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!

Product Search        

Scharnhorst at Anchor by Robert Taylor.


Scharnhorst at Anchor by Robert Taylor.

Item Code : DHM2182Scharnhorst at Anchor by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINTSigned edition. Paper size 23 inches x 17 inches (58cm x 43cm)Artist : Robert Taylor60.00

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


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

  HMS Norfolk and HMS Belfast of Force I are shown engaging the Scharnhorst which has already been hit and disabled by both HMS Duke of York and the cruiser HMS Jamaica.  Scharnhorst was never to escape the clutches of the British and Norwegian forces for, having been slowed to just a few knots by numerous hits, fell victim to repeated torpedo attacks by the allied cruisers and destroyers that had trapped the German marauder.

HMS Norfolk at the Battle of the North Cape by Ivan Berryman (P)
Half Price! - 425.00
B139P. HMS Royal Oak by Ivan Berryman. The R-class battleship Royal Oak lies at anchor in Scapa Flow between the wars ahead of her sisters Royal Sovereign and Revenge.  HMS Repulse is passing the line on the left of the picture
HMS Royal Oak by Ivan Berryman (P)
Half Price! - 500.00
B64.  HMS Centaur Departing Devonport by Ivan Berryman.

HMS Centaur Departing Devonport by Ivan Berryman.
Half Price! - 15.00
 Wearing her unusual black and white disruptive colour scheme, HMS Repulse is pictured as part of Force Z in company with HMS Prince of Wales and the destroyer Vampire. These two mighty battleships were to be lost within hours of each other, the victims of intense Japanese air strikes. Vampire and the destroyer Electra were on hand to pick up survivors from both ships.

HMS Repulse by Ivan Berryman. (Y)
Half Price! - 65.00

Together with her sister ship, Hercules, HMS Colossus acquitted herself well at the Battle of Jutland where she fired 93 12in rounds, but received only two hits from enemy fire which caused minor damage and left nine crew injured.  She was sold for scrap in 1928.

HMS Colossus by Ivan Berryman
Half Price! - 28.00
The English fleet pursued the Armada up the English Channel and, as darkness fell, Vice Admiral Drake broke off and captured the Spanish galleon Rosario, Admiral Pedro de Valdes and the crew.  The Rosario was known to be carrying substantial funds to pay the Spanish Army in the Low Countries.  Drakes ship had been leading the English pursuit of the Armada by means of a lantern.  By extinguishing this for the capture, Drake put the fleet into disarray overnight.  On the night of 29th July 1588, Vice Admiral Drake organised fire-ships, causing most of the Spanish captains to break formation and sail out of Calais . The next day, Drake was present at the Battle of Gravelines.  English losses were comparatively few, and none of their ships were sunk.

Grenvilles Revenge by Brian Wood.
Half Price! - 95.00
 The view across Battleship Row, viewed from above Ford Island as the USS Nevada gallantly makes her break for the open sea, coming under heavy attack from Japanese A6M2s from the carrier Hiryu. The Nevada was eventually too badly damaged to continue and was beached to avoid blocking the harbour entrance. In the immediate foreground, the lightly damaged USS Tennessee is trapped inboard of USS West Virginia which has sunk at her moorings, leaking burning oil and hampering the daring operations to pluck trapped crew members from her decks, while just visible to the right is the stern of the USS Maryland and the capsized Oklahoma.
Attack on Pearl Harbor by Ivan Berryman
Half Price! - 20.00
Under tow, HMS Vanguard having left John Brown shipyard, passes Dalmuir ship docks, Clydebank, 1946.  HMS Vanguard would be the last British battleship to be built.

HMS Vanguard, Away the Vanguard by Randall Wilson.
Half Price! - 50.00
          Home / View All Products                       View Your Basket