Exploring Venice 2021 | Gladwell & Patterson

EXPLORING VENICE

A suggested way to maximise your enjoyment from this Venice Catalogue.......

How did you get people like Ernest Hemingway and Charlie Chaplin to sit still?

Venice “Unique, Glorious, Endangered”

Giuseppe Cipriani, the founder of Harry’s Bar, created the atmosphere that was convivial for their relaxation with his creation, "The Bellini cocktail". His inspiration for a drink, for his customers, came from the best of the area’s local ingredients. He settled on the sweeter white fleshed peaches and almost flavourless sparkling Prosecco. He mixed the white peach and Prosecco then simply grated in a little of the peach’s red skin to turn the mixture pink. He named it after Giovanni Bellini, the famous Venetian painter, and the cocktail became famous and synonymous with Harry’s Bar. Whilst you are sitting and enjoying our Venice collection. We thought we could help spirit yourself to Harry’s bar from home as we all can’t get to Venice for an original at the moment!

So here is how to make the original Giuseppe Cipriani Bellini:

What’s required:4 glass tumblers (not champagne flutes), a cocktail shaker, a cheese grater, and a collection of paintings of Venice

Ingredients Prosecco not Cava or Champagne, 6 White fleshed peaches (or a bottle of fresh white peach puree) 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

Preparation Peel and stone the peaches. Save the skin. Gently puree the flesh. Chill the Prosecco. Open computer.

Method Put two tablespoons of the white peach puree into the cocktail shaker.

Top up the shaker with the chilled Prosecco and stir until mixed.

Grate a little of the red part of the peach skin into the mixture until it turns a pale pink.

A quick shake and pour into a larger glass tumbler and enjoy the art on the screen!

A Virtual Venice Exhibition - to stir our memories...

V

ery early in January 1991, Bill Patterson hosted the inaugural Venice in Peril Exhibition at W.H.Patterson in Albemarle Street, and on 20 occasions since then we have gathered together spectacular collections in honour of this most unique of cities.

I

n this unusual year, we thought it would be enjoyable to remember some of those shows and to present a small exhibition of vibrant works to help us all to remember the beauty and wonder of this incredible place. Whilst the galleries remain closed, we will happily deliver to you any paintings that should catch your eye and tempt you. Either for you to see and decide upon in person or if you simply decide you must have it.

P

our your Bellini, sit back, relax, enjoy these works and dream of the visits you have made to this enchanting city.

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JONATHAN

PIKE Palazzo Smith Mangilli Valmarana is a palace in Venice, located in the Cannaregio district and overlooking the Grand Canal.

The neoclassical building consists of three floors with a mezzanine and another mezzanine in the attic. The ground floor has a water portal placed centrally and dominated by a tympanum.

Each of the two noble floors have four rectangular windows arranged regularly and divided by pairs of Corinthian pilasters on the first floor, which also offers a central large opening flanked

by Corinthian half-columns supporting a larger gable.

The Palazzo is best known for having been the residence of the English Consul Joseph Smith, who was Canaletto's agent to sell his paintings to British clientele. Smith bought the palazzo in 1740.

The palace was originally a Gothic Byzantine building, but when it became the seat of the English embassy and the residence of Smith, he altered the structure according to the taste of the time: in 1743, painter and engraver Antonio Visentini designed the new facade; the work lasted until 1751. The new facade only reached the present first noble floor.

In 1784, the palace passed into the property of Count Giuseppe Mangilli, who added the above floors and invited Giannantonio Selva to decorate the interiors. Selva created a luxurious and unified series of rooms in neoclassical style, still perfectly preserved today.

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Jonathan Pike British, (Contemporary) Palazzo Mangilli, Valmarana Watercolour 47 x 33 cms / 18.5â&#x20AC;? x 13â&#x20AC;?

Price Code C

Jonathan Pike British, (Contemporary) Ponte dell'Academia Watercolour 19 x 30 cms / 7.5” x 12” Price Code B

Jonathan Pike British, (Contemporary)

Jonathan Pike British, (Contemporary)

The Green Watergate Oil on Panel

Villa Foscari at Malcontenta Watercolour

62 x 48 cms / 24.5” x 19” Price Code D

15 x 20 cms / 6” x 8” Price Code A

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Jonathan Pike is broadly acknowledged to be one of the finest architectural painters of his generation.

A watercolourist first and foremost, he also paints in gouache and oils. Jonathan's attention to architectural heritage and the decay of manmade objects is perfectly articulated in his work, from a classical structure in Venice to a British coastal scene. Texture and light are brought together to create dramatic renderings where attention to detail contributes to the passion and emotion of the scene.

Jonathan Pike British, (Contemporary) Sole e Ombra Watercolour 48 x 33 cms / 19” x 13” Price Code B

An avid traveler, Jonathan specializes in cityscapes of Rome, Florence, Havana, London, Dublin and elsewhere, but it is his exquisite Venetian scenes that have attracted a particularly keen following amongst collectors worldwide.

Jonathan first visited Venice in 1975, and has returned on many occasions to produce his mesmeric studies of the atmosphere and light of this unique city.

Jonathan Pike British, (Contemporary) Watergate, Evening on Grand Canal Watercolour 48 x 33 cms / 19” x 13” Price Code C

PETER

VAN BREDA A flat, muddy, waterlogged collection of islands in the middle of a lagoon doesn’t sound like the most appealing place to live. Fear forced people from their homes on the mainland in the 5th century A.D. They had to use the marshy lagoon for protection from barbarian conquerors. Seeking refuge among the poor fishermen and living there as invasions continued across Italy, more and more refugees joined the first settlers and the need to build a new city grew.

More people needed more space and a stronger foundation on which to live. They had to find ways to strengthen the islands, drain and enlarge them. To do this they dug hundreds of canals and shored up the banks with wood pilings. They also used similar wood pilings as foundations for their buildings. The settlers pounded thousands of wooden piles into the mud, so close together that they were touching. Then, they cut off the tops and created solid platforms for the foundations of their homes. Because the wood was underwater, it didn’t rot. There are many buildings in Venice today that are still standing on 1000 year old piles of wood.

To build, stone had to be brought in by sea. For buildings stone masons used mostly impermeable limestones quarried in Istria and Dalmatia, nowadays Croatia; between Portorož and Pula. These stones, fashioned and modelled through centuries of architectural styles from the Romanesque to the Renaissance, saw the City we know and love rise from the mud.

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Peter van Breda British, (Contemporary)

San Marco at night Oil on Canvas

46 x 65 cms / 18” x 25.5” Price Code B

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Peter van Breda British, (Contemporary) San Marco towards San Giorgio Maggiore Oil on Canvas 18 x 24 cms / 7” x 9” Price Code A

Peter van Breda British, (Contemporary) Tintoretto's Venice, Rio Madonna delle Orto Oil on Canvas 20 x 25 cms / 8” x 10” Price Code A

Peter van Breda British, (Contemporary)

The Fish Market Oil on Canvas

38 x 46 cms / 15” x 18” Price Code B 13

Peter van Breda British, (Contemporary) Blue Umbrellas on the Riva degli Schiavoni Oil on Canvas 38 x 46 cms / 15” x 18” Price Code A

Peter van Breda British, (Contemporary)

Peter van Breda British, (Contemporary)

Madonna del Orto Oil on Canvas

Giardini Oil on Canvas

60 x 30 cms / 24” x 12” Price Code B

27 x 46 cms / 12” x 18” Pce Code B 15

MATTHEW

ALEXANDER "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.

This wonderfully vibrant painting allows the viewer 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.

Matthew Alexander British, (born 1953) 16

The Grand Canal Oil on Canvas

60 x 90 cms / 24â&#x20AC;? x 36â&#x20AC;?

Price Code B

17

AUGUSTE

BOUVARD Auguste Bouvard (1875-1956) was born at St. Etienne in France. His early artistic education was undertaken at the Ecole des Beaux-Arts in Paris, where he spent three years under a scholarship. His birth name was Eloi Noel Beraud although he signed his paintings Bouvard, Marc Aldine and Pelletier, amongst other pseudonyms but it is by Bouvard that he is best known.

During the early part of his career Bouvard painted a variety of French subjects under several pseudonyms in order to satisfy the demand for his work, but always maintained the same easy flowing brush and palette knife strokes. Study trips followed throughout Europe, where he began to paint the landscapes of Southern Europe and the Mediterranean coastline. His delicately coloured, rural scenes of southern France, usually signed with the pseudonym Pelletier, were imbued with a diffusion of warm light, reflected off rustic farm buildings beside quaint waterways running through tranquil villages.

The majority of Bouvard’s output went through a dealer in Paris who recommended that he consider Venice as a subject. From that point, his career never looked back. Celebrated for his captivating views of the Venetian canals, Bouvard possessed an undeniable talent for utilising light and atmospheric effects to portray the grandeur of the legendary city. Whilst Bouvard’s subject matter is similar to Canaletto and Guardi, he differs from these great artists by his use of a free impressionist technique, with the introduction of vivid colour and warmth. Under a golden sun and turquoise-blue sky, Bouvard's Venice glistens with unmistakable majesty as he deftly documents its architectural gems and romantic atmosphere.

Gladwell & Company held the first one-man exhibition of Bouvard’s work in Britain in 1928 at 68 Queen Victoria Street in the City, from which the late Queen Mary purchased two examples of his work. Herbert Fuller continued to acquire paintings from this fine artist up until Bouvard died in 1956, and the two subsequent generations of the Fuller family have continued this tradition ever since.

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Auguste Bouvard French, (1875-1956)

Late Afternoon Oil on Canvas

60 x 90 cms / 25.5” x 36.5” Price Code B

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“His secret, I think, is his colouring. Browns, greens and golds and the odd blue are, when in juxtaposition with each other, the richest combination…

A sweep of colour creates light on the water and a shimmering reflection.

Bouvard was a master of golden light and hidden shadows.”

- Anthony Fuller

Auguste Bouvard (signed N.Beraud) French, (1875-1956) 20

Vue d'un Canal à Venise Oil on Canvas

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

21

Auguste Bouvard French, (1875-1956) 22

The Quiet Mooring Oil on Canvas

50 x 65 cms / 19½” x 25½” Price Code E

Auguste Bouvard French, (1875-1956)

The Vegetable Market Oil on Canvas

50 x 65 cms / 19½” x 25½” Price Code E 23

RONNY

MOORTGAT If you had to draw a Venetian landmark what would it be? An iconic building or quiet backwater or maybe a favourite bar or restaurant?

Santa Marie della Salute is always prominent amongst Venetian views and has the most emblamatic of domes sitting as it does at the head of the Grand Canal and to the side of the Guidecca. Of course it has its origins in one of many terrible periods for the people of Venice. Plague regularly threatened the city over centuries.

The movement of people and the commodities, money, ideas and innovations that travelled with them were crucial in making Venice one of the wealthiest, most creative and most successful of Renaissance cities. But they also rendered it particularly vulnerable to the spread of disease. Indeed, ever since plague returned to Europe in the fourteenth century, the position of Venice as a centre of trade put them at the frontline of epidemics.

In the wake of the Black Death, and the numerous, less lethal plagues that continued to strike with brutal regularity through the fifteenth century, Venetians were spurred to introduce and refine innovative measures to counter the spread of disease. Many of these same fifteenth century measures – including quarantine, travel bans and self-isolation – we have seen adopted again in 2020.

When plague arrived in Venice in the summer of 1575, one of the most mobile and dynamic cities in Europe swiftly ground to a halt. It’s population knew what was needed. Carnevale was cancelled; preaching and church services were stopped; shops, inns and taverns were closed; charlatans could no longer gather an audience in the streets.

In an effort to quarantine the worst affected area, the city was blocked off at the Rialto bridge and half of the population isolated in their homes and by 1577, when it petered out, a third of Venetians were dead.

Further plagues would come but by quick communication the ceaseless traffic of the lagoon – small ferry boats bringing artisans, labourers and domestic servants from the mainland or across the Adriatic; galleys carrying pilgrims, merchants, diplomats out into the world could be stopped. Venice could become eerily still, its merchants and residents knew the importance of lockdown. And so it would be again in 1630. In that year the city experienced an unusually devastating outbreak of the plague.

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Ronny Moortgat Belgian, (Contemporary)

Santa Maria della Salute at Dusk 40 x 60 cms / 16” x 24” Oil on Canvas Price Code B

As a votive offering for the city's deliverance from the pestilence, the Republic vowed to build and dedicate a church to Our Lady of Health. The church was designed in the then fashionable baroque style by Baldassare Longhena. Construction began in 1631 and the church consecrated in 1681. Many of the objects housed in the church bear some reference to the Black Death.

Renaissance lockdown was a great skill developed over many centuries and the ending of it something to be supremely grateful for.

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Ronny Moortgat Belgian, (Contemporary) Giardini Oil on Canvas 20 x 40 cms / 8” x 16” Price Code A

Ronny Moortgat Belgian, (Contemporary) Gondola…Gondola Oil on Canvas 20 x 90 cms / 24” x 36” Price Code B

Ronny Moortgat Belgian, (Contemporary)

Passing Gondolas Oil on Canvas

40 x 60 cms / 16” x 24” Price Code B 27

WALTER

DOLPHYN

Walter Dolphyn Belgian, (Contemporary)

Corrida y Gondola (The Spanish Tourist) Oil on Panel

20 x 58 cms / 8" x 23" Price Code C

Walter Dolphyn Belgian, (Contemporary)

28

The Exciting Adventures of the Most Boring Man in the World, "My Lonely Nights in Venice" Oil on Panel

20 x 60 cms / 8" x 24" Price Code C

29

John Ambrose British, (1931-2010)

Santa Maria della Salute Oil on Canvas

80 x 121 cms / 32" x 48" Price Code B

Veronica HerwegenManini German, (1951-1933)

30

Ponte di Rialto Oil on Canvas

50 x 70 cms / 20" x 27" Price Code D

31

LIONEL

AGGETT Italy is a country which leant itself readily to Lionel's style of painting and drawing, colour leaps from the paper and changing lights are captured from the fierce midday sun to the softer golden lights and long shadows of evening.

Lionel Aggett British, (1938-2009) Venetian Red Pastel 66 x 51 cms / 26” x 20” Price Code B

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Lionel Aggett British, (1938-2009) Venetian Light Pastel 81 x 61 cms / 32” x 24” Price Code B

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JOSE CHECA

GALINDO Venice, The Carnival Of all the places where the Carnival Was most facetious in the days of yore, For dance, and song, and serenade, and ball, And masque, and mime, and mystery, and more Than I have time to tell now, or at all, Venice the bell from every city bore; And at the moment when I fix my story That sea-born city was in all her glory.

They’ve pretty faces yet, those same Venetians, Black eyes, arched brows, and sweet expressions still; Such as of old were copied from the Grecians, In ancient arts by moderns mimicked ill; And like so many Venuses of Titian’s (The best ’s at Florence,—see it, if ye will), They look when leaning over the balcony, Or stepped from out a picture by Giorgione, Whose tints are truth and beauty at their best; And when you to Manfrini’s palace go, That picture (howsoever fine the rest) Is loveliest to my mind of all the show: It may perhaps be also to your zest, And that ’s the cause I rhyme upon it so: ’Tis but a portrait of his son, and wife, And self; but such a woman! love in life!

Jose Checa Galindo Spanish, (born 1950)

The Magic of Venice Oil on Canvas

36 x 54 cms / 14” x 21” Price Code B

Lord Byron (1788-1824) 34

35

Paul S. Brown American, (Contemporary)

El Mascarèr Oil on Canvas

46 x 51 cms / 18” x 20” Price Code D Paul S. Brown American, (Contemporary)

Celebration Oil on Canvas

61 x 102 cms / 24” x 40” Price Code E

PAUL S.

BROWN 36

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Our doors may have shut temporarily but we welcome our loyal friends and clients to browse our website and enjoy our bespoke home delivery service. www.gladwellpatterson.com

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Introducing G&P Home A new way to buy paintings, offering the same personal service and outstanding quality art and sculpture.

Gladwell & Patterson 5 Beauchamp Place, London, SW3 1NG

Gladwells Rutland 23 Mill Street, Oakham, Rutland, LE15 6EA Cory - 07866 450070

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Rebecca - 07949 653063

p 32-33

Matthew Alexander

p 16-17

John Ambrose

p 30

Auguste Bouvard

p 18-23, 40

Peter van Breda

p 10-15

Paul S. Brown

p 36-37

Walter Dolphyn

p 28-29

Jose Checa Galindo

p 34-35

Veronica Herwegen-Mainini p 31

0207 584 5512 Anthony@gladwellpatterson.com - 07949 780032 Glenn@gladwellpatterson.com - 07866 450070 Graham@gladwellpatterson.com - 07775 900251

Lionel Aggett

Ronny Moortgat

p 24-26

Jonathan Pike

p 1, 4-9

Auguste Bouvard French, (1875-1956)

The Doges Palace Oil on Canvas

37 x 54 cms / 14” x 21” Price Code E

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