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Remember Pearl Harbor! by Robert Taylor


Remember Pearl Harbor! by Robert Taylor

December 7, 1941. Japanese Aichi dive-bombers make a final attempt to destroy the USS Nevada as she lay beached at Hospital Point. Behind her the destroyer USS Shaw is on fire, moments later she will explode. In the docks beyond, the battleship Pennsylvania, the cruiser Helena and the flagship Argonne can all be seen in the swirling palls of dense smoke.
Item Code : DHM2467Remember Pearl Harbor! by Robert Taylor - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINT Signed limited edition of 750 prints.

One copy available of this sold out edition.
Paper size 33 inches x 26 inches (84cm x 66cm) Only a few copies available. Adams, Paul
Derby, Woodrow Wilson
Ellis, Melvin
Pratt, Basil
+ Artist : Robert Taylor


Signature(s) value alone : £65
£30 Off!
Supplied with one or more free art prints!
Now : £290.00

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 : Attack on Pearl Harbor by Ivan Berryman

This complimentary art print worth £40
(Size : 12 inches x 7 inches (31cm x 18cm))
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


All prices on our website are displayed in British Pounds Sterling



Other editions of this item : Remember Pearl Harbor! by Robert Taylor. DHM2467
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
ARTIST
PROOF
Limited edition of 75 artist proofs.

SOLD OUT.
Paper size 33 inches x 26 inches (84cm x 66cm) Adams, Paul
Derby, Woodrow Wilson
Ellis, Melvin
Pratt, Basil
+ Artist : Robert Taylor


Signature(s) value alone : £65
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


The signature of Basil Pratt USN

Basil Pratt USN
*Signature Value : £20

Served on the USS Nevada from 1938 through the attack at Pearl Harbor to 1942. In 1943 after sub training, he served on board the USS 259 Jack submarine, completing 9 combat tours in the Pacific and South China Sea.


The signature of Melvin Ellis USN

Melvin Ellis USN
*Signature Value : £15

Melvin Ellis joined the USS Nevada on March 11, 1939, and served with her throughout the war from Pearl Harbor to the Aleutians, from the D-Day invasion of Normandy of 1944, through Iwo Jima and Okinawa to the Marshall Islands in 1945. He retired the service in 1955.


The signature of Paul Adams USMC

Paul Adams USMC
*Signature Value : £15

Paul was in the Marine detachment on the USS Nevada at Pearl Harbor. Afterwards he served with the 2nd Marine Division in the Pacific - participating in the battles for the Aleutians, and after a short trip on convoy escort in the Atlantic in 1943, he returned to the Pacific for the Battle of Okinawa in April 1945.


The signature of Woodrow Wilson Derby USN

Woodrow Wilson Derby USN
*Signature Value : £15

Joining the navy in 1938, Woody was posted direct to USS Nevada, and was aboard at Pearl Harbor. He served throughout the war on the Nevada; at the D-Day bombardment of Utah beach where Nevada was the only US ship from Pearl Harbor at Normandy - and later in the Pacific.
The Aircraft :
NameInfo
Aichi
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

USS Yorktown seen accompanied by her destroyers including USS Hammann shown under attack by Japanese Torpedo Bombers (Kates) during the battle of Midway. It was in this action that USS Yorktown was lost.

USS Yorktown at the Battle of Midway by Anthony Saunders (GS)
Half Price! - £250.00
The cruiser HMS Frobisher dominates this scene off Houlgate at the Normandy landings of 1944.  The monitor HMS Roberts lies beyond Frobisher with a Large Infantry Landing Ship or LSI (L) unshipping its LCAs on the extreme right of the picture.  In the foreground, a motor launch attends a group of LCP (L)s as they head for the French beaches.  Two Spitfire Mk.IXs conduct sweeps overhead as Operation Neptune gathers momentum.

HMS Frobisher and HMS Roberts at Normandy by Ivan Berryman (GL)
Half Price! - £350.00
Launched on the 29th of January 1944, USS Missouri was the last and one of the finest battleships of any fleet.  With a top speed of 33 knots, she earnt the name Fast Battleship, as the Iowa class to which she belonged were known.  Bristling with an assortment of anti-aircraft, Missouri was as much a floating anti-aircraft battery as a battleship.  With these qualities Missouri was well equiped to counter the desperate aerial attacks faced when she joined the Pacific Fleet.  Here Missouri is seen repelling a kamikaze attack on the 11th of April 1945, with the destroyers Melvin (left) and McCord.  Although one of the kamikazes did get through the curtain of shell fire, little damage was sustained.

Boiling Point - USS Missouri by Anthony Saunders. (GS)
Half Price! - £250.00
USS Intrepid was laid down in 1941 and was one of a class of 24 ships of the Essex class.  This was the largest fleet of aircraft carriers ever constructed and proved the industrial might of the United States beyond doubt.  Carrying 90 aircraft each, they formed the main air strength and striking power of the US Pacific Fleet against the Japanese.  The Intrepid saw her first action in January 1944 supporting operations at Kwajalein.  While operating in raids on Truk in February 1944 Intrepid was hit by a torpedo which damaged her steering gear, requiring repairs which kept her from the war zone until June.  She then took part in operations off the Palaus, the Philippines, Okinawa and Formosa.  She was struck twice by kamikazes in late 1944.  Returning to action in March 1945, she participated in strikes against the Japanese home islands and Okinawa, suffering another kamikaze hit in April of 1945 - she survived the most hits of any other US carrier in the war.  Here the Intrepid is seen in October 1944 whilst with TG38.2 flanked by the cruiser USS Vincennes and the destroyer USS The Sullivans.

The Mighty Intrepid by Anthony Saunders (GS)
Half Price! - £250.00

  HMS Agincourt is shown alongside HMS Erin with ships of the 1st Battle squadron of the Grand Fleet, on the eve of the Battle of Jutland.

HMS Agincourt by Randall Wilson. (GL)
Half Price! - £300.00
GIJL2385GL.  Shipping at Sunset by Jens Christian Rasmussen.
Shipping at Sunset by Jens Christian Rasmussen (GL)
Half Price! - £300.00
 Arguably the most iconic moment in British naval history, <i>HMS Victory</i> is depicted just moments from firing her devastating opening salvo into the stern galleries of the French flagship </i>Bucentaure</i> at Trafalgar as Nelson's flagship enters the fray at approximately 12.30pm on October 21st 1805.  Beyond <i>Victory</i>, in the extreme distance through the gun smoke, Collingwood's <i>Royal Sovereign</i>is engaging the <i>Santa Ana</i>.  To the left of the painting, the French <i>Neptune</i> and Spanish <i>San Justo</i> can be seen with <i>Redoutable</i> immediately beyond <i>Victory</i>, trying vainly to close the gap.  <i>Victory</i>, already shot to pieces, is about to wreak her terrible revenge on the <i>Bucentaure</i> in the foreground where Vice-Admiral Villeneuve can be seen on the poop deck - wearing the green corduroy pantaloons.  Nelson was surely the nemesis of Villeneuve, who had been summarily humiliated some seven years earlier at the Battle of the Nile and Nelson's tactics would again win the day for His Majesty's navy, albeit at the tragic cost of Nelson himself.

Nemesis by Ivan Berryman. (P)
Half Price! - £7000.00
Midday, 21st October 1805, and Admiral Collingwoods flagship, the 100-gun HMS Royal Sovereign, breaks the allied line and delivers a shattering broadside on the Spanish flagship Santa Anna. Making great speed, Collingwoods ship had breached the Franco-Spanish line some distance ahead of the rest of his van and the Royal Sovereign suffered heavily as she quickly drew the attentions of three French and three Spanish ships. To her starboard, the French Indomitable can be seen firing into the British flagship while, astern of the Santa Anna, Belleisle and Fougueux are engaging ahead of Mars, Monarca and Pluton.

HMS Royal Sovereign at the Battle of Trafalgar by Ivan Berryman.
Half Price! - £15.00
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