Dale Gallon’s panoramic artwork gives collectors a wider view of history. These pieces are designed to capture sweeping battlefield scenes, broad landscapes and moments where the full setting is as important as the figures within it.
The Panoramics Collection brings together some of Dale’s widest Civil War compositions, including scenes from Gettysburg, Fredericksburg and the Shenandoah Valley. Many of these works show large battlefield movements, command decisions and landmark locations that shaped the course of the war.
These panoramic works are available as unframed and framed Limited Edition Prints, as well as Mini, Medium and Large Giclée options.
Near Miss – Chamberlain on Little Round Top
Near Miss – Chamberlain on Little Round Top captures a tense moment during the defense of Little Round Top at Gettysburg. The painting focuses on Colonel Joshua Chamberlain of the 20th Maine and Lieutenant Robert Wicker of the 15th Alabama during the desperate fighting on July 2, 1863. Dale presents the scene as a close-range encounter, centered on the uncertainty of whether Wicker’s shot missed or his weapon failed.
Release year: 2026
“This is a question that has always fascinated me—Did Lt. Robert Wicker’s gun misfire or did he miss? Chamberlain, in his memoirs written years later, said he missed. My painting ‘Near Miss’ shows this. For me, Chamberlain’s account is a compelling source.”
Sharpshooters at The Slyder Farm
Sharpshooters at The Slyder Farm shows the Second United States Sharpshooters, also known as Berdan’s Sharpshooters, slowing the advance of Hood’s Division near the Slyder Farm at Gettysburg on July 2, 1863. The scene places the viewer near one of the battlefield’s recognizable farm locations, where the terrain and buildings became part of the fighting. Dale’s panoramic format allows the viewer to see both the sharpshooters and the landscape they used to delay the Confederate advance.
Release Year: 2018
“I have painted the Greencoats before in Breechloaders and Greencoats and in A Good Shot, but I was drawn to paint yet another image of these brave men. This painting shows clearly the Slyder Farm which is one of the most interesting spots for visitors to visit on the Gettysburg Battlefield.”
Pickett’s Charge – Gettysburg 150th Anniversary
Pickett’s Charge – Gettysburg 150th Anniversary commemorates one of the defining moments of the Battle of Gettysburg. The painting shows Lt. Alonzo Cushing firing canister at Garnett’s Brigade of Pickett’s Division during the Confederate assault on July 3, 1863. As a panoramic scene, it captures both the intensity of the action and the larger scale of the attack across the open fields toward the Union center.
Release Year: 2013
“This painting commemorates the 150th Anniversary of the calamity that was Gettysburg. It is dedicated to the memory and the sacrifices of the brave men and women from North and South who were fighting for a cause. They should all be honored and remembered forever.”
Railroad Cut
Railroad Cut depicts the 6th Wisconsin Volunteer Infantry charging the 2nd Mississippi Volunteer Infantry during the first day of the Battle of Gettysburg. The abandoned railroad cut became a dangerous and dramatic position as Confederate troops sought shelter there and Union forces moved to capture them. Dale’s composition emphasizes the movement of the charge and the tension of fighting in and around this unusual battlefield feature.
Release Year: 2003
The unfinished railroad cut was a key location during the fighting on July 1, 1863, and Union reports credited the 6th Wisconsin and supporting regiments with helping capture Confederate troops there.
Texas Pride
Texas Pride shows elements of the 4th and 5th Texas Infantry Regiments assaulting the extreme left of the Union line at Little Round Top on July 2, 1863. The Texas troops were part of the fierce Confederate effort to turn the Union flank during the second day at Gettysburg. The panoramic format gives the scene the space needed to show the terrain, the pressure of the advance and the scale of the fighting near Little Round Top.
Release Year: 2003
According to the National Park Service, only two infantry regiments from Hood’s Texas Brigade reached the southwestern slope of Little Round Top, and their attacks were unsuccessful in capturing that portion of the hill.
What are your Orders?
What are your Orders? shows Colonel Strong Vincent at the eastern edge of the Wheatfield on July 2, 1863. In the scene, Vincent meets a courier from Corps Commander Major General George Sykes and makes the decision to move his brigade toward Little Round Top. The painting captures a moment of battlefield judgment before one of the most important defensive actions at Gettysburg.
Release Year: 2002
Strong Vincent is closely associated with the defense of Little Round Top, where his brigade fought desperately on July 2, 1863; the action would cost Vincent his life.
20th Maine & 15th Alabama
20th Maine & 15th Alabama depicts Colonel Joshua Chamberlain and the 20th Maine defending the left of the Union line on Little Round Top. Opposing them were troops including Colonel William Oates and the 15th Alabama, whose repeated assaults tested the Union flank. The wide composition allows Dale to show both the rugged terrain and the pressure of the Confederate attack.
Release Year: 2001
The National Park Service notes that the 20th Maine was ordered to the extreme left of the Union line on Little Round Top and fought the 15th and 47th Alabama before launching its famous downhill bayonet charge.
Confederate Glory
Confederate Glory shows Brigadier General Richard Garnett leading his brigade of Pickett’s Division during the attack on the Union center at Gettysburg on July 3, 1863. The 69th Pennsylvania and the guns of Cushing’s battery are visible within the scene, placing the viewer near the heart of the fighting. Dale’s panoramic approach gives the charge a broad battlefield sweep while still focusing on Garnett’s advance.
Release Year: 2001
Pickett’s Charge was the major Confederate assault on the final day at Gettysburg, and the National Park Service describes Longstreet as approving the attack under Lee’s orders despite his own reservations.
Sad Day to Us
Sad Day to Us shows General Robert E. Lee returning to his headquarters at Gettysburg in the early morning hours of July 4, 1863. The painting takes place after the failure of the July 3 assault, presenting a quiet and weary moment rather than the action of battle. In panoramic form, the scene gives space to the atmosphere surrounding Lee and the emotional weight of the previous day.
Release Year: 2000
Gettysburg was fought July 1–3, 1863, and the National Park Service describes it as the bloodiest battle of the Civil War, ending Lee’s hopes for a successful invasion of the North.
Expecting a Battle
Expecting a Battle is set at Meade’s Headquarters in Gettysburg on July 2, 1863. The painting shows Major General George G. Meade, commander of the Army of the Potomac, speaking with Major General Winfield S. Hancock of the Second Corps as fighting begins on the Union left. Commissioned by the Friends of the National Parks at Gettysburg, the piece focuses on leadership and command during a critical phase of the battle.
Release Year: 1999
The second day at Gettysburg saw fierce fighting on the Union left, including the Wheatfield, Peach Orchard, Devil’s Den and Little Round Top.
Old Pete
Old Pete shows Confederate General James Longstreet surveying Union defenses just prior to Pickett’s Charge on July 3, 1863. The title refers to Longstreet’s well-known nickname, and the scene places him just east of Seminary Ridge as the Confederate army prepares for its final major assault at Gettysburg. The panoramic format gives the moment a sense of distance, reflection and battlefield scale.
Release Year: 1998
The National Park Service describes Longstreet as one of Lee’s most trusted corps commanders and notes that he was in charge of the main Confederate attack on the final day at Gettysburg, though he did not believe it would succeed.
Essayons: Engineers at Fredericksburg
Essayons: Engineers at Fredericksburg depicts soldiers of the 50th New York Engineers attempting to complete a pontoon bridge across the Rappahannock River under fire. The scene is set on December 11, 1862, during the opening phase of the Battle of Fredericksburg. Dale’s panoramic composition highlights both the exposed engineers and the dangerous river crossing they were ordered to complete.
Release Year: 1996
The National Park Service notes that Union engineers moved to the riverbank in the foggy pre-dawn hours of December 11 and began laying pontoon bridges across the Rappahannock.
Hood’s Protest
Hood’s Protest shows Major General John Bell Hood conferring with Lieutenant General James Longstreet about a flank attack on Little Round Top at Gettysburg. Set on July 2, 1863, the painting focuses on command discussion before the Confederate assault against the Union left. The wide layout gives the scene room to show both the officers and the terrain that made the coming attack so difficult.
Release Year: 1995
Little Round Top was an important observation point, artillery platform and defensive position; the National Park Service notes that fierce fighting for its control took place on the afternoon of July 2, 1863.
Lord of the Valley
Lord of the Valley is set in the Shenandoah Valley on May 20, 1862. Along the Valley Pike just south of New Market, Brigadier General Richard Taylor reports to Major General Thomas J. “Stonewall” Jackson before the next phase of Jackson’s Valley Campaign. Commissioned by the Virginia Military Institute Alumni Association, the painting uses the panoramic format to show both the military figures and the broad valley setting.
Release Year: 1993
During the Valley Campaign, Jackson used the geography of the Shenandoah Valley to move quickly and strike Federal forces; the National Park Service notes that Jackson reached New Market on May 21, 1862 before moving toward Front Royal.
Little Round Top and The Valley of Death
Little Round Top and The Valley of Death shows Federals and Confederates clashing from Houck’s Ridge, through the Valley of Plum Run, to the slopes of Little Round Top. The painting captures one of the most violent and contested areas of the Gettysburg battlefield on July 2, 1863. Dale’s wide composition helps show how several familiar battlefield landmarks were connected within the same desperate struggle.
Release Year: 1992
The National Park Service describes Little Round Top as the scene of intense fighting on July 2, 1863, with wide views toward many of Gettysburg’s key battlefield locations.
Pride of Erin
Pride of Erin depicts the Irish Brigade in the Wheatfield at Gettysburg on July 2, 1863. At less than fifty yards, Colonel Pat Kelly’s men prepare to fire their first volley into the South Carolinians of Brigadier General Joseph B. Kershaw’s Brigade. The panoramic scene gives weight to the closeness of the fighting and the reputation of one of the Union Army’s most famous brigades.
Release Year: 1992
The National Park Service notes that the Irish Brigade was formed largely from Irish-American regiments and fought in major Army of the Potomac campaigns, suffering heavy losses during the war.
Remember Old Virginia
Remember Old Virginia shows Major General George E. Pickett riding along the line of Brigadier General James L. Kemper’s Brigade before the assault on Cemetery Ridge. Set at Gettysburg on July 3, 1863, the painting remembers the words attributed to Pickett: “Up men, and to your posts! Don’t forget today that you are from Old Virginia!” The panoramic format gives the scene a ceremonial quality before the tragedy of the charge unfolds.
Release Year: 1992
Pickett’s Charge was the major Confederate infantry assault on the Union center on July 3, 1863, and it became one of the most remembered actions of the Battle of Gettysburg.
Dale Gallon’s Panoramic Civil War Artwork
The panoramic format gives Dale Gallon room to show history on a larger scale. These works are especially effective for battlefield scenes where terrain, movement and placement matter to the story. From Little Round Top and the Wheatfield to Pickett’s Charge and Fredericksburg, each piece invites the viewer to study both the people and the landscape around them.
Collectors who are drawn to Civil War history often appreciate these pieces for the way they combine detail, drama and setting. They are not simply wider images; they are wider historical moments, carefully composed to show how people, places and decisions came together on the battlefield.
