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Arkle - the Legend by Peter Deighan.


Arkle - the Legend by Peter Deighan.

Item Code : PDH0017Arkle - the Legend by Peter Deighan. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINTSigned limited edition of 650 prints.Paper size 19 inches x 15 inches (48cm x 38cm)Artist : Peter Deighan£130.00

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Artist Details : Peter Deighan
Click here for a full list of all artwork by Peter Deighan


Peter Deighan

Peter Deighan was born in the county town of Monaghan, Ireland in 1941. It was while helping out on his uncle#39;s farm as a young lad he developed an affinity with horses which has remained with him through his adult life. As a 16-year-old Peter Deighan left Ireland to work in England and got a job as a trainee welder at Vauxhall Motors car plant in Luton, Bedfordshire. This work did little to satisfy his emerging creative talent. However, during this time Peter won an amateur art competition and was offered a scholarship at the Slade College of Art in London. Peter's raw artistic talent was quickly recognised and he began to receive commissions, including one from the Duke of Bedford. Peter held his first one-man exhibition in the Duke's stately home, Woburn Abbey. Among his earlier commissions were portraits of the comedian Eric Morecambe, footballer Jimmy Greaves, speaker of the house of Commons Selwyn Lloyd and Cardinal Basil Hume Archbishop of Westminister. Following the unqualified success of his one-man show, Peter became a full time artist, devoting all his energies and creativity to his main passion in life, painting. He was also able to combine his love of painting with his passion for horses. Peter quickly established a reputation as one of the world's leading equestrian artists. He received commissions from prominent members of the racing fraternity, including Dr and Mrs Vincent O'Brien, Mr and Mrs JP McManus, Mr and Mrs Robert Sangster, Captain and Mrs John MacDonald-Buchanan, and Sheikh Mohammed Al-Maktoum. So impressed were his patrons that they also commissioned Peter to paint their close family members. Among those who now hang a Deighan family portrait in their homes are the McManus, the Magnier and the Sangster families. Peter Deighan also painted the official portrait of the British Prime Minster John Major, thriller writer Frederick Forsyth (after meeting him on the Gay Byrne Late Late Show in Dublin), footballer Jimmy Greaves, snooker champion Steve Davis and boxer Barry McGuigan. He has had his paintings displayed in the annual exhibitions of the Royal Society of Portrait Painters and the Society of Equestrian Artists in London. Being such a talented and versatile painter, Peter turned his attention to some of his other interests in life. Following visits to southern Africa he painted a series of wildlife studies. His paintings of the indigenous population were particularly evocative. As Peter's reputation as one of the world's leading portrait painters grew, he began to receive commissions from North America. His most notable patrons included Payne Stewart. Peter visited Payne Stewart's home in Florida to paint a family group portrait. It was during his visit to Florida that Peter met and was commissioned to paint Tiger Woods and Mark O'Meara. Shortly after the tragic death of Payne Stewart, one of Peter's portraits of the golfer fetched 1.4 million at a JP McManus Charity auction. In 2005 Peter's painting of the Irish Ryder Cup players, a painting of Tiger Woods and Mark O'Meara were sold for similar sums at auction. Peter was commissioned to paint the 2006 European Ryder Cup players by Dr Michael Smurfit, for the K Club. Cranston Fine Arts are proud to offer Peter Deighan art prints direct to the public as part of its massive sporting range.

More about Peter Deighan

This Week's Half Price Art

During the 2nd Mahratta War, Major General Sir Arthur Wellesley (later, the Duke of Wellington) commanding a small British force was greatly outnumbered by the Mahratta army which faced him in Berar. Seeing two villages on opposite banks of the Kaitna river, he correctly deduced that a ford lay between them. Crossing the ford with his troops, he deployed to face the enemy with his right and left flanks protected by the Juah and Kaitna rivers. The enemy were only able to deploy a small part of their force in the intervening space.  A formation of Mahratta cavalry charged the 74th Highlanders in flank and began capturing some of the British guns. In response, Lt Colonel Maxwell advanced with his cavalry brigade, which consisted of three regiments of Native Cavalry and the 19th Light Dragoons and charged the enemy's left, driving the Mahrattas into the river Juah. This river had less water in it than the Kaitna, and had very steep banks. The dragoons crossed the river and charged, driving the enemy off the field. However, so large was the enemy's force that the rear of the British position was still threatened. Maxwell's cavalry returned to the scene, and ended the day with another charge against the Mahratta infantry, though men and horses were exhausted. Maxwell was killed in the fighting.  Light dragoons in India wore a helmet, typically black, enamelled with a brass comb, a red mane and a black turban. They were armed with the 1796 pattern light cavalry sabre. A carbine hung by a swivel from the shoulder belt. Jackets were 'French grey'. In marching order the rolled cloak was carried in front of the saddle, with a leather valise behind. Saddle cloths were little worn. Harness was usually black. Light cavalry horses differed only very slightly from those of the 'heavies'.

The Charge of the 19th Light Dragoons at Assaye by David Rowlands (GL)
Half Price! - £300.00
The 1st Gordon Highlanders about to take the heights of Dargai which were held by the Afridis. During the engagement on the 20th October 1897, the regiment lost three Officers and thirty men.

Dargai by Robert Gibb (GS)
Half Price! - £200.00
DHM835GL. 19th Regiment Artillery (The Highland Gunners) by David Rowlands.
19th Regiment Artillery (The Highland Gunners) by David Rowlands (GL)
Half Price! - £300.00
Union soldiers engaging the advancing Confederate forces.
The Skirmish Line by Gilbert Gaul.
Half Price! - £33.00

DHM1051GS.  Assault on the Iranian Embassy by the Pagoda Troop 22 SAS by Graeme Lothian.

Assault on the Iranian Embassy by the Pagoda Troop 22 SAS by Graeme Lothian (GS)
Half Price! - £250.00
DHM1601P. Ride Like the Devil - the Charge of the 13th Light Dragoons at the Battle of Vittoria by Chris Collingwood.

Ride Like the Devil - the Charge of the 13th Light Dragoons at the Battle of Vittoria by Chris Collingwood. (P)
Half Price! - £3000.00
Richard the Lionhearts tactical skills and military training played a substantial role in the capture of Acre in 1191 by the Crusaders. But Richard the Lionheart was ruthless and after the capture of the city he marched 2,700 Muslim soldiers onto the road of Nazareth and in front of the Muslim army positions, had them executed one by one.  But Richard the Lionheart was up against a great leader in Saladin and the crusades did not always go his way.  After he negotiated the Treaty of Jaffa with Saladin and secured the granting of special rights of travel around Palestine and in Jerusalem for Christian pilgrims, Richard the Lionheart started his journey back to England in 1192.  He was shipwrecked, and captured by the German Emperor Henry VI, only being released after a 150,000 mark ransom was paid.  This money was raised by taxes in England.

Richard I (The Lion Heart) During the 3rd Crusade by Chris Collingwood (P)
Half Price! - £7000.00
The painting depicts the climax of the Zulu attacks at the defence of Rorkes Drift.  The Zulus were unable to effectively penetrate the mealie bag defenses at Rorkes Drift, even though they succeeded in burning down the hospital, and peppering the storehouse with bullet holes.  The confined space available to the British garrison caused a certain degree of physical compression, but this in fact worked against the Zulus, as it drove the defenders closer together with the result being that the volley fire from the defenders was concentrated and subsequently very effective at close range, as opposed to the spread out skirmish line type formation used at Isandlwhana.  The Zulu attacks also became uncoordinated, being driven forward by charismatic individuals, but lacking the support of the necessary numbers needed to overwhelm the desperate defenders, who now appreciated that  they were literally fighting for their lives.

Rorkes Drift by Jason Askew. (P)
Half Price! - £3300.00
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