ORIGINAL ARTWORK
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For more than two decades, BrandNet has commissioned original artworks to tell Australian military stories. These paintings became the source of limited-edition prints, medallions, collectables and gifts that found their way into thousands of Australian homes. The original paintings themselves were never sold. They have remained in the BrandNet Archives ever since.
Now, for the first time, the originals are being offered to collectors. Unlike the numbered editions that came after it, the original is not one of a limited edition. It is a true one of one. There is only one original, and once it is sold it leaves the BrandNet Archives and will never be available again.
The Spirit – Gallipoli Landing 1915 is the original oil on canvas by internationally recognised military artist David Rowlands, commissioned by Military Shop in late 2011 as the source painting for the 2012 Sands of Gallipoli collection. It reconstructs Anzac Cove at about 5.00am on 25 April 1915, roughly thirty minutes after the first landing, with the second wave of the 10th Battalion (South Australia) climbing from the cove while the first wave is already above them on Plugge’s Plateau and the naval operation continues offshore.
This artwork was commissioned by BrandNet in 2011.
Historical accuracy was a central requirement of the commission. Brigadier Chris Roberts AM, CSC (Rtd), a published Gallipoli historian, worked with the Australian Army History Unit to guide the research, which extended well beyond uniforms to the topography, light, ships, battalion movements, headdress and equipment. The view is anchored to real ground: MacLagan’s Ridge, Hell Spit and Ari Burnu, with Suvla Bay faintly visible in the distance. The soldiers wear field service caps rather than slouch hats, as landing orders specified. Even the ships are individually identified: the destroyers HMS Ribble, Usk, Chelmer and Scourge, with the transports Galeka and Novian and the battleship HMS London farther out, each positioned according to the reconstructed scene.
Rowlands’ notes describe troops leaving the ships in complete darkness, towed toward shore in silence by steam pinnaces, rifles initially unloaded to avoid accidental discharge. Once ashore, the men fixed bayonets, crossed the shingle, loaded their magazines and climbed into the steep gullies above the cove. Roberts praised the painting for stripping away the mythology surrounding the event and providing, in his words, a snapshot that draws focus to the emotions of each Australian.
Rowlands’ atmospheric work has attracted Royal patronage and commissions from military organisations internationally. This painting is one of the major original works held within the BrandNet Archives and the source of one of the most successful commemorative collections in Australian military collecting.
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