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Japanese Zero Fighter Aviation Art Prints by Ivan Berryman and Robert Taylor.
PCK2483. Japanese Zero Fighter Aviation Art Prints by Ivan Berryman and Robert Taylor. Items in this pack :
Aviation Print Pack.
Item #1 - Click to view individual item
IBF0089. Zero Hour by Ivan Berryman.
As dawn breaks across South Pacific skies, a group of Mitsubishi A6M5 Zeros of the 201st Air Group head outbound from their base at Rabaul on a raiding sortie in November 1944.
Signed limited edition of 1150 prints.
Image size 17 inches x 10 inches (43cm x 25cm)
Item #2 - Click to view individual item
DHM2154. Legend of Colin Kelly by Robert Taylor.
December 10th 1941, Just three days after the Japanese attack on Pearl Harbor, captain Colin Kellys 19th BG B-17C is heavily outnumbered by Zeros as it returns to Clark Field after completing a successful bombing attack. With his aircraft on fire. Kelly remained at the controls whilst his crew bailed out. Seconds later the B-17 exploded. Colin Kelly gave his life and was posthumously awarded the DFC. A legend was born.
Supplied with matching numbered print entitled Rising Sun , a study of the Mitsubishi A6M2 Zero fighter of Japanese 64 victory fighter Ace, Saburo Sakai, signed by Saburo Sakai and initialled by the artist.
Signed by Master Sergeant James E Halkyard,
Staff Sergeant Robert E Altman
Saburo Sakai (deceased).
Signed limited edition of 750 prints.
Paper size 33 inches x 23 inches (84cm x 58cm)
Website Price: £ 220.00
To purchase these prints individually at their normal retail price would cost £320.00 . By buying them together in this special pack, you save £100
All prices are displayed in British Pounds Sterling
|Signatures on item 2|
Master Sergeant James E Halkyard
|James Halkyard was right waist gunner on Kellys B-17 that day in December 1941. He joined the service back in January 1937 and the outbreak of war found him in the Philippines with the 14th Bomb Squadron, 19th Bomb Group. After being shot down he was picked up and served for a time with the local Philippine guerrillas. Evading capture he returned to US forces and later served at Bataan.|
Saburo Sakai (deceased)
|This legendary Zero pilot graduated into the Japanese air force in 1937 and he scored his first victory in the China War. On December 8, 1941, Sakai participated in the raid on Clark Field and, on December 10, led the attack on Kellys B-17. He fought in New Guinea against the 8th Fighter Group, B-26s of the 22nd Bomb Group, and 75 Sqn RAAF. Badly wounded in August 1942 over Guadalcanal he was hospitalized and lost the sight of his right eye. He was pressed back into service and claimed 5 Hellcats in the final days. In over 200 combats, Sakai never lost a wingman and destroyed 64 enemy aircraft. Saburo Sakai is the Highest-scoring Japanese ace to survive the War. Sakal flew with the Imperial Navy as a noncommissioned officer in China where he attained two victories. While stationed at Tainan on Formosa, Sakais unit was involved in the attacks on American airfields in the Philippines shortly after the attack on Pearl Harbor. Japanese pilots had developed fuel-saving, low-speed, tactics with their Mitsubishi Zero fighters, which allowed them to make the 1200-mile round-trip flight to the Philippines, while accompanying Japanese bombers. The appearance of Japanese aircraft from bases which were thought to be out of range came as an unpleasant surprise to American forces. During this mission S akal bagged a p-40 over Clark field. During the days that would follow, Sakai's squadron would repeatedly make the long flight to the Philippines to support the advancing Japanese invasion force that was disembarking. On December 10, 1941 while patrolling at 18,000 feet, Sakal saw several bombs explode near Japanese convoy ships. Noticing a lone B-17 Flying Fortress, Sakal and nine other Zeros made for the American Bomber at full throttle. Overtaking the bomber, believed to be the one piloted by Colin Kelly, Sakal and the other Japanese fighters poured fire into the aircraft from behind. Finally, the overmatched bomber began to go down. Eight of its crew bailed out before the aircraft crashed short of Clark Field. Sakal would later have another encounter with b- 1 7s over Borneo. However, these would be later model aircraft fitted with a rear gunner's turret, and would prove to be much more difficult to bring down. In early 1942 Sakai's unit was shifted to supporting the Japanese invasion of Java. Encountering outclassed Brewster Buffaloes, P-36s, P-40s, and some Hurricanes, the Japanese fighter forces wreaked havoc in the skies. Sakai's victory tally rose to thirteen. A few months later Sakal was involved in fighting around Rabaul. This was the first time the Japanese would meet stiff resistance. In many months of fighting the Japanese forces sustained meaningful casualties. On July 22, 1942 Sakal chased a Lockheed Hudson, whose pilot put on a daring series of aerial maneuvers, before finally being downed by the Japanese ace, for his 4C Victory. In late July the morale of the Japanese fighter forces suffered a serious setback with the realization that American carrierbased aircraft were now involved in the battles in New Guinea. The Japanese forces had in fact not obtained the decisive victory that they had been told was achieved at the Battle of Midway. With the American attack on Guadalcanal, Sakai's unit was refocused on flying 11 00-mile escort missions for Japanese Bombers attacking American forces at Guadalcanal. On one of these missions Sakai mistakenly attacked a formations of Avengers. Hit by fire from the rear gunners of the torpedo bombers, Sakal was badly injured, losing sight in one eye. He successfully nursed his aircraft back to Rabaul. After recovering from his injuries, Sakai would be involved as a flight instructor and test pilot until the Japanese surrender. Saburo Sakai passed away 22nd September 2000.|
Staff Sergeant Robert E Altman
|Robert Altman had joined up in October 1939, serving with the 42nd Bomb Squadron in Hawaii. December 41 found him at Clark Field in the Philippines with the 14th Bomb Squadron, 19th Bomb Group. He was radio operator and belly gunner on Kellys B- 17. Robert was captured by the Japanese after bailing out, and taken as POW for the remainder of the war. He spent 36 months of that captivity in Tokyo, Japan.|
|Artist Details : Ivan Berryman|
|Click here for a full list of all artwork by Ivan Berryman|
Latest info : At the beginning of 2010, Ivan is working on the partner painting to the fantastic large World War One aviation combat painting which was painted in 2009. The World War Two partner painting will be the same massive size of 78 inches by 36 inches. The scene will show the battle above Convoy CW8 in the English Channel on 25th July 1940. Ivan chose this scene because it features several aircraft types and some quite well-known fighter pilots. In the picture are Spitfires, Hurricanes, Bf.109s and Stukas. The Stukas were bombing the convoy and British aircraft of 64 Sqn, 54 Sqn and 111 Sqn were scrambled to defend the ships, but were outnumbered by five to one. Because of the view, Dover itself is not visible in the scene, but the action is taking place above a sunlit sea where the convoy is clearly visible under attack. Over the next few months progress photos of this fantatstic painting will be shown.
Over the last 30 years, Ivan Berryman has become a leading aviation, motor racing and naval artist. In this time, the subjects of his paintings have been wide and varied as he has deliberately strived to include some of the lesser know aircraft, ships and events in his portfolio, which includes aircraft like the Defiant, TSR2, Beaufort, ships including MTBs and corvettes, and around 100 different aircraft of the first world war. In addition to this he has taken new approaches to the classic subjects of his field, including the Dambuster Lancasters, Battle of Britain Spitfires, Bf109s and Hurricanes, HMS Hood, Bismarck and the best known naval ships, as well as some iconic sporting moments. In his own words : Art and aviation have been like a brother and sister to me. We have grown up together, learned together and made our adult lives together. But you do not have to have an appreciation of aircraft to admire the graceful lines of a Spitfire or the functional simplicity of a Focke-Wulf 190. They are themselves a work of art and they cry out to be painted - not as machines of war and destruction, but as objects of beauty, born of necessity and function, yet given a life and iconic classicism beyond their original calling. My interest and love of art and aircraft was gifted to me by my father, a designer and aeronautical engineer of considerable repute. Denis Berryman C.Eng. FRAeS. He gave me his eyes, his passion, his dedication and his unwavering professionalism. I owe him everything. And I miss him terribly. A love of art and of beautiful and interesting things takes you on a journey. You discover new interests, new fascinations, and you want to paint them. You want to paint them in their environment, in their element. Whether it is an aeroplane, a warship, a racing car or a beautiful woman, their gift to an artist is the same: Their lines, their texture and the way that light and shadows give them form. These are the food and oxygen of an artist. Not the paint and the canvas. These are mere tools. The secret is in the passion and the perception...
Ivan with some of his original paintings in the originals gallery at Cranston Fine Arts and in his studio.
More about Ivan Berryman
|Artist Details : Robert Taylor|
|Click here for a full list of all artwork by 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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