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The Salute by William Barnes Wollen.

The Salute by William Barnes Wollen.

Item Code : VAR0494The Salute by William Barnes Wollen. - 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!
PRINTOpen edition print. Image size 8 inches x 12 inches (20cm x 31cm)none£14.00

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Artist Details : William Barnes Wollen
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William Barnes Wollen

William Barnes Wollen in his studio, 1902. He is working on the painting of the Imperial Light Horse at Elandslaagte

Born Leipzig, Germany 1857; died London 1936. Along with Woodville and Hillingford, Wollen may be regarded as one of the most prolific illustrators and artists of battle pictures of the late Victorian/early Edwardian era. He studied at the Slade School and exhibited his first picture at the Royal Academy in 1879. Two years later came his first military picture. The rescue of Private Andrews by Captain Garnet J. Wolseley ... at the storming of the Motee Mahal, Lucknow. Thereafter, he exhibited over thirty battle and campaign pictures at Burlington House, his last being in 1922. As was the case with his contemporaries, Wollen was attracted to the period of the Napoleonic Wars as a source for many of his pictures such as The Black Watch at bay, Quatre Bras (The Black Watch), The 28th at Waterloo (Bristol Museum and Art Gallery), Norman Ramsay at Fuentes Onoro and The 10th Hussars at Benevente. In 1898, he painted The last stand of the 44th Regiment at Gundamuck, 1842 (National Army Museum), but for the next five years, he devoted his work to depicting contemporary events, starting with The 21st Lancers at Omdurman (The Staff College), although he had painted The Battle of Abu Klea (National Army Museum) in 1896. During this period, he served in South Africa as a special artist for a new illustrated paper, The Sphere, and sent back numerous scenes from the war. Several oil paintings were a direct result of his experiences: The Imperial Light Horse at Waggon Hill, January 6, 1900, The Imperial Light Horse at Elandslaagte (Light Horse Regiment, South Africa), The Victoria Cross (Durban Art Museum) and The 1st Battalion South Lancashire Regiment, storming the Boer trenches at Pieter's Hill (Queen's Lancashire Regiment). With the end of the war, Wollen returned to painting retrospective battle/campaign pictures such as Scouts (The Royal Hussars) showing a patrol of the 10th Light Dragoons in the Peninsula, Ambushed (Sunderland Art Gallery), 18th century cavalry ambushed on a road, and The first fight for independence, depicting the engagement at Lexington Common during the American Revolution. The Great War inspired him to paint several canvases, notably Defeat of the Prussian Guard, Ypres, 1914 (Royal Green Jackets) The London Territorials at Pozieres (National Army Museum), and Semper Fidelis: the last stand of the 2nd Devons at Bois des Buttes, May 27th, 1918 (The Devon and Dorset Regiment). Wollen was also an active illustrator and painter in water-colours, exhibiting many pictures at the various London exhibitions.

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 Trapped within a rapidly decreasing perimeter, the exhausted BEF along with elements of the French 1st Army appeared to be at the mercy of the mighty Luftwaffe.  No one though had reckoned on the brilliant leadership of Admiral Ramsay nor the gallant and unstinting efforts of the military and civilians who managed to rescue over 330,000 troops in nine days.

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<b>Ex display prints in near perfect condition. </b>

The Infantry Will Advance by Carl Rochling. (Y)
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 Icy rain adds its misery to the bitter conflict on Drumossie Moor. In the shadow of the Black Isle, two English ships on the waters of the Moray Firth, await the outcome of the decisive battle. Pounded by Cumberlands gunners and raked by steady musketry, the Princes brave men can make no headway. Although the Irish and French regulars refuse to give ground, the Jacobite lines gradually disintegrate. Tired, cold and hungry men flea past Culloden House for the relative safety of Inverness. On the Scottish right the Argyll Militia, supported by Hawleys Dragoons, tear down the walls of the Culwiniac and Culchunaig enclosures in an outflanking attack. Avochies men offer some resistance but Major Gillies McBean stands alone on the breach. He cuts down more than a dozen Argylls, including Lord Robert Kerr, who lies mortally wounded, but his foes are too many. The hero eventually falls to a vicious cut to the forehead, his thigh bone is also broken. Despite the cries of a mounted officer to save that brave man, the major is ruthlessly bayonetted, his back against the wall. The victory is complete and nothing more can be done. In the distance, the Young Pretender is forced to abandon the field and Scotlands hope of claiming the British Throne.

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Between 18th and 23rd February, 1991, immediately preceding the ground assault, Iraqi defensive positions were bombarded by British and American artillery.  The Artillery Raids took place just inside the Saudi border all along the front line, from the east coast to west of the Wadi al Batin.  The 1st Armoured Division's contribution to the raids was the largest concentration of British artillery since the Second World War.  Further behind the M109 and M110 guns and the locating batteries were the armoured vehicle-mounted rocket launchers of the Multi-Launch Rocket System (MLRS).  39 Heavy Regiment, the only British regiment equipped with MLRS, fired five 'fireplans', one of them at night.  MLRS can ripple-fire 12 rockets in less than one minute.  The Artillery Raids were a major factor in the success of Operation Desert Sword because they contributed to the deception plan by concealing the main point of effort.  The ammunition itself was terrifyingly destructive.  Furthermore, Iraqi morale, already damaged by the air assaults, was crushed by the artillery bombardment.  At the right of the scene a DROPS vehicle of the Royal Corps of Transport is delivering Rocket Pod Containers, and gunners are preparing to re-arm the MLRS.
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