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Hornchurch Scramble by Robert Taylor.


Hornchurch Scramble by Robert Taylor.

On August 12th, 1940 the Luftwaffe turned their full attention to the RAF's forward fighter bases and radar stations with the intent to obliterate them once and for all. The outcome of the Battle of Britain hung in the balance. It was late in the afternoon of Sunday, 18 August 1940. The previous week had seen the hardest days of fighting in the Battle of Britain as the young pilots of the RAF Fighter Command had engaged in deadly duels with the Luftwaffe. Bystanders gazed cautiously upwards at the weaving contrails in the clear blue skies over southern England as they anxiously awaited the outcome. For just a moment, all was at peace: A gentle breeze floated across the airfield at RAF Hornchurch as the exhausted young pilots of 54 Squadron could rest for a few brief minutes and reflect on their own previous two encounters with the enemy that day. The Luftwaffe had thrown everything at them in the past few days, but today had been the toughest of them all. And then the calm was shattered by the shrill tones of the alarm, the Luftwaffe had launched another huge raid of over 300 aircraft across the Channel, and it looked like Hornchurch was the target. Hornchurch Scramble, portrays the moment as 54 Squadron's commanding officer, Squadron Leader James Leathart, taxis out at Hornchurch to prepare for take-off. Quickly following, the aircraft of New Zealander Colin Gray is guided out from dispersal by his ground crew. Gray would claim 3 Bf110s in the encounter and would eventually become the top scoring New Zealand Ace of the war.
Item Code : DHM1940Hornchurch Scramble by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINT Signed limited edition of 450 prints.

Paper size 33 inches x 25 inches (84cm x 64cm) Image size 26.5 inches x 17.5 inches (67cm x 44cm) Swanwick, George
Rose, Stuart Nigel
Iveson, Tony
+ Artist : Robert Taylor


Signature(s) value alone : £135
£45 Off!
Supplied with one or more free art prints!
Now : £200.00

Quantity:
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This complimentary art print worth £45
(Size : 12 inches x 9 inches (31cm x 23cm))
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Other editions of this item : Hornchurch Scramble by Robert Taylor. DHM1940
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
ARTIST
PROOF
Anniversary edition of 25 artist proofs.

SOLD OUT.
Paper size 33 inches x 25 inches (84cm x 64cm) Image size 26.5 inches x 17.5 inches (67cm x 44cm) Swanwick, George
Rose, Stuart Nigel
Iveson, Tony
Brown, Maurice P
Neil, Tom
Drake, Billy
Foster, Bob
Brown, Norman
Morewood, Roger
+ Artist : Robert Taylor


Signature(s) value alone : £410
SOLD
OUT
VIEW EDITION...
PRINT Anniversary edition of 350 prints.
Great value : Value of signatures exceeds price of item!
Paper size 33 inches x 25 inches (84cm x 64cm) Image size 26.5 inches x 17.5 inches (67cm x 44cm) Swanwick, George
Rose, Stuart Nigel
Iveson, Tony
Brown, Maurice P
Neil, Tom
Drake, Billy
Foster, Bob
Brown, Norman
Morewood, Roger
+ Artist : Robert Taylor


Signature(s) value alone : £410
£90 Off!
Supplied with one or more free art prints!
Now : £265.00VIEW EDITION...
PRINT Battle of Britain tribute edition of 10 prints, issued with an original pencil drawing.

SOLD OUT.
Paper size 33 inches x 25 inches (84cm x 64cm) Image size 26.5 inches x 17.5 inches (67cm x 44cm) Swanwick, George
Rose, Stuart Nigel
Iveson, Tony
Brown, Maurice P
Neil, Tom
Drake, Billy
Foster, Bob
Brown, Norman
Morewood, Roger
Barthropp, Paddy
McGowan, Roy
Parrott, Peter
Morgan, Tom Dalton
Doe, Bob
Stapleton, Basil
Millard, Jocelyn G P
Vigors, Tim
Page, Geoffrey
Barwell, Eric
Mackenzie, Ken
Deere, Alan (matted on companion print)
Leathart, James (matted on companion print)
Winskill, Archie (matted on companion print)
+ Artist : Robert Taylor


Signature(s) value alone : £1175
SOLD
OUT
VIEW EDITION...
General descriptions of types of editions :


Extra Details : Hornchurch Scramble by Robert Taylor.
About all editions :

Detail Images :


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


Squadron Leader Stuart Nigel Rose
*Signature Value : £50

Originally from Elswick in the north east of England, Rose moved south to join the RAFVR in March 1939, called up at the outbreak of war he was commissioned in June 1940 joining No.602 Sqn in June 1940 flying Spitfires and serving with the unit throughout the Battle of Britain, claiming three victories. Squadron Leader Nigel Rose was then posted to 54 Sqn at Hornchurch in September 1941 before becoming an instructor in 1942, and also serving in the Middle East. Afterwards he moved to No.54 Sqn before taking on positions in training units.


The signature of Squadron Leader Tony Iveson DFC (deceased)

Squadron Leader Tony Iveson DFC (deceased)
*Signature Value : £40

Tony Iveson fought in the Battle of Britain with RAF Fighter Command, as a Sergeant pilot, joining 616 Squadron at Kenley flying Spitfires on 2 September 1940. On the 16th of September, he was forced to ditch into the sea after running out of fuel following a pursuit of a Ju88 bomber. His Spitfire L1036 ditched 20 miles off Cromer in Norfolk, and he was picked up by an MTB. He joined No.92 Sqn the following month. Commissioned in 1942, Tony undertook his second tour transferring to RAF Bomber Command, where he was selected to join the famous 617 Squadron, flying Lancasters. He took part in most of 617 Squadrons high precision operations, including all three sorties against the German battleship Tirpitz, and went on to become one of the most respected pilots in the squadron.


The signature of Wing Commander George W Swanwick (deceased)

Wing Commander George W Swanwick (deceased)
*Signature Value : £45

George Swanwick was born on 10th November 1915 and was an air-gunner on Wallaces and Hinds with 504 squadron at RAF Hucknall during the 1930s. In May 1936, 504 became part of the Auxiliary Air Force, and in October 1938 converted to a fighter unit, equipped with Gauntlets. In 1938 George re-trained as a pilot, and was promoted to Sergeant Pilot in August 1939. In May 1940 George Swanwick joined 7 BGS, and on 7th September was posted to 54 Squadron at Catterick flying Spitfires. He then went to 41 Squadron at Hornchurch. Commissioned in late 1941, he was posted to 222 Squadron at North Weald in April 1942 as a Flight Commander. In July George Swanwick joined 603 Squadron in Malta and in September 1942, George was posted to 7 OTU at Port Sudan as Flight Commander. In July 1943, he joined 81 Squadron in Malta as a supernumerary. George was invalided back to the UK and following his discharge from hospital in 1944, George held various staff appointments until the end of the war. George Swanwick was granted a Permament Commission in 1949 and retired on 30th April 1970, as a Wing Commander. Sadly, George Swanwick passed away on 4th January 2011.
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

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