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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.
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
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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

 It is January 1945, and its cold. The German advance in the Ardennes is nearly over, but the Panzer Army is desperately throwing more troops into the breach who try to keep their momentum going in The Battle of the Bulge. Tasked with preventing German reinforcements from reaching the battle front, the Ninth Air Force launched a series of low-level attacks on enemy ground forces as they wind their way through the Ardennes. Flying conditions were not easy, cloud bases were low, and snow was in the air. Nicolas Trudgians new painting recreates an attack on January 23, 1945, by Douglas A-20 Havocs of the 410th Bomb Group. Locating an enemy convoy in open space near the German town of Blankenheim, the Havoc pilots make a swift attack diving from 8000 feet, catching the German force by surprise: Hurtling down the line of vehicles at 320mph they release their parafrag bombs from 300 feet then, dropping just above the roofs of the army trucks continue down the column blasting everything in sight with their forward-firing .50mm caliber machine guns. In the space of a few minutes the attack is completed and the convoy decimated. With ammunition expended and fuel running low the A-20 Havocs climb out of the zone and head for base in France. A 20mm shell has hit the lead aircraft wounding the Bombardier/Navigator Gordon Jones, which will seriously hamper their return through a blizzard, but all aircraft make it safely home - the lead aircraft, on landing, counting over 100 holes of various sizes. For their part in leading the successful attack the Lead Pilot Russell Fellers and Bombardier/Navigator Gordon G. Jones received the Silver Star. <br><br><b>Published 2001.<br><br>Signed by A-20 Havoc combat aircrews, including two Silver Star recipients, from World War Two.</b>

Raising Havoc in the Ardennes by Nicolas Trudgian. (Y)
Half Price! - £125.00
 Squadron Leader H C Sawyer is depicted here flying his 65 Sqn Spitfire Mk.1a R6799 (YT-D) in the skies above Kent on 31st July 1940 at the height of the Battle of Britain. Chasing him is Major Hans Trubenbach of 1 Gruppe, Lehrgeschwader 2 in his Messerschmitt Vf109E-3 (Red 12) . The encounter lasted eight minutes with both pilots surviving.

High Pursuit by Ivan Berryman. (D)
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Mosquitos of 105 Squadron, Marham.  No. 105 Squadron, stationed at Marham, Norfolk, became the first Royal Air Force unit to become operational flying the Mosquito B. Mk. IV bomber on 11th April 1942.  The painting shows 105 Squadron on the raid of 10th April 1945, to the Wahren railway marshalling yards at Leipzig, Germany.

Return From Leipzig by Anthony Saunders. (C)
Half Price! - £40.00
 Two Fairey Firefly F Mk1s of 1770 NAS embarked on HMS Indefatigable are shown outbound on Operation Meridian I on 24th January 1945.  The nearest aircraft is DT947, flown by Vin Redding.  Operation Meridian was a series of two air attacks on Japanese-held oil refineries at Palembang on Sumatra. †The huge aviation fuel output of these refineries was reduced to only a quarter of their output after the two raids†on the 24th and 29th January 1945.

Fairey Firefly F Mk.Is of 1770 Sqn, 1945 by Ivan Berryman. (P)
Half Price! - £700.00

 At 3.30am on the 23rd June 1945, a Dakota of 357 (special duties) Squadron took off from Mingaladon airfield nr.  Rangoon , to travel the 600 miles, 300 of them behind enemy lines, to rescue a downed American Liberator crew deep in the jungles of   Siam  . †The Dakota was flown by pilot Fl Lt. Larry Lewis, who already held the DFM awarded to him for 33 ops as a rear gunner on   Wellingtons  in 1941. Two crews had already failed when Lewis was asked to attempt this hazardous mission. Flying between 5,000 - 6,000ft he flew over The Hump, a ridge of mountains running down the spine of   Burma  . Local villagers had cleared a rough airstrip 800yds long with Lewis finding it by the time dawn broke. With monsoon clouds gathering, the Liberator crew aboard and the Dakota sinking in the wet ground, he managed, just, to get airborne. Flying at zero feet and looking out for Japanese Zero fighters Lewis took a different course back. Although being fired on from the ground they managed to make it all the way to the airfield at Dum Dum nr.   Calcutta ,  India  . Lewis was awarded an immediate DFC. By the end of the war he had completed 63 ops, held the rank of Squadron Leader with his service from 1938-1945, and was awarded the Air Efficiency Medal.

Larry Lewis DFC by Graeme Lothian. (B)
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 2 Mk7 Lynx of 664/661 sqn. AAc, providing Top Cover for an UN PROFOR Convoy in Bosnia Herzegovina.

Op Grapple by John Wynne Hopkins.
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 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.

8 Sqn Bristol Brigands by Ivan Berryman. (P)
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 Lancasters of 61 Squadron head out for the enemy coast during the night of 3rd November 1943. Seen in the lead Lancaster is Flt Lt Bill Reid flying QR-O. After sustaining two heavy attacks by enemy night fighters, killing two crew members and injuring Reid in the head, shoulders and hands. He carried on to the target, dropping accurately his bomb load. Navigating back by Pole Star and Moon, he lost consciousness on occasions due to blood loss. He managed to find his way Shipdharn. Upon landing the undercarriage collapsed but luckily did not catch fire. For his exploits that night he was awarded the Victoria Cross.

Lancaster VC by Graeme Lothian. (Y)
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