strelets-r (174)

Although dragoons had long been seen in England, including during the Civil War, the modern British Army largely dates from the restoration of Charles II in 1660, and the first official regiment of dragoons was raised in 1672 (although disbanded again in 1674 after the war came to an end). The first long-term regiment of dragoons appeared in 1684 when the Tangier Horse was renamed the King’s Own Royal Dragoons. Although traditionally seen as mounted infantry, dragoons were already beginning the process of being seen and used as proper cavalry (if cheaper and of lower social standing), and the regiment was ordered to muster with the Horse when in the field, taking precedence over the infantry. By 1701 there were eight dragoon regiments, and more were added as the war progressed. Some were short-lived, but six were retained so that by the end of the suppression of the Jacobite Revolt in 1715 there were 14 such regiments. Specifications Contents: 12 figures, 12 horses Poses: 12 poses, 6 horse poses Material: Plastic (Very Soft)

At the start of the 18th century the challenges facing the Habsburg Empire were considerable. Although it had just completed a highly successful war with one perennial opponent, the Ottoman Empire, it now faced open warfare with another, France, over the succession to the Spanish throne. This enormous conflict, which would last over a decade, would stretch the resources of the Empire as it sent its armies to Italy, Spain and North-West Europe, as well as to areas closer to home, and Habsburg arms would also have to deal with insurrection in Hungary. As a result, Habsburg troops marched over much of Europe, and while the initial aim of placing Archduke Charles on the throne of Spain had not been accomplished, the Empire ended the conflict feeling more secure than previously, knowing that a super state of a combined France and Spain, which would have threatened to dominate the whole of Europe, would not be created. Specifications Contents: 52 figures Poses: 16 poses Material: Plastic (Medium Consistency)

The general view of infantry at the start of the 18th century was that they were primarily about firepower, and efforts were made to maximise that as much as possible. Regardless of nationality, they would be lined up in ranks and made to fire at their opponents until, ideally, their opponents yielded and perhaps withdrew, at which point cavalry would be unleashed upon them to destroy them or at least confirm their defeat. Bayonets were issued, as were swords, but these were mainly defensive weapons, particularly against cavalry, so it was not common for infantry to charge and engage an enemy in the way the figures in this set are doing. Having said all that of course, such circumstances did sometimes occur, particularly if the fighting was in an urban area where cavalry would find the task more difficult, or were unavailable, so for those particularly dramatic breakthroughs Strelets offer this set ‘in attack’. Specifications Contents: 44 figures Poses: 14 poses Material: Plastic (Medium Consistency)

The ambitious Elector of Bavaria chose to fight with the French when the War of the Spanish Succession broke out, hoping to increase his imperial holdings in the wake of Louis’s success. Instead, the forces of the Grand Alliance ravaged his lands in 1704, and when the French and Bavarians met this threat at the Battle of Blenheim, they suffered a terrible defeat. The French could simply retire, but the allies partitioned and occupied Bavaria, leaving the Elector with no effective army, although small groups of Bavarian troops did fight in later actions. After the war, the Elector was restored to his territory, but Bavaria had suffered terribly for his ambitions and gained nothing. Specifications Contents: 52 figures Poses: 16 poses Material: Plastic (Medium Consistency)

Strelets 263 1/72 Spanish Succession War Spanish (pro-Bourbon) Infantry in Defence

The Dutch infantry from 1701 to 1714 played a key role in the War of the Spanish Succession, serving as part of the Grand Alliance alongside Britain, the Holy Roman Empire, and others against France. At the time, the Dutch Republic maintained one of the most professional and disciplined armies in Europe, with its infantry forming the backbone of a highly organized and well-drilled military force. Dutch infantry regiments were usually named after their colonels and consisted of both native Dutch troops and foreign mercenaries—especially Swiss, Scots, and Germans—who served under Dutch command. These regiments were structured similarly to other contemporary European forces, typically organized into companies and battalions. A standard Dutch infantry battalion would consist of around 600 to 800 men, armed with muskets fitted with bayonets, supported by a smaller number of pikemen, although by this period the pike was being phased out entirely in favor of fully musket-armed troops. Visually, Dutch infantry were known for their modest and functional uniforms, often in muted shades like grey, blue, or beige, depending on the regiment. These uniforms were simpler than the more flamboyant styles seen in French or British units, reflecting both Protestant sensibilities and a strong focus on utility. Soldiers wore tricorn hats, and the standard armament was the flintlock musket with a plug or socket bayonet. On the battlefield, Dutch infantry earned a reputation for discipline and steady performance under fire. They fought in major engagements such as Blenheim (1704), Ramillies (1706), Oudenarde (1708), and Malplaquet (1709), often alongside British forces under the Duke of Marlborough. Dutch generals like Henry de Nassau-Ouwerkerk and Obdam held senior commands, and Dutch troops were frequently deployed in critical positions during Allied campaigns in Flanders and along the Rhine. Although their strength waned in the following decades, during the early 18th century the Dutch infantry represented one of the most capable and respected military components of the Grand Alliance. Box contains 52 figures in 16 poses, 4 of them are unique figures forming a Command for the unit. The rest of the poses, 12, come repeated 4 times each, up to 48 figures in four equal sprue and depicts what the title promises, 12 poses in different stages of reloading, aiming or firing, allowing to compose an exceptionally beautiful firing line. 

Spanish Succession War Holy Roman Empire Grenadiers

It is October 30th, 1813. The day is cold and damp – sleet has been falling during the early hours, and the Bavarian infantry of General Wrede are lined up for battle in the centre of his line near the town of Hanau, blocking the retreat of the French. They had thought they were facing a disorganised, defeated French rabble, but now know they are standing against the emperor himself and the bulk of his army, defeated but not destroyed. Suddenly a shout is heard – French cavalry is approaching, so the men quickly form square, knowing that they are relatively safe from even the finest cavalry in Europe just by staying together. But they are not safe. The French have advanced a battery of around 50 guns to within range of the Bavarians, and will soon be tearing great holes in the formation with grapeshot, creating horrific scenes as men were scythed down where they stand. With the squares severely weakened, the French cavalry will then charge, overrunning three squares and putting the rest to flight. Napoleon will have won the day once more, but his days of glory are fast running out. Specifications Contents: 43 figures Poses: 19 poses Material: Plastic (Medium Consistency)

In the wars of Napoleon, skirmishing, you might think, was something done by the light infantry companies, or dedicated light infantry regiments, but there is good evidence that grenadiers and battalion (centre) companies also received some training in skirmishing, and so could perform this role, with at least some competence, when the situation required it. Skirmishing was usually done with teams of two or four men, in open order, where each team kept up a regular rate of fire on the enemy. This could harass an enemy unit, disrupt their manoeuvres and potentially keep them away from your own troops while they prepared themselves, but if threatened by formed infantry or cavalry, they would retreat back to their own formed line if possible. The British had learned much about this method of fighting during the American Revolution, and it remained an important tactic despite their modern image of being either in a firing line or in square. Specifications Contents: 42 figures Poses: 18 poses Material: Plastic (Medium Consistency)

The square was the means by which infantry could defend themselves against cavalry by showing an unbroken line of bayonets in all directions, and if they remained steady then there was nothing much cavalry could do about it. Waterloo was a classic example of this tactic, where for several hours the allied infantry held square against some massive charges by the superb French cavalry. Not one square was broken, and indeed witnesses suggest virtually no one in the squares was hurt during the attacks, since once the cavalry reached the allied lines, all they could do was mill about aimlessly and, at worst, fire off a carbine into the footmen. Many at Waterloo recorded their relief when the French cavalry arrived, because it meant the infantry were safe, particularly from the deadly artillery fire, and the solid British squares became an icon of the battle down the years. Specifications Contents: 42 figures Poses: 18 poses Material: Plastic (Medium Consistency)

Unpainted plastic soldiers in 1/72 scale depicting British Light Infantry during the Napoleonic Wars. Box contains 44 figures in 14 different poses that focus on marching poses. A command unique 4 figures group and 10 poses marching repeated 4 times format.

During the Napoleonic Wars, British light infantry emerged as some of the most skilled and flexible troops in the British Army. Unlike traditional line infantry, which fought in rigid formations and relied on massed volleys, light infantry were trained for speed, independence, and precision. They operated in looser formations, using cover, skirmishing ahead of the main line, and harassing enemy troops with accurate musket fire. Their role was crucial in both reconnaissance and battlefield disruption. British light infantry tactics were heavily influenced by earlier conflicts—particularly experiences in North America during the Seven Years’ War and American Revolution—where open-order fighting and marksmanship proved more effective than conventional European drill. By the time of the Napoleonic Wars, these ideas had been formalized in units like the 95th Rifles, the 60th Royal American Regiment, and several light companies within regular line regiments. Many of these units adopted specialized training, including live-fire drills, independent movement, and target shooting. One of the most famous light infantry units was the 95th Rifles, later part of the Rifle Brigade, which stood out for its use of the Baker rifle—a more accurate, though slower-loading, weapon than the standard Brown Bess musket. Rifles allowed British skirmishers to engage French officers, artillery crews, and scouts at longer distances with greater accuracy. Their distinctive dark green uniforms helped them blend into terrain better than the traditional redcoats, signaling their specialized role. Tactically, British light infantry often formed the screen in front of the main army, engaging enemy skirmishers, delaying advances, and scouting enemy positions. In major battles like Talavera, Bussaco, and Waterloo, they performed admirably, frequently outclassing their French counterparts. Their training emphasized initiative and adaptability—qualities that were less common in the more rigid armies of the era. Light infantry regiments and companies helped modernize British battlefield tactics during the Napoleonic period, marking a shift from linear musketry to more dynamic, combined-arms fighting. They earned a lasting reputation for professionalism, courage, and tactical innovation—traits that became hallmarks of British light troops in campaigns across the Peninsula and beyond. Box contains 36 figures in 12 different poses, and focuses in advancing poses. Include 4 unique command figures and 8 advancing poses repeated four times each.

All figures are supplied unpainted (Numbers of each pose in brackets) Features Contents: 44 figures Poses: 14 poses Material Plastic: (Medium Consistency) Colours: Brown Average Height: 23 mm (= 1.66 m)

All figures are supplied unpainted (Numbers of each pose in brackets) Features Contents: 45 figures Poses: 15 poses Material Plastic: (Medium Consistency) Colours: Brown Average Height: 23 mm (= 1.66 m)

All figures are supplied unpainted (Numbers of each pose in brackets) Features Contents: 40 figures Poses: 13 poses Material Plastic: (Medium Consistency) Colours: Brown Average Height: 23 mm (= 1.66 m)

All figures are supplied unpainted (Numbers of each pose in brackets) Features Contents: 39 figures Poses: 12 poses Material Plastic: (Medium Consistency) Colours: Brown Average Height: 23 mm (= 1.66 m)

The term 'revolution' is usually taken to mean the overthrow of a government by the governed, but in Peter I, the Great, Russia had one of her greatest revolutionaries, and he did it from the top of the social pile, not the bottom. He determined from an early age that Russia must modernise and become a major player in European politics rather than the fringe land barely noticed by so much of the continent. His impact on Russian society was tremendous, and often unpopular, and while not all his reforms were to stand the test of time he nevertheless succeeded in dragging his country into a new imperial age. For our purposes his two most important targets for reform were the army and the Court, both of which are depicted in this large set from Strelets. Specifications Contents: 108 figures, 6 horses, 2 guns Poses: 96 poses, 6 horse poses Material: Plastic (Medium Consistency)

The bulk of the new figures in this set are devoted to what has been described as the backbone of the Roman Army – Centurions. These were usually men of long service and proven military ability who could control their men and lead from the front when it came to a fight. Specifications Contents: 168 figures, 6 horses Poses: 60 poses, 6 horse poses Material: Plastic (Medium Consistency)

The Austin Armoured Car was a British armoured car produced during the First World War. The vehicle is best known for its employment by the Imperial Russian Army in the First World War and by different forces in the Russian Civil War. In addition to the British-built Austins, a few dozens of vehicles were manufactured in Russia in 1918 to 20. These are usually referred to as Austin-Putilov or if fitted with a Kégresse halftrack chassis Austin-Kégresse.