Warwickshire Regiment

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Military art prints of  Royal Warwickshire Regiment, 6th of Foot.  These Royal Warwickshire Regimental uniform print by military artists Harry Payne, Richard Simkin, Hamilton Smith are available direct from Regimental Art, a subsidiary of Cranston Fine Arts.

In 1673 the States-General of the Netherlands received permission to employ, for the second time, a British contingent.  A new "Holland Regiment" was then formed, and commanded by Sir Walter Vane, formerly colonel of what is now the Buffs.  Between 1674 and 1678 it saw its first active service at Grave, Maestricht, Mont Cassel, and St Denis; and, accompanying the Prince of Orange to England in 1688 as "Babington's Regiment", it afterwards took part in the Irish wars at Charlemont, Boyne, Athlone, Ballymore, Aughrim, Galway, Castleconnell, and Limerick.  In the Netherlands campaigns of 1692, etc, it served at Steenkirk and Namur; in 1702, as a sea-service regiment it was at Cadiz, and helped to storm the forts at Vigo, receiving £561 10s as prize money; in 1705 it formed part of the army despatched to support the claim of the Archduke Charles of Austria to the Spanish throne, and fought at Barcelona, where the regiment, under Colonel Southwell, behaved with the greatest gallantry; it took part in the storming of Fort Monjuich; in Valencia it was at many 'affairs'; it fought at Requena, Cuenza, Almanza, and Saragossa, when thirty standards were taken by the British; and finally the regiment was taken prisoner at Brihuega after a brave defence, but its 'honour was preserved untarnished'.  It saw no further active service until 1719, when it shared in the capture of Vigo, Rondondella, and Pontevedra; and, in 1740 was at Cuba.

It fought against the Jacobites in 1745, when Sergeant Molloy and twelve men, left in charge of Fort Ruthven, repulsed the attack of 300 of the enemy, replying to the summons to surrender that 'he was to old a soldier to surrender a garrison of such strength without bloody noses'; when two companies made almost the last stand at Prestonpans; and when other detachments bravely held Forts Augustus and William.  In 1761 it was officially entitled 'the 6th', to which the name '1st Warwickshire' was added thirty years later; and 1793 found it again in the West Indies - at Martinique, St Lucia and Guadaloupe.  In 1798, in the Irish Rebellion, it fought at Castlebar; and, in 1808, in the Peninsula, where it served at Roleia, Vimiera, and Corunna.  After the Walcheren Expedition, when it was so reduced by sickness that it was unable to 'furnish the usual reliefs of the ordinary regimental guard', it returned to the Peninsula in 1812, and added "Vittoria", "Almanza", "Pyrenees", "Nivelle", "Orthes", and "Peninsula" to the colours, besides fighting at Echalar, Bidassoa, Nive, Hastingues, and Oyergave.  In 1814 it was engaged in Canada, at the siege of Fort Erie, for which "Niagara" was added to the battle roll; and since then it has seen service at Aden in 1840; and in Africa, for which the Royal Warwicks bear on the colours the name of "South Africa, 1846 - 47" and "South Africa, 1851 - 53".  It saw some service in Oude in 1858, in Sikkim in 1860, and in the Hazara campaign in 1868.  Second battalions served from 1804 - 15, from 1846 till 1851 and lastly from 1858 to now.

The regiment had green facings from 1735 and yellow facings from 1751 to 1832, "when it became Royal".  In 1839 men are shown with royal blue facings, coatees, and epaulets, white trousers, and bell shaped shakoes.  The antelope (white, "ducally gorged and chained or," the badge o Henry VI, but supposed to have been assumed after Saragossa in 1710, or as suggested in the "Royal Military Chronicle" of 1811, after the battle of Almanza, whn the standard of the Spanish "Royal African Regiment", bearing the antelope, was taken), with a crown and within a circle having "Royal Warwickshire Regiment", is worn on the button, the helmet plate, the waist plate, and forage cap, and the bear and ragged staff (which, with the exception of the added chain, was the badge of the house of Warwick, and was borne by the 1st Warwick Militia) is on the tunic collar; but, by special permission, the "Antelope" is worn on the collar of the mess jacket.  The other badge is the rose, "slipped and leaved" - unlike that of the Buffs, which has the flower only. The motto "Vi et armis" appears at one time to have been used; according to Cannon, it was borne on the knapsack until 1825.

The Militia battalions are the 1st and 2nd Warwicks (1759) and they served on board ship at the time of the Mutiny of the Nore, in Ireland in 1798, and were embodied in 1854.  The Volunteer battalions are the 1st Birmingham (in green and scarlet), and 2nd Coventry (in scarlet and blue), formerly the 1st and 2nd Warwickshire.  The regimental pet is naturally an antelope, "Billy" by name, who marches past at the head of the regiment, led by two drummers.  The horns are tipped with silver, and he wears a silver collar with chains, by which he is led.  On full dress parades he wears a blue coat, gold embroidered and bearing the regimental honours.  At one time a bear was adopted as the regimental pet.  The Royal Warwicks were once called "Guise's Geese", from the name of one of their colonels and the facings at the time.  They have also the names of the "Warwickshire Lads" and the "Saucy Sixth".  The depot is at Warwick. Extract from "The British Army and Auxiliary Forces, Vol II" c.1898

Warwickshire Regiment by Harry Payne.

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Open edition print. £14.00

Warwickshire Regiment by Harry Payne.

Open edition print. Image size 7 inches x 12 inches (18cm x 31cm). Price £14.00

ITEM CODE UN0044

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The Royal Warwickshire Regiment by Richard Caton Woodville (P)

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Original chromolithograph published c.1900. £75.00

The Royal Warwickshire Regiment by Richard Caton Woodville (P)

Original chromolithograph published c.1900. Image size 7 inches x 11 inches (18cm x 28cm). Price £75.00

ITEM CODE UN0476

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Royal Warwickshire Regiment (6th Foot) by Richard Simkin (P)

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Original chromolithograph published 1895. £140.00

Royal Warwickshire Regiment (6th Foot) by Richard Simkin (P)

Original chromolithograph published 1895. Image size 10 inches x 13 inches (25cm x 33cm). Price £140.00

ITEM CODE SIMK0047

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Battalion Infantry, 6th or Warwickshire Regiment, 23rd or Royal Welsh Fusiliers

Open edition print. Image size 9 inches x 11 inches (23cm x 28cm). Price £14.00


Coloured lithograph vignettes by J C Stadler after Charles Hamilton Smith from Charles Hamilton Smiths Costumes of the Army of the British Empire, according to the last regulations 1812, published by Colnaghi & Co. 1812-1815. Image size 9 inches x 11 inches (23cm x 28cm). Price £180.00

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Officer, 6th Foot 1735 by P H Smitherman

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One available. £24.00

Officer, 6th Foot 1735 by P H Smitherman

This image, taken from a contemporary portrait, shows an officer of the 6th Foot. He is wearing neither gorget nor sash, and so is not on duty. His very elegant coat bears little resemblance in design and lacing to those worn by the men of the regiment. This officer is wearing an aiguillette on his right shoulder. This was commonly worn as the mark of a commissioned officer, or non-commissioned officer in the infantry, and was worn by all ranks in some cavalry regiments. The origin of these shoulder knots is obscure and has been the subject of much speculation. they have been said to have been originally, among other things, picketing ropes for horses, no doubt on account of the pegs at their ends, similar to the pegs used today on picketing ropes, and ropes for tying up hay for horses used by foraging parties. Such explanations are hardly satisfactory because it is difficult to see why an infantry officer or N.C.O. should want such things, and in the cavalry one might have expected them to be worn by troopers, but not by officers or N.C.O.s. They were at this time worn by servants in private houses - they still appear in some of the royal liveries - and we have records of opinion from those who had to wear these adornments, more fit for flunkeys. They could obviously not have originated for the servants in either picketing or foraging ropes, and it is possible that they were merely decorative additions to the dress, added during a time when such decoration was not considered unmanly. They disappeared during the Napoleonic wars, but were revived in the dress of some cavalry regiments afterwards and are now worn by officers and N.C.O.s of the Household Cavalry and by some staff officers. The 6th Foot were another of the Six Old Corps and retained their ancient badge of an antelope on their grenadier caps. They won this badge at Saragossa in 1710 where they won a resounding victory over French and Spanish cavalry, capturing, among other things, a Moorish flag bearing the device of an antelope and, as the Royal Warwickshire Regiment, they have retained the badge to this day.

One available. Image size 14 inches x 10 inches (36cm x 25cm). Price £24.00

ITEM CODE PHS0010

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Officer, 6th Foot 1735 by P H Smitherman  This image, taken from a contemporary portrait, shows an officer of the 6th Foot.  He is wearing neither gorget nor sash, and so is not on duty.  His very elegant coat bears little resemblance in design and lacing to those worn by the men of the regiment. This officer is wearing an aiguillette on his right shoulder.  This was commonly worn as the mark of a commissioned officer, or non-commissioned officer in the infantry, and was worn by all ranks in some cavalry regiments.  The origin of these shoulder knots is obscure and has been the subject of much speculation.  they have been said to have been originally, among other things, picketing ropes for horses, no doubt on account of the pegs at their ends, similar to the pegs used today on picketing ropes, and ropes for tying up hay for horses used  by foraging parties.  Such explanations are hardly satisfactory because it is difficult to see why an infantry officer or N.C.O. should want such things, and in the cavalry one might have expected them to be worn by troopers, but not by officers or N.C.O.s.  They were at this time worn by servants in private houses - they still appear in some of the royal liveries - and we have records of opinion from those who had to wear these adornments, more fit for flunkeys.  They could obviously not have originated for the servants in either picketing or foraging ropes, and it is possible that they were merely decorative additions to the dress, added during a time when such decoration was not considered unmanly.  They disappeared during the Napoleonic wars, but were revived in the dress of some cavalry regiments afterwards and are now worn by officers and N.C.O.s of the Household Cavalry and by some staff officers.  The 6th Foot were another of the Six Old Corps and retained their ancient badge of an antelope on their grenadier caps.  They won this badge at Saragossa in 1710 where they won a resounding victory over French and Spanish cavalry, capturing, among other things, a Moorish flag bearing the device of an antelope and, as the Royal Warwickshire Regiment, they have retained the badge to this day.
 

 

SHOWCASE PRODUCT

EDITIONS

Signed limited edition of 500 prints. Price : £110

ARTIST
Nicolas Trudgian



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. 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!

You can see more prints by Nicolas Trudgian by clicking here.

Back From Normandy by Nicolas Trudgian

Normandy Special - £50 off until July 12th!

Like the Messerschmitt 109, its great adversary throughout almost six years of aerial combat, the Spitfire was a fighter par excellence. Good as many other types may have been, these two aircraft became symbols of the two opposing air forces they represented. Their confrontation, which began in 1940 during the Battle of Britain, continued without interruption until the last days of World War Two. From an air force teetering on extinction in the dark days of 1940, by the summer of 1944 the pilots of RAF Fighter Command had fought their way back to become top dogs. And when the invasion of northern France came, they swept over the beaches in force, cutting deep into enemy occupied territory, hammering the enemy in the air and on the ground. Key to this air superiority was the supreme performance of the Spitfire, its ability to out-fly the Luftwaffes best, and the wily leadership of the pilots who had survived the early air battles of the war. Among the best was 26 year old Pete Brothers, by 1944 a highly successful and experienced fighter pilot commanding his own Wing. Having fought through the battles of France and Britain, now with a clutch of air victories to his credit, in 1944 he took command of first the Exeter Wing, and then the Culinhead Wing, ideally placed to support the coming invasion of Normandy. Nick Trudgians striking painting recreates a typical scene as Mk IX Spitfires of 126 Squadron, led by Wing Commander Pete Brothers flying his Mk V11 Spitfire wearing high altitude paint scheme, race back to base at RAF Culinhead after a low-level attack on enemy transport in Normandy. The Culinhead Spitfire Wing flew constant armed Rhubarb attacks in support of the invasion from D-Day - June 6 1944 - till the first improvised strips were established in France a few weeks following the invasion. This beautiful aviation print, contrasting the frenetic pace of war with a restful English coastal landscape, evokes the memory of a legendary fighter aircraft that, flown by gallant pilots, helped change the course of history. Prints are signed by Pete Brothers and two other pilots who flew Spitfires in combat during World War II.

Signed by Air Commodore Peter Brothers CBE, DSO, DFC* (deceased),
Lieutenant General Avi Baron M Donnet CVO DFC FRAeS
and
Squadron Leader Arthur Leigh DFC, DFM.

DETAIL IMAGES





EXTRAS

As a special treat for collectors of Nicolas Trudgian's work, and aviation art collectors in general, we have made this print available for a limited time - until 12th July - with £50 off the usual price.

You can see more great deals on Normandy related prints by clicking here.

Don't forget this print is signed by :
Air Commodore Peter Brothers CBE, DSO, DFC* (deceased),
Lieutenant General Avi Baron M Donnet CVO DFC FRAeS
and
Squadron Leader Arthur Leigh DFC, DFM.

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