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Marauder Mission by Robert Taylor

Marauder Mission by Robert Taylor

B26 Marauders of the 386th Bomb Group 9th Air Force, returning from a strike against VI, rocket sites in the Pas de Calais, January 1944. The 9th Air Force became one of the most effective forces in the destruction of VI rocket sites, railroad yards, bridges and other enemy position in northern France and by May 1944, was despatching more than one thousand aircraft a day against targets in Normandy and the Pas de Calais.
Item Code : DHM2072Marauder Mission by Robert Taylor - This Edition
PRINTSigned limited edition of 1250 prints.

Paper size 27 inches x 20 inches (69cm x 51cm) Moench, Joe
Scott, Roland
Woolridge, Ashley
+ Artist : Robert Taylor

Signature(s) value alone : £105
£50 Off!
Supplied with one or more free art prints!
Now : £175.00

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

Exclusive Offer for Online Orders Only

FREE PRINT : Dinah Might by Ivan Berryman.

This complimentary art print worth £50
(Size : 12.5 inches x 8 inches (32cm x 20cm))
has been specially chosen by Cranston Fine Arts to complement the above edition, and will be sent FREE with your order.

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Other editions of this item : Marauder Mission by Robert Taylor DHM2072
Limited edition of artist proofs. Paper size 27 inches x 20 inches (69cm x 51cm) Moench, Joe
Scott, Roland
Woolridge, Ashley
+ Artist : Robert Taylor

Signature(s) value alone : £105
£50 Off!
Supplied with one or more free art prints!
Now : £295.00VIEW EDITION...
PRINT Multi Signed edition of 100 prints. Paper size 27 inches x 20 inches (69cm x 51cm) Denison, Richard Dick
Oates, Carl
Slanker, Earl
Moench, Joe
Scott, Roland
Woolridge, Ashley
+ Artist : Robert Taylor

Signature(s) value alone : £220
£50 Off!
Supplied with one or more free art prints!
Now : £275.00VIEW 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.
Colonel Ashley Woolridge (deceased)
*Signature Value : £35

Ashley Woolridge was involved in training and combat with the B-26 Marauder continuously for three years. Assigned to the 319th Bomb Group he arrived in North Africa at the time of the invasion there, beginning low-level combat missions in November 1942. Flying over 100 missions in the B-26, Woolridge became one of the leading exponents of the Marauder, and was responsible for devising the logistics of the 6-ship abreast take-off - a procedure that extended range by reducing join-up time. The technique was used extensively in North Africa, without accident. By November 1944, Woolridge was appointed Commanding Officer of the 320th Bomb Group, a position held until the wars end. His many decorations include two Croix de Guerre, one awarded by General de Gaulle, the other by General Pleven. Ashley Woolridge passed away on 3rd May 2004.
Colonel Roland Scott (deceased)
*Signature Value : £35

Roland Scott joined the Service in 1933, trained as a pilot in 1941 and arrived in England in March 1943. Flying with the 450th Squadron 322nd Bomb Group, Scott was to lead a 12 ship formation on May 14th, 1943, to bomb the power plant at Ijunuiden, Holland - the first combat mission flown in Europe by the B-26 in World War Two. The orders were to go in at zero feet. Coming in over the Dutch coast they were met with ground fire, and several aircraft were hit. Scott somehow got through the intense wall of tracer and flak, and laid his bombs on the target, but a 20mm shell exploded in the cockpit, blinding him in one eye; however with the aid of his crew managed to get his B-26 back to his base. In spite of the loss of an eye Roland Scott checked out on a large number of World War Two American and British combat aircraft. Roland Scott passed away on 21st November 2002.
General John Moench
*Signature Value : £35

After gaining his wings in 1943, John Moench was checked out on the B-26 Marauder, and arrived in England in early 1944 joining the 323rd Bomb Group, based at Earls Coln. His first combat mission was on May 7th, and by the end of the month he had racked up 13 missions. The following month he was made flight leader of a six ship formation, and by the wars end he had flown lead aircraft on 17 of his 62 B-26 Marauder missions. John Moenchs last mission with the 323rd was to bomb Erding Aerodrome, near Munich on April 25th, 1945. In spite of a determined attack by Me262s every aircraft got home without a single man lost or wounded - a testimony to the level of skill of the B-26 pilots by the wars end, and to the quality of the Marauder as a fine medium range combat aircraft.
The Aircraft :
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

 Hurricanes of 43 Squadron scramble from an airfield in southern England during the height of the Battle of Britain, 1940. The R.A.F.s first 300mph fighter, the Hurricane proved itself a formidable aerial gun platform, its pilots accounting for four-fifth of all the air victories achieved by the R.A.F. during the Battle of Britain.

Squadron Scramble by Nicolas Trudgian.
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 In the narrow valley dominated by the 3000 metre high Mt Glarnish the Patrouille Suisse Tigers line up over the runway of the satellite airfield of Mollis as solo Paul Thoma streaks underneath in the dramatic <i>Tunnel</i> manoeuvre.

The Mollis Tunnel by Robert Tomlin. (Y)
Half Price! - £50.00

Prelude by Geoffrey R Herickx. (Y)
Half Price! - £25.00
 Flying his last mission with his old mount, Hawker Tempest EJ762, fresh from repair after being damaged by flak, David Fairbanks found himself embroiled in a fierce battle with Messerschmitt Bf109s on 17th December 1944.  In the course of the combat, Fairbanks shot down two of the enemy aircraft and damaged another before returning safely.

Foob Fairbanks - The Terror of the Rhine by Ivan Berryman. (AP)
Half Price! - £90.00

 79 Sqn Hurricane of F/Lt Owen Tracey trying to get airborne again amid explosions from the attacking German Dorniers on 15th August 1940.

Tribute to F/Lt Owen Tracey by Ivan Berryman. (P)
Half Price! - £270.00
 Like the Messerschmitt 109, its great adversary throughout almost six years of aerial combat, the Spitfire was a fighter par excellence. Good as many other types may have been, these two aircraft became symbols of the two opposing air forces they represented. Their confrontation, which began in 1940 during the Battle of Britain, continued without interruption until the last days of World War Two. From an air force teetering on extinction in the dark days of 1940, by the summer of 1944 the pilots of RAF Fighter Command had fought their way back to become top dogs. And when the invasion of northern France came, they swept over the beaches in force, cutting deep into enemy occupied territory, hammering the enemy in the air and on the ground. Key to this air superiority was the supreme performance of the Spitfire, its ability to out-fly the Luftwaffes best, and the wily leadership of the pilots who had survived the early air battles of the war. Among the best was 26 year old Pete Brothers, by 1944 a highly successful and experienced fighter pilot commanding his own Wing. Having fought through the battles of France and Britain, now with a clutch of air victories to his credit, in 1944 he took command of first the Exeter Wing, and then the Culinhead Wing, ideally placed to support the coming invasion of Normandy. Nick Trudgians striking painting recreates a typical scene as Mk IX Spitfires of 126 Squadron, led by Wing Commander Pete Brothers flying his Mk V11 Spitfire wearing high altitude paint scheme, race back to base at RAF Culinhead after a low-level attack on enemy transport in Normandy. The Culinhead Spitfire Wing flew constant armed Rhubarb attacks in support of the invasion from D-Day - June 6 1944 - till the first improvised strips were established in France a few weeks following the invasion.  This beautiful aviation print, contrasting the frenetic pace of war with a restful English coastal landscape, evokes the memory of a legendary fighter aircraft that, flown by gallant pilots, helped change the course of history. Prints are signed by Pete Brothers and two other pilots who flew Spitfires in combat during World War II.

Back from Normandy by Nicolas Trudgian.
Half Price! - £100.00
 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)
Half Price! - £110.00
 Obersalzberg, a spectacularly picturesque area of southern Germany in the Bavarian Alps, became a focal point for the Allies as World War II was drawing to its close. This mountain village had become a Nazi stronghold after the Third Reich had seized houses, farms, and some 600 acres, and built private residences for Martin Bormann and Hermann Goering, an SS barracks, and erected a 30kmn fence around the perimeter to deter intrusion. At its centre was the Berghoff, Adolf Hitlers private mountain retreat.  Crowning Bormanns lavish building programme was the house he had built on a rocky spur almost 3000 feet above the Obersalzberg, some 6000 feet above sea level. Reached via a twisting road blasted out of the mountainside, the house was approached after entering a tunnel via a large brass two story elevator rising over 400 feet to the building. The Kelilsteinhaus was Martin Bormanns present for Hitter on the occasion of his 50th birthday in 1939. It was known by the Allies as the Eagles Nest.  Believing the Obersalzberg to be where Hitler and his closest henchmen would make their final stand, in April 1945 Allied bombing raids reduced much of the area to ruins. The Eagles Nest, intended as a private retreat from which Hitler could gaze over a conquered Europe, being an isolated target, survived this onslaught, and endures to this day.  Nicolas Trudgians painting shows P-51Ds of the 339th Fighter Group roaring over the rooftop of Hitlers now abandoned folly. With Germany and the Third Reich on the brink of defeat, this majestic aviation image conveys the poignant irony of the greatest lost cause in human history, with P-51 Mustangs providing a fitting symbol of victory over tyranny.

Mustangs Over the Eagles Nest by Nicolas Trudgian.
Half Price! - £155.00
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