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 599. Pack of two signed Me109 prints by Robert Taylor and Nicolas Trudgian.
Air Armada by Robert Taylor.
Air Armada by Robert Taylor.
Messerschmitt Country by Nicolas Trudgian

Messerschmitt Country by Nicolas Trudgian
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Pack 550. Pack of two German WW2 aviation prints by Robert Taylor and Nicolas Trudgian.
Savage Skies by Robert Taylor.

Savage Skies by Robert Taylor.
Winter Combat by Nicolas Trudgian.
Winter Combat by Nicolas Trudgian.
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WW1 Aviation Art Prints by Robert Taylor and Ivan Berryman.
The Biff Boys by Robert Taylor.

The Biff Boys by Robert Taylor.
Lieutenant-Colonel Raymond Collishaw by Ivan Berryman.

Lieutenant-Colonel Raymond Collishaw by Ivan Berryman.
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WW1 Air Combat Prints by Robert Taylor and Ivan Berryman.
The Biff Boys by Robert Taylor.

The Biff Boys by Robert Taylor.
Major Edward Mannock by Ivan Berryman.

Major Edward Mannock by Ivan Berryman.
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Pilot Signed Spitfire Prints by Robert Taylor and Nicolas Trudgian.
Eagle Squadron Scramble by Robert Taylor

Eagle Squadron Scramble by Robert Taylor
Their Finest Hour by Nicolas Trudgian. (B)

Their Finest Hour by Nicolas Trudgian. (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 : 

 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)
 Germanys greatest exponent of the Fokker Dr1 Triplane, Leutnant Josef Jacobs is depicted chatting with colleagues of Jasta 7 before a sortie in the spring of 1918.  His black Triplane became well known to allied pilots, not least because of his formidable kill rate.  By the end of the war, still aged just 24, Jacobs had claimed 48 enemy aircraft destroyed.  The unusual practice of applying the black cross to the upper sides of the lower wings was to counter friendly fire from other German aircraft who frequently mistook the Dr1 for a Sopwith Triplane.

Leutnant Josef Jacobs by Ivan Berryman. (PC)
Albatros DIII of Godwin Brumowski about to shoot down a Caquot balloon.

Oberleutnant Godwin Brumowski by Ivan Berryman. (PC)
Synonymous with both World Wars, the young Hermann Goring scored his first victory on 16th November 1915, shooting down a Maurice Farman over Tahure. A year later, he was injured in combat, but managed to land his bullet-riddled aircraft near a field hospital. Goring steadily increased his score to an eventual 22 victories and is shown here on patrol in his characteristic all-white Fokker D.VII.

Oberleutnant Hermann Goring by Ivan Berryman. (PC)
Wearing one of the most distinctive colour schemes of World War One, Germanys second highest scoring ace after Manfred Von Richthofen was the charismatic Ernst Udet with 62 victories to his credit.  His brightly coloured Fokker D.VII carried the initials of his girlfriend (LO) on the side of his aircraft and the inscription Du Noch Nicht! (Not You Yet!) on the upper tail surfaces.  Udet was badly wounded in September 1918 and did not fly in combat again, but survived the war, only to commit suicide in 1941.

Oberleutnant Ernst Udet by Ivan Berryman. (PC)
  Max Immelmanns Fokker E.1(E13/15) shooting down a Vickers Gunbus during the Summer of 1915. Immelmann is characteristically already scouring the sky above for his next victim.

Max Immelmann by Ivan Berryman. (PC)
A German Albatross D-III sees off a Bristol Fighter among the clouds over the Western Front, early in 1917. The D-III was a massive improvement over the monoplanes of the time, possessing greater manoeuvrability, a higher ceiling and synchronized guns. Many German aces thought this the best fighter of the First World War.

One in the Bag by Ivan Berryman. (PC)

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Signatures

Some popular pilot and aircrew signatures from our database of over 2,000 signatures!

Gunther Rall

Johnnie Johnson

Bud Anderson

 
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Open Assault by Robert Taylor. (AP)

Open Assault by Robert Taylor. (AP)
Price : £375.00
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Cloud Companions by Robert Taylor (AP)

Cloud Companions by Robert Taylor (AP)
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Royal Yacht Britannia by Robert Taylor.
Royal Yacht Britannia by Robert Taylor.
Price : £135.00
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Jet Hunters by Robert Taylor. (B)
Jet Hunters by Robert Taylor. (B)
Price : £255.00
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Dambusters - Breaching the Eder Dam by Robert Taylor. (B)
Dambusters - Breaching the Eder Dam by Robert Taylor. (B)
Price : £275.00
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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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