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Victory over Dunkirk by Robert Taylor.


Victory over Dunkirk by Robert Taylor.

Fearless and effective in battle, no matter what the odds, Stanford-Tuck achieved a magnificent 29 aerial victories by 1942 when he was shot down by groundfire over Northern France. Here Bob Stanford-Tuck brings down an enemy aircraft over the port of Dunkirk early in 1940.
AMAZING VALUE! - The value of the signatures on this item is in excess of the price of the print itself!
Item Code : DHM2177Victory over Dunkirk by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINTSigned limited edition of 1500 prints.

SOLD OUT.
Paper size 24 inches x 20 inches (61cm x 51cm) Stanford-Tuck, Bob
+ Artist : Robert Taylor


Signature(s) value alone : £85
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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.
NameInfo


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 :
NameInfo
SpitfireRoyal 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


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

 Developed from the F.18E/F Block II Super Hornet, the EA-18G Growler is the US Navy's latest airborne electronic attack aircraft (AEA), a land or carrier-based weapons platform into which many flexible design features have been incorporated, giving it a full-spectrum AEA capability as well as targeting and self-defense systems equal to those of the standard F.18.  Sometimes referred to as a 'Grizzly' to avoid confusion with its predecessor, the EA-6B Prowler, the EA-18G was first introduced into Navy service in 2008 with VAQ-129, one of whose aircraft is depicted here above the carrier USS Ronald Raegan (CVN.76).

EA-18G Growler by Ivan Berryman.
Half Price! - £50.00
 Two Bristol Brigand B1s of 8 Squadron RAF based at Khormaksar are depicted off the Aden Peninsular in 1950.  Nearest aircraft is VS814 (L), flown by Sgt Pilot Vic Campden.

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Half Price! - £750.00
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The Eder Breaks by Ivan Berryman. (Y)
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