Charge of the Red Lancers

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The Charge of the Red Lancers on Mercer's Troop of Royal Horse Artillery

Waterloo - 18th June 1815. The Red Lancers made five separate attempts on the allied squares and batteries suffering heavy casualties but failing to break either. Mercers artillery troop would not retire and served their guns continuously regardless of repeated  attack.

The Charge of the Red Lancers on Mercers Troop of Royal Horse Artillery by Chris Collingwood.

Waterloo - 18th June 1815. The Red Lancers made five separate attempts on the allied squares and batteries suffering heavy casualties but failing to break either. Mercers artillery troop would not retire and served their guns continuously regardless of repeated  attack.

Signed limited edition to 1150 prints. Size 25.5 inches x 17 inches (65cm x 43cm). Price £70.00


Limited edition of 50 artist proofs. Size 25.5 inches x 17 inches (65cm x 43cm). Price £115.00


Limited edition of up to 50 giclee canvas prints. Size 40 inches x 26 inches (102cm x 66cm). Price £565.00


Limited edition of up to 50 giclee canvas prints. Size 36 inches x 24 inches (91cm x 61cm). Price £500.00


Limited edition of up to 50 giclee canvas prints. Size 30 inches x 20 inches (76cm x 51cm). Price £400.00


Original painting, oil on canvas by Chris Collingwood.  Size 40 inches x 30 inches (102cm x 76cm). Price £

ITEM CODE DHM1857

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Chris Collingwood

Chris Collingwood

Chris has produced a wealth of impressive paintings from the Napoleonic War, American Civil War, English Civil War, and a variety of Portraits of Great Military Leaders, He also has produced superb paintings of Pirates, a particular favourite of his. Chris studied at Berkshire College of Art 1966 - 1970 and then worked for Halas and Batchelor as a background artist. In the golden age of book cover illustration Chris made the Gunslinger, Crow and Herne series his own. To this day the shelves of high street booksellers are full of his work. Perhaps his best known popular pieces are in the now famous Jorvik Centres paintings which form the focus of the exhibitions promotion and won a travel industry award. In recent years his best work has been paintings, such as SPQR, Anne Bonny, Mary Reid and Calico Jack Rakam and Blackbeard in Damnation Seize My Soul. His super realistic style, using oils, brilliantly reflects the techniques, passion and depth of the old masters. He has a particular love of portraiture, which his portraits of Wellington and William of Orange certainly reflect, along with others from the English Civil War, his love of the subject. He is also fascinated by the awful romance of weaponry and war. Chris uses traditional Dutch paints made today, as in 1664, and is meticulous in his research and attention to detail, so scarce in our modern throw away society. Sir Anthony Van Dyke, William Dobson, Sir Peter Lely and Fortunio Matania played a vital part in his formative years. He also is much influenced by Meissonier and De Neuville.

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The Charge of the Red Lancers on Mercer's Troop of Royal Horse Artillery - Battle

Battle of Waterloo
Battle of Waterloo

On February 26th 1815, barely ten months after the end of the Peninsular War, Napoleon sailed from Elba to bring about the end of his brief period of exile. It was the beginning of the final, momentous chapter of the Napoleonic Wars that would culminate in the great battle of Waterloo and Napoleon's final downfall. The campaign was also to result in a head to head between the two great commanders of the age, Wellington and Napoleon, two men who had yet to face each other in battle.

Napoleon landed in France on March 1st and entered Paris on March 20th. He immediately set to work raising an army, the so-called Army of the North which, by the time of the Waterloo campaign consisted of 125,000 men. Facing Napoleon were the armies of the Seventh Coalition - it had declared Napoleon `an enemy and disturber of the world' - which numbered as many as 800,000 men. But of the various armies opposed to him it would be the Anglo-Dutch army, under Wellington, and Marshal Blucher's Army of the Lower Rhine that would be the object of Napoleon's thrust in June 1815.

Wellington's Anglo-Dutch army was a marked contrast to that which had triumphed in the Peninsula, that particular army having been dispersed and scattered around the world, mainly to America, and only a handful of his Peninsular regiments would be present with him at Waterloo. Many of these were already in Holland having served with Sir Thomas Graham's force which had taken part in the campaign against Bergen-op-Zoom in 1813 and 1814. In fact, only 34,000 of the 100,000 troops under Wellington were British, the rest being Germans, Hanoverians and Brunswickers, all good troops, and a large contingent of Nassauers, Dutch and Belgians. It was, as Wellington was moved to write, `an infamous army, very weak and ill-equipped.' His staff was very inexperienced, although he did have several `old heads' from the Peninsula, such as Hill, Picton, Alten, Kempt, Pack and Somerset. He also had the services of the Earl of Uxbridge as commander of the Allied cavalry. Uxbridge had eloped with the latter's sister-in-law early on in the Peninsular campaign and following the Corunna campaign of 1808-09 saw no further service. As a result of this the British cavalry in the Peninsula was deprived of the only real cavalry commander the British Army possessed. Nevertheless, old differences having been settled, Uxbridge was to lead the cavalry with distinction during the Waterloo campaign.

On June 15th 1815 Napoleon's army crossed the Sambre, catching Wellington, who was dancing the night away with his officers at the now-famous ball, given by the Duchess of Richmond, by surprise. His army had concentrated to the south of Brussels with Blucher's Prussians on its left. Napoleon's plan was to drive a wedge between the two and fight each army separately. It was vital, therefore, to prevent co-operation between the two and on June 16th the two battles designed to ensure this were fought. At Ligny, Napoleon himself attacked Blucher and gave him a severe mauling while Ney, with about 42,000 men, attacked Wellington at the crossroads at Quatre Bras. The end result of a day of hard, confused fighting was that Blucher, having been forced to retreat north, in turn forced Wellington to withdraw in the same direction, marching parallel with the Prussians and keeping in close contact with them throughout.



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Art and aviation have been like a brother and sister to me. We have grown up together, learned together and made our adult lives together. But you do not have to have an appreciation of aircraft to admire the graceful lines of a Spitfire or the functional simplicity of a Focke-Wulf 190. They are themselves a work of art and they cry out to be painted - not as machines of war and destruction, but as objects of beauty, born of necessity and function, yet given a life and iconic classicism beyond their original calling. My interest and love of art and aircraft was gifted to me by my father, a designer and aeronautical engineer of considerable repute. Denis Berryman C.Eng. FRAeS. He gave me his eyes, his passion, his dedication and his unwavering professionalism. I owe him everything. And I miss him terribly. A love of art and of beautiful and interesting things takes you on a journey. You discover new interests, new fascinations, and you want to paint them. You want to paint them in their environment, in their element. Whether it is an aeroplane, a warship, a racing car or a beautiful woman, their gift to an artist is the same: Their lines, their texture and the way that light and shadows give them form. These are the food and oxygen of an artist. Not the paint and the canvas. These are mere tools. The secret is in the passion and the perception...

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This superb new collection of aviation art shows may of the famous events of the raids, but also shows some of the lesser known aircraft and details - the bomber that was so low that the tallboy bomb was ripped from the aircraft by a high wave (above), or the below treetop route to the target taken by one of the bombers, or the trains that were shot up by the gunners of the Lancasters on their way to the dams.

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