John Gifford

Scottish Keeper’s Pony and Hunting Dogs

19th century

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

Oil painting of horses and hounds set on a country road, this is a contemporary 20th century landscape painting in excellent condition. The color is c...

Late 19th/early 20th century oil on canvas painting in the manner of Abraham Hulk the Younger (1851-1922), this painting was acquired by Saltire Gallerie with a larger painting signed by Hulk the Younger, (just SOLD). Presented in a period decorative gilt frame, the painting is of a cottage in a woodland with cattle by a pond, a little black dog and man and a woman standing by. In the distance is a glimpse of a river and grasses, framed by trees and an overcast sky. Hulk is renowned for his treatment of the changing season from summer to autumn, and the golden leaves and fading greens in this painting suggest this changing time of year. Hulk is the son of a well known Dutch maritime...

Fine landscape painting, oil on canvas of Snowdonia Wales by 19th century British artist Thomas Huson. Signed by artist in lower left, Thomas Huson RI (Royal Institute of Oil Painte...

Known for his Highland landscape paintings, Garland was well regarded among his peers presenting work in the Royal Academy, Royal Society of British Artists, and British Institution. Signed by the artist on the lower left corner, and dated 1876 (verso), this painting dates to Garland's successful mid-career period, flourishing from 1854 when he won a medal for 'Best Drawing from the Life' to 1900. From a private collection, this work is presented in a monumental period gilt frame. Garland's work has been presented in London and UK, sold in galleries and in prominent auction houses. Oil on canvas, this painting has cloudy mountain views, gleaming silver river, and Highland cattle in the foreground and background, with figure and herding dog in the distance. Garland is renowned for this genre of plein art...

Master painter of this genre, George Armfield is renowned for his depictions of dogs in the chase. Here a pheasant sails safely above their heads, while the dogs enjoy the chase belo...

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...

"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...

A bay hunter and a black and white short haired dog (possibly a bull terrier) in an extensive English landscape. a rustic barn in the near distance. Indistinctly signed 'Br...' and d...

"Touch it if you dare!" English artist, signed and dated 1927 oil on canvas, framed framed: 25 x 31 inches canvas: 18 x 24 inches provenance: private collection, England condition: v...

This fine mid-19th-century oil painting by British artist Edmund Bristow (1787-1876) depicts a farmhouse with a saddled white mare taking water while a cockerel looks on. An older ma...

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...