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Latest Aviation Art Releases

 An SAS team is picked up by a U.S. Army Special Forces Blackhawk helicopter after a successful operation against the Taliban.

Extraction - Afghanistan 2011 by David Pentland. (PC)
The Luftwaffe had done everything in its power to pummel London into submission but they failed. By the end of September 1940 their losses were mounting. For weeks since the early days of September, London had been the main target for the Luftwaffe and during that time Luftwaffe High Command had grown increasingly despondent as their losses steadily mounted. Far from being on the brink of collapse RAF Fighter Command, though vastly outnumbered, had shown an incredible resilience. The fighting had reached a dramatic climax on Sunday 15th September when, bloodied and bruised, the Luftwaffe had lost the upper hand on a day of intense combat that had culminated with a humiliating retreat. Almost every day that had passed since then had seen the Luftwaffe do everything in its power to pummel London and regain the initiative, but the daylight raids were becoming increasingly costly. On Friday 27th September, 80 days after the Battle of Britain had officially begun, the Luftwaffe came once more, this time concentrating on the fastest bombers they had - Ju88s and Bf110s. And they came in force, principally targeting London and Bristol. Anthony Saunders' superb painting depicts one of these raids, this time by bombers from KG77 as they head over the Medway Estuary, east of the City of London, in an attempt to attack the capital's warehouses and docks. Among the many units defending the capital that day was 92 Squadron from Biggin Hill and Anthony portrays the Spitfire of Pilot Officer Geoffrey Wellum in his dramatic piece. With a deft flick of the rudder Wellum banks his fighter away to port seconds after sharing in the destruction of a Ju88. It was just one of more than 50 German aircraft destroyed by the RAF during the day.
Decisive Blow by Anthony Saunders.
 Supermarine Spitfire Mk.1As of No.610 (County of Chester) Sqn RAAF, intercept incoming Heinkel 111H-16s of the 9th Staffel, Kampfgeschwader 53 Legion Condor during the big daylight raids on London of August and September 1940 - the climax of the Battle of Britain.  Spitfire N3029 (DW-K) was shot down by a Bf109 on the 5th of September 1940 and crash-landed near Gravesend, Kent, thankfully without injury to Sgt Willcocks, the pilot.  For the record, N3029 was rebuilt and, following some brief flying in the UK, was sent overseas by convoy to the Middle East.  Ironically, the ship carrying this aircraft was torpedoed en route and both ship and all its cargo were lost.

Close Encounter by Ivan Berryman. (PC)
 Two Spitfire Mk1Bs of 92 Squadron patrol the south coast from their temporary base at Ford, here passing over the Needles rocks, Isle of Wight, in the Spring of 1942.

In Them We Trust by Ivan Berryman. (PC)

Latest Naval Art Releases

 In January 1941, the young Mario Arillo was appointed the rank of Lieutenant Commander, placed in charge of the Regia Marina's submarine <i>Ambra</i> and was dispatched to the Mediterranean to help disrupt supplies to the Allied forces.  In May of that same year, Arillo attacked the British Dido Class Cruiser <i>HMS Bonaventure</i>, and Destroyers <i>HMS Hereward</i> and <i>HMS Stuart</i>, south of Crete, en route from Alexandria, the cruiser <i>Bonaventure</i> being sunk with great loss of life.  The <i>Ambra</i> is depicted here in a calmer moment, two of her crew scanning the horizon for 'business'.

Hunter's Dusk by Ivan Berryman. (PC)
 Under the command of Gianfranco Gazzana-Priaroggia, the Regia Marina submarine Leonardo da Vinci was to become the most successful non-German submarine of World War Two.  On 21st April 1943, she encountered the liberty ship SS John Drayton which was returning, unladen, to Capetown from Bahrain and put two torpedoes into her before surfacing to finish her off with shells.  The deadly reign of terror wrought by the combination of Gazzana-Priaroggia and his submarine came to an end just one month later when the Leonardo da Vinci was sunk by HMS Active and HMS Ness off Cape Finistere.

Scourge of the Deep - Leonardo da Vinci by Ivan Berryman. (PC)
 Sitting menacingly at a depth of 15 metres below the surface, just 2 km outside the heavily defended harbour of Alexandria, the Italian submarine Scire is shown releasing her three manned torpedoes, or <i>Maiali</i>, at the outset of their daring raid in which the British battleships HMS Queen Elizabeth and HMS Valiant and a tanker, were severely damaged on 3rd December 1941.  All six crew members of the three <i>Maiali</i> survived the mission, but all were captured and taken prisoner.  Luigi Durand de la Penne and Emilio Bianchi can be seen moving away aboard 221, whilst Vincenzo Martellotta and Mario Marino (222) carry out systems checks.  Antonio Marceglia and Spartaco Schergat, on 223, are heading away at the top of the picture.

Assault from the Deep by Ivan Berryman. (PC)
 A Type VIIC U-Boat slips quietly toward the open sea from her pen at Lorient, France in 1942.

Dawn Departure by Ivan Berryman. (PC)

Latest Military Art Releases



The Charge of the Scots Greys at Waterloo - Sgt Ewart Captures the French Eagle by Jason Askew. (PC)


The Inniskillings at Waterloo by Jason Askew. (PC)
 The Battle of Aliwal was fought on 28th January 1846 between the British and the Sikhs.  The British were led by Sir Harry Smith, while the Sikhs were led by Ranjodh Singh Majithia.  The British won a victory which is sometimes regarded as the turning point of the First Anglo-Sikh War.  The Sikhs had occupied a position 4 miles (6.4 km) long, which ran along a ridge between the villages of Aliwal, on the Sutlej, and Bhundri.  The Sutlej ran close to their rear for the entire length of their line, making it difficult for them to manoeuvre and also potentially disastrous if they were forced to retreat.  After the initial artillery salvoes, Smith determined that Aliwal was the Sikh weak point.  He sent two of his four infantry brigades to capture the village, from where they could enfilade the Sikh centre.  They seized the village, and began pressing forwards to threaten the fords across the Sutlej.  As the Sikhs tried to swing back their left, pivoting on Bhundri, some of their cavalry tried to threaten the open British left flank.  A British and Indian cavalry brigade, led by the 16th Lancers, charged and dispersed them.  The 16th Lancers then attacked a large body of Sikh infantry.  These were battalions organised and trained in contemporary European fashion by Neapolitan mercenary, Paolo Di Avitabile.  They formed square to receive cavalry, as most European armies did.  Nevertheless, the 16th Lancers broke them, with heavy casualties.  The infantry in the Sikh centre tried to defend a nullah (dry stream bed), but were enfiladed and forced into the open by a Bengal infantry regiment, and then cut down by fire from Smith's batteries of Bengal Horse Artillery.  Unlike most of the battles of both Anglo-Sikh Wars, when the Sikhs at Aliwal began to retreat, the retreat quickly turned into a disorderly rout across the fords.  Most of the Sikh guns were abandoned, either on the river bank or in the fords, along with all baggage, tents and supplies.  They lost 2,000 men and 67 guns. <i><br><br>Comment from the artist, Jason Askew.</i><br><br>This painting shows the extremely violent and brutal clash between British cavalry (16th Lancers) and Sikh infantry at the battle of Aliwal.  The Sikh infantry formed 2 triangles, a version of the famous Allied/British squares used at Waterloo, but the Sikhs, after firing a ragged volley at the attacking horsemen, dropped their muskets and assaulted the cavalry with their traditional Tulwars (sabres) and dhal shields.  These shields are also used offensively, to punch, and to slice with the edge.  Although the British horsemen claimed a victory as they felt they successfully dispersed the Sikh triangles, and forced the Sikh infantry to retreat to the nullah (dry stream bed) in the Sikh rear, this opinion is open to debate.  The Sikhs traditionally fought in loose formations, with tulwar and shield-taking full advantage of their abilities as swordsmen, blades being weapons with which the Sikhs are particularly skilled in the use of.  The Sikhs actually inflicted more casualties on the 16th Lancers than the lancers inflicted on the Sikh infantry.  British eye witnesses spoke of the sight of the grotesquely swollen and distorted dead bodies of men and horses of the Her Majesty's 16th Lancers, stinking in the sun and littering the ground at Aliwal - testimony to the progress of their charge.  The regiment lost 27% of effectives out of a total strength of over 400 effectives.  The lancers were dreadfully hacked about, many being cruelly maimed for life, losing hands and limbs to the slashing strokes of the Sikh blades.  The Sikhs had no compassion for the cavalry horses either - many of the poor animals (over 100 by some accounts) had to be shot, due to having their legs hacked clean off, or being literally disemboweled by Sikh Tulwars.  In the painting, the central figure with the wizard-shaped Turban, is in fact an Akali - a sect of extremely religious Sikhs, who disdained the use of armour, and often fought to the death with a fanatical and suicidal devotion.

The Battle of Aliwal by Jason Askew. (PC)
 The Battle at Rorke's Drift, also known as the Defence of Rorke's Drift, was an action in the Anglo-Zulu War.  The defence of the mission station of Rorke's Drift, under the command of Lieutenant John Chard of the Royal Engineers, immediately followed the British Army's defeat at the Battle of Isandlwana on 22nd January 1879, and continued into the following day, 23rd January.  150 British and colonial troops successfully defended the garrison against an intense assault by approximately 2000 Zulu warriors.  The intense and noisy Zulu attacks on Rorke's Drift came very close to defeating the tiny garrison, but were ultimately repelled by blasts of Martini-Henry rifle fire-and some smart bayonet work-with  some guts behind the bayonet thrusts!  Eleven Victoria Crosses were awarded to the defenders, along with a number of other decorations and honours.  Of particular note in the painting is the dog 'Pip' - he survived Isandlwhana by retreating along the fugitive's trail to Rorke's Drift.  During the Zulu attacks on Rorke's drift, Pip did his part in the defence - by jumping on the mealie bag parapets and barking at Zulus- who were hiding in the long grass and sneaking up to the defences, then biting any Zulu who came within range.  Unfortunately Pip was not officially recognised for his part in the action.  He was not awarded a VC, on the basis that he was a volunteer canine that accompanied an officer, rather than a War Office issued canine.  Conversely, if Pip had been killed, then he would not have been officially listed as a casualty, as he accompanied the army in a strictly private capacity.  British army horses were in a different category as they were War Office issue, therefore the loss of a horse in action, or to disease, carried a financial liability for the War Office.

The Defence of Rorke's Drift by Jason Askew. (PC)

Latest Sport Art Releases



Pride of Lions 1997 by Keith Fearon. (AP)
One of the most enthralling Test series in history unfolded during the summer of 1998 between England and South Africa.  Led by new captain Alec Stewart, England entered the series with renewed optimism.  Following a rain affected 1st Test which England were unlucky not to win and defeat in the 2nd, England looked to heading towards defeat as wickets tumbled on the final day of the 3rd Test at Old Trafford.  As Robert Croft entered the fray, nobody could have envisaged the magnificent rearguard action about to unfold.  After three and a half hours at the crease with the help of sterling support from Darren Gough and Angus Fraser in an unbelievably tense last over, England's tailenders managed to hang on to fight another day.  England buoyed by a welcome return to form by eventual man of the series Mike Atherton, who amassed 493 runs at an average of 54.78 and the drea attack of Fraser, Cork and Gough, levelled the series in the 4th Test at Trent Bridge with Gus Fraser finishing with figures of 10 for 122.  Everything was set up for a dramatic finish at Headingley on a pitch notorious for producing results.  With the match fairly even England's bowlers destroyed the South African openers in their second innings to create a seemingly invincible position until Jonry Rhodes and Brian McMillan staged a dramatic fightback.  It was left to local hero Darren Gough to clinch the game on the final morning leaving the South Africans tantalisingly short and giving England their first major series win in twelve years.

The Vital Wicket by Keith Fearon.

Victory in Valderrama by Keith Fearon. (AP)


Breaking Through by Keith Fearon.
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