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Puddles by David Dipnall.


Puddles by David Dipnall.

Item Code : LE0124Puddles by David Dipnall. - This Edition
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PRINTSigned limited edition of 850 prints.

Last few copies of this edition available, published in 1986 and sold out at the publisher.
Image size†16 inches x†10.5 inches (41cm x 27cm)Artist : David DipnallHalf
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Artist Details : David Dipnall
Click here for a full list of all artwork by David Dipnall


David Dipnall

David Dipnals evocative images of the restful idyllic scenes of southern England are well known, epitomising, as they have for years, all that is endearing about traditional English landscapes. His well known images of his beautiful and fertile homeland are a world away from Australia, where he now spends most of his time. In the last decade, David Dipnall estimates that he has travelled nearly 2 million miles, continuing to maintain a busy work schedule of exhibitions and regularly commuting between England and Australia. His originals are highly sought after, and over fifty of his images have been published as limited edition prints, many of which have sold out. Always a traveller, he believes in the philosophy that absence makes the heart grow fonder, and his beautifully detailed traditional English landscapes are definitely painted from the heart.

More about David Dipnall

This Week's Half Price Art

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DHM1601P. Ride Like the Devil - the Charge of the 13th Light Dragoons at the Battle of Vittoria by Chris Collingwood.

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Defending the barracades, men of the 24th of Foot, or 2nd Warwickshire regiment (later in 1881 to become the South Wales Borderers) repel the massed Zulus attempting to smash through the mealie bag entrenchment. At the end of the battle, hundreds of the  Zulu warriors of the uThulwans, iNdlondo and uDloko regiments lay dead.  According to official figures the British lost 25 men, 11 Victoria crosses were awarded for the defence of Rorkes Drift.
Rorkes Drift January 22nd, 1879 by Stuart Liptrot
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This is my personal interpretation of the events immediately following the Battle of Culloden. There is no intention to depict either the shores of LochNam-Uarnh, the Highlands, glens or castles with geographic accuracy. Instead I have tried to portray the scenes following the first 3 days of the battle, the escape of Bonnie Prince Charlie, the destruction and brutality wreaked upon the Highlands and the real sufferers, women and the innocent. 1 . The battlefield scene represents the time from plundering and butchering the wounded to when the ordinary people were allowed on to collect their dead. In the main central figure I have tried to impart a feeling of stoic dignity in the face of an uncertain future 2. The top section represents the form of Prince Charles. Despite the flames and carnage of Culloden, he is firmly supported in the hand of his Jacobite faithful to his safe exile aboard a French warship. Being mindfull that Clan tartans were not in common usage as uniforms of war at the time, only one tartan has been represented as such, that of the Royal Stewart, and that only to signify Charles claim to the thrones of England and Scotland. With his leaving, the sett fades as does he and his ambition. The burning, smouldering tartans signify the proscription of tartans, kilts, plaids etc by Westminster to discourage further rebellion. 3. With the Clans and their regiments broken, neither the natural barrier of the Highlands nor the great chiefs castles would prevent the poison of Culloden seeping into every glen or the fury of Cumberlands dragoons plundering at will. This is represented in the lower section. Armed with sword, manacles and the noose, these, Cumberlands most pitiless embarked on an orgy of murder, rape and pillage. The abyss of prison or exile awaited those suspected of Jacobite sympathies, the gallows for more serious resistance. Battles are fought and won, or lost, as all battles are, but Cullodens aftermath changed Scottish Highland society forever, ushering in a long period of suffering. This painting is my humble attempt to interpret that tragic period.

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