forefront of the twentieth century artistic imagination by Henri Matisse. Matisse exploited the window’s intrinsic duality - at once an opening and a barrier - to generate a tension between illusionistic depth and modernist flatness. Wintz’ interiors are simplistic, and he focuses the attention on the window or doorframe by placing a vase of vibrantly coloured flowers on a table or a windowsill providing a focus to the view beyond. Outside, boats sway in the quiet fishing ports and brightly coloured sails appear far out to sea on the horizon as Breton figures pass by bathed in the warm sunshine of a summer’s day.

The delicate balance between the interior and exterior of these charming paintings celebrate, with arresting spontaneity, the warmth and brilliance of a Breton ‘room with a view’.

Gladwell & Patterson’s history with this distinguished artist began after the Second World War. Herbert Fuller of Gladwell & Company, London, discovered the landscapes of Raymond Wintz during the pinnacle of the artists career, when he was recognized for his importance to the artistic milieu of mid-century art and was elected as President of the Jury of the Paris Salon in 1953. Since he first set eyes on Wintz’ landscapes in Paris, Herbert Fuller, and the two subsequent generations of the Fuller family of Gladwell & Patterson have continued to share the legacy of this great artist. From 1951 to the present day, our galleries historic archives reveal the unfaltering demand for Wintz’ exquisite Brittany landscapes and window scenes. The gallery has both an outstanding library of his work and a highly cultivated knowledge of his practice.

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Raymond Wintz French, (1884-1956)

W

Golfe de Saint Tropez, Côte d'Azur Oil on Canvas

54 x 65 cms / 211/2” x 251/2” Price Code D

intz began to exhibit at the Salon des Artistes Français in 1910, becoming a member the following year. Collectors and critics admired his brightly coloured Brittany landscapes and Wintz received accolades of the highest merit, including the Silver Medal from the Salon in 1922 and both the Gold Medal at the Salon and the Corot Prize in 1924. His contribution to the arts was further formalized in 1934 when Wintz became a professor at the progressive Académie Julian and the artist was awarded the highest distinctions that his country could bestow; Knight of the Order of the Legion of Honour.

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Raymond Wintz French, (1884-1956)

Le Port de Belon (Morbihan), Bretagne Oil on Canvas

Wintz’ Awards and Honours

Knight of the Order of the Legion of Honour President of the Salon President of the Société des Artistes Français.

President of the Jury of the Salon

73 x 100 cms / 28” x 39” Price Code E

1911, Elected Member of the Paris Salon 1922, Silver Medal, Paris Salon 1924, Gold Medal, Paris Salon/Academy 1924, Elected an Officer of the Paris Salon 1924, Awarded the Corot Prize 1934, Elected Professor of the Academy Julien 45

PIETER

WAGEMANS

“Every item has its own characteristics.

You can see a thousand details, but you cannot paint everything you see.

The art of omitting is very important.”

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Pieter Wagemans Belgian, (Contemporary)

Springtime Emotion Oil on Canvas

50 x 90 cms / 20â&#x20AC;? x 351/2â&#x20AC;?

Price Code D

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CHARLES

PERRON

C

harles Clément Français Perron was born in Plessé, in the Loire-Atlantique. He commenced his art studies in Nantes, before moving to Paris and joining the Ecole Nationale des Beaux-Arts.

he travelled to meet Perron 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.

His highly developed technical skills became his trademark, evident initially among his anatomical plates, used for teaching medical students. He continued to paint nudes and still life, the latter which he is probably best known for, combining his faultless technique with a soft muted palette.

Whether his subject matter is the cottages of Brittany, a delicate still life or the nude female form, each of his paintings shows his complete mastery of shape and hue.

Perron’s studio was an ethereal and joyful place, full of light and beauty, and it is through Perron’s faultless technique and highly developed technical skills that he was able to translate all of this onto his canvases. With pure lines, reminiscent of Raphael and Michelangelo, and with compositions which draw comparisons from Chardin, Perron’s paintings drew acclaim from his peers, his patrons and indeed from the French establishment who awarded him many honours. Perron exhibited widely and gained several awards, including gold at the 1928 Salon and silver at the 1937 Exposition Universelle in Paris.

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

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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 French, (1893-1958)

Monnaie du Pape Oil on Canvas

60 x 73.5 cms / 24” x 29” Price Code E 49

Charles Perron French, (1893-1958) Bouquet des Roses Oil on Panel 27 x 22 cms / 101/2” x 81/2” Price Code B 50

CHARLES

PERRON

Charles Perron French, (1893-1958) Bouquet d’Œillets Oil on Panel 18 x 14.5 cms / 7” x 6” Price Code B 51

Florida Moments...

The Naples Botanic Gardens

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ver 170 acres of garden paradise can be found on Bayshore Drive, Naples Florida and on our trip in 2015 we were lucky enough to pay a visit.

The Brazilian Garden was designed by Raymond Jungles and the focal point is an original ceramic mural by Roberto Burle Marx.

The Naples Botanical gardens were established in 1993 and feature designs from some of the finest landscape architects in the world including cultivated gardens of Florida, Brazil, Asia, the Caribbean and a Water Garden filled with water lilies, lotus, and papyrus.

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There were an abundance of tropical plants to brighten every corner. It showcases plants native to the tropics and subtropics from the 26th latitude north (the latitude of Naples) and the 26th latitude south.

The gardens are well maintained with regular gifts, $5 million in 2000 enabled the garden board to purchase additional land.

There is also a 90 acre preserve which features seven ecosystems and includes mangroves, marshes, and untouched forests where hundreds of animal species and more than 300 species of exotic and native plants are growing.

The beauty of the plants and trees in Naples sit well against our wonderful floral paintings by Pieter Wagemans.

53

STEWART

LEES

â&#x20AC;&#x153;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.â&#x20AC;?

Stewart Lees British, (Contemporary)

Risi e Bisi Oil on Panel

40 x 50 cms / 16” x 20” Price Code C 55

Stewart Lees British, (Contemporary) 56

Lemon Parsley Oil on Panel

70 x 100 cms / 27½” x 39½” Price Code D

STEWART

LEES

S

eeking 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.

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58

KENNETH

WEBB “One moves from a line, from a delicate stroke, to a point, to a patch ... just as one moves from a twig to a trunk of a tree.

But everything must hold together, everything must be in place.”

Nicolas de Staël

I

would have this painting on my wall in a heartbeat for its bold palette and varying textures of painting techniques that Kenneth has employed. Here is a painter steeped in Modern British art history, who seeks, like the masters he loves best, to ceaselessly modify his style.

An artist who is not prone to the anxiety of influence of his predecessors, but one who learns from them how to evolve and who pays only enough attention to prevailing trends to use them for his continued development.

Kenneth Webb Irish, (Contemporary)

Summer Poppies Oil on Canvas

The paint here is so thick in places that it tempts you to run a finger across it as one would a sculpture, tracing the spread and lift of the palette knife Kenneth once swept across this canvas in contrast to the textured brushwork.

Marie-Claire

51 x 61 cms / 20” x 24” Price Code E

59

KENNETH

WEBB

Kenneth Webb Irish, (Contemporary) Cathedral Oil on Canvas 91 x 61 cms / 36” x 24” Price Code F

Kenneth Webb Irish, (Contemporary)

Neither here nor there Oil on Canvas

61 x 91 cms / 24” x 36” Price Code E

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Kenneth Webb Irish, (Contemporary) 62

Prelude Oil on Canvas

41 x 51 cms / 16” x 20” Price Code C

Kenneth Webb Irish, (Contemporary) Til the storm passes Oil on Canvas 25 x 31 cms / 10” x 12” Price Code B

KENNETH

WEBB

Kenneth Webb Irish, (Contemporary) Byre by the sea Oil on Canvas 31 x 46 cms / 12” x 18” Price Code B

Donald Hamilton Fraser British, (1929-2009) 64

Sandwood Bay Oil on Paper

15 x 17 cms / 6” x 7” Price Code B

DONALD HAMILTON

FRASER “Dream-Like Fields of Colour”

D

onald Hamilton Fraser was a master at capturing an array of subjects, from the natural landscape to vibrant still lives. He adored the expressive nature of paint and the striking juxtaposition of primary colours, often layering them onto the canvas with a palette knife to produce an almost collage-like effect.

Inspired by the Scottish Highlands of his ancestors, Donald Hamilton Fraser depicted this rugged landscape like no other artist. Captured in all its myriad guises, according to the fleeting effects of light and atmosphere, Fraser transformed the Highland landscape into vivid swathes of colour.

Reputedly the most beautiful beach in Britain, the wild and spectacular Sandwood Bay in Kinlochbervie is backed by huge sand dunes and a loch.

Facing straight into the teeth of the North Atlantic, the beach has nearly 1.5 miles of wide pink sand which is

flanked by cliffs. To the south stands the impressive sea stack of Am Buachaille, while behind the bay’s large dunes stretches Sandwood Loch a freshwater loch full of brown trout.

The beach is considered to be one of the most unspoilt beaches in the whole of mainland Britain.

Sandwood Bay is a rugged, picturesque wide strip of sand, backed by dunes and a freshwater loch and framed by high cliffs and a tall sea stack.

This vibrant landscape makes one long to be stood upon the sand, with a gentle May breeze billowing across the gentle waves towards us as clouds pass overhead.

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DONALD HAMILTON

FRASER

"An Artist doesn't really choose what sort of pictures he paints.

He paints what is there inside him.

It is a sort of imperative."

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Donald Hamilton Fraser British, (1929-2009)

The Acrobat Oil on Canvas

76 x 102 cms / 30” x 40” Price Code D 67

Montague Dawson British, (1895-1973)

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Smuggling off the Needles Oil on Canvas

51.5 x 76.75 cms / 20” x 30” Price Code F

MONTAGUE

DAWSON

O

ne of the greatest marine artists of all time, Montague Dawson was drawn to the lure of the open sea and was enchanted by the romantic history and the graceful design of the old sleek clipper ships.

During his time as a young naval officer in

the First World War, Dawson combined his passion with his natural talent for drawing, and would spend the remainder of his life as a professional painter and illustrator.

Dawson enjoyed painting magnificent clipper ships in battle scenes, in races and occasionally silhouetted alone against the horizon, almost as if he was painting a portrait of an old friend.

He began exhibiting at the Royal Academy in 1917, was elected a fellow of the Royal Society of Arts in 1936 and later became a founder member of the Royal Society of Marine Artists. Dawson enjoyed the patronage of many influential figures of his day including President Lyndon B. Johnson and the British Royal Family.

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DEREK G.M.

GARDNER Gardner is widely considered to be the leading British maritime 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.

Gardnerâ&#x20AC;&#x2122;s own life and upbringing was closely linked to the sea: his father was the Chief Engineer of the Clyde Trust and the Port of Glasgow, and he himself joined the Royal Navy Volunteer Reserve as a midshipman in 1934. During World War II, he served with the Royal Navy on armed trawlers and destroyers in the North Atlantic and in the Mediterranean Sea. He was mentioned in dispatches for distinguished service and left in 1948 with the rank of Commander.

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 texts and held in public collections including the National Maritime Museum, Greenwich.

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Derek G.M. Gardner British, (1914-2007)

Sunrise: The Glory of the Seas in St George's Channel, bound for Liverpool Oil on Canvas

61 x 91 cms / 24” x 36” Price Code E

71

Ronny Moortgat Belgian, (Contemporary) An Illustrious Deed Watercolour 34 x 51 cms / 13½” x 20” Price Code C

Ronny Moortgat Belgian, (Contemporary) U.S.S. Constellation vs L'Insurgente Watercolour 30 x 50 cms / 12” x 19¾” Price Code C

RONNY

MOORTGAT

Ronny Moortgat Belgian, (Contemporary)

The Battle Of Camperdown, 1797 Oil on Canvas

100 x 200 cms / 40” x 80” Price Code F

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Florida Moments...

Dropping Anchor

T

he greatest boat show on the seven seas.

The Fort Lauderdale International Boat Show, is the largest in-water boat show on earth. It is located steps from the beach mostly in the Bahia Mar marina. It has been running for over 60 years and hosts over 1,000 exhibitors and has over 1,300 boats on display. Products range from sunglasses to superyachts and everything in between.

Highlights include the Superyacht village and marina which features vessels of nearly 400 feet in length. This enclave for superyachts and features some of the most spectacular yachts in the show.

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Exhibiting a fantastic selection of Modern Masters from Monet to Picasso at the same time as a host of art fairs hit this vibrant Floridian city, we enjoyed great crowds and the buzz of Miami at its best.

We had a fantastic exhibition on 'Seafair' and always enjoy taking the gallery to sea!

That was back in 2015 and we followed it up with an 8 week residency staying on the megayacht 'Seafair' at the waterfront in downtown Miami.

In winter Miami becomes the centre of the World's art market, with ArtBasel setting the pace and trends alongside another twenty plus fairs. Rather than being in a tent a yacht feels much more fitting for an established gallery.

Plus there was plenty of warm Florida sun to be found!

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PIERRE

OUTIN

P

ierre 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

76

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.

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.

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

Luis Muntane Muns Spanish, (1899-1987) A Sunday Walk Oil on Panel 41 x 27 cms / 161/4" x 101/2â&#x20AC;?

Price Code C

LUIS

MUNTANE MUNS

Luis Muntane Muns Spanish, (1899-1987)

An Elegant Promenade Oil on Panel 41 x 27 cms / 161/4" x 101/2â&#x20AC;?

Price Code C

HAROLD

H

HARVEY

arold Harvey was born in Penzance in Cornwall and is recognised as one of the leading painters of the Newlyn School. He is best known for his evocative landscapes, charming pastoral paintings of peasant life and fishermen in the harbour of the picturesque fishing villages surrounding his hometown of Penzance.

Harold Harvey British, (1874-1941) Feeding the Calves Oil on Canvas 30.5 x 36 cms / 12" x 14” Price Code F

Harvey’s father was a bank clerk, however against his wishes Harvey was determined to pursue a career as an artist and enrolled at the Penzance School of Arts under Norman Garstin.

An Irish-born artist who settled in Cornwall, Garstin was, like many of his contemporaries, hugely influenced by Jules Bastien-Lepage, a painter who typified the principles of realism, working en plein air, and living within the communities where he was working. Under Garstin’s encouragement Harvey travelled to Paris to study at the pioneering Académie Julian from 1894 to 1896 where he studied under Benjamin Constant and Jean-Paul Laurens.

From the 1880s to the early twentieth-century artists were drawn to the charming village of

Newlyn on the south coast of Cornwall. The colony of artists, with the Irish artist Stanhope Forbes as its head, quickly developed a national and international reputation as the Newlyn School. The local fishermen and farm workers provided a plentiful source of inspiration and subject matter and fellow artists flocked to the area attracted by the abundance of natural light and the purity of the Cornish air.

Following his studies in Paris, Harvey returned to the family home in Penzance, and later settled in Newlyn in the very heart of this thriving artistic community. Harvey’s impressionistic style and beautifully captured scenes of rural life won him great acclaim. In 1896 Harvey was invited to exhibit at the inaugural exhibition of the Passmore Edwards Art Gallery in Newlyn alongside the likes of Forbes, Langley and Garstin. Two years later Harvey’s first work was exhibited at the Royal Acadmey in London and he continued to exhibit at the Academy as well as at Institutes and Academies in Birmingham, Liverpool, Glasgow for the rest of his highly successful career.

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HANS

HAMZA

H

ans Hamza was born in Vienna and is recognised for his charming and highly detailed genre paintings and still lifes. Hamza inherited his artistic skill from his father Johann Hamza, a leading exponent of Viennese genre painting, which was hugely popular in Vienna in the 1880s. Hans Hamza studied at the Vienna Academy of Fine Arts before joining his fathersâ&#x20AC;&#x2122; studio and perfecting his skill in depicting figurative and interior scenes.

Famed for intimate portraits of female sitters, Hans Hamza was deeply inspired by the masterpieces of the Dutch Golden Age. He captured a humble peasant girl with the same elegant attention that he gave elite Viennese upper class beauties, often sitting poised to the side, either reading, embroidering or flower arranging, bathed in a warm light in the manner of Johannes Vermeer. Hans Hamza also depicted jovial gentlemen and peasants in a tavern or sat by the hearth. He delighted in capturing the finest details in all his subjects, rendering an abundance of texture and form within each masterful evocation.

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Hans Hamza Austrian, (1879-1945) The Flower Girl Oil on Panel 19 x 14 cms / 7½” x 5½” Price Code D

DAVID

MUELLER

A

merican contemporary artist David Mueller is a renowned classical realist painter with an international reputation. His paintings are distinguished

by Muelller’s exquisite handling of paint, superb draughtsmanship and extraordinary sensitivity and mood.

Brought up in the suburbs of Chicago, Mueller now lives in Northern Ky, a peaceful and picturesque part of Cincinnati. His father Robert was a cartoonist and under his influence Muller learnt the true gift of artistic expression. Mueller studied at The American Academy of Art, in Chicago, whose prestigious fine art program had a strong focus on traditional realism.

"I like to create renderings that capture the essence of simple, yet profound, aesthetics. The current focus of my work is primarily figurative paintings, many including some kind of decorative element. I strive to create "timeless" images. My style is aimed at finding a happy medium between classical realism and impressionism. I also love to plein air paint to try to capture the essence of natural landscape.”

Mueller has built a reputation for himself as an exquisite portrait painter, having undertaken numerous portrait commissions for private and corporate collectors, including a State Senatorial portrait that hangs in the Ohio State Capital. His ethereal figurative paintings, beautifully rendered with loose brushstrokes and subtle colouring, have won the artist many awards and prestige.

Mueller is a member of The Cincinnati Art Club, founded in 1890. Inaugurated by notable nineteenth century artists Frank Duveneck, Henry Farney and Edward Potthast, today it remains the second oldest continuously operating art club in the United States. As well as teaching drawing and painting, Mueller continues to exhibit his work in the United States and in the UK with Gladwell & Patterson. His work has been the subject of many regional publications, including print, television, and radio.

David Mueller American, (Contemporary) Circle of Dreams Oil on Canvas 104 x 102 cms / 41” x 40" Price Code C

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H

elen Bradley began painting her unique and charming storytelling scenes at the age of sixty-five.

She painted in order to show her grandchildren what life was like when she was a child.

HELEN

BRADLEY

W Characterized by the frank and uninhibited outlook of a young child, her bright, teeming pictures and her own delightful narrative, memorably reflect that gentle period.

Helen's creativity and story telling brought to life a world of wonderment. 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.

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aiting at Liverpool to go to the Isle of Man, Father decided we should all go for a holiday to the Isle of Man. He said the sail and the pleasant air of the Island would do us good. George and I were a little afraid of the paddle steamer. It made such a noise.

Grandma and the two aunts and the dogs, Gyp and Barney, came with us, so also did Miss Carter (who wore pink) and Mr Taylor (the Bank Manager). I heard the aunts' whisper that perhaps, with the journey across the water being so romantic, Mr Taylor might propose to Miss Carter, but he was most attentive to Aunt Frances and Aunt Charlotte in turn which made our holiday most enjoyable and the year was 1906.

Helen Bradley British, (1900-1979)

Waiting at Liverpool to go to the Isle of Man Oil on Canvasboard

46 x 61 cms / 18” x 24” Price Code F 87

Helen Bradley British, (1900-1979)

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The Wakes came to Lees Oil on Canvasboard

61 x 91 cms / 24” x 36” Price Code G

HELEN

BRADLEY The Wakes came to Lees and with it Big Bertha

T

he Wakes came to Lees and with it Big Bertha - the huge Traction Engine which was the joy of our life. Each year we waited for it to come clanking and puffing up the hill to our village square, and in no time at all the big Round-about would be set up. Then the aunt Sally stalls and stalls with ribbons and beautiful fairings and goldfish in little bowls. Last of all the little round about would be unpacked.

Then we knew we should soon hear the Big Organ booming away and Grandma, the aunts, Miss Carter (who wore Pink) and Mr Taylor (the Bank Manager) would call and Father, Mother, George and I would be ready to join in all the delights of the fair and for a special treat Father would lift George up so that he could see the works inside Big Bertha and the year was 1906.

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EDWARD

CUCUEL

A

famed painter of genre scenes, landscapes, nudes and portraits, Cucuel’s early work bears the influence of expressionism, while his style became more subdued and essentially more commercial in the later part of his career.

At the age of fourteen Cucuel attended the local academy of arts in San Fransisco, proceeding to work for a newspaper ‘The Examiner’ as an illustrator. He then travelled to Paris where he entered the prestigious Académie Julian and Académie Colarossi and went on to study at L’École des Beaux-Arts under Jean Leon Gérôme.

Edward Cucuel American, (1875-1951) Winter's Mantle Oil on Canvas 81 x 81 cms / 32” x 32” Price Code E

Following his studies Cucuel returned to the USA in 1896 but returned to Paris soon after, from where he proceeded to travel through Europe to study the Old Masters. He moved to Munich in 1907, where he joined a group of artists, ‘Scholle’, under the leadership of Leo Putz and took part in the Secession exhibitions in Munich. In 1912 Cucuel exhibited in Paris with great success, and the following year became a member of the Société Nationale des Beaux-Arts and the Salon d’Automne. In 1915 his work was exhibited at the P.P. Expo in San Francisco. At the outbreak of World War II Cucuel returned to the USA. He settled in Pasadena where he remained for the duration of his life.

Cucuel’s work is represented in many important collections around the world, including the Detroit Institute, The Louvre and the Birkenhead Museum, Liverpool (now the Williamson Art Gallery & Museum, Liverpool), and a number of books have been written about his work.

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Florida Moments...

En Plein Air - Naples

I

f you drive 80 miles down "Gator Alley" to Naples from Miami you can experience some of the wilder aspects of Florida. Think East Anglian fens lined by alligators and the straightest road ever and you can picture it. The alligator is an American success story, over 4 million are now living in the Everglades.

Glamour and good times since the 1930â&#x20AC;&#x2122;s.

Naples is set on the Gulf of Mexico and Havana is due South. So it feels very different to the East Coast of Florida. Naples has an attractive restaurant and gallery lined Main Street, 5th Avenue. There are also artists who paint en plein air.

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Third Street south is the birthplace of Naples, Florida. It lies two blocks from the 19th Century Naples Pier and the beaches of the Gulf of Mexico. This historic area which developed in the early twentieth century is still full of colourful original beach cottages and lovely houses of old Naples. When we visited we explored the many varied and interesting shops as well as having breakfast in one of the renowned courtyard bistros. The sound of falling

As we were passing through we lucky enough to watch and chat to artists bringing the street scenes to life. It reminded us of our own artists at home who enjoy the thrill of painting directly onto canvas in situ within the landscape. It enables the artist to better capture the changing details of weather and light and is a delightful way to engage with the people exploring and sightseeing.

water is everywhere as antique fountains sparkle amidst the lush colorful cascading flowers and green landscaping of historic Third Street south.

Each February, carefully chosen artists paint the wonderful buildings, original cottages, fountains, plazas, and courtyards of the area including the beaches and pier in Naples.

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PETER VAN

BREDA

“My painting is about atmosphere and light and the mood that you are trying to get when you walk through the streets. Trying to find that balance of light is what excites me.”

94

Peter van Breda British, (Contemporary)

Spring, St Martin-in-the-Fields, London Oil on Canvas

54 x 65 cms / 211/2" x 251/2" 95

PETER VAN

BREDA

Peter van Breda British, (Contemporary) Morning Light, Royal Courts of Justice Oil on Canvas 55 x 46 cms / 21½” x 18” Price Code B

Peter van Breda British, (Contemporary) St. Mark's Square at night Oil on Canvas 46 x 65 cms / 18" x 25½” Price Code B

P

eter van Breda is one of Britain’s leading en plein air painters.

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

Light reflecting on water and the bridges of London that cross the River Thames have always been of foremost interest to Peter in his painting. He first came to us in the City at Gladwell & Co where he charmed the gallery with his scenes of St. Paul’s Cathedral and Tower Bridge, amongst others.

Peter’s mesmerising impressionistic landscapes of London, Venice and Paris have since amassed a large following of dedicated collectors who delight in his record of these cities as they know it, in all weathers and at all times of day.

97

EUGENE

GALIEN-LALOUE

Eugène Galien- Laloue French, (1854-1941)

98

Place du Théâtre Watercolour and Gouache

19 x 30 cms / 71/2” x 121/2” Price Code D

Eugène Galien- Laloue French, (1854-1941)

Brocante Watercolour and Gouache

19 x 30 cms / 71/2” x 121/2” Price Code D

99

Auguste Bouvard (signed N.Beraud) French, (1875-1956) 100

Vue d'un Canal à Venise Oil on Canvas

50 x 65 cms / 19¾” x 25½” Price Code E

AUGUSTE

BOUVARD "One of the greatest seagoing mercantile cities, Venice's beauty and richness is founded with water"

T

he Earth is a watery place, over 70 percent of the surface of the planet is water, and the oceans hold about 95 percent of all Earthâ&#x20AC;&#x2122;s water. The seas and oceans provide the water for life on land. From the atmosphere to the skies water falls to nourish everything it comes in contact with.

Humans first took to the water around 60,000 years ago.

The quest for exploration, adventure and movement had started. Harvesting the seas for fish had begun and whaling started in pre-history, around 6000 B.C. Romans and Egyptians traded and fought from rivers and seas which have huge importance for civilisation. The Nile flows for over 4000 miles and saw people along its banks develop art and agriculture.

One of the greatest seagoing mercantile cities is Venice.

Venice, which is situated at the far end of the Adriatic Sea, was once the richest and most powerful sea going city at the heart of Europe.

Developing markets in India and Arabia, it fired economic growth across Europe from the Middle Ages. Venetians created trading routes across seas and oceans and the wealth that returned built some of the finest and most gracious of Palazzos and civic buildings.

For Christmas, I have taken home this painting by Beraud.

Painted under his real name, before his fame and the creation of his pseudonym Bouvard.

This wonderfully vibrant painting allows me to travel along the canals and waterways of historic Venice. To smell and hear the sounds of daily life, business and markets the exotic trade in spices. To hear the excitement of new discoveries and people from far afield. Today the city floating on the sea enchants and beguiles the visitor as much today as through history.

Graham

101

Auguste Bouvard French, (1875-1956)

102

Venetian Reflections Oil on Canvas

61 x 89 cms / 24” x 35” Price Code E

Auguste Bouvard (signed Pelletier) Les Barques French, (1875-1956) Oil on Canvas

55 x 65 cms / 21½” x 25½” Price Code C

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Florida Moments...

Naples to Miami - Tabby, Gators and Palms

I

was surprised to learn that sand, seashells and water make hurricane proof building materials. When compressed they form "tabby" and in 1895 Palm Cottage in Naples was built from it. Still there today, and now a museum, the oldest house in the town tells how Walter

Cypress National Preserve reveal some amazing wildlife, incredible birds and quirky landmarks. The smallest Post Office in America, Smallwood stores, a shopkeeping family who traded with the Seminole natives and Joanie's blue

Haldeman a Kentucky newspaper owner founded Naples.

The huge hall and sitting room hosted many parties and the room decoration transports you back to pre 1920's Florida when Naples Pier and the sea were still the only access to this wilderness corner of Florida.

The opening in 1928 of the Tampa to Miami highway, paid for in part by advertising mogul of his day, Barron Collier allowed development to begin in the Everglades and created access to Miami from the West. The route along U.S 41 is now a scenic byway and the Everglades and Big 104

Store we discovered the story of the pioneers who tamed this vast wilderness. Although native people settled on Chokoloskee Island about 2,000 years ago it was the Seminole Indians who were the last native peoples to make the Everglades their home. Subsistence hunting and fishing would have been their livelihoods but as the nineteenth century progressed they traded with the new settlers and Smallwood began a trading post bringing mail and goods in and taking fur, skins out. The warm wind still blows through a shop caught in time with original stock and shop fittings-we were mesmerised.

crab shack serving 'Gator to hungry travellers are a few highlights we found.

On the way back along the old highway the Tamiami Way, the original and wilder route to South Florida we posted a card home from the Ochopee Post Office.

Ted Smallwood’s store was established in 1906 on the western edge of the Everglades and deep in the heart of one of Florida’s last frontiers. At the historic Smallwood

The building used to be a storage facility for water pipes of an adjacent tomato farm. It was converted into a post office in 1953. The post office serves 3 counties, is only about 8 x 7 feet and has its own postmark!

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Alexandre Louis Jacob French, (1876-1972) Winter in Asnières Oil on Board 33 x 41 cms / 13” x 16” Price Code D

ALEXANDRE LOUIS

JACOB

Alexandre Louis Jacob French, (1876-1972) Pêcheurs, Bord de Seine Oil on Panel 27 x 21.5 cms / 10¾” x 8½” Price Code C

Alexandre Louis Jacob French, (1876-1972)

Lever de Soleil sur la Neige Oil on Canvas

50 x 55 cms / 20” x 21¾” Price Code D 107

ALEXANDRE LOUIS

JACOB

A

lexandre Louis Jacob is best known for his atmospheric and luminous landscapes. He gained his rare understanding and love for nature through studied inspection, transferring his observations skillfully on to canvas. His masterful evocation of light, atmosphere, colour and sense of place are remarkable and have a true ability to transport the viewer to the very banks of the River Seine and River Marne where Jacob would patiently wait, pencil poised to capture his unique visions of the French countryside.

In recent years, Gladwell & Patterson have had the good fortune to collect some unique drawings by Jacob which the artist would send to his close friends at Christmas and New Year. They reveal the artists direct observation of nature, sketching out his compositions with brown and black 108

pencil. Jacob heightened these drawings with white chalk, picking out a smooth reflection upon the surface of water or the glowing clouds in an endless sky. These sepia toned landscape sketches, like Jacobâ&#x20AC;&#x2122;s exquisite oil paintings, have a unique atmosphere of calm and tranquility, achieved by the still watery reflections in the foreground.

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Alexandre Louis Jacob French, (1876-1972)

La Digue au Marais Oil on Canvas

63.5 x 81 cms / 25” x 32” Price Code E

Alexandre Louis Jacob French, (1876-1972) Pêcheurs sur le Marais Oil on Panel 23 x 26 cms / 9” x 10” Price Code B

ALEXANDRE LOUIS

JACOB

Alexandre Louis Jacob French, (1876-1972) Temps Gris, Bords de Riviere Oil on Panel 25 x 27 cms / 9¾” x 10½” Price Code C

Sir William Russell Flint Scottish, (1880-1969)

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Fresh Tracks Watercolour

31.5 x 49 cms / 121/2” x 191/4” Price Code D

SIR WILLIAM RUSSELL

FLINT

K

nown for his remarkable technical watercolour skill, Sir William Russell Flint also painted in oil and tempera and produced fine drawings, etchings and book illustrations. Many will be familiar with the wide variety of his subject matter, which spanned picturesque gypsies and sensuous nudes, to luminous landscapes and seascapes of Scotland, France, Italy and Switzerland.

as a “baffling skill”. This unerring precision was likely learned during the early years of his life, training as an apprentice graphic draughtsman with Banks & Co. Printers in his home city of Edinburgh.

He began his artistic career working for the Illustrated London Newsfrom 1903 to 1907, and as an illustrator his true renown arose from his illustrations of the 1912 version of Chaucer's Canterbury Tales and in 1924 he illustrated a new edition of Homer's The Odyssey.

In the pre-war period, Flint and his wife rented a studio in Rome and it was in Italy that the artist discovered the charm and beauty of the watercolour medium.

Flint fought in the First World War and after being decommissioned he travelled to Scotland, France, Italy and Spain, where he produced wonderful watercolours and drawings reflecting the local culture and customs.

Charles Wheeler, President of the Royal Academy at the time of Flint’s retrospective in 1962, described his artistic touch "simultaneously delicate and precise"

Flint soon moved to London and, after the interlude of the First World War during which he served as a Lieutenant in the RNVR and later as a captain in the RAF, the artist soon found his career taking off. Very soon, he was able to earn a living solely from his watercolours.

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SIR WILLIAM RUSSELL

FLINT "Known for his remarkable technical watercolour skill, the work of Sir William Russell Flint hangs in collections and galleries around the globe"

His success afforded him the opportunity to frequently travel abroad on painting excursions to Europe. He was fascinated by the distinctive climates, architecture, costumes and customs of foreign countries, and this degree of engagement with his subject can be seen reflected in his romanticised interpretations of local life. The pure escapism of his imagery appealed greatly to his audience of collectors. Idealised female figures on pristine beaches or reclining on elegant furniture seemed to at once embody and amplify all that was joyous of the roaring 1920s, whilst simultaneously harking back to a rose-tinted idyll of a past era.

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In 1962, almost at the end of his career, his genius was internationally acclaimed by a solo exhibition at the Royal Academy of Art, of which Flint had been a member since 1933. His widely recognisable work is still sought out and well-collected to this day, and examples can be viewed in major institutions including the British Museum, and the Victoria & Albert Museum.

Sir William Russell Flint Scottish, (1880-1969)

Interior at Auticamp Watercolour

38.5 x 57 cms / 15” x 22” Price Code D

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"I knew I had stumbled onto a place that wouldn’t fail to captivate and inspire me for the rest of my life..."

Peter Symonds British, (Contemporary)

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The Buttermere Fells from Crannockwater Oil on Canvas

46 x 81 cms / 18” x 32” Price Code C

PETER

SYMONDS

W

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

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.

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.

Peterâ&#x20AC;&#x2122;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.

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Peter Symonds British, (Contemporary)

118

Loch Awe, Scotland Oil on Canvas

25.5 x 38 cms / 10” x 15” Price Code B

Peter Symonds British, (Contemporary) Poldhu Cove, Lizard, Cornwall Oil on Canvas 18 x 30 cms / 7” x 12” Price Code A

PETER

SYMONDS

Peter Symonds British (Contemporary) High Summer, North Cornwall Oil on Canvas 36 x 31 cms / 14” x 12” Price Code B

Paul S. Brown American, (Contemporary)

120

Procession Oil on Canvas

50 x 90 cms / 20” x 35½” Price Code E

Procession The swan is proceeding with her brood into a bright marine dawn, inspired by the first morning light where Paul lives near the sea

W

e’ve represented Paul for over twenty-five years now and have watched in awe as he takes inspiration from elevating the everyday detail that he finds around him into something ethereal. I asked him about the origins of this painting and his reply was a wonderful insight into how he breathes life into an idea.

The swan is a favourite ornament of his wife, having come from her parents, and at Easter it makes a cameo as part of an arrangement in their home and is filled with chocolate eggs. The silk was bought in Singapore on their honeymoon and he had long wanted to reproduce the depth and richness of its colour in paint.

I love the juxtaposition between the smooth calm of the silk into which the Swan seems to glide and the ruffled intensity of what she leaves behind. The flutter in movement of the ribbons is different again with the icy silver of the Swan herself calm at the centre of it all. She’s your favourite family heirloom or is she a Viking warship… seemingly effortlessly forging on straight ahead. Then we see the real heart of the painting, she’s a mother. All her strength centred in those jewel coloured eggs which she gently cradles between her wings. Though we know Procession is a still life, it’s impossible not to recognise

that the backdrop is the sky. In all its luminosity and promise we can recognise it as dawn, the future, hope and continuity.

Well that’s what I see, and this seems to me what Paul

does so well and why I would love to have this painting on my wall. He produces a deceptively simple composition but one which offers so much and continues to be both a feast for the eyes and the imagination.

Cory 121

PAUL S.

BROWN “Things can just fall into place when I’m making a painting. Occasionally when I’m walking the dogs round a corn field near our house I see a man putting out his decoys and looking like he’s having a very good time. It puts me in mind of the old homestead corn fields where I grew up, and how you’d come across a hunter from time to time, or a turkey buzzard picking at their leavings.

Leather and brass are always fun to paint, especially as fall comes round. I found the decoys at our local market and, maybe because of our walks, I liked the idea of them for a painting. They’re old fibreglass and handpainted. The modern ones are more realistic but I like this half-shell, worn-down appearance and the craft that went into making them. They make me think of a nice day spent outside with a tough target.”

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Paul S. Brown American, (Contemporary)

Grey Grouse Morning Oil on Canvas

61 x 80 cms / 24” x 31½” Price Code D 123

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Paul S. Brown American, (Contemporary) Wild Turkey Oil on Canvas 137 x 107 cms / 54” x 42” Price Code E

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

PAUL S.

BROWN

126

Paul S. Brown American, (Contemporary)

Sassicaia Oil on Canvas

86 x 117 cms / 34” x 46” Price Code E 127

Florida Moments...

Out and about in Palm Beach

T

he serenity of Palm Beach hits you the moment you cross one of the three bridges to the island. It is a secluded sanctuary with breath-taking homes hidden behind beautifully manicured hedges and pristine streets adorned with fabulous shops and restaurants.

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If you know where to go, there is great fun to be had and everyone knows that all work and no play makes for a very dull life indeed.

Pizza Al Fresco is one of the first places we visit every year. I love that we can eat outside in the warm air, surrounded by the beautiful architecture of its charming courtyard. There is always a hum of conversation, clinking of glasses and the pizzas are excellent. But best of all, if we time it right, we get to meet Mona Lisa the pig!

We were introduced to Bistro Chez Jean Pierre through some very dear clients and spent wonderful evenings dining here, enjoying the exquisite French food amongst its imaginative artwork within cosy rooms. A

Cocktails at Breakers is our final island treat. We adore driving up to the impressive, illuminated building, walking through the incredible hallways to our first stop, which is to view the Ocean on the other side. There always seems to be a Full Moon when we visit and I

restaurant that instantly made you feel at ease, this family-run business was an institution on the island and we shall miss it terribly when we next return to Palm Beach.

have vivid memories of seeing the great, glowing orb hovering above the palm trees and crashing waves. It isnâ&#x20AC;&#x2122;t long before we are lured inside by the promise of a cocktail at the bar and to spend the evening relaxing and laughing with friends at the end of a long day.

Our fond memories of this island would be nothing without the people we enjoy our time in Florida with and we cannot wait to return to see you all there again!

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SIR ALFRED

MUNNINGS

S

ir Alfred James Munnings was born in Mendham, Suffolk in 1878. His father was a miller and Munnings was brought up on a working mill with horses being part of his daily life. This led to his deepening interest in the equine world that would later propel him into becoming the foremost English twentieth-century painter of sporting pictures.

His love for the East Anglian landscape and its rural pursuits encompassed the enthralling world of gypsy travellers as well as that of hunting and horse racing, offering Munnings a wide range of subject matter that would tie in with his passion for landscape and horses.

Munnings was an entrenched traditionalist, who in his later career would take a strong stand against ‘Modern Art’ but in his early work his style is clearly influenced by the Impressionists with its flickering light and quick, expressive brushstrokes.

Alfred J. Munnings British, (1878-1856) A Huntsman and Hounds Oil on Canvas 55 x 57 cms / 211/2” x 221/2” Price Code F 131

MARTIN

TAYLOR

S

omehow the birds fly through the mass of tangled tree, And I share this day with you.

Cold, biting wind, dark and matted, the last summer leaves hang on helplessly, to that warm season fading.

As the sun loses its heat and sinks behind the grey cloud, Chilling, your cold sustains me, The more complex you are, the more beautiful, The more I look and see, the more I understand, Then evergiving, you give me a sunset.

With one last icy blast, we're done.

Given Sunset by Martin Taylor

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Martin Taylor British, (Contemporary)

Lost Wood and Snow on Brampton Fields Oil on Canvas

51 x 76 cms / 20" x 30â&#x20AC;?

Price Code D 133

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

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

An Artistâ&#x20AC;&#x2122;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.

Though I probably 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

Before the pandemic I was working on a painting at the end of a lane called Leys Lane in the village Houghton, Gt of Northamptonshire.

My studio on the farm is fairly remote and isolated. However, with respec t to the farmer from whom I rent, I chose to relocate at home, after all, before the studio, I had always worked from home.

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so important, that it became part of lockdown protocol.

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

nt in the garden. We have a magnifice g rkin wo an beg I ore bef g lon not and People passing by always stop magnolia in the front garden. nt cathedral behind it seemed poigna admire as it is beautiful. With the g painting in mind, I began workin and so with Stanley Spencers’ on mine.

trees and blossom in our garden into In the garden I decided to paint the le ours pear and our own young app the book. Distant trees, the neighb larly image. During it’s course I par ticu all became connec ted in this one sound of traffic, or vapour trails in noticed the birds. Now without the s ivity became more apparent. I wa the sky, the birdsong and their act rld which now became par t of the wo enjoying the solitude and peace locked down.

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.

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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 canâ&#x20AC;&#x2122;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.

aylor Martin T 138

Martin Taylor British, (Contemporary) First Shades of Summer Oil on Canvas 60 x 50 cms 24” x 20” Price Code F 139

Florida Moments...

Encounters with Wildlife

F

rom the coral reefs of the Keys to the cypress swamps of the Panhandle, Florida's diverse habitats are home to an incredible pageant of wildlife. Nowhere else can you see reclusive alligators, playful manatees and beautifully plumed water birds all in a single day.

Forests are havens for black bears, Florida panthers and bobcats. Exploring along riverbanks and wetlands flurries of exotic waterbirds can be seen. On the beaches a moonlit summer walk can reveal nesting sea turtles.

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Nestled on an Atlantic Ocean front barrier island, John D. MacArthur Beach State Park is the only state park in Palm Beach County. It is one of our favourites to explore and stands out as an â&#x20AC;&#x153;island in timeâ&#x20AC;?. It preserves the natural heritage of subtropical coastal habitat that once covered southeast Florida. It can all be seen from boardwalks and by kayak which we love.

Of course the wildlife we all try and get a glimpse of is the alligator. It can chomp down its toothy jaws with a 3,000-pound snap. This official state reptile averages six to twelve feet in length and can sprint with blurring speed.

We have been lucky enough to get up and personal with them on our trips around the Everglades.

141

SIMON

GUDGEON

Simon Gudgeon British, (Contemporary) Origins Bronze (Edition of 7) 350 x 30 x 40 cms 138” x 12” x 15¾” Price Code F 142

â&#x20AC;&#x153;A work of art is a way of working on very private feelings about behaviour and the way life is. Origins, came from a beautiful abstract shape, an 'S' curve. It was moulded into the shape of a bird, but unlike Reflection and Serenity which are inward-looking and contemplative, this one is looking the the Universe, trying to understand the reason for our existence: where we have come from and whre we are going. The bird is making a silent scream in solitude, not enlightened but accepting of its fate; acknowledging its significance in the order of the Univers; searching for something more than mere existenceâ&#x20AC;?

SIMON

GUDGEON

Simon Gudgeon British, (Contemporary) As Kingfihsers Bronze (Edition of 12) 182 x 85 cms 71” x 331/2” Price Code C

Simon Gudgeon British, (Contemporary) Chase Bronze (Edition of 7) 275 x 290 x 150 cms 108” x 114” x 59” Price Code F

SIMON

O

GUDGEON

ne 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 British, (Contemporary) Thoth Bronze (Edition of 6) 250 x 150 x 100 cms 981/2” x 59” x 391/2" Price Code F

Simon Gudgeon British, (Contemporary) Embrace Bronze (Edition of 5) 270 x 210 x 210 cms 106” x 83” x 83” Price Code F

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Nick Bibby British, (Contemporary) Peregrine II: “Lightning Bolt” Bronze (Edition of 15) 81 x 46 x 25 cms 32" x 18" x 10" Price Code D

NICK

BIBBY “In a flash”

T

he idea for a new piece often ticks away in the background for years, even decades, before emerging into the light of creation. Sometimes inspiration comes almost instantly. The birth of Peregrine II: “Lightning Bolt” was a combination of both.

I had in mind to sculpt another Peregrine for years, but without a clear vision of the finished sculpture.

The spark ignited when I was given a copy of The Peregrine by J. A. Baker. The cover showed a stooping Peregrine. The image of that bird was the last thing I saw each night before sleep… suddenly, I knew exactly what I wanted to create!

First task was to construct a poseable, supporting armature, using aluminium wire, wood and copper sheet. Measuring everything.

Cutting, shaping and assembling dozens of accurate “feather blanks” for the wings and tail, fitting them to the body of the armature, posing, and attaching it to a steel support. Starting to add oil-based, modelling clay, building up the basic anatomy and form. Then, a personal thing, I take the head off. I find it easier to sculpt the fine details of the head free from the body.

Once the head is re-attached, it is time for the final stage of sculpting. My favourite - that of slowly refining the form, adding subtle little details and touches that bring my subject to life. A hint of muscular tension here, a tiny fold or flick of a feather there.

Then it is time to step away, give myself a couple of days “distance” to look objectively at the finished sculpt, and if I’m still happy, deliver it to the foundry, to be cast into bronze.

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DAVID

SHEPHERD

David Shepherd British, (1931-2017) Rhinos Painted in 1997 Oil on Canvas 25 x 41 cms / 10" x 16" Price Code D

David Shepherd British, (1931-2017) Three Buffalo Painted in 1997 Oil on Canvas 25 x 41 cms / 10" x 16" Price Code D

David Shepherd British, (1931-2017)

The Big Country Oil on Canvas

51 x 97 cms / 20” x 38” Price Code E

151

David Shepherd British, (1931-2017)

152

The Threatening Bull, Painted in 1979 Oil on Canvas

49 x 98 cms / 19¼” x 38½” Price Code F

DAVID

SHEPHERD "Above all it is David's love of the animals that shines through in his paintings"

I

have been fortunate enough to have spent a bit of time travelling around Africa as a child and in my family, I have the title of ‘chief spotter’. This meant that it was my responsibility to sit at the front of the safari truck and be on the lookout for wild animals. I would spend hours looking out across the beautiful African terrain, hoping that I would catch a glimpse of an animal staring back at me.

vegetation in the foreground is dynamic and passionate, filled with a multitude of colours. The immediacy of the brilliant brushwork and observations bring the work to life and you feel if you are in the bush with the artist.

I have chosen this painting as it reminds me of these treasured memories, as well as my love of travelling. With the current lockdown restrictions, a lot of us have been unable to enjoy our favourite winter getaways so we are very lucky to have such beautiful paintings that can transport us to these places and provide a sense of escapism (without needing our passports)!

One of the reasons I think David Shepherd is so talented is because he always manages to capture the personalities of his elephants, almost as you would expect if the sitter was human. These ancient beasts have a timeless elegance and stature about them. Their wrinkled skin and oversized features have a slightly comic nature, something so different from anything else we can see today.

To me, this painting in particular shows off David’s instinctive and natural skills of painting. The impasto detail of the dense

Gladwell & Patterson has had the privilege of displaying David’s superb paintings over the decades and this painting would be a handsome addition to any collection.

Emily 153

David Shepherd British, (1931-2017)

The Big Five Painted in 1970 Oil on Canvas

86.5 x 142 cms / 34” x 56” Price Code F

DAVID

SHEPHERD 154

David Shepherd British, (1931-2017)

Glorious Tiger Painted in 1975 Oil on Canvas

46 x 88 cms / 18” x 34” Price Code F

155

DAVID

SHEPHERD

D

avid 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 Shepherd working on a new painting, circa 1980

David Shepherd surrounded by Elephants in Tsavo National Park

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.

156

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 British, (1931-2017)

In the Scrub Painted in 1963 Oil on Canvas

79 x 122 cms / 31” x 48” Price Code F

157

EDWARD

WAITES “ My bronze sculptures are shaped by my passion for the vitality, energy and grace of my subjects”

“I adopt a very hands on approach from start to finish with my work from the miniature pieces you can hold in the palm of your hand to the 9 foot horse head in the making this year. I think its vital to be heavily involved in the whole process and I work on every stage from armature to finished bronze.”

158

Edward Waites British, (Contemporary)

Gorilla Bronze (Edition of 12)

40 x 30 x 16 cms 15¾” x 12” x 6¼” Price Code B

Edward Waites British, (Contemporary) 160

Lion Duo Bronze Edition of 12

60 x 30 x 45 cms 23¾” x 12” x 17¾” Price Code D

EDWARD

WAITES The Process: Concept: • I wanted to create a piece depicting two male lions with the emphasis on the competition to be the head of the pride. An older male lion on top and currently head of the pride and a younger male hungry to compete for his position.

Stages: • Initially make a skeletal steel and aluminium frame to add the clay to. Leaving the work loose to create life and energy in the piece.

• Once the clay is finished I then send the piece to my mould maker to create a complex rubber and fiberglass mould.

• A wax replica is taken from this mould by pouring in hot wax and leaving it to set.

• The wax is then chased to clean the joins and cut up into sections.

• These sections are 'run up' into a wax plumbing system that allows the channels of bronze to fill the mould but also to let all the gasses out when the molten bronze is poured.

• This wax structure is dipped in ceramic slurry over a period of time to thicken up and create another mould.

• This ceramic mould is heated up to melt and release the wax from the inside.

• This mould is then ready to take the molten bronze which is poured in at 1150 degrees centigrade.

• Once left to cool the ceramic mould is broken off to reveal the bronze sections.

• These sections are cleaned up and welded back together to create the final positive sculpture.

• The final stage is to apply the patina to the sculpture.

161

PETER

PHAROAH

Peter Pharoah South African, (Contemporary)

162

Dube Oil on Canvas

115 x 115 cms 45¼” x 45¼” Price Code B

I

have a passion for Africa and its people. The heat, dust and textures are my inspiration and the beauty, strength and pride of the people make interesting subjects, their faces providing a vehicle to portray a feeling of Africa.

My wildlife, seascapes and abstracts are created with the same strength, colour and energy as the African tribes; all these subjects characterise the warmth and strength of the African continent.

Peter Pharoah South African, (Contemporary)

End of Days Oil on Canvas

115 x 115 cms 45¼” x 45¼” Price Code B

163

EWOUD

DE GROOT

Ewoud De Groot Dutch, (Contemporary) Out of the Mist Oil on Linen 110 x 110 cms 43¼” x 43¼” Price Code D

Ewoud De Groot Dutch, (Contemporary) Descending Owl Oil on Linen 100 x 100 cms 39½” x 39½” Price Code C

"To me, as an artist, producing a good painting is about exploring all the different facets of composition, colour and technique and not just reproducing an image in a photorealistic way. Although I consider myself a figurative painter, I always try to find that essential balance and tension between the more abstract background and the realism of the subject(s). In a way you could say that I am on the frontier between figurative and non-figurative, or the traditional and the modern.“ 165

Ewoud De Groot Dutch, (Contemporary)

166

Snowy Owl Oil on Linen

70 x 140 cms 27.5” x 55” Price Code C

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Gladwell & Patterson 5 Beauchamp Place, London, SW3 1NG 0207 584 5512 Anthony@gladwellpatterson.com - 07949 780032 Glenn@gladwellpatterson.com - 07866 450070 Graham@gladwellpatterson.com - 07775 900251 Gladwells Rutland 23 Mill Street, Oakham, Rutland, LE15 6EA Cory - 07866 450070

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INDEX Nick Bibby

p 148-149

Gustave Loiseau

p 16-23

August Bouvard

p 100-103

Pierre Eugène Montézin

p 6-11

Helen Bradley

p 86-89

Ronny Moortgat

p 72-73

Peter van Breda

p 94-97

David Mueller

p 84-85

Paul S. Brown

p 120-127

Sir Alfred Munnings

p 130-131

Gustave Cariot

p 14-15

Luis Muntane-Muns

p 78-79

Edward Cucuel

p 90-91

Pierre Outin

p 76-77

Montague Dawson

p 68-71

Charles Perron

p 48-51

Sir William Russell Flint

p 112-115

Peter Pharoah

p 162-163

Donald Hamilton Fraser

p 64-67

Georges Charles Robin

p 32-39

Eugene Galien-Laloue

p 98-99

Edward Seago

p 30-31

Derek G.M. Gardner

p 70-71

David Shepherd

p 150-157

Simon Gudgeon

p 142-147

Henri Le Sidaner

p 4-5

Ewoud de Groot

p 164-166

Peter Symonds

p 116-119

Hans Hamza

p 82-83

Martin Taylor

p 132-139

Harold Harvey

p 80-81

Edward Waites

p 158-161

Alexandre Louis Jacob

p 106-111

Pieter Wagemans

p 46-47

Stewart Lees

p 54-57

Kenneth Webb

p 58-63

Leon Augustin Lhermitte

p 26-29

Raymond Wintz

p 40-45

Gladwell & Patterson 5 Beauchamp Place, London SW3 1NG +44 (0)20 7584 5512 â&#x20AC;˘ admin@gladwellpatterson.com Gladwells Rutland 23 Mill Street, Oakham, Rutland LE15 6EA +44 (0)78 6645 0070 â&#x20AC;˘ cory@gladwellpatterson.com gladwellpatterson.com