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.
Don Strait was born on April 28th, 1918 and grew up in Verona, New Jersey. From an early age Don Strait wanted to be a pilot, and after working for Prudential Insurance Company for a short period Don Strait enlisted in 1940 in the 119th Observation Squadron of the New Jersey National Guard. Initially Don Strait was an armorer and moved up to become an aerial gunner in the two-seater O-46 and O-47 observation planes. He qualified as an aviation cadet in early 1942 and started his training at Maxwell Field, Alabama. After Basic and in January 1943 Strait received his wings and his commission. Don Strait got his ambition to become a fighter pilot, he began flying the P-47 Thunderbolt at Westover Field, MA. After checking out in the P-47 and completing transition training he was assigned to the 356th Fighter Group, then at Bradley Field, CT. By August, 1943 Don Strait had been promoted to Captain before being transferred to England. Captain Don Strait with the 356th Fighter Group went to Martlesham Heath in England flying first the P-47 Thunderbolt. Martlesham Heath was just five miles from the North Sea, which made it relatively easy to find when returning from a mission in bad weather. The 356th made its first combat sorties in October, 1943, with sweeps over Holland and northern France; sightings of Luftwaffe planes were quite rare, and the group took over a month to score its first aerial victory. Strait's first combat occurred on February 6th, 1944, when his flight bounced a pair of Fw190s while on an escort mission. He immediately attacked. The 190s split apart and he chased one down to the deck. He scored hits on it and the pilot bailed out - Strait's first kill. But he and his wingman had used too much fuel, and barely made it back to base. He shot down a couple more Bf109s while flying Thunderbolts on February 10th and May 19th. Having completed well over 200 combat hours, he was entitled to rotate home, but agreed to continue front-line flying, provided that he was given command of the 361st Fighter Squadron. He took a 30-day leave and returned to Europe in September, 1944. He and Captain George May, the intelligence officer, reviewed daily sightings and disposition of the Luftwaffe, which helped him plan and lead the squadron's missions. Don Strait took part in long range bomber escort and ground support missions, taking part in all the D-Day operations, before converting to P51s. The group flew their first Mustang mission on November 20, the same day that Strait assumed command of the 361st FS. In two combat tours he flew a total of 122 missions. He led the squadron again on November 26, 1944, when it flew an escort mission over the heavily defended Ruhr. After linking up with the B-17s just east of Holland, the pilots were advised of 40 bandits approaching from the south. As Strait's sixteen Mustangs arrived in the Osnabruck area, they spotted the 40 Bf109s at 25,000 feet. They dropped tanks and attacked. Then Strait spotted about another 150 German fighters at various altitudes, preparing to attack the bombers. "We've got the whole damn Luftwaffe!" he radioed. He closed to within 350 yards of an enemy airplane and fired - it dived away smoking. Strait's wingman saw it crash. Strait soon bounced another 109, but it eluded him. He spotted a third and closed to within 300 yards, and exploded it (a shared kill with Lt. Shelby Jett). After this dogfighting, fuel began to be a concern, so they headed home. That day the 356th FG destroyed 23 enemy aircraft without losing a single American. After two more victories on December 5th, Strait found more air combat on Christmas Day. In action again against Bf109s, he had a nasty moment when his first victim left oil and engine coolant all over his windscreen. Skidding away, Strait almost rammed his foe. He continued shooting down German planes in 1945 - an Fw190 on Jan. 14th, another Fw190 on Feb 14th, and three Fiesler Storch light observation planes on Feb 20th. Don Strait commanded the 361st Fighter Squadron, and became the Group's leading fighter Ace with 13 and a half air victories, all but three of these flying the P51. After the war he rejoined the NJ Air National Guard. He later commanded the 108th Tactical Wing in Korea, where he flew the F86, F84, and F105 jet. Participated in the Cuban Missile Crisis, and Vietnam. He retired from the Air Force in 1978 with the rank of Major General, and was inducted into the New Jersey Aviation Hall of Fame in 1989.
Royal Air Force heavy Bomber with a crew of six to eight. Maximum speed of 280mph (with MK.VI top speed of 312mph) service ceiling of 22,800feet maximum range of 3,000 miles. The Halifax carried four .303 browning machine guns in the tail turret, two .303 browning machines in the nose turret in the MK III there were four .303 brownings in the dorsal turret. The Handley Page Halifax, first joined the Royal Air Force in March 1941 with 35 squadron. The Halifax saw service in Europe and the Middle east with a variety of variants for use with Coastal Command, in anti Submarine warfare, special duties, glider-tugs, and troop transportation roles. A total of 6177 Halifax's were built and stayed in service with the Royal Air Force until 1952
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.
