Robert Gallon

In the Lledr Valley - Large 19th Century Summer Landscape Oil Painting Snowdonia

Circa 1890

‘Sheep in a Lane’ by John Linnell (1792-1882). The painting is signed by the artist and dated 1863. It is listed in the definitive catalogue of Linnell’s known works compiled by the ...

‘Morning in North Wales’ by Edwin Henry Boddington (1836-1905). This large fine 19th century oil painting is signed by the artist and dated 1867, in which year it was exhibited at th...

‘Near Moel Siabod, North Wales’ by Sidney Richard Percy (1822-1886). The painting – which depicts a figure herding cattle before an extensive landscape in Snowdonia – is signed by the artist and presented in a fine quality, bespoke gold metal leaf frame...

‘A Quiet Nook’ by Arthur James Stark (1831-1902). The painting – which depicts a moorcock wading in the shallows of a stream in an English woodland ...

'The Parting Day’ by Henry H Parker (1858-1930). The painting – which depicts figures and cattle on a country lane at sunset – is signed by the artist and hangs in a good quality gil...

'The Parting Day’ by Henry H Parker (1858-1930). The painting – which depicts figures and cattle on a country lane at sunset – is signed by the artist and hangs in a good quality gil...

Horse and Sulky reminiscent of Currier and Ives by George Christopher Horner (1821-1881), British artist, imported by Saltire Gallerie. Signed and da...

Scottish/British artist John Gifford is best known for his paintings of Setters, Spaniels and Ponies in the Scottish countryside and highlands. Sought after for his sporting artwor...

A saddled chestnut hunter tethered to a post at the entrance to stables with a wooded landscape and a hill beyond. Signed and dated lower left, 'T. Beach pt., 1785'. Provenance: Anonymous sale, London, Christie's 28 May 1999. lot 15 Thomas Beach was essentially known as a portrait artist and the present painting is a rare example of his skill as an animal painter. His ability to convey a sense of the character of his sitters is evident here in the remarkably sensitive portrayal of the horse's expression. Beach painted...

A painting of a chestnut hunter in a landscape with a horse and rider accompanied by two hounds by a woodland river in the distance. Signed and inscribed 'Melton Mowbray', lower left. Oil on canvas in a giltwood frame. John Ferneley Sr (1782-1860) was born the son of a Leicestershire wheelwright, the youngest of six children. He is known as one of the great British equine artists, perhaps only second to Stubbs in terms of raw ability. Ferneley originally worked with his father, until by chance the Duke of Rutland saw some of his work on the side of a cart on which Ferneley and his father had been working. The Duke was so impressed with Ferneley that he persuaded John's father to allow him to become the pupil of Benjamin Marshall. Ferneley was so talented that apparently he produced almost perfect copies of his tutor's paintings and they were said to have been indistinguishable from the master’s. Marshall also enrolled him as a student of the Royal Academy Schools. In 1804 Ferneley paid a man named Thomas Harrison...

A fox and a rabbit by a rabbit hole in woodland undergrowth, Circle of George William Horlor (1849-1895) Oil on canvas in a giltwood frame. Canvas size: 46 x 71cm In frame: 59x 83cm ...

"Dangerous" Portrait of the 1833 Derby racehorse winner by John Frederick Herring Snr (1795-1865) British signed lower left, titled lower right oil painting on canvas: 10 x 14 inches...