Customer Helpline
(UK) : 01436 820269

Shipping Rates
Valuation of Your Collection

You currently have no items in your basket

Choose a FREE print if you spend over £220!
See Choice of Free Prints

Join us on Facebook!


Buy with confidence and security!
Publishing historical art since 1985

Follow us on Twitter!

AMAZING VALUE SPECIAL OFFERS !

VIEW ALL OF OUR CURRENT SPECIAL OFFERS HERE!
 
Product Search        

Day Drop - Stick 21 by Robert Taylor.


Day Drop - Stick 21 by Robert Taylor.

At 23.45 on the night of 5 June 1944, the 101st Airborne's most legendary unit of combat paratroopers – the notorious 'Filthy Thirteen' – jumped into France near the village of Sainte Mère Église, in the final hours before the D-Day landings. They were the Screaming Eagles' most notorious unit, a small bunch of raw, tough, ruthless young men. Hard drinking and savage fighting - and that was only in training - with scant regard for authority. And if the reputation of this unique bunch of renegades within the ranks of the 101st was formidable, for the Germans it became one of sheer terror. Officially they were the First Demolition Squadron, HQ Company, 506th PIR, 101st Airborne. Unofficially they were the 'Filthy Thirteen'. Superbly crafted in his unique blend of pencil and paint on tinted paper, Robert Taylor's classic new Master Drawing captures the moment on the night of 5 June 1944 when the 101st Airborne's legendary squad of elite paratroopers jump into battle in the vital hours before the D-Day landings commence. The pilots of the 440th Troop Carrier Group struggle to keep their Dakotas level as deadly flak pummels the formation.
Item Code : DHM6108Day Drop - Stick 21 by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINTSigned limited edition of 225 prints.

Paper size 27 inches x 20 inches (69cm x 51cm) McNiece, Jake
Wormer, Jack
+ Artist : Robert Taylor
£50 Off!
Supplied with one or more free art prints!
Now : £100.00

Quantity:
EXCLUSIVE website offer from Cranston Fine Arts - FREE art print(s) supplied with the above item!


Exclusive Offer for Online Orders Only

FREE PRINT : Hell Below Us by Ivan Berryman.

This complimentary art print worth £60
(Size : 12 inches x 8 inches (31cm x 20cm))
has been specially chosen by Cranston Fine Arts to complement the above edition, and will be sent FREE with your order.

This item can be viewed or purchased separately in our shop, HERE


SAVE MONEY WITH OUR DISCOUNT DOUBLE PRINT PACKS!

Buy With :
First to Fight by David Pentland.
for £145 -
Save £145

Buy With :
The Battered Band by David Pentland.
for £130 -
Save £100

Buy With :
Boarding Call by David Pentland.
for £145 -
Save £100

Buy With :
A Foothold in France by David Pentland.
for £130 -
Save £100

Buy With :
Chuting Up by David Pentland.
for £130 -
Save £100

Buy With :
Leap of Faith by Ivan Berryman.
for £140 -
Save £160

Buy With :
Drop Zone Ahead by Ivan Berryman.
for £150 -
Save £150

Buy With :
Hell Below Us by Ivan Berryman.
for £110 -
Save £100

Buy With :
Into the Unknown by Ivan Berryman.
for £145 -
Save £155
All prices on our website are displayed in British Pounds Sterling



Other editions of this item : Day Drop - Stick 21 by Robert Taylor. DHM6108
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
ARTIST
PROOF
Limited edition of 25 artist proofs. Paper size 27 inches x 20 inches (69cm x 51cm) McNiece, Jake
Wormer, Jack
+ Artist : Robert Taylor
£50 Off!
Supplied with one or more free art prints!
Now : £130.00VIEW EDITION...
PRINTAirborne edition of 145 prints.

SOLD OUT.
Paper size 27 inches x 20 inches (69cm x 51cm) McNiece, Jake
Wormer, Jack
Megellas, James
Bearden, Bob
Schlesener, Milton
Tipper, Ed
Maynard, Bill
Soboleski, Frank
Suerth, Herb
True, William
+ Artist : Robert Taylor
SOLD
OUT
VIEW 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


Private 1st Class Jack Wormer
*Signature Value : £10

Joining the Filthy Thirteen before D-Day he was the best shot in the unit. Separated on the D-Day drop he initially fought alongside the 501st PIR before being reunited with his company.


Sergeant Jake McNiece
*Signature Value : £15

The unofficial leader of the Filthy Thirteen, Jake McNiece was the inspiration for the Mohawk haircuts and war paint that the men wore on D-Day. He survived four combat jumps during WWII
The Aircraft :
NameInfo
DakotaDOUGLAS DAKOTA, Transport aircraft with three crew and can carry 28 passengers. speed 230-mph, and a altitude of 23,200 feet. maximum range 2,100 miles. The Douglas Dakota served in all theatres of world war two, The Royal Air Force received its first Douglas Dakota's in April 1941, to 31 squadron which was serving in India. These were DC2, later DC3 and eventually C-47 Dakotas were supplied. The Douglas Dakota was developed from the civil airliner of the 1930's. The Royal Air Force received nearly 2,000 Dakotas, But many more than this served in the US Air Force and other allied countries. The last flight of a Douglas Dakota of the Royal Air Force was in 1970. You can still see Douglas Dakota's in operational and transport use across the world.
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

 With his personal emblem of black and white fuselage band adorning his Fokker E.V, 153/18, Richard Wenzl briefly commanded Jasta 6, based at Bernes in August 1918, and claimed a modest 6 victories during his career with JG 1. The Fokker E.V was both fast and manoeuvrable, but a series of engine and structural failures meant that these exciting new machines saw only brief service before being re-worked to emerge as the D.VIII, sadly too late to make any impression on the war. Wenzl is shown here in combat with Sopwith Camels of 203 Sqn, assisted by Fokker D.VIIs, which served alongside the E.Vs of Jasta 6. The D.VII shown is that of Ltn d R Erich Just of Jasta 11, also based at Bernes.

Leutnant d R Richard Wenzl by Ivan Berryman. (AP)
Half Price! - £60.00
 Two De Havilland Mosquito FBMk VIs of 464 squadron set out on a low level mission in difficult weather conditions.

Low Level Raiders by Keith Woodcock. (Y)
Half Price! - £50.00
 Following the initial parachute drops at Maleme (West) and Canea (Middle) Group East, comprising of Fallschirmjager Regiment 1 and 2nd battalion FJR2, prepared for their descent on Crete. Charged with the capture of Heraklion and its aerodrome, their departure was postponed until late afternoon due to the repairs and refuelling needed for the returning Junker 52 transports.

The Second Wave, Greece, 20th May 1941 by David Pentland. (Y)
Half Price! - £50.00
 Hurricane Mk.IIC Z3971 of 253 Sqn, closing on a Heinkel 111.

Hurricane Mk.IIC by Ivan Berryman.
Half Price! - £45.00

 American built, British inspired and once re-engined with the Merlin, the mighty Mustang became a supreme long-range escort fighter and close air support platform. Old Crow was the mount of Clarence E. Anderson based at Leiston, England, with the 357th FG, 363rd FS. Andersons personal victory score during WWII was 16.25 in air combat.
Winter of 45 by Philip West. (Y)
Half Price! - £70.00
 With 39 confirmed victories to his credit, Major John Gilmour is also recognised as the joint highest scoring pilot on the Martinsyde G.100 Elephant, an unusual score given the poor performance of this aircraft in one-on-one combat. He was awarded the DSO, MC and 2 Bars during the course of his flying career and in 1917 was posted to 65 Squadron as Flight Commander flying Sopwith Camels. On 1st July 1918, he downed three Fokker D.VIIs, a Pfalz and an Albatros D.V in the space of just 45 minutes.  In 1918 he was promoted to the rank of major and posted to command 28 Squadron in Italy, staying with the trusty Camel, but he did not add further to his score, although his final un-confirmed total may have been as high as 44. He is depicted here claiming his second kill on 24th September 1916 when he destroyed a Fokker E.1 whilst flying Elephant No 7284.

Major John Gilmour by Ivan Berryman. (GS)
Half Price! - £300.00
 Even the most faithful of Messerschmitt Me 109 pilots that also flew the Focke-Wulf Fw190 grudgingly admitted the well-proportioned and aesthetically pleasing Fw190 was the finest single-seat fighter in the Luftwaffes armoury during World War II. Soon after its arrival on the Channel Front in 1941, when initial bugs were ironed out, this superb fighter came close to fighter design perfection by the standards of the day. Just as the Mk IX Spitfire held the mantle as Britains most outstanding combat fighter of the war, so was the Fw190 regarded by experienced Luftwaffe pilots. Within months of its operational debut the Fw190 was causing widespread consternation among RAF pilots, the new fighter equal to the Mk IX Spitfire in all but its ability in the tightest of turning circles. By 1944 the technically superb Fw190 came into its own in the great air battles against the USAAFs massed daylight raids. The defence of the Reichs western airspace rested on the shoulders of a few Jagdgschwarden who, against steadily increasing odds, were tasked with interception and destruction of the attacking American heavy bombers. Flying alongside the two established Channel fighter wings JG2 Richthofen and JG26 Schlageter, equipped with Fw190s and led by the great fighter ace Oberst Walter Oesau, JG1 joined the battle in defence of northern Germany. Nicolas Trudgians painting Storm Chasers depicts the Fw190As of I./JG1, distinguished by their distinctive black and white striped cowls, scrambling from the snow-covered Dortmund airfield on 10 February 1944 to intercept another inbound American daylight raid. Nicks dramatic view of this technically supreme fighter conveys its true class as it hurtles over the airfield, its undercarriage retracting as the Fw190 accelerates into the climb. Below, sharing the airfield with I./JGI, are the Fw190s of the newly formed Sturmstaffel 1, identified by their black-white-black tail bands, seen taxiing out to join in the interception. Despite bad weather conditions the Luftwaffes defending fighters scored heavily that day, inflicting severe losses on the Americans, claiming 29 bombers and 8 fighters shot down in the action.

Storm Chasers by Nicolas Trudgian. (Y)
Half Price! - £110.00
DHM924.  Jaguar Flight Test On by Geoff Lea.

Jaguar Flight Test On by Geoff Lea.
Half Price! - £23.00
          Home / View All Products                       View Your Basket