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|Signatures on this item|
Hauptmann Hugo Dahmer (deceased)
*Signature Value : £25
|Hugo Dahmer . Flying with Adolf Galland's 6./JG26, Hugo Dahmer was one of II Gruppe's most successful pilots. By Feb 1941 Hugo Dahmer had in total 12 victories, built up during the Battles in France and Britain. He then served in Norway with 1./JG77 Dahmer was awarded the Knight's Cross during the invasion of Russia. For a short while back with JG26, then III./JG2. He scored 57 victories, flying a total of 309 missions. Hugo Dahmer passed away on 1st August 2008.|
Maschinenobergefreiter Otto Peters (deceased)
*Signature Value : £50
|Born 8th May 1919, Otto Peters joined the Kriegsmarine in April 1939. Posted to Bismarck, he was one of the first to join the crew at the Blohm and Voss shipyard in his hometown of Hamburg. As a leading stoker, Otto was on fire-watch when he heard over the tannoy that the Royal Navy had “undertaken all necessary efforts to sink the Bismarck”, and recalls that he knew at once their days were numbered. Otto was picked up after the sinking by the Cruiser HMS Dorsetshire, there were just 115 survivors from the crew of over 2000. Otto Peters died in December 2013.|
Oberleutnant Ernst Scheufele (deceased)
*Signature Value : £65
|Joining the Luftwaffe in October 1940, Ernst Scheufele was posted to Norway in June 1942, to join 4./JG5. There, flying Me109s he carried out a total of 67 escort missions for the German battleships Bismarck and Tirpitz. In October 1943 he joined II./JG5 flying over Arctic waters, in Finland, and on the Russian Front, before transferring to the defence of the Reich in June 1944. On 3 December 1944 he was shot down by an American flak battery near Saxony, wounded and taken prisoner. He had a total of 18 victories. Sadly, Ernst Scheufele died on 18th February 2010.|
|The Aircraft :|
|Me109||Willy Messerschmitt designed the BF109 during the early 1930s. The Bf109 was one of the first all metal monocoque construction fighters with a closed canopy and retractable undercarriage. The engine of the Me109 was a V12 aero engine which was liquid-cooled. The Bf109 first saw operational service during the Spanish Civil War and flew to the end of World War II, during which time it was the backbone of the Luftwaffe fighter squadrons. During the Battle of Britian the Bf109 was used in the role of an escort fighter, a role for which it was not designed for, and it was also used as a fighter bomber. During the last days of May 1940 Robert Stanford-Tuck, the RAF ace, got the chance to fly an Me109 which they had rebuilt after it had crash landed. Stanford-Tuck found out that the Me109 was a wonderful little plane, it was slightly faster than the Spitfire, but lacked the Spitfire manoeuvrability. By testing the Me109, Tuck could put himself inside the Me109 when fighting them, knowing its weak and strong points. With the introduction of the improved Bf109F in the spring of 1941, the type again proved to be an effective fighter during the invasion of Yugoslavia and during the Battle of Crete and the invasion of Russia and it was used during the Siege of the Mediteranean island of Malta. The Bf109 was the main fighter for the Luftwaffe until 1942 when the Fw190 entered service and shared this position, and was partially replaced in Western Europe, but the Me109 continued to serve on the Eastern Front and during the defence of the Reich against the allied bombers. It was also used to good effect in the Mediterranean and North Africa in support of The Africa Korps. The Me109 was also supplied to several German allies, including Finland, Hungary, Romania, Bulgaria, Croatia, and Slovakia. The Bf109 scored more kills than any other fighter of any country during the war and was built in greater numbers with a total of over 31,000 aircraft being built. The Bf109 was flown by the three top German aces of the war war. Erich Hartmann with 352 victories, Gerhard Barkhorn with 301 victories and Gunther Rall with 275 kills. Bf109 pilots were credited with the destruction of 100 or more enemy aircraft. Thirteen Luftwaffe Aces scored more than 200 kills. Altogether this group of pilots were credited with a total of nearly 15,000 kills, of which the Messerschmitt Bf109 was credited with over 10,000 of these victories. The Bf109 was the most produced warplane during World War II, with 30,573 examples built during the war, and the most produced fighter aircraft in history, with a total of 33,984 units produced up to April 1945. Bf109s remained in foreign service for many years after World War II. The Swiss used their Bf109Gs well into the 1950s. The Finnish Air Force did not retire their Bf109Gs until March 1954. Romania used its Bf109s until 1955. The Spanish Hispanos flew even longer. Some were still in service in the late 1960s.|
|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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