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Tomahawk by Mark Churms. (P)


Tomahawk by Mark Churms. (P)

Item Code : MC0042PTomahawk by Mark Churms. (P) - This EditionAdd any two items on this offer to your basket, and the lower priced item will be half price in the checkout! Buy 1 Get 1 Half Price!
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
ORIGINAL
PAINTING
Original Painting by Mark Churms. Size 30 inches x 24 inches (76cm x 61cm)Artist : Mark ChurmsHalf
Price!
Now : 1000.00

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Artist Details : Mark Churms
Click here for a full list of all artwork by Mark Churms


Mark Churms

Mark was born in Wales in 1967. He gained his degree in Architectural Studies at Oxford Polytechnic in 1989, but soon his interest in drawing buildings was surpassed by his love of painting horses and in 1991 he began work as a freelance artist. His first commissions were for sporting subjects, Polo, Racing and Hunting. However his consuming passion for military history, particularly of the Napoleonic era, quickly became his dominant theme, with the invaluable counsel of French military experts (accuracy in uniform and terrain of the various battles takes a great deal of time and consultation with many experts across Europe). Mark Churms joined Cranston Fine Arts in 1991 and for a period of 8 years, was commissioned for several series and special commissions. His series of the Zulu War, and of the Battle of Waterloo were the highlights during this period. Mark Churms' deep understanding and detailed knowledge of the period made Mark at that time one of the most prolific and successfull artists for Cranston Fine Arts. Cranston Fine Arts are proud with their series of superb art prints and original paintings painted by Mark Churms in this period. We now offer Mark Churms art prints in special 2 and 4 print packs with great discounts as well as a number of selected original paintings at upto half price.

More about Mark Churms

This Week's Half Price Art

Terence Cuneo has depicted a scene of street violence.  The angry mod hurls abuse, missiles and petrol bombs at the soldiers who are outnumbered and restricted in their ability to repsond.  Rioting of this sort became less prevalent through the increased efficiency of the Police and Army in containing it, but Terence Cuneos reconstruction typifies the dangerous situation the secuirty forces in Ulster faced during the 1970s.  Published in 1977 by the Army and Navy Club, Pall Mall, London.

The Tragedy of Ulster 1976 by Terence Cuneo. (B)
Half Price! - 80.00
 Painted in the 15th Century, the artist having no concept of military dress of the time of Alexander, painted figures in the armour of the 14/15th centuries.
Battle of Issus by Albrecht Altdorfer. (Y)
Half Price! - 25.00
Cavalry and Legionaries (plus Auxiliary Hamian Archer) of the XIVth Legion.

AD61 by Chris Collingwood (GL)
Half Price! - 360.00
 Bastogne, Ardennes, Belgium, 20th December 1944.  Newly arrived 81mm Mortars of 2nd Battalion, 506th PIR, 101st Airborne Division, fire in support of U.S. Paratroopers defending against German probes to the north of Bastogne.

Fire for Effect by David Pentland. (AP)
Half Price! - 95.00

The decisive battle of the War of the Roses was fought near Market Bosworth. Richard of Gloucester, the last Plantagenate King of England was to try consequences with Henry Tudor, Earl of Richmond. The bloody conflict began in the traditional manner with the opposing armies drawn up in line. facing one another, except for the forces of Thomas Neville, Lord Stanley, as yeyt uncommitted to either side. King Richard, the Third of that name, is seated astride his grey charger in his fine blued harness. He is accompanied by his personal standard and the royal standard, alongside that of Lord Zouch to his right. His herald, trumpet are at his side. To his left Richards Chamberlain and Admiral, Viscount Lord Lovel, sits ready, astride his mount. To the rear we see the rest of the household and choice force of cavalry, kept out of shot to avoid unnecessary casualties amongst the expensive war horses.  After the opening deadly arrow storm, boys hurriedly collect fallen arrows for Richards men to shoot back. In the front line crossbowmen return fire from behind the safety of their decorated pavaises (painted with the suns and white roses of York and the white boar, Richards badge). Close by a gentleman at arms, mortally wounded by an iron ball fired from a hand gonne is dragged from the field by his page. Sir Walter Devereux (Lord Ferrers) accompanied by his standard is encouraging his household (soldiers wearing his livery colours ) to attack.  However, there is a marked reluctance on both sides to join the vicious close quarter combat of handstrokes and only in the centre is there any heavy fighting. Richard is informed by his herald that Henry and his household have been recognised and are now within charge distance. Faced with his armies reluctance to come to grips with the enemy, he decides to force battle himself by leading his own household, the Choice Force, in a desperate charge against Henry seeking to engage him in single combat.  Characteristically leading from the front Richard slays many a knight, including William Brandon (Henrys standard bearer) in his vain attempt to kill his rival. At this crucial moment Lord Stanley decides to join Henrys cause, attacks the choice force and drives it from the field. In the brutal hand to hand fighting the king is unhorsed and though surrounded, fights to the end.  -KingRichard alone was killed fighting manfully in the thickest press of his enemies - his courage was high and fierce and failed him not even at the death which when his men forsook him, he preferred to take by the sword, rather than by foul flight to prolong his life- (Polydore Virgil)

Richard III at the Battle of Bosworth, 22nd August 1485 by Mark Churms. (P)
Half Price! - 4000.00
 This, my personal interpretation of the viking period attempts to highlight aspects of their rich and diverse culture. A superstitious and pagan society, their influence was felt far beyond their native Scandinavia. 1 . The upper background deals with their pagan worship and tales from their mythology. This is represented by Odin & Thor, their principal Gods along with the saga of Sigurd the Dragonslayer. 2. The dominant figure at the centre is Aegir, God of the Sea whose goodwill was all important to the seafaring Viking. The scene now comes into the real world of their ships and seamanship, expertise for which they had no peer. 3. The extension of their seafaring was to raid, trade and pillage foreign shores, resulting in colonisation and settlement, with scant respect for Christianity or the Church. They ventured still further, exploring the unknown world, this is suggested in the two lower corners. 4. In England, the only King to successfully rise up against these Norsemen was Alfred the Great, a Saxon, represented in the lower centre drawing his sword from a swamp. This symbolises the raising of his army from the marshes of Wessex. Their legacy remains with us today, in language and art.

The Vikings by Brian Wood. (Y)
Half Price! - 360.00
 To commemorate the first use of Factor VIIa by British Forces.
Dawn Casevac, 16 Close Support Medical Regiment - Iraq 2003 by Ivan Berryman. (GL)
Half Price! - 300.00
 Depicting Napoleon overlooking the arrival of the Guard Horse Artillery.

Arrival of the Horse Artillery at Eylau by Benigni. (Y)
Half Price! - 25.00
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