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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

 After firing their RM4 rockets against B24s of 448 BG, Lt. Fritz Muller (white 7) and wingman Lt. Fredrich W Shenk break hard right to go around again.
Me262 1As of 3rd Gruppe JG7 by Randall Wilson. (GS)
Half Price! - £250.00
 SE5As of B Flight, 56 Sqn led by James McCudden in the aircraft numbered B519, on patrol over the Western Front in 1917.

James McCudden by Ivan Berryman. (GL)
Half Price! - £300.00
 As the air war raged over Berlin and other German cities, night-fighter units such as NJG100, the original Eastern front night fighter Geschwader, were redeployed nearer home in the final desperate defence of Germany.  By late 1944 the Luftwaffes night fighting aircraft were being flown by experienced crews using sophisticated electronic equipment and, though fighting a losing battle, had become the scourge of the RAFs night raiders.  A Junkers Ju88 G-6, piloted by major Paul Zorner, Gruppenkommandeur III./NJG100, based at Stubendorf, intercepts and badly damages a four-engined Lancaster of R.A.F. Bomber Command over Germany in late 1944. Shedding debris and trailing flames, there may just be time for the crew to bale out before the mightly bomber falls away into the dark abyss. With the aid of his FuG220 and upward firing Schrage Musik armament, Zorner has stalked his prey, and attacked from beneath unseen.  The crew of this Lancaster didnt stand a chance, and with the moonlight briefly glinting on his aircraft, the accomplished Ju88 pilot slips away into the darkness of the night.

Moonlight Hunter by Nicolas Trudgian.
Half Price! - £95.00
 German ace Lt. Fritz Roth of Jasta 23, flying an Albatross D.Va scores his first of three balloons in one days action. By the wars end he had accounted for 20 balloons and 8 Allied Aircraft.

Balloon Buster, 25th January 1918 by David Pentland.
Half Price! - £35.00

 The Macchi C.205V <i>Veltro</i> of Capitano Adriano Visconti, the Commanding Officer of 1a Squadriglia, 1° Gruppo Caccia, ANR, is shown taking off for another mission in the Spring of 1944, the Italian ace amassing ten victories in the course of his career.

Tribute to Capitano Adriano Visconti by Ivan Berryman. (GS)
Half Price! - £200.00
 In response to a requirement for a seaplane fighter scout, Albatros developed the elegant W.4, a direct descendent of their successful D.1, incorporating many common parts with its land-based relative. About 120 of the type were constructed, many employed in the defence of important naval bases scattered along the coast of the North Sea. A small number of W.4s however fell into the hands of the Soviet Red Army in 1918 and were pressed into service on the Black Sea, based at Sevastopol, as depicted here.

Albatros W.4 by Ivan Berryman. (GS)
Half Price! - £250.00
FAR936. The Peacekeepers by Adrian Rigby.

The Peacekeepers by Adrian Rigby.
Half Price! - £25.00
 Tucked in tight en route to Copenhagen, a wave of Mosquito FB VIs of 21 Sqn and their Mustang Mk.III escorts of 126 Sqn (including top Ace Agorastos John Plagis - 16 victories, on his last mission of the war)  approach the Jutland Peninsula after a bumpy crossing of the North Sea on the morning of 21st March 1945.  The Mosquitoes went on to carry out one of the most daring and successful raids of the Second World War on the German Gestapo headquarters in the centre of Copenhagen, inflicting irreparable damage to the Shellhus and killing more than 150 Gestapo personnel.

Shell House Raiders by Ivan Berryman. (GS)
Half Price! - £250.00
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