Opposing Generals of Horse

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Opposing Generals of Horse - Battle of Marston Moor

Portraits of Sir Thomas Fairfax and Prince Rupert of the Rhine. Sir Thomas Fairfax (1612-71) Captain general of the Parliamentary New Model Army and his opponent Prince Rupert of the Rhine (1619-82) nephew of King Charles 1st and general of Royalist Horse. Centre section of the painting depicts cavalry engagement during the battle of Marston Moor.

Opposing Generals of Horse - Battle of Marston Moor by Chris Collingwood.

Portraits of Sir Thomas Fairfax and Prince Rupert of the Rhine. Sir Thomas Fairfax (1612-71) Captain general of the Parliamentary New Model Army and his opponent Prince Rupert of the Rhine (1619-82) nephew of King Charles 1st and general of Royalist Horse. Centre section of the painting depicts cavalry engagement during the battle of Marston Moor.

Signed limited edition of 1150 prints. Image size 25 inches x 16 inches (64cm x 41cm). Price £90.00


Limited edition of 50 artist proofs. Image size 25 inches x 16 inches (64cm x 41cm). Price £125.00


Limited edition of 50 giclee canvas prints. Image size 40 inches x 30 inches (102cm x 76cm). Price £590.00


Limited edition of 50 giclee canvas prints. Size 36 inches x 26 inches (91cm x 66cm). Price £500.00


Original painting by Chris Collingwood. Image size 40 inches x 30 inches (102cm x 76cm). Price £7000.00


**Signed limited edition of 1150 prints. (Two copies reduced to clear) Image size 25 inches x 16 inches (64cm x 41cm). Price £50.00

ITEM CODE DHM1100

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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.

View the profile page of Chris Collingwood

Opposing Generals of Horse - Battle of Marston Moor - Battle

Battle of Marston Moor
Marston Moor

The battle of Marston Moor, July 2nd, 1644, is considered by many to be the most important of all the battles of the Great Rebellion.

In the first place, the number of troops engaged in it was greater than in any other of the battles. Secondly, it marked the turning point in the fortunes of the Parliamentary party. And thirdly-by assuring the ascendancy of the army of the Eastern Association-that force which later developed into Cromwell’s New Model Army-it inaugurated a new era in British military organisation.

A Gloomy Outlook

At the beginning of the year 1644 the outlook of the parliamentary party was gloomy.

Save only in the Eastern counties, where the roundheads held undisputed sway, and in the Midlands, where the two parties were evenly divided, the Royalist power was everywhere predominant. Sir Ralph Hopton had overrun the country between Cornwall and Hampshire so thoroughly that, except the ports of Plymouth and Portsmouth, the Roundheads retained nothing in the south. The whole of Wales had declared for King Charles; and in the King’s name, also, the Marquis of Newcastle had taken possession of Yorkshire, with the exception of Hull. This town Fairfax held for Parliament.

Thus Charles I was master of two-thirds of the country; and if during the latter part of 1643 he had summoned Hopton and Newcastle to Oxford, and had advanced on London, he might perhaps have ended the war at a blow. He was prevented from doing this owing to the peculiar nature of his armies. Both the Royalists of the west and the Royalists of the north were loath to leave their own districts until they had made a complete end of their local enemies, and in consequence valuable time and money was spent in sieges and minor operations, which, from a military point of view, were unimportant.

Strategically, the siege of Gloucester was undoubtedly a mistake. Nor did the siege of Hull serve any useful purpose; and the Marquis of Newcastle was still sitting down before the walls of that town when, in January, 1644, the Scottish army, which Parliament had persuaded Lord Leven to bring into England, crossed the Border.

The Balance of Power in the North

The coming of the Scots changed the balance of power in the north, and Newcastle, compelled to raise the siege of Hull, hastened towards the Tweed to meet the new enemy, leaving Lord Bellasis with a small detachment to hold Yorkshire. But Newcastle dared not to give battle. Being hopelessly outnumbered, he retreated slowly before the advancing Scots until, when Leven was joined by Fairfax-who in the meanwhile had ventured out of Hull and defeated Bellasis-he was forced to seek refuge in York.

Here, before the end of April, he found himself besieged in the same way that, a few months earlier, he had been besieging Hull.

As did the entire Royalist generals when in trouble, Newcastle forthwith appealed to the King begging him to send Prince Rupert to his aid.

But Charles was reluctant to do this. Matters had been going none to well for him in the south. His told on Oxford seemed to be insecure.

Still he felt confident that so well fortified a city could stand a few months, so Rupert argued, would afford a Royalist army ample opportunity to relieve York, defeat the Scots, and be back again at Oxford in time for a final blow. At last, therefore, the King grudgingly yielded.



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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...

New Dambusters Paintings, Prints and Drawings!



A brand new series of releases featuring the aircraft and airmen of the Dambusters Raid.

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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