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Canyon of Lost Souls by Nicolas Trudgian


Canyon of Lost Souls by Nicolas Trudgian

High above the Animas river in the heart of the Rocky Mountains, the daily passenger train bringing passengers from Silverton to Durango, negotiates the precarious High Line shelf. Over 400 feet below, the fast-flowing mountain waters thunder through the canyon.
Item Code : DHM2022Canyon of Lost Souls by Nicolas Trudgian - This Edition
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PRINT Signed limited edition of 750 prints.

Paper size 34 inches x 24 inches (86cm x 61cm)Artist : Nicolas TrudgianHalf
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Other editions of this item : Canyon of Lost Souls by Nicolas Trudgian DHM2022
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Limited edition of artist proofs. Paper size 34 inches x 24 inches (86cm x 61cm)Artist : Nicolas TrudgianAdd any two items on this offer to your basket, and the lower priced item will be half price in the checkout!£155.00VIEW EDITION...
PRINTLimited edition of 100 publishers proofs. Paper size 34 inches x 24 inches (86cm x 61cm)Artist : Nicolas Trudgian£50 Off!Add any two items on this offer to your basket, and the lower priced item will be half price in the checkout!Now : £105.00VIEW EDITION...
EX-DISPLAY
PRINT
**Signed limited edition of 750 prints. (2 reduced to clear)

Near perfect condition - may have some slight marks or scratches.
Paper size 34 inches x 24 inches (86cm x 61cm)Artist : Nicolas Trudgian£76.00VIEW EDITION...
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Artist Details : Nicolas Trudgian
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Nicolas Trudgian

Cranston Fine Arts have now taken over all remaining stocks of Nicolas Trudgian prints from his previous publishers. We have made available a great many prints that had not been seen for many years, and have uncovered some rarities which lay unnoticed during this transition.

Having graduated from art college, Nicolas Trudgian spent many years as a professional illustrator before turning to a career in fine art painting. His crisp style of realism, attention to detail, compositional skills and bright use of colours, immediately found favour with collectors and demand for his original work soared on both sides of the Atlantic. Today, more than a decade after becoming a fine art painter, Nicolas Trudgian is firmly established within a tiny, elite group of aviation artists whose works are genuinely collected world-wide. When he paints an aircraft you can be sure he has researched it in every detail and when he puts it over a particular airfield, the chances are he has paid it a recent visit. Even when he paints a sunset over a tropical island, or mist hanging over a valley in China, most probably he has seen it with his own eyes. Nick was born and raised in the seafaring city of Plymouth, the port from which the Pilgrim Fathers set sail in 1620, and where Sir Francis Drake played bowls while awaiting the Spanish Armada. Growing up in a house close to the railway station within a busy military city, the harbour always teeming with naval vessels and the skies above resonating with the sounds of naval aircraft, it was not at all surprising the young Nick became fascinated with trains, boats and aircraft. It was from his father, himself a talented artist, that Nick acquired his love of drawing and surrounded by so much that was inspiring, there was never a shortage of ideas for pictures. His talent began to show at an early age and although he did well enough at school, he always spent a disproportionate amount of time drawing. People talked about him becoming a Naval officer or an architect but in 1975 Nick's mind was made up. When he told his careers teacher he wanted to go to art school the man said, 'Now come on, what do you really want to do? After leaving school Nick began a one-year foundation course at the Plymouth College of Art. Now armed with an impressive portfolio containing paintings of jet aircraft, trains, even wildlife, he was immediately accepted at every college he applied to join. He chose a course at the Falmouth College of Art in Cornwall specialising in technical illustration and paintings of machines and vehicles for industry. It was perfect for Nick, and he was to become one of the star pupils. One of the lecturers commented at the time: Every college needs someone with a talent like Nick to raise the standards sky high; he carried all the other students along with him, and created an effect which will last for years to come. Two weeks after leaving art college Nick blew every penny he had on a trip to South Africa to ride the great steam trains across the desert, sketching them at every opportunity. Returning to England, in best traditions of all young artists, he struggled to make a living. Paintings by an unknown artist didn't fetch much despite the painstaking effort and time Nick put into each work, so when the college he had recently left offered him a job as a lecturer, he jumped at the chance. The money was good and he discovered that he really enjoyed teaching. Throughout the 1970s Nick was much involved with a railway preservation society near Plymouth and it was through the railway society that he had his first pictures reproduced as prints. But Nick felt he needed to advance his career and in summer 1985 Nick moved away from Cornwall to join an energetic new design studio in Wiltshire. Here he painted detailed artwork for many major companies including Rolls Royce, General Motors, Volvo Trucks, Alfa Romeo and, to his delight, the aviation and defence industries. He remembers the job as exciting though stressful, often requiring him to work right through the night to meet a client's deadline. Here he learned to be disciplined and fast. Towards the end of the 1980's Nick had the chance to work for the Military Gallery. This was the break that for years he had been striving towards and with typical enthusiasm, flung himself into his new role. After completing a series of aviation posters, including a gigantic painting to commemorate the seventy-fifth anniversary of the Royal Air Force, Nick's first aviation scene to be published as a limited edition was launched by the Military Gallery in 1991. Despite the fact he was unknown in the field, it was an immediate success. Over the past decade Nick has earned a special reputation for giving those who love his work much more than just aircraft in his paintings. He goes to enormous lengths with his backgrounds, filling them with interesting and accurate detail, all designed to help give the aircraft in his paintings a tremendous sense of location and purpose. His landscapes are quite breathtaking and his buildings demonstrate an uncanny knowledge of perspective but it is the hardware in his paintings which are most striking. Whether it is an aircraft, tank, petrol bowser, or tractor, Nick brings it to life with all the inordinate skill of a truly accomplished fine art painter. A prodigious researcher, Nick travels extensively in his constant quest for information and fresh ideas. He has visited India, China, South Africa, South America, the Caribbean and travels regularly to the United States and Canada. He likes nothing better than to be out and about with sketchbook at the ready and if there is an old steam train in the vicinity, well that's a bonus!

More about Nicolas Trudgian

This Week's Half Price Art

 The Battle of Isandlwana on 22 January 1879 was the first major encounter in the Anglo-Zulu War between the British Empire and the Zulu Kingdom.  Eleven days after the British commenced their invasion of Zululand in South Africa, a Zulu force of some 10,000-12,000 warriors attacked a portion of the British main column consisting of about 1,800 British, colonial and native troops and perhaps 400 civilians.  The Zulus were equipped mainly with the traditional Assegai iron spears and cow-hide shields, but also had a number of muskets and old rifles though they were not formally trained in their use.  The British and colonial troops were armed with the state-of-the-art Martini-Henry breech-loading rifle and two 7 pounder artillery pieces as well as a rocket battery.  Despite a vast disadvantage in weapons technology, the numerically superior Zulus ultimately overwhelmed the poorly led and badly deployed British, killing over 1,300 troops, including all those out on the forward firing line.  The Zulu army suffered around 350 killed, and up to several hundred wounded.  The battle was a crushing victory for the Zulus and caused the abandonment of the first British invasion of Zululand.

The Battle of Isandlwana by Jason Askew.
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 Last stand of the 24th South Wales Borderers at Isandhlwana during the Zulu War. The battle of Isandhlwana, a Zulu victory over the British forces on 22nd January 1879 about 100km north of Durban. Lord Chelmsford led a column of forces to seek out the Zulu army camped at Isandhlwana, while patrols searched the district. After receiving a report, Chelmsford set forth at half strength, leaving six companies of the 24th Regiment, two guns, some Colonial Volunteers and a native contingent (in all about 1,800 troops) at the camp. Later that morning an advanced post warned of an approaching Zulu army. Shortly after this, thousands of Zulus were found hidden in a ravine by a mounted patrol but as the patrol set off to warn the camp, the Zulus followed. At the orders of the Camp Commander, troops spread out around the perimeter of the camp, but the Zulu army broke through their defences. The native contingent who fled during the attack were hunted down and killed. The remaining troops of the 24th Regiment, 534 soldiers and 21 officers, were killed where they fought. The Zulus left no one alive, taking no prisoners and leaving no wounded or missing. About 300 Africans and 50 Europeans escaped the attack. Consequently, the invasion of Zulu country was delayed while reinforcements arrived from Britain.

Battle of Isandhlwana, 22nd January 1879 by Brian Palmer. (Y)
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 Corporal Allen and Corporal Lyons, B. Company 2nd Battalion 24th Foot Rorkes Drift Back Wall, 6pm January 22nd 1879.  After the initial Zulu assault on the back wall of the post failed at about 4.30pm, a fire-fight broke out between Zulu snipers posted on the terraces of the Shiyane (Oskarsberg) Hill and the defenders posted behind the barricade of wagons and mealie-bags. This section of the wall as commanded by Sergeant Henry Gallagher, of B Company. At about 6 pm, Corporal Lyons was leaning over the barricade to aim when he was hit in the neck by a bullet which paralysed him, as his friend, Corporal Allen, bent to help him, Allen too was shot through the arm. In the foreground Corporal Attwood of the Army Service Corps distributes ammunition. The wall was abandoned shortly after and the British retired to the small are in front of the storehouse. Allen was later awarded the VC, and Attwood the DCM.  He was born at Churcham, Gloucestershire, and served for five years in the Monmouthshire Militia before joining the 24th Regiment. He served through the Kaffir War 1877-8 before his bravery at Rorkes Drift for which he was presented with the Victoria Cross by Lord Wolseley on August 3rd 1879. He later served in the 1st Volunteers Battalion Royal Fusiliers.

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