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Last Man Home by Nicolas Trudgian.
Mustangs Over the Mediterranean by Nicolas Trudgian.
|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.|
Captain Jim Brooks
*Signature Value : £45
|Jim Brooks joined the 31st Fighter Group in Italy in early 1944, flying the P51 against Me109s, Fw190s, and the Italian Macchi Mc202. He scored his first victory on a mission to Ploesti. Later, leading the 307th Fighter Squadron on a Russian shuttle mission, they engaged a large formation of Ju87 Stukas, shooting down 27 enemy aircraft, Jim Brooks accounting for three of them. He ended his tour with 280 combat hours, and 13 confirmed victories.|
Colonel Bob Goebel (deceased)
*Signature Value : £40
|December 1943 found Bob Goebel in North Africa flying Spitfires in preparation for joining the 31st Fighter Group. As soon as they arrived they re-equipped with P51 Mustangs and flew to Italy, where Bob flew a total of 62 combat missions, including 16 hazardous trips to the Romanian oilfields. During his combat operations he led his squadron into action seven times, and his entire Group twice, whilst still only aged 21. He ended the war with 11 air victories. Sadly, Bob Goebel passed away on 20th February 2011.|
Colonel C E Bud Anderson
*Signature Value : £50
|Bud Anderson went to England with the 357th Fighter Group in 1943, the first Eighth Air Force Group to be equipped with the P-51 Mustang. He got himself on the score sheet on one of the first Berlin missions, dog fighting with a bunch of Me109s who had set upon a straggling B-17. On 29th June 1944, leading his squadron on a mission to Leipzig, they ran into a formation of Fw190s. In the ensuing battle Anderson shot down the leader, and two more Fw190s. After a short rest in the U.S., Bud returned for a second tour, just in time for the 357th's big day on 27th November 1944. With the 353rd they took on a huge formation of some 200 enemy fighters, Anderson adding three more to his score. He finished the war with 16 air victories and many more probables.|
Colonel Jim Goodson
*Signature Value : £60
|Jim Goodson joined the RAF in 1940. Posted to re-form 133 Eagle Squadron RAF flying Spitfires, he transferred to the USAAF 4th fighter Group in September 1942, commanding 336 Squadron. Flying P47s and then P51s, Jim Goodson flew continuously until he was shot down ten months before the end of the war. He was one of the most highly decorated Aces in the USAAF, with 32 enemy aircraft to his credit.|
Colonel Walker Bud Mahurin (deceased)
*Signature Value : £70
|Walker Melville "Bud" Mahurin was born in Ann Arbor, Michigan on 5th December 1918. He joined the Army reserves on 29th September 1941 and entered flight training, being commissioned as a pilot on the 29th of April 1942 at Ellington Field Texas. 'Bud' Mahurin gained a reputation as one of the USAAF's most colourful fighter Aces. Arriving in the European theatre, flying with the 56th Fighter Group at Boxted, England, on the 17th of August the 56th Fighter group flew escort for the Eighth Air Force Bombers whose mission was to bomb Schweinfurt and Regensburg. They encountered a large force of German fighters and Bud Mahurin shot down two Fw190s. He went on to become an Ace on the 4th of October, and by the end of November he had achieved 10 kills. Bud Mahurin was promoted to Major on the 21st of March 1944. On the 27th of March he shared a victory of a Do217 but was hit by the bomber and was forced to bail out of his Thunderbolt, when his aircraft was set ablaze by the gunfire. Mahurin evaded the Germans with help of the French resistance and returned to Britian. He had by this time shot down 20 German aircraft. He then transferred to the south west Pacific Commanding the 3rd Air Commando Squadron where he added a Japanese aircraft to his score, shooting down a KI-46 Dinah, making hinm one of very few American pilots to shoot down German and Japanese aircraft. Mahurin saw combat from New Guinea to Okinawa. After this tour he returned to the US and was promoted to Lieutenant-Colonel. After the war he spent two tours at the Pentagon and went on to obtain an aeronautical engineering degree. During the Korean War 'Bud' Mahurin commanded the 4th Fighter Interceptor Group in Korea where he added 3.5 MiG-15s to his tally before being shot down in his Sabre. He was shot down by ground fire on the 13th of May 1952, and bailed out for the last time, to spend a gruelling sixteen months as a POW in North Korea undergoing extensive torture. Mahurin returned to the US and stayed in the USAF until 1956 when he worked for the aerospace industry. Sadly, Bud Mahurin passed away on 11th May 2010.|
Major Herky Green (deceased)
*Signature Value : £65
|'Herky' Green arrived in North Africa in January 1943 flying with the 325th Fighter Group. During his first action his P40 was so riddled with tracer that it had to be scrapped - but he still managed to shoot down one of his attackers. Flying from North Africa, and later Italy, 'Herky' flew P40s, P47s and P51s, scoring victories in all three types. In March 1944 he took command of the 317th Fighter Squadron, flew over 100 missions, ending the war with 18 air victories. Herky Green died 16th August 2006.|
|The Aircraft :|
|Mustang||The ubiquitous North American P-51 Mustang, which many consider to be the best all-around fighter of WW II, owes its origins to the British Air Ministry. Following Britains entry into WW II in 1939, the RAF was interested in purchasing additional fighter aircraft from American sources, particularly the Curtiss P-40. Curtiss, which was busy, was unable to guarantee timely delivery so the British approached North American Aviation as a possible second source for the P-40. North American chose to propose its own fighter design which would use the same Allison engine as the P-40. Utilizing new laminar flow wings, the North American fighter was expected to have performance better than the P-40. Developed in record time the new aircraft was designated as a Mustang I by the Brits, whereas the USAAF ordered two for evaluation which were designated XP-51 Apaches. Intrigued with the possibility of using this aircraft also as a dive bomber, North American proposed this to the USAAF which decided to order 500 of the P-51 aircraft to be modified for dive bombing use. Designated as the A-36 Invader, this version of the Mustang utilized dive flaps, and bomb racks under each wing. Some reinforcing of the structural members was also required because of the G-forces to be encountered in dive bombing. A-36s entered combat service with the USAAF prior to any P-51s. In early 1943 the 86th and 27th Fighter Bomber Groups of the 12th Air Force began flying A-36s out of Northern Africa. Despite some early problems with instability caused by the dive flaps, the A-36 was effective in light bombing and strafing roles. It was not, however, capable of dog fighting with German fighters, especially at higher altitudes. Despite these drawbacks one USAAF pilot, Captain Michael T. Russo, who served with the 16th Bomb Squadron of the 27th Fighter Bomber Group, was credited with five confirmed aerial victories in the A-36, thereby becoming the first mustang ace.|
|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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