Robert Taylor Aviation and Naval Art


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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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Publishing historical art since 1985

 

Aviation Print Packs
Pack 756. Pack of two Thunderbolt aircraft prints by Robert Taylor and Nicolas Trudgian.
The Wolfpack by Robert Taylor. (B)

The Wolfpack by Robert Taylor. (B)
Thunderbolts and Lightnings by Nicolas Trudgian. (AP)

Thunderbolts and Lightnings by Nicolas Trudgian. (AP)
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WW2 Spitfire Aviation Art Prints by Ivan Berryman and Robert Taylor.
Head on Attack by Robert Taylor

Head on Attack by Robert Taylor
Spitfire F Mk21 by Ivan Berryman.

Spitfire F Mk21 by Ivan Berryman.
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RAF Spitfire Prints by Robert Taylor and Ivan Berryman.
Eagle Squadron Scramble by Robert Taylor

Eagle Squadron Scramble by Robert Taylor
In the Playground of the Gods by Ivan Berryman.

In the Playground of the Gods by Ivan Berryman.
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Battle of Britain Aviation Art Prints by Robert Taylor and Ivan Berryman.
Valiant Response by Robert Taylor.
Valiant Response by Robert Taylor.
A Day for Heroes by Ivan Berryman.

A Day for Heroes by Ivan Berryman.
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Pilot Signed WW2 Hawker Hurricane Prints by Robert Taylor and David Pentland.
Height and Sun by Robert Taylor.

Height and Sun by Robert Taylor.
Can Openers by David Pentland. (D)

Can Openers by David Pentland. (D)
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Latest Robert Taylor  Releases : 

 When Hitler invaded Poland the British found themselves at war - and isolated.  Desperate for new fighters and with production at full capacity they turned to the US aircraft manufacturer North American Aviation who were convinced they had the answer for Britain's needs - but it was still on the drawing board.  They were, however, sure they could meet the deadline and incredibly, within the space of just four months the company had their brand new machine in the air.  The Mustang was a triumph - conceived and born in a shorter period than any other significant aircraft in history and testament to its designer Edgar Schmued, and the people who built it.  Delivered to the RAF in October 1941, it was fast, manoeuvrable, hard-hitting and, by the time it was combined with the legendary Rolls-Royce Merlin engine, was capable of outperforming anything the enemy could throw at it.  With the arrival of the long-range fighter the heavy bombers of the USAAF could now be escorted all the way to the German capital and back so whilst the RAF pounded Berlin at night, the Mighty Eighth would do the same by day.  When P-51s first appeared in the skies over Berlin, Hermann Goering was reported to have announced that he knew then the war was lost.  Like the Spitfire, a special new breed of men flew the Mustang as the Allies pushed for victory in Europe.  Tough, supremely confident, determined, and gloriously brave; it was an era that belonged to them and the P-51 helped produce some of the greatest aces of the war.  Such iconic pilots as George Preddy, John Meyer, Don Blakeslee, Kit Carson and Bud Anderson scored all or most of their victories in this thoroughbred fighter.  In fact, the Mustang was responsible for more US victories than any other fighter of the war.  In this painting, P-51Ds of the 352nd Fighter Group with full long-range tanks slung under their wings, head out from their forward base in Belgium on an extended sweep east of the Rhine crossing on the lookout for enemy aircraft, in the spring of 1945.

Looking for Trouble by Robert Taylor.
For nearly a thousand years the white cliffs of southern England had taunted many a foreign army.  These fortress walls of chalk, however, were defended by the moat-like waters of the Channel, and together they had shielded the British from her enemies.  Alongside Drake they had defied the armies of Spain and her great Armada and, in 1805, had halted the march of Napoleon's <i>Grand Armée</i>.  No enemy force since that of William the Conqueror in 1066 had successfully managed to cross the Channel in anger but, in May 1940, one of the most powerful armies the world had ever seen arrived at Calais.  An invasion by Hitler's all-conquering Wehrmacht was imminent - or so it seemed.  To cross the Channel and breach the English defences, the Luftwaffe simply had to gain control of the skies, and with massively superior numbers the outcom seemed inevitable.  The fate of Britain lay in the hands of less than 3,000 young airmen from Fighter Command - Churhill's 'Few'.  By July the most famous air battle in history was underway and, over the next three months under tranquil summer skies, the 'Few' battled to defend their Scpetred Isle.  Impossibly outnumbered and flying daily to the point of exhaustion, by October these courageous young men had snatched victory from the jaws of defeat, emerging defiantly victorious.  The threat of invasion might be over but a terrible price had been paid - during that long battle for the survival of Britain 544 had been killed and 422 wounded; and of those who survived a further 814 would be killed before the end of the war.  This painting pays tribute to the valiant 'Few', portraying a fleeting moment of calm for the pilots of 74 (Tiger) Squadron during the height of the Battle of Britain.  With his commanding officer Sailor Malan (ZP-A) to his right, Acting Flight Lieutenant John Freeborn (ZP-C) takes time to reflect on another day of intense combat while passing over the white cliffs and the familiar lighthouse at Beachy Head, as the squadron cross the English coast to head for home.

This Sceptred Isle by Robert Taylor.
 Following their victory at Midway, American forces had fought a long, bloody and bitter campaign to retake the Japanese held islands in the Pacific.  By the end of March 1945, however, they had finally captured Iwo Jima and looked towards Okinawa, a province of Japan itself.  But the closer the fighting came to Japan, the greater was the enemy's resistance.  The five-week long battle for Iwo Jima had been bloody, brutal and costly with over 26,000 US Marine casualties.  Of the 21,000-strong Japanese garrison on the island less than 300 prisoners had been taken; the rest refusing to surrender, preferring to fight to the death or commit 'honourable' ritual suicide.  Now the Allied attention turned to the island of Okinawa.  Annexed by Japan in the late nineteenth century and less than 400 miles south of its mainland, it was the place from which the Allied invasion of Japan must be launched.  Supported by a huge naval presence, including one of the largest British fleets ever assembled, the assault began on 1st April 1945 with the largest amphibious landing of the Pacific war - six US Divisions landed during what has been referred to as a <i>typhoon of steel</i>.  Japan's response was ferocious seeing the peak of the kamikaze scourge and the Allied fighter pilots, whilst providing ground support to the advancing infantry, desperately attempted to defend the naval fleet from unrelenting attacks.  While the British ships with their steel decks fared much better, the kamikazes took their toll on the US fleet, highlighting a conflict worse than anything seen before.  The 82 day battle was one of the most severe and bloody campaigns of WWII, accounting for over 14,000 Allied deaths and five times that number of Japanese soldiers.  This painting depicts USMC Ace Dean Caswell and F4U Corsairs from VMF-221, based on the carrier USS Bunker Hill climbing away from the target area after delivering a blistering rocket attack on enemy positions on Okinawa.

Okinawa by Robert Taylor.
 It was one of the fastest operational aircraft in the world, one of the most envied - and one of the most feared. Built almost entirely of wood and assembled by carpenters, the beautifully streamlined de Havilland Mosquito, or <i>Wooden Wonder</i> was a triumph of ingenuity at a time when resources of light alloys were in short supply.  Its greatest attribute was speed.  Powered by two phenomenal Rolls-Royce Merlin engines, the Mosquito became the finest multi-role combat aircraft of World War II.  No other Allied military aircraft was built in so many versions for so many roles - a fast bomber which could carry a huge 4,000lb payload; a day or night fighter; a fighter-bomber; trainer; torpedo bomber; photo reconnaissance aircraft; maritime strike aircraft and U-boat hunter were just some of the 43 different variants produced during a long and distinguished career.  Mosquitos had pioneered the role of daring precision attacks with the September 1942 raid on the Gestapo Headquarters in Oslo and were involved in the first unescorted high-speed bombing raids on Germany.  It was the Mosquito strike wings of Coastal Command, however, that endured some of the fiercest battles of the war.  Flying over the unforgiving icy waters of the North Sea to attack enemy shipping along the coasts of Norway, Denmark and Hollad meant that precision flying was essential for survival; especially in the deep, sheer fjords where even the slightest lapse in concentration could result in instant destruction.  In this painting, Mosquito Mk.VIs from No.143 Sqn, part of the famous Banff Strike Wing, come under intense defensive fire whilst delivering a blistering strike on enemy shipping off the Norwegian coast in early 1945.  Their salvo of rockets, however, will likely be enough to penetrate the hulls of the ships.

Devastating Strike by Robert Taylor.

 

FEATURED SIGNATURE



Lieutenant Joseph W Cannon

He enlisted in the USAAF in 1942 and after completing training joined the 363rd Fighter Squadron, 357th Fightr Group based at Leiston, flying P-51s alongside such legendary aces as Bud Anderson and Chuck Yeager. From September 1944 he flew 303 combat hours in 72 missions over Europe in his Mustang Little Joe, twice force-landed in Belgium in October 1944 and damaged two aircraft in the air, including an Me262 jet over Leipzig in March 1945.

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All Our Latest Aviation Releases : 

 Austrian-born Walter Nowotny was one of Germany's highest scoring aces of WWII with 258 victories to his credit, three of them flying the Messerschmitt Me.262. He is depicted here flying White 8 of Kommando Nowotny based at Achmer, Germany in 1944. He was killed in action later that year following a fraught combat with US fighters during the Defence of the Reich.

White 8 - Walter Nowotny by Ivan Berryman.
 The highest scoring fighter pilot of all time with a confirmed tally of 352 victories, Erich Hartmann is depicted getting airborne from a snowy airstrip in Czechoslovakia, late in 1944 in a Bf109G-6 of 6./JG 52.

Erich Hartmann - The Ace of Aces by Ivan Berryman.
 Arguably the best known of all World War 1 fighter aces, Mannfred von Richthofen, the 'Red Baron', is depicted here flying Fokker Dr.1, serial No 425/17, in its final livery following the introduction of the <i>Balkenkreuze</i>, early in 1918. Contrary to popular belief, this was the only Triplane flown by the <i>Rittmeister</i> that was painted all red and was also the aircraft in which he lost his life on 21st April 1918, the celebrated ace having scored a confirmed 80 victories against allied aircraft over France.

The Greatest of Them All - Manfred von Richthofen by Ivan Berryman.
 Perhaps the greatest exponent of Fokker's Eindecker series of aircraft, Max Immelmann is credited with 15 aerial victories and was the first fighter pilot ever to win the coveted Pour le Mérite. He was killed on 18th June 1916 during combat with British FE.2B fighters of 25 Sqn.

The First Ace - Max Immelmann by Ivan Berryman.
 The great Werner Voss is depicted in his Fokker F1 103/17 of Jasta 10 in the Summer of 1917. Renowned by pilots from both sides for his bravery and extraordinary airmanship, the young ace scored a total of 48 confirmed victories before being brought down and killed by Lieutenant Rhys Davids' SE5 on the very day that he was due to go on leave. The Fokker F1 differed from the production DR.1 in detail only, Voss' machine being fitted with a captured 110hp Le Rhone engine and his aircraft was not fitted with the outer wing skids common to the DR.1.

Into the Sun - Leutnant Werner Voss by Ivan Berryman.
Tiger Moth G-AOEI owned by Cambridge Flying Group over the Cambridge countryside.

A Special Breed by Gerald Coulson.
 The daylight raid on Tokyo, led by Lt Col James H. Doolittle on Sunday 18 April 1942, has rightfully entered the history books as one of the most daring and courageous operations of the Second World War. On that day, in mid ocean, Doolittle had launched his B-25 Mitchell bomber from the heaving, spray-soaked flight deck of an aircraft carrier, a deck too short to land on, and flown on to bomb Tokyo. He knew there would be no return to the USS Hornet, either for him or the 15 heavily laden B-25s behind him, for this was a feat never before attempted, and for every crew member the mission was a one-way ticket. Yet, under the leadership of Jimmy Doolittle, they all dared to survive. The mission for the 16 bombers was to bomb industrial targets in Tokyo and surrounding areas, to slow production of strategic war material, then fly on to land in the part of south-west China that was still in the hands of friendly Nationalist forces. All being well, the mission would be so unexpected it would plant the first seeds of doubt into enemy minds. It worked – the Japanese were forced to quickly divert hundreds of aircraft, men and equipment away from offensive operations to the defence of their homeland. There was, however, another reason behind the Doolittle's raid – to lift the morale of an American public devastated by the attack on Pearl Harbor four months earlier. And the success of the mission provided the boost that was needed. If any had doubted America's resolve in the face of uncertainty, the courage, determination and heroism displayed by Lt Col Doolittle and his band of aviators restored their determination. Although it might take years, and the price would be high, America and her allies understood that the fight could, and would, be won. Commissioned to commemorate the 75th Anniversary of the Doolittle Tokyo Raid the painting portrays the dramatic moment that Lt Col Jimmy Doolittle lifts his B-25 off the pitching deck of the USS Hornet. Having timed his launch to perfection he climbs steeply away, ready to adjust his compass bearing for a direct line to Tokyo. On the sodden deck behind him the crews of the remaining 15 aircraft, whose engines are warmed, ready and turning, will quickly follow their commanding officer into the murky sky.

Destination Tokyo by Anthony Saunders.
 VC.10, serial No 885 was the last of its type to be built at Brooklands and is seen here taking to the air on 16th February 1970 in her East African Airlines livery as 5H-MOG. This aircraft was later acquired by the Royal Air Force and registered as ZA150, serving as a K3 with 101 Sqn until her eventual retirement in 2013, this veteran of 43 years service landing for the final time at Dunsfold where she will be preserved as part of the Brooklands Museum.

Last of the Line by Ivan Berryman. (P)

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The Wolfpack by Robert Taylor.

The Wolfpack by Robert Taylor.
Price : £210.00
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Bomb Away! The Third Assault by Robert Taylor. (B)

Bomb Away! The Third Assault by Robert Taylor. (B)
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The Blond Knight by Robert Taylor. (AP)

The Blond Knight by Robert Taylor. (AP)
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Rabaul - Fly For Your Life by Robert Taylor. (AP)

Rabaul - Fly For Your Life by Robert Taylor. (AP)
Price : £395.00
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Eagles Prey by Robert Taylor.

Eagles Prey by Robert Taylor.
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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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