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Rare Pair of D-Day prints by Robert Taylor - Into Battle by Robert Taylor  and Crash Landing by Robert Taylor.


Rare Pair of D-Day prints by Robert Taylor - Into Battle by Robert Taylor and Crash Landing by Robert Taylor.

Into Battle - Piling out of their C47 Dakotas, US paratroopers decent into the Drop Zone inland from Utah Beach D-Day 1944.
Crash Landing - A Glider Pilot brings his fully laden CG Glider into the Normandy battlefield - D-Day 1944.
AMAZING VALUE! - The value of the signatures on this item is in excess of the price of the print itself!
Item Code : AX0038Rare Pair of D-Day prints by Robert Taylor - Into Battle by Robert Taylor and Crash Landing by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
Signed limited editions of 100 prints each.

SOLD OUT (£390, January 2009)
Image size 17 inches x 13.5 inches (43cm x 35cm)Artist : Robert TaylorSOLD
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The Aircraft :
NameInfo
DakotaDOUGLAS DAKOTA, Transport aircraft with three crew and can carry 28 passengers. speed 230-mph, and a altitude of 23,200 feet. maximum range 2,100 miles. The Douglas Dakota served in all theatres of world war two, The Royal Air Force received its first Douglas Dakota's in April 1941, to 31 squadron which was serving in India. These were DC2, later DC3 and eventually C-47 Dakotas were supplied. The Douglas Dakota was developed from the civil airliner of the 1930's. The Royal Air Force received nearly 2,000 Dakotas, But many more than this served in the US Air Force and other allied countries. The last flight of a Douglas Dakota of the Royal Air Force was in 1970. You can still see Douglas Dakota's in operational and transport use across the world.
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

 Standing just five feet two inches tall, Andrew Beauchamp-Proctor had to have his SE5a specially modified to accommodate his small stature, but the diminutive South African was a giant in the air, claiming a total of 54 victories before the end of the war, many of them observation balloons which made him one of the top balloon-busting aces of the RFC. But many aircraft fell to his guns, too, as here when on 21st August 1918 he claimed an Albatros C-Type as victory number 34 whilst flying D6856 of 84 Squadron.

Captain Andrew Beauchamp-Proctor by Ivan Berryman. (GL)
Half Price! - £300.00
 Soviet Ace Stefanov claims two Italian SM81 Bombers during a night interception over Barcelona, Spanish Civil War 1937.

Patrule De Noche by David Pentland. (GS)
Half Price! - £250.00
DHM267P.  Shows the action on 26th May 1941 by Swordfish from HMS Ark Royal on the German battleship Bismarck. Fresh from her triumphant encounter with HMS Hood, Bismarck was struck by Swordfishs torpedo which jammed her rudder and was finished off by the home fleet on 27th May 1941.
Sink the Bismarck by Geoff Lea (P)
Half Price! - £1300.00
 Posted to 64 Squadron on 1st July 1940, </a>the tragically short relationship of Sub Lt F Dawson Paul with the Spitfire was crammed with victories.  He immediately shared a Dornier Do17 off Beachy Head and, just four days later claimed a Messerschmitt Bf.109.  Further kills were confirmed over the next two weeks, among them five Bf.110s and another Do.17. His final victory was a Bf.109 on 25th, but on this day he fell to the guns of the German ace Adolf Galland.  Dawson Paul was rescued from the English Channel by a German E-boat, but died of his wounds five days later as a prisoner of war.

The Longest July by Ivan Berryman. (GS)
Half Price! - £250.00

 A classic beauty in its element, a 19 Squadron Spitfire on a routine patrol in the skies above southern England.

Lone Warrior by Ivan Berryman. (GS)
Half Price! - £250.00
 Following the successful attack on the Mohne dam on the night of 16th/17th May 1943, three Lancasters of 617 Sqn turned their attention to the Eder, some twelve minutes flying time away, accompanied by Wing Commander Guy Gibson to oversee the next attack. After several aborted attempts to obtain the correct height and direction for their bomb run by Flight Lieutenant Shannon (AJ-L) and  Squadron Leader H E Maudslay (AJ-Z), Gibson called in Maudslay to try again. During his second approach, he released his Upkeep bomb too late. It struck the top of the dam wall and bounced back into the air where it exploded right behind Maudslay's aircraft, lighting up the entire valley and causing considerable damage to the aircraft that had dropped it. Despite what must have been crippling damage, AJ-Z did manage to limp away from the scene and begin the return journey, but Maudslay and all his crew were sadly lost when their aircraft was shot down by flak at Emmerich-Klein-Netterdn. The Eder was finally successfully breached by Pilot Officer Les Knight's aircraft, ED912(G), AJ-N, which returned safely.

Tragedy at the Eder by Ivan Berryman.
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 So often overshadowed by its own achievements as a ground attack aircraft, Hawkers mighty Typhoon also proved itself a formidable adversary in air to air combat as demonstrated by the successes of F/Lt (later Wing Commander) J R Baldwin who claimed no fewer than three Bf.109G4s in the skies above Kent on 20th January 1943 in a single sortie. Baldwin finished the war as the highest-scoring Typhoon pilot of all with 15 confirmed victories, one shared, one probable and four damaged. He was tragically lost over Korea in 1952 whilst on an exchange posting with the USAF, but is depicted here at the peak of his powers, flying Typhoon 1B DN360 (PR-A) of 609 Sqn.

Typhoon! by Ivan Berryman. (GS)
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 Hawker Hurricane Mk 1s of No 242 Sqn patrol a glorious September sky as the Battle of Britain reaches its climax in the Summer of 1940. The nearest aircraft is that of Sqn Ldr Douglas Bader, flying V7467 in which he claimed four victories, plus two probables and one destroyed. P/O W L McKnight (LE-A) and P/O D W Crowley-Milling (LE-M) are in close attendance.

High Patrol by Ivan Berryman. (B)
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