C1855

Charge of the Heavy Cavalry Brigade. 25th Oct. 1854

Superb lithograph of the charge Heavy Brigade in the the Battle of Balaclava on 25 October 1854 under James Scarlett. The battle on 25 October 1854 during the Crimean War, was part of Siege of Sevastopol (1854–55) to capture the … Read Full Description

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S/N: TSOW-006-MIL–232641
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Details

Full Title:

Charge of the Heavy Cavalry Brigade. 25th Oct. 1854

Date:

C1855

Condition:

Repaired tear in lower margin through the word ‘THE’ otherwise in good condition.

Technique:

Hand coloured lithograph.

Image Size: 

350mm 
x 227mm

Paper Size: 

490mm 
x 353mm
AUTHENTICITY
Charge of the Heavy Cavalry Brigade. 25th Oct. 1854 - Antique Print from 1855

Genuine antique
dated:

1855

Description:

Superb lithograph of the charge Heavy Brigade in the the Battle of Balaclava on 25 October 1854 under James Scarlett. The battle on 25 October 1854 during the Crimean War, was part of Siege of Sevastopol (1854–55) to capture the port and fortress of Sevastopol, Russia’s principal naval base on the Black Sea. The Heavy Brigade was the British heavy cavalry force, it mounted large, heavy chargers. The men were equipped with metal helmets and armed with cavalry swords for close combat. They were intended as the primary British shock force, leading frontal charges in order to break enemy lines.

From William Simpson, The Seat of War in the East. 

Thomas Goldsworthy Dutton (1820 - 1891)

Born in 1820 in London, Middlesex, England and named after his ironmonger father.  Married Martha Foster on 27 Apr 1843, at St John, Hackney, Middlesex. He was one of the most famous C19th maritime artists of ship portraits.  A noted watercolourist, and painter in oils his works are numerous institutional collections.

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William Simpson (1823 - 1899)

During the Crimean War Simpson, became a pioneer war artist: dispatched by the printsellers Colnaghi & Son, to record the naval battles in the Baltic Sea and then went on to Balaklava in November 1854 to make accurate sketches on the spot. The drawings which he made during that terrible winter were submitted to Lord Raglan, sent home to England, and shown to Queen Victoria by the minister of war, the duke of Newcastle. After the fall of Sevastopol he was attached to the duke's party of exploration in Circassia. Eighty of his Crimean drawings were lithographed in The Seat of War in the East (2 volumes, 1855 6), which was dedicated with permission to Queen Victoria. When the original watercolours were exhibited at Colnaghi's gallery, Lord Elcho and other MPs called for them to be bought by the nation as a historic record of the war. On the advice of Sir Charles Eastlake, this proposal was rejected and the watercolours were sold off separately. Simpson returned to England with a brown beard long enough to button into his waistcoat, and he had an audience with the queen: he showed her his sketches and was much impressed by her grasp of every detail of the war. She commissioned The Queen Reviewing the Royal Artillery at Woolwich on their Return from the Crimea, 1856, and over the next thirty years was a steady patron for the painter. source Shapero Rare Books.

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