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Pack 658. Pack of two Dambusters Raid aviation prints by Robert Taylor and Simon Smith.
PCK0658. Pack of two WW2 British aviation prints by Robert Taylor and Simon Smith depicting the RAF Lancasters of 617 Squadron during the Dambusters operation. Items in this pack :
Aviation Print Pack.
Item #1 - Click to view individual item
DHM2708. Dambusters - Breaching the Eder Dam by Robert Taylor.
Mist and fog swirled eerily over the Eder Lake on the night of 16/17 May 1943 as four specially modified Lancasters of 617 Squadron, under the leadership of Wing Commander Guy Gibson, circled overhead. Their target, the mighty Eder Dam, was barely visible in the valley below. Immediately following the successful breach of the Mohne Dam, Gibson had led his remaining aircraft 50 miles to the south-east to hit their second target, the Eder Dam. Surrounded by high ground with thousand feet ridges, the Eder was altogether a more testing target. The Lancaster pilots would need to dive steeply into the gorge that formed the Eder lake before undertaking a steep turn towards the Dam itself. As if this were not demanding enough in the darkness of night, they then had to fly towards the target at precisely 60ft above the lake at the exact speed of 230mph, before releasing their Barnes Wallace designed hydrostatic bouncing bombs. Pilots Shannon and Maudsley tried time and again to position their laden bombers correctly before managing to release their weapons – but the dam still held. Now success depended solely on Knight carrying the last bomb! With time and fuel now a concern, Knights first effort to position, like Shannon and Maudsley before him, failed, but his second run favoured the brave. Knight released his bomb with absolute precision, striking the wall at precisely the crucial point. With a tremendous explosion the Eder Dam collapsed before their eyes. Robert Taylors sensational new painting vividly shows the dramatic moment of impact. In the cockpit Knight and flight engineer Ray Grayston fight the controls to clear the dam, combining their physical strength to haul the lumbering Lancaster up and over the dam and to clear the high ground that lies ahead. Below and behind them, the second of Germanys mighty western dams lies finally breached.
Signed by Sergeant Raymond E. Grayston (deceased) and Squadron Leader George L. Johnson DFM.
Signed limited edition of 400 prints.
Paper size 36.5 inches x 22 inches (92cm x 56cm) Image size 30 inches x 14 inches (76cm x 36cm)
Item #2 - Click to view individual item
DHM1460. The Dambusters by Simon Smith.
On the night of 16/17th May 1943,under a full moon, 19 specially modified Lancaster bombers from 617 Squadron carried out one of the most daring and effective air raids of the Second World War. Led by wing commander Guy Gibson the 19 aircraft took off and headed for Germany at extreme low level.. Their mission, code named Operation Chastise, was to destroy the Ruhr dams which supplied water and electricity to the industrial heart of Reich. Each aircraft carried the ingenious Upkeep mine, developed by the engineer Barnes Wallis. Shaped like a large oil drum, the bomb was spun prior to release at exactly 60ft above the water and 150 yards from the dam wall. This caused the weapon to bounce across water and on impact would also make it stay close to the wall of the dam as it sank. The bomb, technically a mine, was fitted with a hydrostatic fuse similar to a depth charge causing detonation at the required depth.The correct height above the water was achieved by aligning the beams of two spotlights to meet on the surface of the water. Delivering such a weapon on target at night at such low altitude and under enemy fire was thought by many to be impossible. The nineteen pilots,some as young as eighteen had been hand picked by Gibson only two months before and formed into 617 squadron whose first mission was to remain top secret and unknown to them up until the last moment. The Mohne Dam was attacked first and several attempts were made under heavy fire with one lancaster being shot down as it flew over the target.Guy Gibson then attempted to draw fire away from the attacking aircraft by switching on his navigation lights and flying to one side of Mick Martins aircraft ,the scene depicted in Simon Smiths painting.Just as another aircraft was about to go in,excited shouts came over the intercom - its gone! The main target achieved, Gibson led the remaining aircraft on to the Eder Dam deep amongst the mountains of the Eder valley. Here, although no flak defenses, the terrain made the approach extremely hazardous. Two bombs were released yet still the target remained unbreached leaving only one last aircraft ,that of Les Knights to attack. A steep descent from a thousand feet then a dive over a spit of land left very little time to line up and release the bomb.Worse still there was a huge mountain on the far side of the dam! Added to this Edward Johnson the bomb aimer recalled that the spinning bomb had an alarming gyroscopic effect on the handling of the aircraft,so it was with superb flying and teamwork that their bomb struck and finally destroyed the massive stonework of the Eder Dam. Gibsons leadership and bravery led to the award of the VC and many other decorations were bestowed upon the other crews.The squadron however paid a heavy price with 8 lancasters being lost.
Less than 12 copies available of this sold out edition.
Signed by five crew,
Edward C Johnson - bomb aime (deceased)r,
Ray Grayston - Flight Engineer (deceased),
Frederick Sutherland - RCAF Rear Gunner,
George Chalmers (deceased)
Signed limited edition of 500 prints.
Image size 25 inches x 17 inches (64cm x 43cm)
Website Price: £ 315.00
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To purchase these prints individually at their normal retail price would cost £425.00 . By buying them together in this special pack, you save £110
All prices are displayed in British Pounds Sterling
|Artist Details : Robert Taylor|
|Click here for a full list of all artwork by 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
|Artist Details : Simon Smith|
|Click here for a full list of all artwork by Simon Smith|
Simon Smith was born in 1960 into a military family and quickly developed an interest in history and the armed forces. He has worked continually as an illustrator in the historical field since leaving art college in 1982, having graduated with a First in Fine Art and Illustration.. He has work on permanent display in London and countries as far afield as Taiwan and Israel. Simon owes his lifelong interest in military subjects to his family connections with the services.
More about Simon Smith