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
WW2 Halifax Prints by Philip West and Robert Taylor.
Mutual Support by Philip West.

Mutual Support by Philip West.
Halifax Legend by Robert Taylor

Halifax Legend by Robert Taylor
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Pack 592. Pack of two Black Sheep squadron aviation prints by Robert Taylor and Nicolas Trudgian.
Rabaul - Fly For Your Life by Robert Taylor.

Rabaul - Fly For Your Life by Robert Taylor.
The Black Sheep by Nicolas Trudgian (B)

The Black Sheep by Nicolas Trudgian (B)
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USAAF Flying Fortress and Mustang Aircraft Prints by Robert Taylor and Ivan Berryman.
Bringing the Peacemaker Home by Robert Taylor (AP)

Bringing the Peacemaker Home by Robert Taylor (AP)
Red Tails by Ivan Berryman. (B)

Red Tails by Ivan Berryman. (B)
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D-Day / Arnhem Glider Prints by Ivan Berryman and Robert Taylor.
Out of the Night - The First To Go In by Robert Taylor.
Out of the Night - The First To Go In by Robert Taylor.
D-Day Invasion : Tribute to the Glider Troops by Ivan Berryman.

D-Day Invasion : Tribute to the Glider Troops by Ivan Berryman.
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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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Latest Robert Taylor  Releases : 

 It is a record likely to stand for all time, Erich Hartmann's tally of 352 victories is more than any other pilot in history.  Posted to JG52 over Russia in August 1942 his new Kommodore, Dieter Hrabak, placed the novice pilot under the guidance of Paule Rossman, one of the unit's most experienced and respected Aces.  However, during his very first combat Hartmann became so disorientated that he got lost in cloud and ran out of fuel.  His undoubted skill as a pilot enabled him to survive the inevitable crash-landing, but a few days later and just minutes after scoring his first ever victory, he was shot down - again crash-landing. This time he only just escaped from his burning aircraft before it exploded.  Any other new pilot might have succumbed but Hartmann was made of sterner stuff and , with Rossman's help and guidance, it was not long before everyone in JG52 realised that he possessed exceptional skill.  By the summer of 1943 <i>the Blond Knight</i> and his colleagues were flying up to six missions a day and having now perfected his technique, it was unusual for him to finish a day without a victory.  Never claiming to be an expert marksman, his approach, which took nerves of steel and great flying skills, was to get as close to his enemy as possible before opening fire at the last minute.  Often flying head on, the risks of collision and damage were great - of the sixteen times Hartmann was brought down, eight were as a result of flying into the debris of his victim!  Hartmann's 352 victories were achieved with JG52 - all except one.  It happened during a brief two week spell at the beginning of February 1945 when the top Ace was placed in temporary command of I./JG53.  His new unit were based in Hungary where German Army Group South was in bitter retreat and the fighting was as tough and relentless as ever.  <i>The Blond Knight</i>portrays Erich Hartmann climbing out of his Bf109 G-6 at Weszperem's snow-covered airfield after returning from another arduous mission leading Stab I./JG53 with whom, on 4th February he downed a Yak-9.  It was his 337th victory.

The Blond Knight by Robert Taylor.
 Those Aces with over 100 victories were exceptional.  To reach 200 victories was a spectacular achievement.  Yet two men went even further and accomplished a feat that will never be repeated - both of them shot down more than 300 enemy aircraft which placed them in a league of their own.  They were the elite of the elite, and their names are legendary - Erich Hartmann and Gerhard Barkhorn.  It is no surprise that these iconic Aces scored their victories whilst flying with the legendary fighter wing JG52.  Active from the beginning of the war, the unit fought in the Battle of France, but suffered terrible losses during the Battle of Britain before transferring to the Eastern Front at the outset of Operation Barbarossa, and it was here that it solidified its fearsome reputation.  Operating the Bf109 throughout the war, the Geschwader boasted some of the greatest Luftwaffe pilots of world war two among its ranks - including the top three Aces of all time.  Such renowned pilots as Gunther Rall (275 victories), Wilhelm Batz (237 victories), Hermann Graf (212 victories) and Helmut Lipfert (203 victories) helped this formidable unit notch up more than 10,000 victories, making it the most successful fighter wing in history.  <i>Hunters at Dawn</i> features Hptm. Gerhard Barkhorn, Gruppenkommandeur of II./JG52.  The great Ace, flying his Bf109 G-6, leads the Stab as they climb out from their base near the Black Sea, early November 1943.  The crisp air of day break is temporarily punctuated by the roar of Daimler-Benz engines as the deadly Messerschmitt fighters set off on their daily hunt for Soviet aircraft over the front line.

Hunters at Dawn by Robert Taylor.
 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.

 

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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 Often referred to as the 'Whispering Giant', Bristol's sleek Type 175 Britannia represented a milestone in turboprop airliner design, although it was already something of an anachronism by the time it entered service, as the jet age was just getting underway. Nevertheless, 85 Britannias were built before production ceased in 1960, many serving with BOAC, as exemplified by G-ANBG, seen here before being re-registered because superstitious pilots disliked the letters 'NBG', believing them to be an acronym of 'No Bloody Good!'.

Bristol Britannia by Ivan Berryman.
 Supermarine Spitfire prototype K5054 is seen taking to the air for a test flight in June 1936 from Eastleigh Airport in Southampton. Few, at the time, could have known what an iconic aircraft R J Mitchell had designed, yet the beautiful, classic lines were there to see in the very first example.

Into History - Spitfire Prototype by Ivan Berryman.
 First flown in 1948, the Vickers Viscount was the first turbopop commercial airliner to enter service anywhere in the world. Renowned for its comfort, quietness and large windows, it became one of the most successful and profitable aircraft of the post-war era. British European Airways added a large number of Viscounts to their fleet, starting in April 1953, the type continuing for many decades before being finally withdrawn from BEA's successor, British Airways, in the 1980s. Many examples continued to fly with other airlines and charter companies and several examples are preserved in museums.

Viscount Outbound by Ivan Berryman.
 Following the launch of the first component of the International Space Station (ISS) in 1998, this microgravity and space environment research laboratory has continued to grow, the whole being made up of a number of pressurised modules, solar arrays and a variety of other components. Aside from accommodation, there are laboratories for experiments in biology, physics, meteorology, the study of deep space and research related to future missions to the Moon and Mars. The ISS is easily the largest man-made object orbiting the Earth, which it does 15.54 times per day at an altitude that can vary between 330 and 435 km and can be clearly seen from Earth with the naked eye.

The International Space Station by Ivan Berryman.
 Designed originally by Vickers-Armstrongs (Aircraft) Ltd, the prototype VC.10 took to the air for the first time from Brooklands, near Weybridge, in Surrey in 1962. One of only a few airliners ever to feature the tail 'quad' engine arrangement, the VC.10 became the mainstay of British Overseas Airways Corporation's operations worldwide, the type continuing to serve when Britain's major airlines merged to become British Airways. Many airframes continued their long service career with the Royal Air Force as air-to-air re-fuelling tankers well into the 21st Century, the type finally being retired in September 2013.

Queen of the Skies by Ivan Berryman.
 Bomb doors open and ready for the vital drop, Short Stirling III EH990 prepares to lay her deadly cargo of mines off the coast of the Frisian Islands on the night of 7th October 1943. LS-K failed to return from the perilous mission, the aircraft believed to have been the victim of a German night fighter.

Guardian Moon by Ivan Berryman.
 With his personal emblem of black and white fuselage band adorning his Fokker E.V, 153/18, Richard Wenzl briefly commanded Jasta 6, based at Bernes in August 1918, and claimed a modest 6 victories during his career with JG 1. The Fokker E.V was both fast and manoeuvrable, but a series of engine and structural failures meant that these exciting new machines saw only brief service before being re-worked to emerge as the D.VIII, sadly too late to make any impression on the war. Wenzl is shown here in combat with Sopwith Camels of 203 Sqn, assisted by Fokker D.VIIs, which served alongside the E.Vs of Jasta 6. The D.VII shown is that of Ltn d R Erich Just of Jasta 11, also based at Bernes.

Leutnant d R Richard Wenzl by Ivan Berryman. (PC)
 Aircraft of Jasta 10 prepare to taxi out for a dawn patrol, led by the fearless Leutnant Werner Voss in his Fokker F1 103/17 in September 1917. Arguments still rage concerning the colour of the engine cowling on his Triplane. Certainly, when the aircraft was delivered, its upper surfaces were painted factory finish streaked green and, it is recorded that it was flown as delivered with Voss personal mechanic noting that no extra painting was undertaken, aside from Voss Japanese kite face which occupied the nose.  However, research shows that by the time of Voss death on 23rd September 1917, after his epic battle with SE5s of 56 Sqn, the cowling was probably yellow in keeping with all Jasta 10 aircraft. Renowned by pilots from both sides for his bravery and extraordinary abilities with his diminutive Triplane, the young ace scored a total of 48 confirmed victories before being brought down by Lieutenant Rhys Davids 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, his aircraft not being fitted with the outer wing skids common to the DR.1.

Leutnant Werner Voss by Ivan Berryman. (PC)

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Bogeys Eleven O Clock High by Robert Taylor (AP)

Bogeys Eleven O Clock High by Robert Taylor (AP)
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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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Spitfire Clipper by Robert Taylor (AP)
Spitfire Clipper by Robert Taylor (AP)
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Coming In Over the Estuary by Robert Taylor (AP)

Coming In Over the Estuary by Robert Taylor (AP)
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Viper Venom by Robert Taylor (AP)
Viper Venom 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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