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Battle of the Somme Prints by J P Beadle and Jason Askew.
PCK1121. Battle of the Somme Prints by J P Beadle and Jason Askew. Items in this pack :
Military Print Pack.
Item #1 - Click to view individual item
DHM210. Battle of the Somme, the Attack of the Ulster Division by J.P. Beadle.
A classic art print of the Ulster Division advancing into the German trenches during the Battle of the Somme. The officer shown leading the unit is Lt Francis Bodenham Thornley. During the Battle of the Somme he was wounded while serving with B company Royal Irish Rifles and while recuperating he was given the job to advise J P Beadle on the painting. In the painting the troops are shown with the SMLE Rifle which is fitted with the No. 1 Mk 1 pattern Sword bayonet. Also shown in the painting is a soldier carrying a Battalion marker, which is used to show the Battalions progress. The troops shown are of the 5th battalion Royal Irish Rifles (North Belfast Volunteers) a supporting unit to the 108th Infantry Brigade.
Open edition print.
Image size 23 inches x 17 inches (59cm x 43cm)
Item #2 - Click to view individual item
DHM1662. Over the Top by Jason Askew.
The 29th Division go over the top to the sound of the officers whistle to attack Beaumont Hamel during the battle of the Somme. The regiments of the 29th Division are the Middlesex Regiment, Lancashire Fusiliers, Dublin Fusiliers, Royal Fusiliers and the Newfoundland Regiment.
Signed limited edition of 1150 prints.
Image size 18 inches x 12 inches (46cm x 31cm)
Website Price: £ 80.00
To purchase these prints individually at their normal retail price would cost £145.00 . By buying them together in this special pack, you save £65
All prices are displayed in British Pounds Sterling
|Artist Details : Jason Askew|
|Click here for a full list of all artwork by Jason Askew|
Latest info : After spending most of 2008 and the first part of 2009 working on a series of Star Wars paintings, over the rest of 2009 Jason has been working on a series of 50 pencil drawings of the German forces in World War Two, with a smaller series of the German navy and air force. The first of this series of original large pencil drawings are now available. Alongside the series of pencil drawings Jason is working on a series of four oil paintings of troops in combat in Afghanistan.
Jason Askew was born in south africa, went to the Johannesburg school of art ballet,and music, and attended the City and Guilds of London Art College, Kennington. His interest in military history started as a teenager in the history of South Africa, The Zulu and South African wars, where he got his inspiration for his first major epic series of the Zulu war. Everyone doing national service had a choice of going to the army or the police. He was in the police - the police and army training being very similar. In South Africa, the police service was, and is still bearing the brunt of the civil unrest, and the crime wave (average of 19000 murders per year for the last ten years) It is through the experience of the police, and what he had to confront, that motivated him to paint these experiences, and it was very good for somoene with an interest in military history to see the effects of fighting first hand, particularly in the brutal, sometimes hand to hand killing that is the norm in South African situations. He was based at Hillbrow (the bronx of Joburg) and also served with the SAPS flyng squad. All the experiences that he had in the SAPS directly inform the paintings that Jason Askew does. : I never lose sight of the fact that real people are often caught in the middle of conflicts that are created by politicians/governments/reasons beyond the control of individuals, yet it is always individuals that suffer. Jason Askew is often commisisoned by many British and overseas regiments. 2RGR the gurkhas,The Queens Lancashire Regiment, the Coldstream Guards,the Staffordshire Regiment to name a few. He was also an official war artist for the Staffordshire Regiment in Iraq. Cranston Fine Arts are proud to be publishing a majority of art prints by Jason Askew since 2005 and are planning a major series of releases which they have commissioned over the next few months, including an outstanding series of eight First World war battlescenes of many of the major western front battles. This series started in 2007 and will be completed by the end of 2008. Also included is a series of four Battle of Waterloo and four Zulu War limited editions, all specially priced for collectors.
Jason Askew presenting a recent painting to the Gurkha Regiment.
More about Jason Askew
|Artist Details : J P Beadle|
|Click here for a full list of all artwork by J P Beadle|
J P Beadle
Beadle was an academic painter who, unlike many of his contemporaries did not make a living as an illustrator. The son of Major-General James Pattle Beadle, the artist spent his early years in India becoming immersed in things military. Upon his father's move back to England, James went to study at the Slade School for three years under Alphonse Legros before moving to Paris to study at the Ecole des Beaux Arts with Cabanal. His final schooling was in London with G.F. Watts. From his home in Victoria Road, Kensington, he submitted his first painting entitled The Painter at the age of 20 in 1884, at the distinguished Royal Academy of Arts in London, and in the following year he showed a portrait of his father in full uniform. Four years later he was awarded a bronze medal at the Paris Universal Exhibition for a painting of Les Gardes du Corps de la Reine. However, his first military painting exhibited at the Royal Academy did not appear until six years later. Drawn from life it depicted the Centenary Inspection of the Duke of York's Own Loyal Suffolk Hussars at Bury St. Edmund's in 1893. In the following year he had his own exhibition at the Fine Art Society in London. The show was entitled 'Military England of Today' and included pictures entitled Waiting for the Watering Order and Dragoons returning to camp. As one reviewer wrote, 'He does not go out of his way to flatter Tommy Atkins but he shows him to the public under many forms and in many becoming uniforms. He has studied him at home and abroad, at peace and at war, on horseback and on foot, an our verdict must be that the English soldier, of whatever branch of the service, is trim and business-like, and in many cases, a picturesque object'. His interest in the soldier at war led him to paint his first battle scene in 1897 representing Corporal Styles of the Royal Dragoons capturing the Standard of the French 105th Infantry Regiment at Waterloo. He followed this up with several military scenes such as The Comrade showing a military funeral in a village, and Paris - a torchlight procession of Cuirassiers, but the war in South Africa which broke out in 1899 provided him with material for numerous canvases. In 1901 he exhibited two paintings of the war: one showing the Grenadier Guards saving wounded soldiers from the burning veldt at Biddulphsberg (shown at the New Gallery), and a picture of the 62nd Field Battery arriving at the battlefield of Modder River, exhibited at the Royal Academy. He followed this up in 1902 with The Victors of Paardeberg showing British troops cheering beside a wall of mealie bags as surrendering Boers approach them. While he never forgot the war and returned to it for inspiration later on, he became increasingly more interested in depicting past military victories. In 1904 he exhibited a scene of the Battle of Dettingen and during the first decade of the twentieth century painted a number of canvases of the wars against Napoleon. These included The passage of the Bidassoa exhibited in 1908, 'the rear guard' of 1910 showing the retreat to Corunna, and 1806: an affair of outposts. A painting of the Franco-Prussian War was hung in 1906. The Boer War resurfaced with his scene representing artillery leaving for the front, exhibited at the Academy in 1907, his painting of 1911 entitled 'The empty saddle', and in 1915, his painting of the 2nd Battalion of the Rifle Brigade charging uphill at Bergendal. His continuing interest in the Peninsula War led him to take a holiday in Spain and Portugal in 1912 where he visited numerous battlefields to sketch the terrain. In the same year he exhibited a picture of the fighting at San Sebastian in August 1813, and in the following year, submitted his picture of Vittoria, June 21st, 1813. As late as 1924 he was still painting scenes from this war, but in the meantime the events in Europe were occupying the minds of everyone. Beadle, like his contemporaries Wollen and Woodville, began to paint scenes from the Great War, often from imagination and sometimes with the help from veterans. Among his many paintings are Neuve Chapelle, 10 March 1915, Dawn: Waiting to go over, Breaking the Hindenburg Line, and the Battle of Gheluveldt, 1914, painted in 1920. In the twenties, he turned more to landscapes possibly as a result of the horrors inflicted in the Great War. While his last painting at the Royal Academy was shown in 1929, he was to live for another 17 years finally dying in Kensington on 13 August 1946. (c) Peter Harrington.
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