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Overview
Gladwell Patterson have long championed David’s artistic and charitable work, across the three generations of the Fuller family. Together with the David Shepherd Wildlife Foundation, the gallery held the first retrospective exhibition of David’s work since his death in January 2019.
David Shepherd stands as one of the most influential wildlife painters of the past century, an artist whose deep affinity for the natural world shaped a career of remarkable breadth and significance. His paintings, at once commanding and tender, reflect a lifelong bond with the animals of Africa, a connection forged in Kenya in 1960, where a commission for the RAF set him on an artistic path that would define his life’s work. It was there, confronted by the beauty of the wild and the brutality of its threats, that David’s vocation as both artist and conservationist took root.
The power of his paintings lies not only in their technical mastery: the confident sweep of his brush, careful orchestration of tone and balance between photorealism and impressionist breadth. Elephants emerge with monumental grace, tigers with a quiet, unstoppable presence; even the vast African landscapes serve not as backdrop but as a stage upon which each animal’s dignity is affirmed. What resonates most is the empathy that animates every canvas, a quality that reflects David’s unwavering belief in the value of the wildlife he devoted his career to protecting.
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Works
David Shepherd British, 1931-2017
BuffaloOil on Board20 x 25 cms / 7¾ x 9¾ inchesSigned 'David Shepherd' (lower right)
Sold as a set of five, alongside 'Cheetah', 'Rhino', 'Elephant' and 'Lion'£62,000 (Set of Five)Further images
Description
A single African buffalo advances towards the viewer through dry grassland, its head lowered and horns curving outward to frame the face. The animal occupies the centre of the composition, set against a pale sky that provides limited depth. Straw-coloured grasses are rendered with broken strokes and scraped passages, while the buffalo’s dark mass is constructed through layered blacks, greys and muted browns. Shepherd applies oil paint unevenly across the surface, allowing texture to register prominently in the foreground. Buffalo was painted following Shepherd’s repeated visits to East Africa during the mid to late twentieth century, when he produced numerous studies of large mammals encountered in national parks and reserves. The frontal viewpoint reflects Shepherd’s interest in close-range observation developed during his work with wildlife conservation organisations.
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