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Beach Head Strike Force by Robert Taylor.


Beach Head Strike Force by Robert Taylor.

F4U Corsairs search and destroy enemy positions during landings in the Marshall Islands, 1944.
AMAZING VALUE! - The value of the signatures on this item is in excess of the price of the print itself!
Item Code : AX0037Beach Head Strike Force by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINT Signed limited edition of 1250 prints.

One secondary market prints available, numbered 236 / 1250.
Paper size 34 inches x 26 inches (86cm x 66cm) Walsh, Kenneth A
Delong, Phil
Hedrick, Roger
Segal, Harold
Swett, James E
+ Artist : Robert Taylor


Signature(s) value alone : £220
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The Aircraft :
NameInfo
CorsairThe Chance-Vought F4U Corsair was arguably the finest naval aviation fighter of its era. Work on this design dates to 1938 and was headed-up by Voughts Chief Engineer, Rex Biesel. The initial prototype was powered by an 1800-HP Pratt & Whitney double Wasp radial engine. This was the third Vought aircraft to carry the Corsair name. The graceful and highly recognizable gull-wing design of the F4U permitted the aircraft to utilize a 13-foot, three-blade, Hamilton Standard propeller, while not having to lengthen the landing gear. Because of the rigors of carrier landings, this was a very important design consideration. Folding wings were also required for carrier operations. The F4U was thirty feet long, had a wingspan of 41 feet and an empty weight of approximately 7,500 pounds. Another interesting feature was the way the F4Us gear rotated 90 degrees, so it would lay flush within the wing when in the up position. In 1939 the Navy approved the design, and production commenced. The Corsair utilized a new spot welding process on its all aluminum fuselage, giving the aircraft very low drag. To reduce weight, fabric-covered outer wing sections and control surfaces were fitted. In May of 1940 the F4U made its maiden flight. Although a number of small bugs were discovered during early flight tests, the Corsair had exceptional performance characteristics. In October of 1940 the prototype F4U was clocked at 405-MPH in a speed test. The initial production Corsairs received an upgraded 2,000-HP radial giving the bird a top speed of about 425-MPH. The production models also differed from the prototype in having six, wing-mounted, 0.5 caliber machine guns. Another change was a shift of the cockpit about three feet further back in the fuselage. This latter change unfortunately made naval aviators wary of carrier landings with the F4U, due to its limited forward visibility during landings. Other concerns were expressed regarding a severe port wing drop at landing speeds and a tendency of the aircraft to bounce off a carrier deck. As a result, the F4U was initially limited to land-based USMC squadrons. Vought addressed several of these problems, and the Royal Navy deserves credit for perfecting an appropriate landing strategy for the F4U. They found that if the carrier pilot landed the F4U while making a sweeping left turn with the port wing down, that sufficient visibility was available to make a safe landing. With a kill ratio of 11 -to- 1 in WW 11 combat, the F4U proved superior in the air to almost every opposing aircraft it encountered. More than 12,000 F4Us were built and fortunately a few dozen remain in flyable condition to this date.
Artist Details : Robert Taylor
Click here for a full list of all artwork by 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.

More about Robert Taylor

This Week's Half Price Art

 The Sopwith Camel was with the mainstay of the Royal Flying Corps.  It is shown here downing an Albatros over the Western Front.

Sopwith Camel by Anthony Saunders. (GL)
Half Price! - £300.00
 Lancasters of 61 Squadron head out for the enemy coast during the night of 3rd November 1943. Seen in the lead Lancaster is Flt Lt Bill Reid flying QR-O. After sustaining two heavy attacks by enemy night fighters, killing two crew members and injuring Reid in the head, shoulders and hands. He carried on to the target, dropping accurately his bomb load. Navigating back by Pole Star and Moon, he lost consciousness on occasions due to blood loss. He managed to find his way Shipdharn. Upon landing the undercarriage collapsed but luckily did not catch fire. For his exploits that night he was awarded the Victoria Cross.

Lancaster VC by Graeme Lothian. (Y)
Half Price! - £240.00
Operation AGRICOLA.  On 12th June 1999, 5 Airborne Brigade spearheaded the KFOR advance into Kosovo by securing the Kacanik Defile ahead of the ground forces.  The Brigade's joint airmobile operation with the UK support helicopter force followed a rapid strategic insertion to theatre.  The painting, commissioned by HQ 5 Airborne Brigade, depicts a composite scene, albeit an accurate interpretation, toward the northern end of the defile early on 12th June.  From the left, a Pathfinder patrol; a Medium Machine Gun team from 1 PARA; a reconnaissance section (in Land Rovers) from 1st Bn Royal Gurkha Rifles; a 3 PARA tom; a mine clearance team from 9 Para Squadron Royal Engineers; 216 Para Signal Squadron TACSAT; with Brigade HQ command group in their rear.  Above are Chinooks from 18 & 27 Squadrons RAF, with a Puma from 33 Squadron RAF on the bridge, with Apache helicopters of the US Army providing flank protection.  The painting is representative of the combined, joint, all-arms grouping of 5 Airborne Brigade on the day.

The Kacanick Defile by David Rowlands (GS)
Half Price! - £250.00
 Following the initial parachute drops at Maleme (West) and Canea (Middle) Group East, comprising of Fallschirmjager Regiment 1 and 2nd battalion FJR2, prepared for their descent on Crete. Charged with the capture of Heraklion and its aerodrome, their departure was postponed until late afternoon due to the repairs and refuelling needed for the returning Junker 52 transports.

The Second Wave, Greece, 20th May 1941 by David Pentland. (Y)
Half Price! - £50.00

 On the 20th of April 1918, just one day before his death, the legendary Red Baron, Mannfred von Richthofen, claimed his final victory.  His famous Flying Circus was engaged in battle by Sopwith Camels of No.3 and No.201 Squadron.  Claiming his 79th victory, he had shot down Major Richard Raymond-Barker earlier in the dogfight - the British pilot being killed in the resulting crash.  However, it is his 80th and final victory that is depicted here.  In the centre of the painting, the Sopwith Camel of David Lewis has been brought into the firing line of von Richthofen, and is about to be sent down in flames from the sky - Lewis was fortunate to survive the encounter relatively unscathed.  Meanwhile the chaos of the dogfight is all around this duel, with aircraft of both sides wheeling and diving in combat.  The other pilots depicted are Weiss, Bell, Riley, Steinhauser, Mohnicke, Hamilton and Wenzl.

The Final Curtain by Ivan Berryman. (GM)
Half Price! - £350.00
 Hurricanes of 87 Squadron return to their West Country base after repelling attacks by Luftwaffe bombers on nearby aircraft factories, August 1940. Flight Lieutenant Ian Gleeds Hurricane, in which he scored 20 victories, leads the Squadron pilots back to base to refuel, re-arm, and get airborne without delay. <br><br><b>Published 2000.<br><br>Signed by three famous Hurricane pilots who fought in the Battle of Britain.  These are three fantastic rare  signatures to have on one art print  and sadly all three have since passed away.</b>

Hurricane Heroes by Nicolas Trudgian. (Y)
Half Price! - £120.00
 The potential value of aircraft at sea had been proven as early as the Battle of Jutland in 1916 and many experiments were undertaken to provide all significant warships with their own aircraft for spotting and reconnaissance purposes. One solution widely adopted was the fitting of flying-off platforms to the main guns, as demonstrated here, as a Sopwith 1½ strutter is launched from HMS Warspite in 1919.

Sopwith 1 ½ Strutter by Ivan Berryman. (GL)
Half Price! - £300.00
 Douglas DC-6B N6103C <i>Clipper Virginia</i> of Pan American World Airways is depicted at Berlin's Tempelhof airport in the mid 1960s.  This aircraft continued flying with various operators right up until 1978 when it was damaged beyond economical repair at San Juan airport in Puerto Rico, having overrun the runway.

Clipper Virginia at Tempelhof by Ivan Berryman. (GS)
Half Price! - £200.00
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