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|Signatures on this item|
|*The value given for each signature has been calculated by us based on the historical significance and rarity of the signature. Values of many pilot signatures have risen in recent years and will likely continue to rise as they become more and more rare.|
Air Vice Marshal Johnnie Johnson CB, CBE, DSO**, DFC* (deceased)
*Signature Value : £70
|James Edgar Johnson was born in Barrow on Soar near Loughborough on 9th March 1915. He lived in Melton, the first house on the left of Welby Lane as you leave Nottingham Road, with his parents - his father being a local Police Inspector. Johnnie qualified as a Civil Engineer at Nottingham University in 1937. He joined the RAFVR and did his flying training at 21 E&RFTS, Stapleford before enlisting for full-time service in the RAF at the beginning of WWII. He first went to ITW at Jesus College, Cambridge, completed his ab initio flying at 22 EFTS, Cambridge and his intermediate and advanced flying at 5 FTS, Sealand. Johnnie Johnson joined 92 Spitfire squadron in August 1940, but it was with 616 squadron that he scored his first victory on June 26th 1941 while flying with Douglas Baders Tangmere Wing. He was squadron leader of 610 squadron in July 1942, but it was as Wing Commander of the Kenley Wing in 1943 that his scores really started to mount. He was W/C of 144 wing during D-Day and led 127 and 125 wings until the end of the war when we has the topscoring allied fighter pilot with 38 air victories. Inspired by the great British WW 1 aces like Bishop and Ball, Johnnie Johnson dreamed often as a child of becoming an R.A.F. pilot. The young Johnson enthusiastically joined the Volunteer Reserve at the first opportunity. After completing his initial flight training Johnson was posted to 616 Squadron at Kenley. However, this Squadron had been hit hard with the loss of six pilots and five wounded, and the unit was withdrawn to Coltishall prior to Johnson encountering combat. With only 12 hours of flight time in a Spitfire this was no doubt advantageous. In February 1941 Billy Burton moved the Squadron to Tangmere. Douglas Bader then arrived to take over the Tangmere Wing, and fly with the 616 Squadron. Johnnie, Alan Smith and Cocky Dundas were chosen to fly with Bader. During the summer of 1940 the Battle of Britain was at its peak. Bader took the time to instruct Johnson carefully in both the art of flying and the skills necessary to attain success in aerial combat. Baders idea of an afternoon off duty, according to Johnson, was to take his section over the Channel in hopes of running into Adolph Galland and his Abbeyville Boys. On August 19, 1941 Bader failed to return from a mission when 616 Squadron was hit hard by a group of Messerschmitt 109s. Johnson flew on in Baders absence, and in the summer of 1942 he was promoted to command of the 610 Squadron. In 1943 he was promoted again to Wing Commander of the Canadian Spitfire Wing in Kenley. By that time Johnson had attained eight confirmed victories. During the spring and summer of 1943 Johnnie led the Canadian unit on more than 140 missions over Northwest Europe. Johnsons squadron attained more than 100 victories during this period, and Johnnies own personal score rose to 25. After a short leave, Johnson was posted to lead the 144 Canadian Spitfire Wing. On D-Day Johnson led his Wing on four missions in support of the Allied invasion. On June 8, Johnsons Wing was the first Spitfire group to land in newly liberated France. Johnson continued fighting in France through September 1944 when he achieved his 38th and final victory. Patrolling the Rhine Johnsons unit jumped nine 109s which were flying beneath them in the opposite direction. Five of the 109s were downed. Early in 1945 Johnson was promoted to Group Captain and put in command of the 125 Wing, which was equipped with the Spitfire XIV. Flying from former Luftwaffe airfields the 125 Wing assisted in the final Allied push to Berlin. Johnson attributed much of his aerial combat success to his ability to make tight turning maneuvers. Johnsons tightest call came on August 19, 1942 when he was unable to dislodge an Me-109 from his tail during the raid on Diepppe. Johnson raced his Spitfire flat out at a group of Royal Navy ships. The usual barrage of flak and tracer fire came right at him, and fortunately for the ace, missed his Spitfire but effectively eliminated the brave pilot on his tail. During the Korean War Johnson flew fighter-bombers with the USAF. Following his retirement from the R.A.F. in 1966 Johnson founded the Johnnie Johnson Housing Trust that has provided homes for more than 4000 disabled and elderly persons, and his sixth book Winged Victory was published in 1995. Johnson flew many of the Spitfire models. His favorite was the beautiful Mark IX, the best of them all. Johnnie passed away in 2001 at the age of 85, in Derbyshire, England.|
Wing Commander Bob Stanford Tuck DSO DFC** (deceased)
*Signature Value : £85
|Bob Stanford Tuck was a flamboyant fighter pilot, his dashing good looks, courage, and success in the air coming to epitomise the young flyers who fought and won the Battle of Britain. To the British public he was a hero in the mould of the knights of old, and today his name is legend. In the early stages of the Battle of Britain Bob fought with 92 Squadron flying Spitfires, quickly becoming one of the leading aces. Promoted to command 257 Squadron, now flying Hurricanes, Bobs dashing style of leadership inspired his pilots to great success. He went on to command the Duxford and Biggin Hill Wings, taking his personal score to 29 air victories before being shot down by ground fire over Northern France in 1942. He died on 5th May 1987.|
|The 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.|
|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
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