Angels Three Zero

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Angels Three Zero

Bobby Oxspring in his 66 Squadron Spitfire destroys an ME109 of JF/53 Ace of Spades Group, in a high level attack at 30,000 feet above Dover, 18th September 1940.

Angels Three Zero by Robert Taylor

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Signed limited edition of 990 prints. £135.00

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Spitfire F Mk21 by Ivan Berryman.
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Flt Lt Walter Lawson by Ivan Berryman.
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41 Squadron Spitfires by Ivan Berryman.
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High Pursuit by Ivan Berryman. (C)
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Kerrs Last Combat by Ivan Berryman.
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Angels Three Zero by Robert Taylor

Bobby Oxspring in his 66 Squadron Spitfire destroys an ME109 of JF/53 Ace of Spades Group, in a high level attack at 30,000 feet above Dover, 18th September 1940.

Signed limited edition of 990 prints. Paper size 34 inches x 20 (86cm x 51cm). Price £135.00

Signed by Group Captain Bobby Oxsping (deceased).


ITEM CODE DHM2084

Angels Three Zero - Signatures

Group Captain Bobby Oxspring (deceased)

Robert Wardlow Oxspring was born in Sheffield on 22nd May 1919, the son of a World War 1 decorated pilot of the same name. He joined the RAF in March 1938 on a short service commission and joined 66 Sqn. in the December and started operational flying in July 1940 and flew throughout the Battle of Britain. He was shot down by Bf 109's over Kent on 25th October, baling out with slight injuries (Caterpillar Club Badge) He was awarded the DFC on 8th November. September 1942 saw him awarded a bar to the DFC and a second bar was added in February 1943. In 1946 he was awarded the Dutch Vligerkruis by Royal Decree of the 31st October 1946 appearing in the London Gazette on 10th January 1947. He was awarded an AFC in January 1949 after leading a team of 54 Sqn Vampires to Canada and the USA, the first jet aircraft to cross the Atlantic. He retired from the service with the rank of Group Captain, having been Station Commander of RAF Gatow, Germany, in 1968 and settled in Lincolnshire near to RAF Cranwell. He died on 8th August 1989.

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Robert Taylor

Robert Taylor

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.

View the profile page of Robert Taylor

Angels Three Zero - Aircraft

Spitfire



Royal Air Force fighter aircraft, maximum speed for mark I Supermarine Spitfire, 362mph up to The Seafire 47 with a top speed of 452mph. maximum ceiling for Mk I 34,000feet up to 44,500 for the mark XIV. Maximum range for MK I 575 miles . up to 1475 miles for the Seafire 47. Armament for the various Marks of Spitfire. for MK I, and II . eight fixed .303 browning Machine guns, for MKs V-IX and XVI two 20mm Hispano cannons and four .303 browning machine guns. and on later Marks, six to eight Rockets under the wings or a maximum bomb load of 1,000 lbs. Designed by R J Mitchell, The proto type Spitfire first flew on the 5th March 1936. and entered service with the Royal Air Force in August 1938, with 19 squadron based and RAF Duxford. by the outbreak of World war two, there were twelve squadrons with a total of 187 spitfires, with another 83 in store. Between 1939 and 1945, a large variety of modifications and developments produced a variety of MK,s from I to XVI. The mark II came into service in late 1940, and in March 1941, the Mk,V came into service. To counter the Improvements in fighters of the Luftwaffe especially the FW190, the MK,XII was introduced with its Griffin engine. The Fleet Air Arm used the Mk,I and II and were named Seafires. By the end of production in 1948 a total of 20,351 spitfires had been made and 2408 Seafires. The most produced variant was the Spitfire Mark V, with a total of 6479 spitfires produced. The Royal Air Force kept Spitfires in front line use until April 1954.

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Me109



Willy Messerschmitt designed the BF109 during the early 1930's The BF109 was one of the first all metal monocoque construction fighters with a closed canopy and retractable undercarriage. During World War Two the BF109 was the main fighter for the Luftwaffe until 1942 when the FW190 entered service and shared this position. The BF109 scored more kills than any other fighter of any country during the war. and was built in greater numbers with a total of over 31,000 aircraft being built. The BF109 was flown by the three top German aces opf the war war. Erich Hartmann with 352 victories, Gerhard Barkhorn with 301 victories and Gunther Rall with 275 kills. All three Pilots flew with Jagfgeschwader 52. The Messerschmitt BF109 was credited with over 10,000 victories

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Angels Three Zero - Battle

Battle of Britain
Battle of Britain

After winning the Battle of France, the Luftwaffe sought to gain air superiority in the skies over Britain during the summer of 1940. The ensuing defence by the RAF against the onslaught of the Luftwaffe became known as the Battle of Britain. It was the first major campaign fought entirely by means of aerial combat. Initially, the Luftwaffe attacked shipping in the English Channel, and shipping ports such as Portsmouth and Plymouth. By August, they were concentrating their attacks on RAF airfields and ground installations. However, in a move that probably invited defeat for Germany in the battle, the Luftwaffe switched from bombing RAF targets to bombing major cities. This move allowed the airfields the time to recover and regroup, making the defence capabilities of Britain stronger.

By the summer of 1940, the RAF had approximately 9,000 pilots and 5,000 aircraft, most of which were bombers. By the 1st of July, the Commander of Fighter Command, Marshal Hugh Dowding could provide just 1103 fighter pilots - which came from the regular RAF squadrons, the Auxiliary Air Force squadrons and the Volunteer Reserve. Replacement pilots with little flight training and often no gunnery training suffered high casualty rates. Meanwhile, the Luftwaffe comprised 1450 fighter pilots, many with experience from the Spanish Civil Wars just a few years earlier. During the Battle of Britain, the Luftwaffe used four primary bombers. These were the Heinkel He111, Dornier Do17 and Junkers Ju88 for level bombing, and the Junkers Ju87 Stuka dive bomber. These were escorted by Messerschmitt Me109 and Me110 fighters. Defending Britain against the Luftwaffe were the Hawker Hurricane and Supermarine Spitfire squadrons of the RAF. While Britain successfully defended the air during the battle and repelled any invasion attempt by denying the Luftwaffe air superiority, losses were high on both sides of the battle. Between the official dates of the battle - 10th July to 31st October 1940 - 2936 fighter pilots took part n the battle on the British side, including 595 non-British pilots. These included 145 pilots from Poland, 127 from New Zealand, 112 from Canada, 88 from Czechoslovakia, 28 from Belgium, 32 from Australia, 25 from South Africa, 13 from France, 10 from Ireland, 7 from America, and 1 from each of Jamaica, Palestine and Rhodesia.

The Allied losses were 544 aircrew killed, 422 wounded and 1547 aircraft destroyed, while the Luftwaffe lost 2698 aircrew killed, and lost 1887 aircraft.

This key battle was considered the first crucial defeat for Germany. Had the Luftwaffe been successful in its aims, Germany could have invaded Britain, and had the invasion been successful, the outcome of the war could have been very different, with nowhere for the American Air Force to launch attacks on Germany from.

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SHOWCASE PRODUCT

EDITIONS

Quiet Forest by Gerald Coulson Price : £42

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Highland Cattle, Glen Coe by Rex Preston. Price : £44

Forestside by David Dipnall. Price : £52

ARTIST
Featured Artist - David Dipnall



David Dipnals evocative images of the restful idyllic scenes of southern England are well known, epitomising, as they have for years, all that is endearing about traditional English landscapes. His well known images of his beautiful and fertile homeland are a world away from Australia, where he now spends most of his time. In the last decade, David Dipnall estimates that he has travelled nearly 2 million miles, continuing to maintain a busy work schedule of exhibitions and regularly commuting between England and Australia. His originals are highly sought after, and over fifty of his images have been published as limited edition prints, many of which have sold out. Always a traveller, he believes in the philosophy that absence makes the heart grow fonder, and his beautifully detailed traditional English landscapes are definitely painted from the heart.

Spotlight on Landscape Artists

A newly available selection of superb landscape art from some of the best known landscape artists around.

We have now added to a website a large selection of landscape art prints by artists including Bill Makinson, David Dipnall and Rex Preston, in addition to our existing stocks of superb Gerlad Coulson landscape prints. These can be found at our website or see the artists own pages by clicking the images below

Bill MakinsonGerald CoulsonDavid Dipnall


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