Robert Taylor Prints . com

All of the superb range of aviation and naval art prints by renowned artist Robert Taylor, in one easy to navigate gallery.  Listing all prints from the RAF, Luftwaffe, United States Air Force and more - all of Robert Taylor's prints in one place.  Robert Taylor Prints . com show all available aviation and naval prints published over the years by the Military Gallery, available from Cranston Fine Arts, the Military and Aviation Art Print Company. Order with Confidence with Cranston Fine Arts aviation art publisher and distributor for over 24 years.


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Aviation Print Packs
Dakota Paratrooper Art Prints by Robert Taylor and Geoff Lea.
Road to the Rhine by Robert Taylor.

Road to the Rhine by Robert Taylor.
Arnhem Op Market Garden by Geoff Lea.

Arnhem Op Market Garden by Geoff Lea.
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WW2 Battle of Britain Aviation Prints by Robert Taylor and Ivan Berryman.
Air Armada by Robert Taylor. (AP)
Air Armada by Robert Taylor. (AP)
Adversaries by Ivan Berryman. (AP)

Adversaries by Ivan Berryman. (AP)
Price £490.00
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D-Day Normandy Spitfire Aviation Prints by Robert Taylor and Adrian Rigby.
Canadian Wing by Robert Taylor

Canadian Wing by Robert Taylor
The Longest Day by Adrian Rigby.

The Longest Day by Adrian Rigby.
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WW1 F2B and DH4 Aircraft Art Prints by Robert Taylor and Ivan Berryman.
The Biff Boys by Robert Taylor.

The Biff Boys by Robert Taylor.
Captain Euan Dickson and AGL V Robinson, DH.4 by Ivan Berryman.

Captain Euan Dickson and AGL V Robinson, DH.4 by Ivan Berryman.
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Robert Taylor Spitfire Aviation Prints Pack.
Spitfires Over St Michaels Mount by Robert Taylor.

Spitfires Over St Michaels Mount by Robert Taylor.
Ramrod by Robert Taylor (B)

Ramrod by Robert Taylor (B)
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Latest Robert Taylor  Releases : 

 IAF Squadron Commander Avaham Lanir, flying an Israeli Air Force Mirage III high over the Syrian desert, scores a victory over a Syrian MiG-21 on 9 November 1972. Later, during the Yom Kippur War, his Mirage was hit by a Syrian missile ambush, forcing him to eject over enemy territory. Despite valiant efforts to rescue him, he was captured by the Syrians and died under interrogation.
Desert Victory by Robert Taylor.
 Yom Kippur - the Day of Atonement - is the holiest day in the Hebrew calendar and in Israel is marked by a national holiday but on that day in 1973 the unexpected happened. At 14.00 hours on 6 October the coalition of Arab states led by Egypt and Syria launched a surprise attack on Israeli positions. Thousands of Egyptian troops swarmed across the Suez Canal into Israeli held Sinai whilst in the north nearly 1,500 Syrian tanks backed by artillery thrust west towards Israel. Facing this sudden surprise attack on the Golan Heights were less than 200 Israeli tanks. In the air, too, Egyptian and Syrian air forces struck in a single, co-ordinated assault hitting the Israeli anti-aircraft defences and hoping to deliver a fatal blow.  Largely unprepared, Israel reeled however within hours it mobilised its fighting reserves and began a ferocious battle to stem the enemies advance. As Israeli tanks and infantry rushed to hold the front line and, in the north, push the enemy back, Israeli Air Force jets overhead fought a heroic battle to regain the initiative and control of the skies. It was grim work. Both Egyptian and Syrian forces were equipped with hundreds of Soviet-supplied SAM missiles but the tide of war was turning and a battered Israeli Air Force now went on the counter-offensive. And amongst their main targets were the heavily-defended Egyptian air bases that lay deep in the Nile delta.  Robert Taylor's powerful and dramatic painting depicts one such strike that took place on 14 October 1973, half way through the war, when Israeli F-4 Phantom fighter-bombers made simultaneous strikes against the Egyptian air bases at Mansoura and Tanta north of Cairo.  After the first wave struck the elite Egyptian MiG-21 units at El Mansoura, the other Phantom squadrons attacked Tanta in waves, turning to dog-fighting immediately after dropping their ordnance. Tanta was also home to two squadrons of Libyan Mirage 5s and the furious air battle that ensued involved countless fighter aircraft. Despite bitter opposition, the successful IAF missions eliminated much of the effectiveness of the Egyptian Air Force and its Libyan allies.
Double Strike by Robert Taylor.
 Sunday 15 September 1940 and Luftwaffe supremo Hermann Goering believed victory over the RAF was at hand. Today, he decreed, would be the day that his 'glorious' Luftwaffe would finally break the back of Fighter Command's stubborn resistance. Or so he believed. In response to a massed formation of enemy aircraft detected heading for London, Air Vice Marshal Keith Park commanding 11 Group scrambled his squadrons. He also requested that 12 Group bring Douglas Bader's 'Big Wing' down from Duxford. Every available pilot and machine was committed. Prime Minister Winston Churchill turned to Park and asked +What other reserves have we+ +There are none+, Park replied. Bader now had five squadrons racing south, meeting what remained of the enemy on the outskirts of London. With a successful morning behind them the RAF fighters raced back to re-fuel and re-arm. Just after 14.00 hrs another enemy battle group was observed and this time the formations were even larger. Bader's Wing was scrambled once more.

The Greatest Day by Robert Taylor.
 Spitfires of 616 Squadron scramble from RAF Kenley during the heavy fighting of the Battle of Britain, late August 1940.  Below them a Hurricane of 253 Squadron, sharing the same base, is being prepared for its next vital mission at a distant dispersal.  All through the long summer of 1940, as Britain stood alone, a small band of fighter pilots took part in the greatest aerial battle in history.  Day after day the men of Fighter Command valiantly took to the air to defend their country from the Luftwaffe and the threat of German invasion and Nazi tyranny.  Outnumbered, but never out-fought, they fought to the point of exhaustion and, in doing so, paid a heavy price.  But they won.

We All Stand Together by Robert Taylor.

 

FEATURED SIGNATURE



Private 1st Class Arthur Art Petersen

Serving with Fox Company, 506th PIR, 101st Airborne he was one of many paratroopers misdropped on D-Day. Landing near Sainte Mère-Église he briefly fought alongside Easy Company before heading south into the bitter fire-fight raging around the church at Angoville-au-Plain. After being wounded he was briefly treated in the Church and then fought in the advance into Carentan. He later jumped on Operation Market Garden, where he was wounded, but was back in action in time to re-join his unit in the Battle of the Bulge. Wounded yet again, Bastogne proved to be his final combat.

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All Our Latest Aviation Releases : 

 June 1940 and the freedom of Britain lay in the hands of a small band of young RAF fighter pilots. Facing them across the Channel, the all-conquering Luftwaffe stood in eager anticipation of an easy victory, one that would allow were Hitler's mighty armies to invade. So heavily were the odds stacked against the RAF, few gave Fighter Command a chance. The American ambassador to Britain reported that <i>democracy is finished in England</i>. He was wrong.  Although outnumbered more than five to one at the outset, as the savage aerial battles raged continuously over southern England, the courage and dedication of Fighter Command's young airmen gradually turned the tide. By the end of September the battle was won and, for the first time, the Luftwaffe had tasted defeat.  Richard Taylor's outstanding composition portrays a more reflective image of those heroic RAF fighter pilots in contrast perhaps to the deadly trials they faced on a daily basis. Just occasionally during that long hot summer of 1940 were rare moments of peaceful respite. Every minute off-duty was time to be savoured, especially for this particular young fighter pilot and his girl as they briefly pause along a quiet country lane to watch the Spitfires from 92 Squadron pass low overhead. For a few moments the distinctive roar of Merlin engines shatters the peace and they both know that this time tomorrow it will be him who will be flying into combat.
Quiet Reflection by Richard Taylor.
 March 1944 and heavy snow has settled firmly over the frozen Lincolnshire countryside around RAF Fiskerton. For once the Lancasters of 49 Squadron stand quietly idle at their dispersal points around the perimeter of the airfield. It is a scene recreated at many other heavy bomber airfields across the east of England and the young airmen who crew these mighty machines now wait patiently for the inevitable thaw that will soon see them in combat again.  For some, however, the future is uncertain. Just a few weeks later, on 30 March 1944, during a raid on Nuremberg, more than 100 bombers would be shot down. In the space of a single night Bomber Command would suffer more men lost than Fighter Command during the entire Battle of Britain.  Bomber Command flew more than 389,000 sorties from 101 operational bases across the east of England during WWII and the aircrew that undertook these missions came from Britain, Canada, Australia, New Zealand, South Africa, Rhodesia and many countries under Nazi occupation. Every airman was a volunteer and with an average age of just 22 they were forced to grow up quickly, enduring frightening odds and suffering terrible losses - only the Nazi U-Boat force experienced a higher casualty rate.  Of the 125,000 men who served, 55,573 were killed. For every 100 airmen who joined Bomber Command, 45 would lose their lives, 6 would be seriously wounded and 8 made prisoners of war. Yet they resolutely overcame the overwhelming forces stacked against them, including some of the worst flying conditions imaginable and, never flinching from their task, flew until victory was finally achieved.
Ops On Hold by Richard Taylor.
 September 1940 and they came in their hundreds, the black crosses under their wings clearly visible to those on the ground who listened in silence as the menacing drone of a thousand engines filled the clear blue summer sky.  As Goering's Luftwaffe attempted to deal the killer blow to British defences, huge formations of Heinkel, Dornier and Junker bombers lumbered over sleepy English fields towards London.  Surrounding them were their escorts, the formidable Messerschmitt Bf109 fighters.  Diving our of the sun, 11 Group's fighter squadrons pounced, with the Spitfires going for the Bf109s while the Hurricanes fell on the slower moving bombers.  Looking up on the swirling melee above, onlookers below could only watch in awe as the sky was filled with criss-cross patterns of creamy white vapour and spiralling trails of ominous, darker smoke.  A parachute here and there caught the eye as the white silk drifted slowly down to the fields below.  Hugely outnumbered, the men of RAF Fighter Command were supported by volunteer airmen from fifteen nations, and as more squadrons joined the fray the battle raged towards the capital until the Bf109s turned for home.  The Few were finally turning the tide of the Battle of Britain.

Fields of Glory by Richard Taylor.
 They came from every corner of Britain.  And mostly they were young.  These fresh faced fighter pilots, joined by an ever-growing band of volunteer airmen from the British Commonwealth and those who had managed to escape from the occupied countries of Europe would, over the summer of 1940, not only hold the world's most powerful air force at bay, they would defeat it.  Richard Taylor's stunning piece graphically conveys the conflicting realities of those deadly aerial encounters over southern England during 1940.  As the sound of Merlin engines briefly interrupts the tranquility of a sleepy English village, its residents are determined to carry on with everyday life.  In the skies overhead the bitter battle will shortly be reaching its crescendo but, for today at least, the fighting is over as Flight Sergeant George 'Grumpy' Unwin, one of the Battle of Britain's top Aces, and the Spitfire pilots of 19 Squadron return from yet another encounter with Goering's much-vaunted Luftwaffe.

Return From the Fray by Richard Taylor.
 A trio of Spitfire Mk1s of 603 Sqn based at Biggin Hill are depicted on patrol in the Summer skies above Kent during the height of the Battle of Britain in August 1940. Lead aircraft is N3288 XT-H flown by Plt Off George Gilroy who finished the war with 14 confirmed victories, 10 shared and a further 14 aircraft destroyed in actions in which he was directly involved.

Biggin Trio by Ivan Berryman.
 The air resonates to the unmistakable sound of Merlin engines as Lancasters from 630 and 57 Squadrons skim low over the Lincolnshire countryside whilst returning to their base at East Kirkby, in the summer of 1944.  RAF East Kirkby was home to Lancasters of 630 and 57 Squadrons who often flew together on long-range bombing raids including attacks against Berlin and Hitler's alpine home at Berchtesgaden.  It is of great historical importance that every print has been personally signed by one of the last surviving veterans based at RAF East Kirkby during WWII.

Return to East Kirkby by Richard Taylor.
 On the evening of 5th June 1944, at a dozen airfields across southern England, more than 13,000 American paratroopers prepared themselves for a mission that would change the course of history.  The next morning these brave young men found themselves at the forefront of the bitter fighting to secure the right flank of the Normandy beach-head.  The odds against them were huge and, if they failed, the American amphibious landings on Utah and Omaha beaches would face disaster - the destiny of the US First Army rested squarely on the shoulders of the 82nd and 101st Airborne Divisions.

Final Roster by Anthony Saunders.
 P-47 Thunderbolts of the 509th Fighter Squadron, 405th Fighter Group, pass low over paratroopers of the 82nd Airborne Division advancing through heavy snow during the Battle of the Bulge, January 1945. Major Robert 'Blackie' Blackburn, in his distinctive aircraft <i>Chow Hound</i>, leads his unit as they head out on a morning low-level bombing mission.  In the early hours of 16th December 1944, out of nowhere, hundreds of panzers and thousands of troops poured forward as Hitler launched the last great German offensive of the war and, for once, the Allies had been wrong-footed.  The thinly-held Ardennes was the last place they had been expecting a counter-attack, but now three German armies were heading west across an 80-mile front.  Caught off guard the Americans rushed in reinforcements, including the 82nd and 101st Airborne Divisions encamped near Reims, over a hundred miles away.  Exhausted by the fighting in Holland during Operation Market Garden, they had been sent to Reims to recuperate.  They never got the chance.  Thrown into the thick of the action the 82nd helped to blunt the Germans' advance to the north, whilst at Bastogne, a pivotal town further south, the 101st, surrounded, out-numbered and besieged, refused to surrender.  The line held and three days before Christmas the panzers ground to a halt, stalled by lack of fuel.  As the weather improved the Allies could now bring their airpower into play. Hitler's last gamble had failed.

Thunder in the Ardennes by Anthony Saunders.

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The Battle for Britain by Robert Taylor (AP)

The Battle for Britain by Robert Taylor (AP)
Price : £395.00
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Hostile Sky by Robert Taylor

Hostile Sky by Robert Taylor
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Inbound to Target - The Dambusters by Robert Taylor. (AP)
Inbound to Target - The Dambusters by Robert Taylor. (AP)
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They Landed by Moonlight by Robert Taylor.

They Landed by Moonlight by Robert Taylor.
Price : £200.00
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Cloud Companions by Robert Taylor (AP)

Cloud Companions by Robert Taylor (AP)
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The name Robert Taylor has been synonymous with aviation art over a quarter of a century. His paintings of aircraft, more than those of any other artist, have helped popularise a genre which at the start of this remarkable artist's career had little recognition in the world of fine art. When he burst upon the scene in the mid-1970s his vibrant, expansive approach to the subject was a revelation. His paintings immediately caught the imagination of enthusiasts and collectors alike . He became an instant success. As a boy, Robert seemed always to have a pencil in his hand. Aware of his natural gift from an early age, he never considered a career beyond art, and with unwavering focus, set out to achieve his goal. Leaving school at fifteen, he has never worked outside the world of art. After two years at the Bath School of Art he landed a job as an apprentice picture framer with an art gallery in Bath, the city where Robert has lived and worked all his life. Already competent with water-colours the young apprentice took every opportunity to study the works of other artists and, after trying his hand at oils, quickly determined he could paint to the same standard as much of the art it was his job to frame. Soon the gallery was selling his paintings, and the owner, recognising Roberts talent, promoted him to the busy picture-restoring department. Here, he repaired and restored all manner of paintings and drawings, the expertise he developed becoming the foundation of his career as a professional artist. Picture restoration is an exacting skill, requiring the ability to emulate the techniques of other painters so as to render the damaged area of the work undetectable. After a decade of diligent application, Robert became one of the most capable picture restorers outside London. Today he attributes his versatility to the years he spent painstakingly working on the paintings of others artists. After fifteen years at the gallery, by chance he was introduced to Pat Barnard, whose military publishing business happened also to be located in the city of Bath. When offered the chance to become a full-time painter, Robert leapt at the opportunity. Within a few months of becoming a professional artist, he saw his first works in print. Roberts early career was devoted to maritime paintings, and he achieved early success with his prints of naval subjects, one of his admirers being Lord Louis Mountbatten. He exhibited successfully at the Royal Society of Marine Artists in London and soon his popularity attracted the attention of the media. Following a major feature on his work in a leading national daily newspaper he was invited to appear in a BBC Television programme. This led to a string of commissions for the Fleet Air Arm Museum who, understandably, wanted aircraft in their maritime paintings. It was the start of Roberts career as an aviation artist. Fascinated since childhood by the big, powerful machines that man has invented, switching from one type of hardware to another has never troubled him. Being an artist of the old school, Robert tackled the subject of painting aircraft with the same gusto as with his large, action-packed maritime pictures - big compositions supported by powerful and dramatic skies, painted on large canvases. It was a formula new to the aviation art genre, at the time not used to such sweeping canvases, but one that came naturally to an artist whose approach appeared to have origins in an earlier classical period. Roberts aviation paintings are instantly recognisable. He somehow manages to convey all the technical detail of aviation in a traditional and painterly style, reminiscent of the Old Masters. With uncanny ability, he is able to recreate scenes from the past with a carefully rehearsed realism that few other artists ever manage to achieve. This is partly due to his prodigious research but also his attention to detail: Not for him shiny new factory-fresh aircraft looking like museum specimens. His trade mark, flying machines that are battle-scarred, worse for wear, with dings down the fuselage, chips and dents along the leading edges of wings, oil stains trailing from engine cowlings, paintwork faded with dust and grime; his planes are real! Roberts aviation works have drawn crowds in the international arena since the early 1980s. He has exhibited throughout the US and Canada, Australia, Japan and in Europe. His one-man exhibition at the Smithsonians National Air and Space Museum in Washington DC was hailed as the most popular art exhibition ever held there. His paintings hang in many of the worlds great aviation museums, adorn boardrooms, offices and homes, and his limited edition prints are avidly collected all around the world. A family man with strong Christian values, Robert devotes most of what little spare time he has to his home life. Married to Mary for thirty five years, they have five children, all now grown up. Neither fame nor fortune has turned his head. He is the same easy-going, gentle character he was when setting out on his painting career all those years ago, but now with a confidence that comes with the knowledge that he has mastered his profession.

 

 

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