David Shepherd: A Brush with Nature by Gladwell & Patterson

Dav id Shep herd: A B rus h w it h Nat ure

Dav id Shepherd: A B rush wit h Nat u re David Shepherd was Britain’s finest wildlife artist. He is remembered synonymously for his powerful depictions of wild animals and for his conservation efforts in protecting these cherished subjects. Shepherd’s distinctive style stems from a personal attachment with the animals of Kenya. Throughout his career, he was inspired to protect the big cats, elephants, tigers and other animals that he depicted with such delight. His subjects were painted with dignity and grandeur and his compositions allowed them to take centre stage amongst the breathtaking scenery of his beloved Africa, India and the Far East. For nearly fifty years, Gladwell & Patterson have long championed Shepherd’s artistic and charitable work. For this exhibition, we are delighted to be in partnership with White Oak Conservation, a state-of-the-art scientific education and conservation centre in Yulee, Florida. White Oak is widely respected among conservationists for its work in protecting and breeding endangered animals, specifically rhinoceros, cheetah, antelope and okapi. Shepherd once stated “what more could an artist wish for but to repay my debt to the animals I painted.” Throughout his life, he sought to give back to the very creatures that inspired him through The David Shepherd Wildlife Foundation, and by raising awareness to the plight of these animals by depicting them in such a majestic fashion. We hope you enjoy and are inspired by David Shepherd: A Brush with Nature.

Elephants at Amboseli Painted in 1973 Oil on Canvas 51 x 86.5 cms / 20” x 34” £75,000

As Shepherd’s favourite animal, elephants were the subject that the artist returned to most often for his wildlife pictures. Early in his career, Shepherd was given the chance to see his first elephants in the wild by Mervyn Cowie, a pioneering conservationist, at Amboseli in Kenya; an experience which was to have a profound effect upon his life’s work. Once recalling this, Shepherd said: ‘I find it hard to describe my feelings at that moment when I saw African elephants in the wild for the very first time. I had made childhood visits to zoos or circuses like other kids, but this was different. I was on my own two feet and there were two hundred elephants in front of me. Nevertheless, it was an exhilarating feeling. I don’t know whether I was afraid. I imagine not as it was all so new and exciting, and I wonder if even then I began to feel the affinity for these marvellous, gentle animals which was to develop so strongly. I know I will never forget the sight of those two hundred elephants browsing completely free and undisturbed. I felt so small, very small indeed. I was hooked forever.’ Later describing Amboseli as ‘raw, unspoiled Africa’, Shepherd delighted at the opportunity to get close to elephants in great numbers, all the while observing and photographing them for his subject paintings. These such encounters led to a special bond between the artist and the animal; a connection which found a perpetual outlet in his artistic production. Elephants at Amboseli draws directly upon the artist’s frequented visits to Amboseli where he found solitude amid the abundance of wildlife in a setting which had remained delightfully intact. In this depiction, the scene is crowned by the peak of Mount Kilimanjaro, the highest free-standing mountain in the world. This makes for a fitting pairing with the four adult African elephants which stand before it. Adding a characteristic element of artistic drama; Shepherd has treated the canvas with a noticeably hazy dimension, seemingly caused by the dust that is unsettled as these enormous creatures shift their impressive weight with each stride. Taken as a whole, this work invites the viewer to admire these magnificent animals for what they are and are meant to be whilst in the setting where they truly belong, fulfilling the ultimate purpose of Shepherd’s representations of the natural world.

This magnificent work depicts a group of African buffalo in a hurried moment of flight. Set in the dry surroundings of the reserve, thick clouds of kicked-up dust whirl around the scene as the heavy-footed buffalo make their escape, creating at once a rich and dramatic atmosphere. As the other members of the herd turn and bolt, there are two which remain, one of whom appears reluctant to move. Shepherd’s special affinity with the animals of Kenya and broader Africa enabled him to nurture the ability to render creatures in their truest individual likeness, endowing his subjects with both personality and character. With legs depicted planted to the ground as firmly as if they were tree trunks, the statue-like effect of this illustration makes for a theatrical contrast with the other buffalo who are swiftly dispersing from the scene. As its head stretches out from its body in our direction, its face and its features are perfectly comprehensible, and we can see the nostrils of the wetted nose flaring as the buffalo engages its senses. Eyes narrowed and ears alert, the impression is that this is the face of an animal who is absorbing every aspect of us in as much as we are of it.

Dusty Buffalo Painted in 1967 Oil on Canvas 71 x 112 cms / 28" x 44" £89,500

Gladwell & Patterson are delighted to partner with White Oak Conservation, a state-of-the-art scientific education and conservation centre focused on saving and recovering populations of rare species, building assurance populations, researching animal health, convening experts, and educating the next generation of conservation experts. White Oak is widely respected among conservationists for its work in protecting and propagating rare animals. White Oak carries out this work in the United States and beyond, partnering with state and federal agencies, including the US Fish and Wildlife Service. As education is integral to driving conservation and preservation, White Oak provides a range of educational and training programs for the conservation community. In hosting an exhibition of work by Britain’s greatest wildlife artist, Gladwell & Patterson hope that Shepherd’s rich artistic heritage will raise awareness and funds for White Oak Conservation’s continuing vital efforts. Instantly recognisable, Shepherd’s exquisite paintings strike a chord in their ability to recall the majesty of his precious subjects which demand so much care and attention in this ever-changing world we live in today.

Cory Experienc es The Won der Of Whit e Oak Keeping a respectful distance my guide slowed the jeep to a crawl, pointing out the expectant Zebra, shuffling backwards and circling, ready to produce the next precious generation. We watched until the guide felt it was dignified to move on and leave her alone to carry out her important task. An hour later after an enthralling visit to the cassowaries and okapis, new life, a foal, safely born. Mesmerised, I watched four spindly legs stagger and wobble to prop a stripy body into an upright position to begin a new chapter in this world. It was just one unforgettable encounter among many on my trip to White Oak; a special place full of visionary conservationists intent on reversing the devastating threat of species extinction. Here they run some of the world’s most ambitious and successful projects saving endangered species and habitats through sustainable assurance populations and responsible land stewardship. I drew strength from the heart-stopping concentrations of wildlife at risk - a destination for anyone, like me, who loves animals, birds, pristine wild unspoilt scenery… or just adrenaline. It was exhilarating to watch, to feel, to believe all the people there are making a monumental difference. New life and hope emerges through their conservation work at every turn, not just here but all over the world. It is sobering to think the brilliant rhino program at White Oak and its satellite sites protects 40% of the world’s remaining rhino population. I experienced this stunning eco-system without leaving a footprint, but it left an everlasting impression on me. I urge you to join us in supporting White Oak. Directly through donations, or by the acquisition of a beautiful, timeless work of art which reminds us everyday of the precious wonders of the animal world. Thank you, Cory.

This painting has a remarkable history. Painted in 1975, Glorious Tiger was originally made as a gift for the Prime Minister of India at the time, Mrs Indira Gandhi. It is also most likely to be only the second tiger subject picture that Shepherd ever made, standing out from the many more which were to follow throughout his illustrious career. The intended purpose behind Glorious Tiger was to raise money for the conservation of the tiger species in India. During Shepherd’s lifetime, tiger numbers in India had been reduced from 40,000 in 1947 to 1,827 in 1973. Presented to the Prime Minister shortly after its creation, the picture was a national success and the print run of limited editions went on to raise a further £50,000 for the cause which the artist was so strongly compelled by. Depicting a large male Bengal tiger basking in the sun at the base of a bamboo bush, the animal directs his gaze towards us standing as the viewer, his facial features catching the light. It is this spectacle which perhaps affords the work its awed title of Glorious Tiger, as the creature occupies and dominates the centre of the composition in all its glory, worthy of our admiration. This is unequivocally one of the most important works from Shepherd’s early career. Standing as a symbol for the artist’s invariable commitment to the conservation of the universally treasured tiger species, its added history makes for the things which the man behind the brush will be forever remembered: his care for the protection of wild animals and his penchant for painting them.

Glorious Tiger Painted in 1975 Oil on Canvas 46 x 88 cms / 18" x 34½" £85,000

Elephants of Samburu Painted in 1964 Oil on Canvas 71 x 112 cms / 28” x 44” £89,500

Inquisitive Tiger in the Forest Painted in 1988 Oil on Canvas 56 x 86.5 cms / 22" x 34" £75,000

The Eyes of the Tiger Oil on Canvas 18 x 25.5 cms / 7” x 10” £19,500

Legac y As a boy, Shepherd dreamt of becoming a game warden to no avail, and was fortunate when his early artistic career as an aviation artist led to a commission from the RAF in 1960. On this trip to Kenya, inspired by the animals that he encountered, he painted his first wildlife painting which would change the course of his career; a rhinoceros chasing a Twin Pioneer aeroplane, capturing two of his great passions. It was also on this trip in Kenya that Shepherd became passionate conservationist overnight when he saw 255 zebra poisoned to death by poachers. In the following years, Shepherd’s popularity grew and he quickly became the celebrated artist and conservationist for which he is remembered today. He enjoyed numerous successful one-man exhibitions around the world, published five books and was the subject of numerous TV programmes,

including the BBC’s 1972 documentary of his life story, The Man Who Loves Giants. In his later years, Shepherd still lived his life at a fast pace: painting every day and devoting his time and art to wildlife through his Foundation and amassing a collection of steam engines, his other principal passion. Shepherd’s works are amongst the best known of any twentieth-century British painter, with a signature style and subject matter that makes his paintings instantly recognisable. His public visibility has come to be seen as part of his artistic identity, and Shepherd’s legacy of conservation lives on through The David Shepherd Wildlife Foundation, which he established in 1984, to repay his debt to the animals that had given him so much success as an artist.

Big Country Oil on Canvas 51 x 97 cms / 20" x 38" £37,500

Here, Shepherd transports the viewer to the arid landscapes of the Middle East, where the golden hues of the desert meet the azure sky in a complementary dance of colours. The backdrop of the Fujairah Fort adds a historical dimension to the work, grounding the scene in the rich tapestry of the region’s past. This incredible painting was composed from sketches that Shepherd drew at the Fort during a visit to the Middle East in 1953. With meticulous attention to detail, Shepherd captures dry terrain and the subtle interplay of light and shadow on the camels’ fur. Each animal is portrayed with a dignified elegance, their postures conveying a sense of endurance and resilience against the harsh desert environment. The fort, with its weathered stones and imposing architecture, stands as a silent witness to the countless journeys made across the desert, echoing the footsteps of generations gone by.

Camels on the Road to Fujairah Fort Painted in 1997 Oil on Canvas 46 x 71 cms / 18" x 28" £29,500

Ever Alert Painted in 1983 Oil on Canvas 40 x 55 cms / 15½” x 21¾" £49,500

Out On The Plains Painted in 1983 Oil on Canvas 43 x 77 cms / 16½” x 30¼” £49,500

Shepherd’s fame was assured from almost the beginning of his professional career with the huge success of his work Wise Old Elephant, which from 1962 became a bestselling print amongst the British public. So ubiquitous was the image that a poster of this work acted as the primary artistic flare in Del Boy’s flat throughout the Only Fools and Horses run. His direct but empathetic style clearly resonated with a wide audience in a way that few artworks can. Amusingly, Shepherd notes in his autobiography that when he originally brought his painting to the market “the publishers had to be persuaded to print it – they said no-one would ‘want to buy’ an elephant – but 250,000 did!”. He went on to paint many more powerful pictures of elephants, for example this work, depicting a single bull emerging from the scrub.

The Mighty Giant Painted in 1976 Oil on Canvas 63.5 x 101.5 cms / 25” x 40” £95,000

S tyle an d Tec hn ique David Shepherd’s art has long been admired for its optically accurate representations of the natural world. Shepherd captured the way that the human eye focuses on the presence of megafauna in a way that the camera simply cannot, establishing the unique value of his art even in a period when wildlife photography has become increasingly popular. Shepherd, through a matrix of painterly strokes of earthy pigments, is able to convey the physicality of the savannah and scrub in which his subjects are located. His elephants, rhinos and tigers emerge from a richly textured setting, delineated in sharp detail against a noticeably softer backdrop. Many of his paintings feature animals in their natural environments, capturing moments of interaction, tenderness, and drama. This narrative quality draws the viewer into the world of the animals, fostering a deeper connection between subject and beholder. Shepherd carefully sketched his subjects directly from life, capturing their essence and intricacies. His commitment to authenticity was evident in the detailed annotations accompanying each sketch, where he noted the characteristic features of the animals he portrayed. This combination of on-site observation and detailed documentation not only showcased Shepherd’s technical skill but also reflected his profound connection with the wildlife he sought to immortalize on canvas. With his brush, Shepherd seamlessly combined the meticulous attention to detail found in photorealism with the sweeping, loose brushwork characteristic of Impressionism. This fusion allowed him to produce work that is not only remarkably lifelike but also emotionally evocative. Shepherd’s paintings display an exquisite level of detail, capturing the intricacies of his subjects, be it wildlife or landscapes, with remarkable precision. Simultaneously, his use of broad and bold brushstrokes infuses his work with a sense of movement and atmosphere, making it highly visually engaging. For an artist who often chose to depict still animals, Shepherd’s works brim with an impressive life. His subjects invariably meet the eye of the gaze, even when depicted at some distance, immediately establishing a connection with a very real and conscious creature.

Lions Painted in 1972 Oil on Canvas 56 x 112 cms / 22" x 44" £59,500

This mesmerizing study beautifully captures the essence of two colossal creatures: the Buffalo and the Indian Rhino. The buffalo, characterised by their large, curved horns, are of the water buffalo species found in India as well as other countries in Asia. The Indian Rhino, mostly found in Assam, India, shares the crown of being the largest variant of the Rhino family with one of its African cousins, the White Rhino. Their size is so large in fact that they are second only to the Asian elephant in terms of the largest animals in Asia. Given their size, it is perhaps surprising that the diet of these immense creatures consists mainly of grass, amongst other vegetation. The Indian Rhino can run at speeds of up to thirtyfive miles per hour, an aspect which Shepherd has crucially chosen to represent in his study. Working in this study format familiar to his preliminary sketches, here, Shepherd has developed this composition onto canvas, making for a work which displays the multiple facets of each of his buffalo and rhino subjects. At the same time, the viewer is offered a rare insight into the artist at work by eroding the boundaries between preparation and finished article.

Indian Rhino and Water Buffalo Oil on Canvas 51 x 86 cms / 20" x 34" £45,000

Alert Oil on Canvas 41 x 61 cms / 16" x 24" £49,500

“Spotted! A Buffalo!” Painted in 1969 Oil on Canvas 40.5 x 56 cms / 16" x 22" £29,500

Three Buffalo Painted in 1997 Oil on Canvas 25 x 41 cms / 10” x 16” £23,000

Rhinos Painted in 1997 Oil on Canvas 25 x 41 cms / 10" x 16" £23,000

In this wonderful work, Shepherd introduces a playful and endearing narrative to his depiction of the bushy landscape of the African reserve, where a pair of egret birds stand before their apparent fellow companions who also share the habitat: four African buffalo. Shepherd’s special affinity with the animals of Kenya and broader Africa enabled him to nurture the ability to render creatures in their truest individual likeness, endowing his subjects with both personality and character. In this example, we are offered an insight to the extraordinary interfauna relationships that exist in the African wild; be it in this case a bird and a buffalo. Shepherd’s approach to portraying wildlife is wholeheartedly unique. The artist would often seek out the same subject multiple times due to the close bond he had with the animal, a process most apparent in the time he spent in Kenya’s Tsavo East National Park, alongside his close conservationist friends David and Daphne Sheldrick. An exquisite draughtsman, Shepherd’s attention to the character of his subjects is instantly arresting when set against the loose, broad brushstrokes of the sketchy backdrop. Shepherd’s technique of combining photorealism with his broad impressionist style and his impeccably accurate palette, instantly strikes a chord with the viewer, but above all it is his love of the animals that shines through in his paintings creating an instant empathy for them with his audience. Shepherd’s work is an enduring statement to the masterpiece of nature itself. Egrets and Friends Painted in 2001 Oil on Canvas 40.5 x 76 cms / 16” x 30” £69,500

Con s ervat ion Throughout his life, Shepherd demonstrated an unwavering commitment to protecting endangered species and their habitats. His passion for wildlife conservation culminated in the establishment of an organisation dedicated to safeguarding the planet’s most vulnerable wildlife. Shepherd had a very special connection with his subjects which had a definite influence on his attitude towards conservation. The elephant that features most regularly in Shepherd’s work was an edult female named Eleanor. Shepherd would return to Tsavo on multiple occasions to spend time with the elephants of the park, most of whom were orphaned by poachers and growing up under the protective care of Eleanor, one of the few adults left in the park. Shepherd described her as ‘the most remarkable animal I have ever been privileged to know, and I believe she is very largely responsible for my deep and passionate love for these marvellous and gentle giants’. Alongside Eleanor, he formed close attachments to the other inhabitants of Tsavo, from Stroppy (a rhino) to Jimmy (a kudu) and Punda (a zebra), even going so far as to help give these animals mudbaths. The bond Shepherd felt with these animals clearly shines through in his work.

Shepherd’s artistic prowess allowed him to raise both awareness and substantial funds for conservation. His vivid and evocative paintings of endangered animals served as powerful tools for conveying the urgency of their plight. His famous paintings of elephants, rhinoceroses, and big cats have been featured in prestigious galleries and exhibitions around the world, captivating the hearts of viewers and inspiring them to take action. The David Shepherd Wildlife Foundation, founded in 1984, has played a pivotal role in supporting conservation projects across the globe. The organization focuses on preserving endangered species and their ecosystems, combatting wildlife crime, and promoting education and awareness. Under Shepherd’s leadership, the DSWF contributed to numerous successful conservation projects, including the protection of rhinos in Africa and elephants in Asia. Today, the Foundation’s vision is ‘The Art of Survival’: to fight, protect and engage on behalf of endangered wildlife around the world. For more than thirty years it has worked to influence policy, shift attitudes, and provide an unwavering voice for wildlife conservation from grass roots to the world stage. David Shpeherd with Eleanor and Stroppy

In this magnificent oil painting, the artist adopts a low viewpoint, replicating how he would have seen the animal when in the bush. This at once enhances the monumental form of this bull elephant which dominates the space with its majestic presence. Employing Shepherd’s familiar optical technique, the composition is constructed out of a multiple of sections that are each either in or out of focus, leading our attention towards the focal point which in turn renders the whole to appear as it would from life when seen through the human eye. As we observe, we are drawn to the superb definition of the elephant’s leathery skin and large, flapping ears which stands in marked contrast to the broader, impressionistic brushwork adopted for the surrounding environment that remains. The immediate foreground is rich in texture with thick impasto brushwork, a much desired and highly recognisable hallmark of Shepherd’s distinctive style.

Lord of the Bush Painted in 1974 Oil on Canvas 56 x 112 cms / 22” x 44” £95,000

Shepherd returned to paint tigers frequently over the course of his illustrious career. Once when questioned about his favourite animal to see in the wild, he replied; ‘The tiger particularly because it is iconic. Once you have seen a tiger in the wild, you never want to see anything else. They are just mind-numbing.’ Painted nearly thirty years after his first approach of the subject, At Rest, Yet Alert – Watchful Tiger is a prime example of the artist’s prowess in capturing the very essence of these magnificent and magical creatures. In accordance with its narrative title, one can immediately absorb the serene but vigilant bearing of this adult female Bengal tiger. Standing before the work as the viewer, her deep, watchful eyes gaze at us unfalteringly, creating a phenomenal sense of intimacy. Shepherd’s highly distinctive style transcends the inherent limitations of the camera lens to offer a true-to-life recreation of human encounters with animals. The tiger’s coat boasts a spectacular sheen, glowing softly against the beams of sunlight which penetrate her resting place in the undergrowth. Each of her stripe markings perfectly correspond with the positioning of her limbs, working to achieve an enchanting definition of form. She lies before the shallows of a small pool in the reserve, the water is glassy and unmoving in harmony with the dynamic and highly textured surface of the surroundings that Shepherd has reckoned by his favoured impasto technique applying thick areas of paint.

At Rest, Yet Alert - Watchful Tiger Painted in 2001 Oil on Canvas 51 x 84 cms / 20" x 33" £95,000

Old Faithful Oil on Canvas 51 x 91.5 cms / 20” x 36” £65,000

As an artist who often worked en plein air, Shepherd’s depictions of the African bush offer perhaps the most authentic representation of its wildlife and scenery, made possible by on the spot observation. Armed with his selection of oil paints, palette, and brush, the adventurous artist would wander the reserves of Africa in search of his next subject. In this particular example, straying from a disfigured tree, this elephant has treated itself to a dust bath in relief of the heat of the midday sun. A true master of colour, Shepherd most wonderfully represents the bright orange hue of the African dust in which these animals delight.

In a rare departure from his typically favoured subject matter of African wildlife, in 2006 Shepherd painted this work depicting a giant panda gracefully perched among the verdant branches of a towering tree in the Wolong National Nature Reserve. The intricate detailing in Shepherd’s brushstrokes brings the panda to life, from the distinctive black-and-white fur to the subtle nuances of its expressive eyes. The reserve, based in Wenchuan County in China, was established in 1963 and later became a UNESCO World Heritage Site in the same year that this work was made. It is home to some 150 wild giant pandas and has played a large part in the reclassification of giant pandas from ‘endangered’ to ‘vulnerable’. As an artist dedicated to wildlife conservation, Shepherd’s Wolong Panda goes beyond the canvas, acting as a poignant reminder of the importance of preserving the habitats that sustain these iconic creatures.

Wolong Panda Painted in 2006 Oil on Canvas 66 x 51 cms / 26" x 20" £69,000

Family at Rest Painted in 1989 Oil on Canvas 46 x 66 cms / 18" x 26" £49,500

First Steps Painted in 1993 Oil on Canvas 30 x 51 cms / 12" x 20" £25,000

Majestic Elephant Oil on Canvas 20 x 28 cms / 8” x 11” £30,000

Some Serengeti Notes Painted in 1989 Oil on Canvas 56 x 112 cms / 22” x 44” £59,500

All pencil drawings and sketches by David Shepherd p.17 - Sketch of The Ranthambhore Tiger illustrated in David Shepherd An Artist in Conservation, 1992 (p.16) p.21 - Sketch for The Ivory is Theirs illustrated in David Shepherd An Artist in Conservation, 1992 (p.24) p.28 – Final Sketch for The Ivory is Theirs illustrated in David Shepherd An Artist in Conservation, 1992 (p.73) p.15 – Sketch of a young Zebra illustrated in Brenda Howley, Painting with David Shepherd, his Unique Studio Secrets Revealed, 2004 (p.40) p.36 – Sketch of Buffalo illustrated in Brenda Howley, Painting with David Shepherd, his Unique Studio Secrets Revealed, 2004 (p.29) p.52 - Sketch of Lions illustrated in David Shepherd An Artist in Conservation, 1992 (p.43) p.54 – Sketch of Elephant illustrated in David Shepherd An Artist in Conservation, 1992 (p.44)

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