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Burning the Eagles on the Retreat From Moscow by Richard Caton Woodville.


Burning the Eagles on the Retreat From Moscow by Richard Caton Woodville.

Showing the burning of the Eagles and Standards with Napoleon and staff looking on before crossing the Ber and out of Russia with the remains of his once grand army.
Item Code : DHM0599Burning the Eagles on the Retreat From Moscow by Richard Caton Woodville. - 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!
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PRINT Open edition print.

Image size 24 inches x 15 inches (61cm x 38cm)none£10 Off!Now : £40.00

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Other editions of this item : Burning the Eagles on the Retreat From Moscow by Richard Caton Woodville DHM0599
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PRINTOpen edition print. Image size 12 inches x 8 inches (31cm x 20cm)noneAdd any two items on this offer to your basket, and the lower priced item will be half price in the checkout!£14.00VIEW EDITION...
GICLEE
CANVAS
Limited edition of 200 giclee canvas prints. Image size 36 inches x 24 inches (91cm x 61cm)noneAdd any two items on this offer to your basket, and the lower priced item will be half price in the checkout!£500.00VIEW EDITION...
GICLEE
CANVAS
Limited edition of 200 giclee canvas prints. Image size 30 inches x 20 inches (76cm x 51cm)noneAdd any two items on this offer to your basket, and the lower priced item will be half price in the checkout!£390.00VIEW EDITION...
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Artist Details : Richard Caton Woodville
Click here for a full list of all artwork by Richard Caton Woodville

Richard Caton Woodville

WOODVILLE, Richard Caton Born London 1856; died there 1927. Woodville was the most prolific battle artist of the nineteenth and early twentieth century in Britain, producing countless oil paintings and drawings, many for the Illustrated London News. As was the case with several history painters of the Victorian period, he studied at Dusseldorf sometime with Wilhelm Camphausen, the great German military painter, and later in Paris. He experienced was first-hand in Albania and Montenegro towards the end of the Russo-Turkish War in 1877, and later in Egypt during the war of 1882. During the latter conflict, he made numerous sketches and obtained photographs of the trenches at Tel-e-Kebir for his friend, the French military artist, Alphonse de Neuville (q.v.) who had been commissioned to paint a scene of the battle. The fruits of both their labours were shown at the Fine Art Society in 1883, Woodville, exhibiting The Moonlight Charge at Kassassin. In 1884, Woodville exhibited by Royal Command, another picture relating to the Egyptian War. The Guards at Tel-e-Kebir (Royal Collection). His first Royal Academy picture exhibited in 1879, was entitled Before Leuthen, Dec. 3rd, 1757. Thereafter, he was a frequent exhibitor at Burlington House, showing no less than 21 battle pictures, many dealing with contemporary events such as the Second Afghan War, Candahar (Private collection) and Maiwand; saving the Guns (Walker Art Gallery, Liverpool), the Zulu War - Prince Louis Napoleon in Zululand, and the Boer War - Lindley; Whitsunday 1900 (Oxfordshire Light Infantry Association), and Dawn of Majuba (Canadian Military Institute). He painted many historical recreations both in oil and water-colour including a series on famous British battles for the Illustrated London News. He depicted The Charge of the Light Brigade (Royal Collection, Madrid) and The Charge of the 21st Lancers at Omdurman (Walker Art Gallery, Liverpool), Blenheim, Badajos and several Waterloo pictures. During the Great War, he turned his talents to depicting the current events, three of which were exhibited at the Royal Academy. The 2nd Batt. Manchester Regiment taking six guns at dawn near St. Quentin (The Rings Regiment), Entry of the 5th Lancers into Mons (16th/5th Royal Lancers), and Halloween, 1914: Stand of the London Scottish on Messines Ridge (London Scottish Museum Trust) exhibited in the year of his death. During his life, he was the most popular artist of the genre and he was the subject of several articles in magazines and journals. He himself wrote some memoirs in 1914 entitled Random Recollections. He was deeply interested in the army and joined the Royal Berkshire Yeomanry Cavalry in 1879, staying with them until 1914 when he joined the National Reserve as a Captain.

More about Richard Caton Woodville

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 At about 2.00pm the Union Brigade crashes through the ranks on Napoleons Ist Infantry Corps. The 2nd Royal North British Dragoons (later known as The Scots Greys) on the far left of the line, plow through Marcognets division, only Duruttes division will escape intact. With Brigade General Ponsortby at their head, elements of the now disordered Cavalry charge on to the French artillery.  Even though, at close quarters, the Gunners and attached Infantry are no match for the wild Scots, they desperately try to save their 12 pounder field pieces. However the British heavy Cavalry is now out of control and Napoleons retribution will be swift.  From the undulating ground before Paillotte comes the thunder of hooves and the deadly lances of 4th Regiment and the 3th Chasseurs a Cheval. In the confusion many of the British soldiers are completely unaware of the onslaught as the fresh French Cavalry sweeps through their flank.  Ponsonbys mount leaps through the mud as the exhausted Brigade is herded together for the final kill.  Even against all odds the brave men continue to fight. The Brigade General himself will shortly be sabred by Sergeant Urban as he attempts to capture the eagle of the 4th Lancers.

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Described as the Deathknell of the Confederacy - Sharpsburg (Antietam to the North) was a savage bloodletting for both sides. It was said to be the bloodiest day of the American Civil War. In the painting, below the Dunkard church confederate General John Bell Hoods Texas Division - or what was left of it- stand in line of battle. In the distance Union Major General John Sedgwicks division can be seen advancing on the rebel lines. During the ghastly four hour struggle the Confederates managed to hold and then repel the bloodied remnants of Sedgwicks division back to the east woods and at about 10.30am, the carnage around the Dunkard church had ended. Eventually though, the Confederate forces were in retreat, loosing Sharpsburg to the Union but prepared to fight on for two and a half more years, bloodied but unbeaten.

Bloodied But Unbeaten (The Battle for the Dunkard Church During the Battle of Sharpsburg, September by Chris Collingwood. (P)
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 The execution of Charles I, January 30th, 1649.
Whitehall by Ernest Crofts. (Y)
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 Depicting the charge of the Bucks, Berks and Dorset Yeomanry on November 13th 1917 during the Palestine campaign.

Action of the 6th Mounted Brigade at El Muhgar by J P Beadle. (Y)
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 British military manoeuvres with the Duke of Cambridge watching the advance of a highland regiment.
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Apsaroke Crow by Alan Herriot  (P)
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The 16th Lancers were part of General Sir Harry Smith's army consisitng of the British and Bengali army of 12,000 men and 30 guns against the Sikh army of 30,000 men and 67 guns of Ranjodh Singh during the First Sikh War which was fought on the  28th January 1848 in the Punjab in the North West of India.  This painting depicts the 16th Lancers which were part of Brigadier Macdowell's brigade consisitng of the 16th Queen's Lancers, 3rd Bengal Light Cavalry and 4th Bengal Irregular Cavalry.  The 16th Lancers charged several times during the action, breaking a number of Sikh infantry squares and overrunning a battery of Sikh artillery.  The Lancers are shown wearing over their chapkas the white cotton cover which had been adopted for service in the tropics.

Officer 16th Lancers India, 1846 by Mark Churms.
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 One of the last cavalry charges in British Military history, 8th November 1917.

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