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
Pack 761. Pack of two P-47 Thunderbolt prints by Robert Taylor and Ivan Berryman.
The Wolfpack by Robert Taylor. (B)

The Wolfpack by Robert Taylor. (B)
Duxford Pair by Ivan Berryman (GS)

Duxford Pair by Ivan Berryman (GS)
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Pack 604. Pack of two WW2 German aviation items by Robert Taylor and Ivan Berryman.
In Them We Trust by Ivan Berryman. (GS)

In Them We Trust by Ivan Berryman. (GS)
Close Encounter by Ivan Berryman (P)

Close Encounter by Ivan Berryman (P)
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WW2 Lancaster Bomber Aviation Prints by Ivan Berryman and Robert Taylor.
Teamwork by Ivan Berryman.

Teamwork by Ivan Berryman.
Nursing Her Home by Ivan Berryman. (B)

Nursing Her Home by Ivan Berryman. (B)
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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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Pack 516. Pack of two WW2 Lysander aircraft prints by Robert Taylor and Graeme Lothian.
They Landed by Moonlight by Robert Taylor.

They Landed by Moonlight by Robert Taylor.
Lysander Pick Up by Graeme Lothian (B)

Lysander Pick Up by Graeme Lothian (B)
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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 : 

  Seen here in company with other 485 Sqn machines, Spitfire Mk.IXc ML407 is depicted over the Normandy beaches shortly after D-Day.  Flown by New Zealander Fl Lt Johnnie Houlton, this aircraft claimed a Ju.88 on 6th June and shared in the destruction of another on the same day.  Coded 'V' in honour of his wife, Vickie, ML407 is still flying today, now converted to a two-seater and regularly displayed by Carolyn Grace.

Guardians of the Beaches by Ivan Berryman. (PC)
 Despite crippling damage to their Lancaster ED925 (G), the crew of AJ-M continued to press home their attack on the Mohne Dam on the night of 16th/17th May 1943. With both port engines ablaze, Flt Lt J V Hopgood forced his blazing aircraft on, releasing the Upkeep bomb just precious seconds too late to strike the dam, the mine instead bouncing over the wall and onto the power station below with devastating results. ED925 attempted to recover from the maelstrom, but the fuel fire was too intense and the aircraft was tragically lost, just two of her crew managing to escape the impact to spend the rest of the war as PoWs.

No Way Back by Ivan Berryman. (PC)
  Following the successful attack on the Mohne dam on the night of 16th/17th May 1943, three Lancasters of 617 Sqn turned their attention to the Eder, some twelve minutes flying time away, accompanied by Wing Commander Guy Gibson to oversee the next attack. After several aborted attempts to obtain the correct height and direction for their bomb run by Flight Lieutenant Shannon (AJ-L) and  Squadron Leader H E Maudslay (AJ-Z), Gibson called in Maudslay to try again. During his second approach, he released his Upkeep bomb too late. It struck the top of the dam wall and bounced back into the air where it exploded right behind Maudslay's aircraft, lighting up the entire valley and causing considerable damage to the aircraft that had dropped it. Despite what must have been crippling damage, AJ-Z did manage to limp away from the scene and begin the return journey, but Maudslay and all his crew were sadly lost when their aircraft was shot down by flak at Emmerich-Klein-Netterdn. The Eder was finally successfully breached by Pilot Officer Les Knight's aircraft, ED912(G), AJ-N, which returned safely.

Tragedy at the Eder by Ivan Berryman. (PC)
 Flying low across the North Sea en route to the Sorpe Dam on the night of 16th/17th May 1943 as part of Operation Chastise, Flying Officer Geoff Rice's Lancaster ED936(G) clipped a large wave, ripping the Upkeep bomb from its mountings and pitching the aircraft into the sea. Somehow, in just a split second, Rice managed to haul AJ-H back into the air, but the aircraft had ingested a huge amount of water and, as Rice put his Lancaster into a climb to head back to Scampton, rear gunner Sgt S Burns and his turret were almost swept away as the water rushed to the back of the aircraft. AJ-H returned to Scampton otherwise unscathed and took no further part in the Dams Raids.

A Lucky Escape by Ivan Berryman. (PC)
 En route to the Ruhr Dams on the night of 16/17 May 1943, P/O W C Townsend, demonstrating great skill, flew his aircraft, ED886(G) 'O'- Orange below tree-top height through a forest firetrap on his way to the Ennepe Dam, a feat carried out by moonlight alone.  AJ-O made it successfully to its target where the Upkeep bomb was observed to hit the dam, but with no effect, before returning safely to base the following morning.

Undetected by Ivan Berryman. (PC)
  This was the moment when the massive Möhne dam was finally breached on the night of 16th-17th May 1943 during the top secret Operation Chastise. The specially-converted Lancaster B MkIII of Fl/Lt David Maltby ED906(G) AJ-J roars between the towers of the dam, having released the Upkeep bouncing bomb that would ultimately cause a cascade of water to flood into the valley below. Fl/Lt Harold Martin's identical aircraft, ED909(G) AJ-P can be seen off Maltby's port wing with all of its light ablaze, drawing enemy fire from the attacking bomber.

Dambusters - Moment of Truth by Ivan Berryman. (PC)
 The Lancaster B MkIII of Flt Lt J V Hopgood was the second aircraft to make an attempt at breaching the Möhne Dam on the night of 16/17th of May 1943.    Already damaged by flak en route to their target, the embattled Lancaster ED925(G) (AJ-M) encountered intense flak and 20mm fire from the shore and from the towers of the dam itself. Flying Officer Gregory's front gun turret had taken the full force of the flak burst during the journey, killing him instantly, and Hopgood himself was almost certainly wounded in the same explosion.  Nevertheless, they pressed home their attack but, just moments from the release of the Upkeep bomb, both of Hopgood's port engines took direct hits and burst into flames, and other rounds ripped through the starboard wing. Perhaps distracted by the sudden conflagration, Hopgood's aircraft released its bomb just seconds too late to be effective.  The bomb bounced over the dam wall, landing on the power station below where it exploded with devastating results.  With blazing fuel now engulfing the wing of his crippled aircraft, Hopgood climbed to about 500ft where the wing failed, sending ED925 into a dive from which it would never recover. By jumping clear, clutching their parachutes just moments before impact, two of her crew survived to become prisoners of war.

Bravest of the Brave by Ivan Berryman. (PC)
 Of the five Lancasters that formed the Second Wave of Operation Chastise, just one aircraft made it to the target, the Sorpe Dam, on the night of 16th/17th May 1943. American pilot Joe McCarthy had been forced to switch to the reserve aircraft due to technical difficulties and subsequently took off slightly later than his less fortunate comrades, all of whom fell either to German flak or to mishaps on their perilous journey. Upon arrival, McCarthy found the view of the dam itself to be unobscured, although mist in the surrounding valleys made it difficult to gauge his approach. As this was not a masonry dam, a different tactic was employed to the Möhne and Eder which involved flying along the length of the dam and dropping the Upkeep bomb, unspun, directly onto it. Their task was made all the more difficult by the fact that their approach necessitated McCarthy bringing AJ-T low over the hilltop village of Langsheid whose Church spire occupied the very point at which the aircraft had to pass to get a good run upon the dam. Undaunted and with great skill, ED825(G) made its run and released the bomb onto the dam, unassisted by the spotlight altimeter device that had proved so useful at the Möhne and Eder as AJ-T had not been fitted with this aid. Nevertheless, the Upkeep struck the dam and exploded as planned, sadly with little effect. McCarthy and his brave crew returned safely to Scampton, their landing made slightly difficult by a tyre that had been damaged by light flak on the return journey. The Sorpe was attacked again in the small hours of the morning when Flight Sergeant Ken Brown's aircraft, AJ-F of the Third Wave arrived, once more striking the dam successfully, but again without breaching it.

Attack on the Sorpe by Ivan Berryman. (PC)

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Open Assault by Robert Taylor. (C)

Open Assault by Robert Taylor. (C)
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Target Bearing 270 by Robert Taylor (AP)
Target Bearing 270 by Robert Taylor (AP)
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Phantom Fury by Robert Taylor. (GS)

Phantom Fury by Robert Taylor. (GS)
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Barque Glenogil off Liverpool Pierhead, 1900 by Robert Taylor.
Barque Glenogil off Liverpool Pierhead, 1900 by Robert Taylor.
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Milne Bay - The Turning Point by Robert Taylor. (AP)
Milne Bay - The Turning Point 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.