Herbert Reginald Gallop

Herbert Reginald Gallop (Born:1890-Died:1958, Ryde, NSW)

A talented painter and etcher, Gallop was born in Gunning NSW. He was initially apprenticed to a signwriter and display artist.

He went on to study at the Sydney art school under Julian Ashton. His work was good enough to exhibit at the Royal Art Society by the age of 19.

He served during the WW1  along side other artists, Adrian Feint, Norman lloyd, and H.G. Gibbons. This quartette founded the ‘The Younger Group of Australian Artists’ in 1924.

The H R Gallop Gallery in Wagga Wagga presented a retrospective exhibition of his work in 1990.

Gallop’s work is held in the NSW Art Gallery, Queensland Art Gallery, National Gallery of Australia, National Gallery of Victoria, National Library of Australia and many distinguished private collections.

The following is an article about H R Gallop’s Landscape paintings: 

H. R. Gallop’s Landscapes | Sydney Mail, Wednesday 18th July 1928

It is some few years since H. R. Gallop, then a scarcely-known beginner, caught the attention of picture-lovers with an exhibition in Sydney, though he has had during that interval successful shows both in Adelaide and Melbourne. His present exhibition of oil paintings at the Grosvenor Galleries is the fruit mainly of excursions within the last year in the Kangaroo Valley district and round about the Cambewarra Mountain, down the South Coast, besides some landscapes and scenes near Sydney.

All of this work, done on the spot in the open, is instinct with life and colour. To be sure, the colour is often- exuberant. The artist in his enthusiastic acceptance of Nature’s marvels tends to apply his pigments with too lavish a hand. Consequently there is sometimes an effect of rawness. Still, this excess indicates a phase of the artists’ development, which is by no means unhealthy. Timidity in the use of colour is not to be commended. Rather one may say that the realistic painter who has learnt the full range of his palette can then be expected to use it temperately, to suggest instead of attempting to expound his meaning, and to refrain from the impossible, though alluring, task of out rivalling Nature’s bravery.

Mr.Gallop comes honestly to grips with the variety of problems he sets himself, and the results in not a few instances are both striking and attractive. ‘The Sunbaked Ridge’ of the Kangaroo Valley district, showing a felled tree in the foreground against a stretch of red soil reaching to a purple line of hills in the distance, and a green-lighted sky, is a bold success. So also is the vigorous painting ‘The Jinker,’ a roadside scene round Pennant Hills of a man and timber wagon under a full spreading green tree. ‘Re-flections’ is an interesting composition of pinky-grey clouds mirrored in the expanse of water between the belching chimneystacks on the further shore and the picnickers grouped in the foreground. ‘The Ferry’ has a pleasantly Whistlerish touch in its sandy strand dotted with small, brightly-clad figures. And ‘Cremorne Point,’ a study in grey and blue, has among the more robust paintings around it, a quiet charm of its own.

On the other hand, the harbour views shown — ‘Middle Harbour,’ ‘Harbour Foreshore,’ ‘The Spit,’ and ‘The Bridge from McMahon’s Point’ — affect one as excessively ultramarine. This painter has been attracted, like many others, by the building of the bridge. He gives two satisfactory views of it, ‘Near Milson’s Point’ and ‘New Miller’s Point,’ besides the one already mentioned. The bold masses rising from the water, with the contrasting dark slenderness of the metal girders overhead, make an understandable appeal to an artist. One wonders what their effect on the generality will be when presently the huge pylons and the completed arch appear to fill the sky. ‘A Nor’-Easter,’ in which deep waves whipped to whiteness are dashing over brown and purple-grey rock, is strong; and ‘Flame Trees,’ though somewhat sensational in colour, has much interest. But in ‘Sunlit Farm,’ apparently under an evening glow, the colour is almost a riot, nor does the more subdued ‘Harmony in Grey’ convince the spectator of its truth. Several of the views down the South Coast remind one, purely because of a certain similarity of subject and composition in a wide vista of rolling country seen from a height, of Gruner’s Valley of the Tweed.’ These canvases will perhaps be found by the majority the most successful of all.

In the two pictures ‘From Cambewarra’ and ‘Nowra from Cambewarra,’ an almost identical view, there is an interesting contrast in the colours, due to the fact that the first was painted before and the second after rain. ‘Kangaroo Valley,’ the second picture of that title, is a pastoral scene of prosperous peace. In it there are trees following the course of the winding stream along the valley bottom, and cattle dotted about on the sward amidst patches of shade— BEATRICE TILDESLEY.