Fury of Assault by Robert Taylor.
When Luftwaffe bombers first appeared in force in the night skies over London in September 1940 they heralded the beginning of The Blitz - the most sustained period of concentrated bombing aimed at British cities during World War II. Robert Taylors evocative painting brings to life the frightening scenario of the Luftwaffes night bombing campaign. It is December 1941, and London is once again under concentrated attack. With fires raging below, the armada of German bombers is clearly visible in the night sky as they sweep across the city. Shimmering in the glow of destruction, a lone Hurricane night-fighter from 85 Squadron, based at nearby Gravesend, engages Heinkel 111s of KG55 in a desperate attempt to break up the formations.
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|General descriptions of types of editions : |
|Signatures on this item|
|Flight Lieutenant Roy Daines DFM||Roy Daines joined the RAF as soon as he was able, and after completing his hurried training as a pilot, was posted to join 247 Squadron in the autumn of 1940. Here he flew Gladiators and Hurricanes on coastal patrols, 247 being the only squadron to fly Gladiators during the Battle of Britain, before converting to nightfighting Hurricanes. Later, in 1943, he flew Typhoons with 247 before being posted to join 65 Squadron flying Spitfires and Mustangs.|
Oberleutnant Heinrich Sudel (deceased)
|Having joined the Luftwaffe in 1937, Heinrich Sudel was an experienced Observer in He111s by the time war broke out. He flew a total of 408 combat missions in Heinkels, both in the West over France and England, and on the Eastern Front. In September 1940 whilst over England, his aircraft was badly damaged by RAF fighters, but his pilot managed to reach the safety of the French coast on one engine. He finished the war commanding L/KG55, and had been awarded the Knights Cross, the Iron Cross I and II, and the German Cross in Gold. Heinrich Sudel passed away on 12th August 2011.|
|Oberleutnant Joachim Berking||Joining the Luftwafte in November 1939, Joachim Berking was commissioned and trained as a pilot on Ju52s and He111s as part of KG53 based at Lille in northern France. In May 1942 he was posted to KG55 Grief in Russia, joining the 4th Staffel based in Djepropetrowsk, where he completed 291 combat missions, of which 60 were night operations. In November 1943 he returned to France to become head of training of 1 L/KG5 5 at Dijon. After this posting he converted to fighters, training on the Me109, and in April 1945 was posted to command 4./JG27 Marseille. He received the Iron Cross I and II, the German Cross in Gold, and a special honorary trophy from Reichsmarschall Hermann Goering for outstanding services in air combat.
|Oberleutnant Karl-Horst Meyer zum Felde||With a passion for flying Karl-Horst joined the Luftwafte in October 1938, and following the outbreak of war he flew night operations as a pilot with KG55 over France before taking part in the great Blitz raids over England. After the invasion of Russia he transferred to the Eastern Front and fought at Stalingrad, making several emergency landings including one major incident when, having lost an engine to enemy action, he made a forced landing on one engine in the countryside of south Russia, where he had to join German ground units. He flew both He111s and Ju88s during the war, and was awarded the German Cross in Gold.
|Unteroffizier Fahnenjunker Walter Bogdan||Walter Bogdan joined the Luftwaffe in March 1941, and after completing his training as a radio operator, was posted to join KG55 flying Heinkel He111s. He flew over 110 combat missions in He111s as radio operator to Leutnant Kessler. On their seventh mission they were forced to make an emergency landing during the siege of Stalingrad, and in April 1944 encountered a second emergency landing on his 75th mission. His final and 110th mission occured in July 1944 when, attacking Brjansk railway station, his aircraft was hit 122 times, but he and his pilot managed to get their aircraft safely home.|
|The Aircraft :|
|Hurricane||Royal Air Force Fighter, the Hawker Hurricane had a top speed of 320mph, at 18,200 feet and 340mph at 17,500, ceiling of 34,200 and a range of 935 miles. The Hurricane was armed with eight fixed wing mounted .303 browning machine guns in the Mark I and twelve .303 browning's in the MKIIB in the Hurricane MKIIC it had four 20mm cannon. All time classic fighter the Hurricane was designed in 1933-1934, the first prototype flew in June 1936 and a contract for 600 for the Royal Air Force was placed. The first production model flew ion the 12th October 1937 and 111 squadron of the Royal Air Force received the first Hurricanes in January 1938. By the outbreak of World war two the Royal Air Force had 18 operational squadrons of Hurricanes. During the Battle of Britain a total of 1715 Hurricanes took part, (which was more than the rest of the aircraft of the Royal air force put together) and almost 75% of the Victories during the Battle of Britain went to hurricane pilots. The Hawker Hurricane was used in all theatres during World war two, and in many roles. in total 14,533 Hurricanes were built. |
|He111||The German medium bomber the Heinkel He111 was designed by Siegfried and Walter GŁnter. The first He111 flew on 24th of February 1935, piloted by chief test pilot Gerhard Nitschke. The Heinkel He111 was the primary medium bomber of the Luftwaffe during the opening years of World War Two and the major bomber during the Battle of Britain. It was also used as a torpedo bomber during the Battle of the Atlantic. The Heinkel He111 was used in all theatres, Western, Eastern, Middle East and Northern Africa. He111 continued in production into 1944 and by the end of the war it was used primarily as a transport. Its origins came from a pre war airliner design.|
|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.
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