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American Eagles by Robert Taylor.


American Eagles by Robert Taylor.

The 357th Fighter Group was thrown into action soon after arriving in England in February 1944. Being the first fighter group equipped with P-51 Mustangs, great things were expected of them, and they did not disappoint; in the final year of the war they achieved a faster rate of victories than any other group in the 8th Air Force, and the record for the highest number of enemy aircraft shot down in a single mission - in excess of 50 - during a great air battle on 14th January 1945.
Item Code : DHM2580American Eagles by Robert Taylor. - This EditionAdd any two items on this offer to your basket, and the lower priced item will be half price in the checkout! Buy 1 Get 1 Half Price!
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINT Eagles Edition: Signed Limited Edition of 450 prints.

Image size 24 inches x 16.5 inches (61cm x 42cm) McLane, James
Mace, Harvey
Weaver, Charles E
+ Artist : Robert Taylor
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(Size : 12 inches x 8 inches (31cm x 20cm))
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Other editions of this item : American Eagles by Robert Taylor DHM2580
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
ARTIST
PROOF
Victory in Europe Artist Proof Edition. Edition of 25, with 5 signatures.

SOLD OUT
Image size 24 inches x 16.5 inches (61cm x 42cm) OBrien, William R
Yeager, Charles E
McLane, James
Mace, Harvey
Weaver, Charles E
+ 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


Captain Charles E Weaver (deceased)
*Signature Value : £35

American WW2 pilot with eight victories, including : 19th Sep 1944, an Me109; 17th Nov 1944, 2 Fw190s; 23rd Dec 1944, an Me109; 14th January 1945, an Me109 and an Fw190; 24th Mar 1945, an Me109; 18th Apr 1945, an Me262. He died 19th November 2008.
Captain Harvey Mace
*Signature Value : £25

Harvey Mace arrived in England at the end of 1943 to join the 357th Fighter Group who were then stationed at Raydon.He flew all his 59 combat missions in P51 Mustangs with the 362nd Fighter Squadron, notching up three victories over Me109s along the way. Flying primarily on B17 bomber escort missions, Harvey went to nearly all the major strategic bombing targets in Europe, including the Shuttle missions from England to Russia, Italy and back again.Towards the end of his tour he was appointed Squadron Operations Officer, and then assigned as Fighter Controller of the 3rd Bomb Group.


Major James McLane
*Signature Value : £25

Flew P-51 Mustangs with the 357th Fighter Group. James C. McLane Jr. left Clemson College in 1943 to join the Army Air Corp. He graduated in Class 44B at Marianna, Florida, being commissioned a 2nd Lt. Rated Pilot. He instructed Advanced Single Engine student pilots for two classes, and then at Punta Gorda in the Fighter Pilot Replacement Unit he received 6 months training in P-40 aircraft. Early in 1945 McLane was assigned to fly P-51s with the famed 357th fighter group, the “Yoxford Boys” stationed in Leiston England. He was placed in the 362nd fighter squadron led by 3 times ace Leonard K. “Kit” Carson. Initially he flew borrowed aircraft, but then was assigned G4-V, tail number 414798. This plane had seen lots of action, first as Master Mike and later as Butch Baby, the mount of Col. Joseph Broadhead and Lt. Julian H. Bertram respectively. The P-51 was stripped of paint and re-identified on the nose as Dainty Dotty in honor of his wife Dorothy. McLane flew bomber escort and experienced a memorable mission as Carson’s wingman hunting for ME-262’s. After the war, he flew C-123 and C-130 aircraft in the Air Force Reserves, retiring as a Major.
The Aircraft :
NameInfo
MustangThe ubiquitous North American P-51 Mustang, which many consider to be the best all-around fighter of WW II, owes its origins to the British Air Ministry. Following Britains entry into WW II in 1939, the RAF was interested in purchasing additional fighter aircraft from American sources, particularly the Curtiss P-40. Curtiss, which was busy, was unable to guarantee timely delivery so the British approached North American Aviation as a possible second source for the P-40. North American chose to propose its own fighter design which would use the same Allison engine as the P-40. Utilizing new laminar flow wings, the North American fighter was expected to have performance better than the P-40. Developed in record time the new aircraft was designated as a Mustang I by the Brits, whereas the USAAF ordered two for evaluation which were designated XP-51 Apaches. Intrigued with the possibility of using this aircraft also as a dive bomber, North American proposed this to the USAAF which decided to order 500 of the P-51 aircraft to be modified for dive bombing use. Designated as the A-36 Invader, this version of the Mustang utilized dive flaps, and bomb racks under each wing. Some reinforcing of the structural members was also required because of the G-forces to be encountered in dive bombing. A-36s entered combat service with the USAAF prior to any P-51s. In early 1943 the 86th and 27th Fighter Bomber Groups of the 12th Air Force began flying A-36s out of Northern Africa. Despite some early problems with instability caused by the dive flaps, the A-36 was effective in light bombing and strafing roles. It was not, however, capable of dog fighting with German fighters, especially at higher altitudes. Despite these drawbacks one USAAF pilot, Captain Michael T. Russo, who served with the 16th Bomb Squadron of the 27th Fighter Bomber Group, was credited with five confirmed aerial victories in the A-36, thereby becoming the first mustang ace.
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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