One-man and small group shows:
- London: Goupil Galleries, 1899
- Boston: Vose Galleries, 1903
- New York: Durand-Ruel, 1904
- London: Carfax Gallery, February 1908
- Paris: Durand-Ruel, March, 1908
- London: Goupil Galleries, March / April, 1911
- London: Fine Art Society, May / June, 1913
- London: The Leicester Galleries, April / May, 1919
- New York: Durand-Ruel, 1921
- Boston: Vose Galleries, January, 1922
- London: The Goupil Galleries, April / May, 1925
- New York: Duveen, ‘New York British Artists’ Exhibition’
- London: Barbizon House, May / June, 1930
- London: Knoedler and co., Retrospective, May, 1935
- Salisbury: School of Arts and Crafts, ‘Memorial Exhibition’, 1956, March / April
- London: Messum’s, Wilfrid Gabriel de Glehn RA, (1870-1951), 1988
- New York: Borghi and co., Wilfrid de Glehn, 1870-1951: “A Day in the Country”: A Retrospective, November 1988—January 1989
- London: Messum’s, Wilfrid Gabriel de Glehn RA, (1870-1951): A Collection of 25 oil paintings, October 1989
- New York: Hirschl & Adler Galleries, Inc., Wilfrid-Gabriel de Glehn (1870-1951): Paintings and Watercolours, 1989
- London: Messum’s, New World Sympathies: The American Connection, 1992
- London: Messum’s, The American Connection: Paintings by Wilfrid and Jane de Glehn, November 1994
- New York: Spanierman Gallery, Wilfrid Gabriel de Glehn (1870-1951), John Singer Sargent’s Painting Companion, March 1997
- London: Messum’s, Wilfrid Gabriel de Glehn RA (1870-1951): A Painter’s Journey: An exhibition of sanguine drawings, watercolours and oil paintings, June, 1997
- London: Messum’s, Wilfrid Gabriel de Glehn RA:, John Singer Sargent’s Painting Companion, 1998
- London: Messum’s, Wilfrid Gabriel de Glehn RA,1870-1951: An Exhibition of English Landscape Oil paintings and Watercolours, 2000
- London: Messum’s, Wilfrid Gabriel de Glehn RA, 1870-1951: Drawn to the Female Form, 2001
- London: Messum’s, Wilfrid de Glehn, RA (1870-1951), 2002
André Michel, Salon Review,
Athenaeum, June 13th 1896
... and, without desiring to involve myself in useless enumerations, I may mention a charming portrait of a young girl (602) by Mr Wilfrid Gabriel Glehn.
The Magazine of Art, Review of
The New Gallery, 1901
... none of them challenge the spectator so forcibly as Mr. von Glehn, with a decorative picture which he calls L’Enchantement de la Forêt—a group of statuesque-looking girls under a blue-to-emerald sky, set among trees and rocks and sapphire water, while all around falls the golden red light of the setting sun.
The Connoisseur, Review of the
1914 NEAC show
A couple of decorative pictures by Mr W. G. von Glehn, The Crowning of Venus and The Garden, are both good examples of the idealistic treatment of the nude, a phase of art to which too little attention has been paid lately. Well composed, animated, bright and buoyant in tone, they show that it is possible to adopt classical conventions without being conventional.
The Times, April 12, 1919
Captain de Glehn enjoys himself thoroughly in his watercolours of Paris, Versailles, & co. For him there is nothing but the vivid moment… we feel the strength and delicacy of form through all the flashes and washes of colour.
The Times, May 31, 1930
His paintings of the nude…have an attractive, sensuous quality, warm and at the same time blithe and innocent.
Duveen to Wilfrid de Glehn,
1st June, 1935
Wherever I looked, whether portraits or landscapes, I felt a sense of freshness and pleasure and was more than ever impressed by the versatility of your masterly work.
Mr. Robert Sherwood, Obituary,
The Times, 1951
In him was embodied the internationalism of friendship and of art which knows no boundaries.