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The First Tank versus Tank Action by David Rowlands (GS)


The First Tank versus Tank Action by David Rowlands (GS)

The Mark IV Tank of Lt. F. MItchell MC, 1st battalion Tank Corps engages A7V tanks at Villers-Bretonneux, 24th April 1918.
Item Code : DHM0340GSThe First Tank versus Tank Action by David Rowlands (GS) - This Edition
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GICLEE
CANVAS
Limited edition of 200 giclee canvas prints.

Image size 30 inches x 20 inches (76cm x 51cm)Artist : David Rowlands
on separate certificate
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Other editions of this item : The First Tank versus Tank Action by David Rowlands.DHM0340
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINT Signed edition. Image size 23 inches x 14 inches (58cm x 36cm)Artist : David Rowlands£15 Off!Add any two items on this offer to your basket, and the lower priced item will be half price in the checkout!Now : £65.00VIEW EDITION...
ARTIST
PROOF
Limited edition of 50 artist proofs. Image size 23 inches x 14 inches (58cm x 36cm)Artist : David Rowlands£10 Off!Add any two items on this offer to your basket, and the lower priced item will be half price in the checkout!Now : £130.00VIEW EDITION...
PRINT Unsigned edition. 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...
PRINT Signed edition. Image size 12 inches x 8 inches (31cm x 20cm)Artist : David RowlandsHalf Price!Add any two items on this offer to your basket, and the lower priced item will be half price in the checkout!Now : £20.00VIEW EDITION...
GICLEE
CANVAS
Limited edition of 200 giclee canvas prints. Image size 36 inches x 24 inches (91.5cm x 61cm)Artist : David Rowlands
on separate certificate
Half Price!Now : £280.00VIEW EDITION...
EX-DISPLAY
PRINT
**Signed edition. (3 copies reduced to clear)

Near perfect condition - may have some slight marks or scratches.
Image size 23 inches x 14 inches (58cm x 36cm)Artist : David Rowlands£30 Off!Now : £50.00VIEW EDITION...
General descriptions of types of editions :




Artist Details : David Rowlands
Click here for a full list of all artwork by David Rowlands


David Rowlands

David Rowlands has had a passion for sketching British soldiers and their equipment ever since he was a boy. After completing his studies at Manchester University in 1977, he joined the staff of the Reading Room at the National Army Museum, working full-time as a professional artist. Keenly interested in the history of British campaigns, uniforms and tactics, he has painted many historical battle scenes with great attention to accuracy and detail. This has resulted in widespread recognition of his work with the result that he has been commissioned to record the activities of many Regiments in the present day. These commissions have taken him frequently to Northern Ireland, as well as Germany, Cyprus, Hong Kong and Gibraltar. In 1991 David Rowlands was the only artist invited by the Army to visit the Gulf. Attached to a Warrior crew of 3rd Battalion The Royal Regiment of Fusiliers, he observed the work of the various Arms at first hand, enabling him to complete many accurate paintings for Regiments and Corps engaged in the conflict. Early in 1993 he was the first war artist to visit Bosnia and record the British troops in Operation GRAPPLE 1. Invited by Headquarters National Support Element, he travelled extensively on convoys and sketched the operations from Split to Vitez and Travnik. Several paintings have been commissioned by the participating units, including one of 7 Armoured Workshop REME at Gornji Vakul. Over the past ten years David has been sent regularly to Iraq and Afghanistan for projects involving many of the British and Nato forces. He has probably spent as much time overseas gathering information for these projects as he has spent in the UK. He is certainly one of the major military artists of the past 20 years. Many of these fine paintings are now available as signed edtion art prints and canvases.

More about David Rowlands

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 The Battle of Aliwal was fought on 28th January 1846 between the British and the Sikhs.  The British were led by Sir Harry Smith, while the Sikhs were led by Ranjodh Singh Majithia.  The British won a victory which is sometimes regarded as the turning point of the First Anglo-Sikh War.  The Sikhs had occupied a position 4 miles (6.4 km) long, which ran along a ridge between the villages of Aliwal, on the Sutlej, and Bhundri.  The Sutlej ran close to their rear for the entire length of their line, making it difficult for them to manoeuvre and also potentially disastrous if they were forced to retreat.  After the initial artillery salvoes, Smith determined that Aliwal was the Sikh weak point.  He sent two of his four infantry brigades to capture the village, from where they could enfilade the Sikh centre.  They seized the village, and began pressing forwards to threaten the fords across the Sutlej.  As the Sikhs tried to swing back their left, pivoting on Bhundri, some of their cavalry tried to threaten the open British left flank.  A British and Indian cavalry brigade, led by the 16th Lancers, charged and dispersed them.  The 16th Lancers then attacked a large body of Sikh infantry.  These were battalions organised and trained in contemporary European fashion by Neapolitan mercenary, Paolo Di Avitabile.  They formed square to receive cavalry, as most European armies did.  Nevertheless, the 16th Lancers broke them, with heavy casualties.  The infantry in the Sikh centre tried to defend a nullah (dry stream bed), but were enfiladed and forced into the open by a Bengal infantry regiment, and then cut down by fire from Smith's batteries of Bengal Horse Artillery.  Unlike most of the battles of both Anglo-Sikh Wars, when the Sikhs at Aliwal began to retreat, the retreat quickly turned into a disorderly rout across the fords.  Most of the Sikh guns were abandoned, either on the river bank or in the fords, along with all baggage, tents and supplies.  They lost 2,000 men and 67 guns. <i><br><br>Comment from the artist, Jason Askew.</i><br><br>This painting shows the extremely violent and brutal clash between British cavalry (16th Lancers) and Sikh infantry at the battle of Aliwal.  The Sikh infantry formed 2 triangles, a version of the famous Allied/British squares used at Waterloo, but the Sikhs, after firing a ragged volley at the attacking horsemen, dropped their muskets and assaulted the cavalry with their traditional Tulwars (sabres) and dhal shields.  These shields are also used offensively, to punch, and to slice with the edge.  Although the British horsemen claimed a victory as they felt they successfully dispersed the Sikh triangles, and forced the Sikh infantry to retreat to the nullah (dry stream bed) in the Sikh rear, this opinion is open to debate.  The Sikhs traditionally fought in loose formations, with tulwar and shield-taking full advantage of their abilities as swordsmen, blades being weapons with which the Sikhs are particularly skilled in the use of.  The Sikhs actually inflicted more casualties on the 16th Lancers than the lancers inflicted on the Sikh infantry.  British eye witnesses spoke of the sight of the grotesquely swollen and distorted dead bodies of men and horses of the Her Majesty's 16th Lancers, stinking in the sun and littering the ground at Aliwal - testimony to the progress of their charge.  The regiment lost 27% of effectives out of a total strength of over 400 effectives.  The lancers were dreadfully hacked about, many being cruelly maimed for life, losing hands and limbs to the slashing strokes of the Sikh blades.  The Sikhs had no compassion for the cavalry horses either - many of the poor animals (over 100 by some accounts) had to be shot, due to having their legs hacked clean off, or being literally disemboweled by Sikh Tulwars.  In the painting, the central figure with the wizard-shaped Turban, is in fact an Akali - a sect of extremely religious Sikhs, who disdained the use of armour, and often fought to the death with a fanatical and suicidal devotion.

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