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| 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. | |
| Name | Info |
 Flight Lieutenant Henry Botterell (deceased) *Signature Value : £80 | First World War fighter pilot with the Royal Flying Corps. Born in 1896, Henry Botterell joined the Royal Naval Air Service in Canada, and in 1916 sailed for England where he trained as a pilot to fly fighters. In 1917 he was posted to France, joining an operational squadron on the Western Front, butan engine failure on his second take off brought his flying to an abrupt conclusion, forcing him to spend several months in hospital and convalescing back in England, where he was demobilised. After a chance meeting with pilots on leave in England with whom he had trained, Henry applied to rejoin the service and was accepted. Re-qualifying as a fighter pilot, in early 1918 he returned to operational combat flying in France with 208 Squadron Royal Flying Corps. Flying Sopwith Camels he saw active service with 209 Squadron for the remainder of the war until the Armistice in November. Staying in France as part of the continuing Force he eventually returned to Canada in 1919 - bringing back with him a fence post which the wing of his Camel had collected on one of his many low level sorties. The post now resides in the War Museum in Ottawa. Henry died in 2003. |
 Henry Allingham (deceased) *Signature Value : £120 | Henry Allingham is the oldest surviving veteran of World War One, Britains oldest living man, and the second oldest living man in the world. He is the last survivor of the Royal Naval Air Service, and served as a seaplane mechanic on HMS Kingfisher during the Battle of Jutland, of which he is the last survivor. He saw service on the Western Front in France, serving as an aircraft mechanic with 12 Squadron RNAS, and instrumented the first reconnaissance camera fitted to an aircraft during WW1. The RNAS and the Royal Flying Corps merged on 1st April 1918 to become the Royal Air Force, and he is the last surviving founding member of that illustrious service. Sadly, Henry Allingham died aged 113 on 18th July 2009. |
| The Aircraft : | |
| Name | Info |
| Bristol F2B | The Royal Aircraft Factory F.E.2 First World war early two-seater pusher biplane and was used by the Royal Flying Corps as a fighter and also as a day or night bomber. The FE2 was one of the few aircraft which gave the allies the edge over the Fokker aircraft of 1914/1915. In May 1915 the F.E.2b entered service with No 6 Squadron of the Royal Flying Corps and it was 20 squadron which was the first squadron to be totally equipped with Fe2 aircraft which was deployed in January 1916. The Fe2B remained in day use throughout 1916 and 1917 and in 1918 was used solely as a night bomber. The FE2b equipped 22 squadrons, 16 of which served in France with the other 6 serving the home defence. As the German fighters got better the FE2B was outclassed and was used only as a light night bomber or used on the home defense front against the Zeppelins. Crew: Two Speed: 80 knots (91.5 mph,) Endurance 3 hours Ceiling 11,000 ft Maximum take off weight 3,037 lbs Length: 32 ft 3 in Height: 12 ft 8 in Wingspan 495 ft² Engine Beardmore 6 cylinder inline piston engine giving 160 HP |
| Albatros D.V | |
| 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. Sadly he passed away in January 2024. More about Robert Taylor |
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This website is owned by Cranston Fine Arts. Torwood House, Torwoodhill Road, Rhu, Helensburgh, Scotland, G848LE Contact: Tel: (+44) (0) 1436 820269. Email: cranstonorders -at- outlook.com |
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Allingham, Henry 
(signed in person)
Richthofen, Manfed von 
(matted on companion print)
