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Milne Bay - The Turning Point by Robert Taylor. - Cranston Fine Arts Aviation, Military and Naval Art
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Milne Bay - The Turning Point by Robert Taylor.


Milne Bay - The Turning Point by Robert Taylor.

The Battle for Milne Bay in New Guinea was a story of true grit, determination, and valour; it was the moment when the Imperial Japanese Army tasted defeat on land for the first time in nearly three centuries. In the space of two weeks, the Japanese attempt to capture Milne Bay was halted, and any ambitions they might have held to invade Australia thwarted. And that victory was due in no small part to the Kittyhawks of 75 and 76 Squadrons RAAF. After the Japanese had invaded the north of New Guinea, their main objective was to take Port Moresby in the south. But defeat at the Battle of the Coral Sea in May 1942 put an end to any invasion of Port Moresby by sea: instead they must strike across the Owen Stanley Ranges via the Kokoda Trail. Protecting Port Moresbys eastern flank was the key strategic natural harbour at Milne Bay, and in June 1942 American engineers, protected by Australian troops, began construction of the first of three proposed airstrips to be hacked out of the steaming jungle. Within a few weeks they had laid the first runway, formed by laying steel matting in almost impossible conditions. With heavy rain falling almost continuously, it was an extraordinary feat. Four days later the Kittyhawks of 75 and 76 Squadrons, RAAF, took up residence, together with a few Hudsons of 6 and 32 Squadrons to provide long-range reconnaissance. On the night of 25th August 1942, in torrential rain, a Japanese invasion force began their landin in the bay. With the Australian troops bitterly contesting every yard, the fighting was savage and bloody; conditions in the jungle battleground were wet, nuddy, and atrocious. At first light the next morning the Kittyhawks and Hudsons immediately joined the battle, flying continuous raids against the Japanese forces. Sortie after sortie, strafing and bombing the enemy troops, their landing barges and stores. For the next eleven days the bitter battle raged, the Australian troops fighting in savage hand to hand combat as the Japanese were halted at No.3 airstrips permieter. But eventually the Japanese were spent as a fighting force. With no hope of reinforcement, they were forced to withdraw. A quarter of their invasion force had been lost. Robert Taylors powerful painting depicts Kittyhawks from 75 and & 76 Squadrons RAAF, returning to No 1 Strip after attacking Japanese positions during the Battle for Milne Bay. Under the starboard wing of the lead aircraft, Polly, the smoke of action is clearly visible as the Japanese press from their landing site, along the coast towards the airstrip. Polly, now beautifully restored, resides in the Australian War Memorial Museum in Canberra, a tribute to the men and machines who stopped the Japanese in New Guinea.
Item Code : DHM1769Milne Bay - The Turning Point by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINT Signed limited edition of 400 prints, numbered 151 - 550.

Paper size 25 inches x 19 inches (64cm x 48cm) Image size 20 inches x 15 inches (51cm x 38cm) Kerry, H A Harry
Tucker, Arthur D
+ Artist : Robert Taylor
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Other editions of this item : Milne Bay - The Turning Point by Robert Taylor. DHM1769
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ARTIST
PROOF
Limited edition of 50 artist proofs. Paper size 25 inches x 19 inches (64cm x 48cm) Image size 20 inches x 15 inches (51cm x 38cm) Booth-Jones, Peter
Kerry, H A Harry
Tucker, Arthur D
+ Artist : Robert Taylor
Free
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£295.00VIEW EDITION...
PRINT Collectors edition of 150 prints. Paper size 25 inches x 19 inches (64cm x 48cm) Image size 20 inches x 15 inches (51cm x 38cm) Booth-Jones, Peter
Cowan, Raife J
Glassop, Ross H
Gould, A J Nat
Todd, Noel C
Watson, Bruce D
Kerry, H A Harry
Tucker, Arthur D
+ Artist : Robert Taylor
Free
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£225.00VIEW EDITION...
PRINT Publishers Proof edition of 75 prints.

SOLD OUT.
Paper size 25 inches x 19 inches (64cm x 48cm) Image size 20 inches x 15 inches (51cm x 38cm) Booth-Jones, Peter
Cowan, Raife J
Glassop, Ross H
Gould, A J Nat
Todd, Noel C
Watson, Bruce D
Whitlam, Gough
Kerry, H A Harry
Tucker, Arthur D
+ Artist : Robert Taylor
SOLD
OUT
VIEW EDITION...
General descriptions of types of editions :


Signatures on this item
NameInfo
Flight Lieutenant Arthur D TuckerJoined the RAAF in March 1941. Arthur Friar Tucker was trained and commissioned in Australia and flew Wirraways until October 1941. In March 1942 he was posted to 75 Sqn being formed at Townsville. In late March, Tucker went north with the squadrom and flew and fought with Jacksons Few during the legendary forty four day Battle for Port Moresby. During this period he was credited with downing Japanese Ace Miyazaki - later confirmed by Saburo Sakai. After withdrawing to Australia on 4th May to rest and re-equip, he flew S A29-133 during preparations for 75 Sqns return to New Guinea in July. Tucker participated in many scraps and strafing ops during the Battle for Milne Bay in August. In January 1943 he was posted to the new 86 Sqn equipped with Kittyhawks. During September he was credited with a Zero confirmed near Merauke. Arthur ended the war with 2 confirmed victories, a number of probables and several damaged.
Flight Lieutnenant H A Harry Kerr MIDJoined the RAAF in May 1941 and trained in Australia and was at 1 OTU Sale on Wirraways until 13th March 1942. Harry was posted to 76 Sqn Archerfield late that month and flew his first Kittyhawk A29-31 on 24th March at Townsville. Kerr departed Townsville with the newly formed squadron on July 18th, arriving at Milne Bay on 24th July. He flew his first operation on 26th July on an anti submarine patrol and on 11th August engaged his first Zero followed by an engine failure and subsequent dead stick landing on No.1 strip. Kerr participated in many successful strafing ops and Hudson bomber escorts during August and September and remained with 76 until they withdrew to the mainland on 24th September and left the squadron at Strauss in December 1942. Harry was posted to 2 OTU as an instructor from March 1943 until February 1944. He joined 78 Sqn equipped with Kittyhawks on Anzac Day 1944 and operated from Hollandia, then Morotai until January 1945 and finished the war at 2 OTU.
The Aircraft :
NameInfo
KittyhawkCurtiss Kittyhawk, single engine fighter with a top speed of 362mph, ceiling of 30,000 feet and a range of 1190 miles with extra fuel tanks but 900 miles under normal operation. Kitty Hawk armaments was four or six .50in machine guns in the wings and a bomb load of up to 1,000 lb's. A development of the earlier Tomahawk, the Kitty Hawk saw service in may air force's around the world, American, Australian, New Zealand, and the Royal Air Force. which used them in the Mediterranean, north Africa, and Malta. from January 1942/ apart from the large numbers used by the Us Air Force, over 3,000 were used by Commonwealth air force's including the Royal air Force.
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.

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