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Air Combat Paintings Volume VI by Robert Taylor.


Air Combat Paintings Volume VI by Robert Taylor.

Over seventy images of aviation art paintings by artist Robert Taylor. This 128 page book includes over 27,000 words of text and a foreword by lifelong aviation enthusiast Peter Jackson.
Item Code : DHM1867Air Combat Paintings Volume VI by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINTSigned limited edition of 600 hardback books with 128 pages plus matching numbered print.

USAAF Version.
Pisanos, Steve (companion print)
Nordenholtz, Gunther (companion print)
+ Artist : Robert Taylor
£145.00

Quantity:
All prices on our website are displayed in British Pounds Sterling



Other editions of this item : Air Combat Paintings Volume VI by Robert Taylor. DHM1867
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
ARTIST
PROOF
Signed artist proof edition of 25 hardback books with 128 pages plus matching numbered print.

USAAF Version.
Pisanos, Steve (companion print)
Nordenholtz, Gunther (companion print)
+ Artist : Robert Taylor
£245.00VIEW EDITION...
PRINTHardback book with 128 pages.

USAAF Version.
Artist : Robert Taylor£45.00VIEW EDITION...
General descriptions of types of editions :


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


The signature of Colonel Steve Pisanos

Colonel Steve Pisanos
*Signature Value : £45

Born in Athens, Greece, Spiro Nicolas Steve Pisanos came to America on a tramp steamer. Arriving in New York in 1938 speaking no English, he worked in a bakery and hotels to earn money for flying lessons. Prior to Americas entry into World War II, he joined the Royal Air Force, was trained in California and England and eventually assigned to the 71st Eagle Squadron, comprised of American volunteers. Transferred to the USAAF 4th Fighter Group in September, 1942, he was commissioned a Lieutenant and became an American citizen, the first ever to become such outside the continental U.S. He became an Ace on January 1, 1944. On March 5, 1944, his P-51 crash-landed south of Le Havre, France while returning from an escort mission. He evaded the Germans for 6 months and worked with the French underground and the OSS on sabotaging missions. Following the war he served as a test pilot and in assignments with NATO and the USAF in Europe, followed by a tour in Vietnam and retirement as a Colonel in 1973.


Hauptmann Gunther Nordenholtz
*Signature Value : £35

After joining the Luftwaffe in December 1941 and training as a fighter pilot, Gunther Nordenholz joined JG11 where he flew Messerschmitt Bf-109s and Fw190s, scoring a victory over a P-51 Mustang. He flew against the heavy bombers of the US Eighth Air Force in the “Defense of the Reich”, and fought in combat against B-24s over western France during the Normandy Invasion. Posted to Bremen in late 1944, he was wounded during an air raid at his base, before being transferred to the Eastern Front. He finished the war flying the Bucker Bu181 and was captured by the British on 8 May 1944, later rejoining the new German Air Force as an instructor.
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

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Wessex Over the Copelands by David Pentland.
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 Dodging heavy flak and anti aircraft fire in the skies above Normandy, Douglas C-47s of the 91st Troop Carrier Squadron, 439th Troop Carrier Group see the 101st Airborne Division away on the night of 5th/6th June 1944 at the start of Operation Overlord.  D-Day had arrived.

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Frozen Chosin, Korea, December 1950 by David Pentland. (GL)
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 Of all the big piston-engined navy fighters built after WWll, the Hawker Sea Fury was the greatest.Rugged, powerful and fast, the formidable Sea Fury achieved fame over Korea in both fighter and ground attack roles and was the last of the line of piston-engined Fleet Air Arm fighters.

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 It was in 1941 that the remarkable Focke-Wulfe FW190 first appeared in the skies of Europe, quickly establishing itself as a most formidable adversary. It proved to be the supreme weapon against all allied bomber forces. Here FW190A-8 of 1 Gruppe, Jagdgesschwader 1 is shown attacking a B17G of 381st Bomb Group during a critical defence of the Reich in 1944.

Cat Among the Pigeons (FW190) by Ivan Berryman. (D)
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 A pair of De Havilland Mosquito NF. MkII night fighters of 23 Squadron, based at Bradwell Bay, Essex in 1942.

Night Raiders by Ivan Berryman. (C)
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 The German High Command entered World War II with the notion that the war would be quickly won, and certainly without the need to fight at night.  The RAF changed all that when Bomber Command, having suffered appalling losses in daylight, turned to attacking under the cloak of darkness.  By mid-1940 the Luftwaffe was forced to hurriedly form its first night fighter wing utilising the Messerschmitt Bf110.  Without specialised equipment, initially Luftwaffe pilots relied on visual acquisition, detecting enemy aircraft with the aid of searchlights.  To combat intensifying RAF night attacks, new electronic methods of navigation and detection were developed, and by the end on 1942 the German night fighter force had almost 400 aircraft contesting the night skies.  Almost 1300 British aircraft were destroyed in that year alone.The Bf110G-4 of 47-night victory pilot Oberleutnant Martin Drewes at dusk in March 1944, heading out to intercept in-bound British four-engined bombers over north west Germany. Equipped with the latest FuG220 and 218 radars, the experienced crew will lie in wait, carefully choose their prey, stalk and close for the kill. The deadly game of hide and seek is about to begin.

Night Hunters of the Reich by Nicolas Trudgian.
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 Phantom II of US Marine Corps, VMFA-531 (Grey Ghosts) Vietnam, Danang April 1965.

Phantom II by David Pentland.
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