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|General descriptions of types of editions :|
|Extra Details : Late Arrival by Robert Taylor.|
|Signatures on this item|
Flight Lieutenant N L D Kemp DFC (deceased)
|A Battle of Britain veteran who had flown with Douglas Bader in the famous 242 Canadian squadron. Nigel Kemp transferred with the squadron to Malta in 1941, flying his Hurricane of Ark Royal on Nmember 12. The squadron sufferred such heavy losses in Malta that in March 1942 the survivors were absorbed into 126 and 185 Squadrons. He had been with 242 in 1941 when the squadron was re-equipped with the Hurricane II and took part in the cross channel offensive, receiving the D17C in October 1941 for a series of daring attacks on enemy shipping. Nigel Kemp passed away on 13th March 2005.|
Squadron Leader Jocelyn G P Millard (deceased)
|Volunteering for the RAFVR in August 1939, J G Millard was called up for full time service the following month. Converting to Hurricanes, he was posted to 1 Squadron at Wittering in October 1940, and shortly after transferred to Dougla Baders 242 Squadron at Coltishall. In November he moved to 615 Squadron at Northolt. After the Battle of Britain he spent time as an instructor, going to Canada. He later became Squadron Commander of 35 SFTS. Sadly, Jocelyn Millard passed away on the 10th of May 2010.|
Squadron Leader Tony Iveson DFC (deceased)
|Tony Iveson fought in the Battle of Britain with RAF Fighter Command, as a Sergeant pilot, joining 616 Squadron at Kenley flying Spitfires on 2 September 1940. On the 16th of September, he was forced to ditch into the sea after running out of fuel following a pursuit of a Ju88 bomber. His Spitfire L1036 ditched 20 miles off Cromer in Norfolk, and he was picked up by an MTB. He joined No.92 Sqn the following month. Commissioned in 1942, Tony undertook his second tour transferring to RAF Bomber Command, where he was selected to join the famous 617 Squadron, flying Lancasters. He took part in most of 617 Squadrons high precision operations, including all three sorties against the German battleship Tirpitz, and went on to become one of the most respected pilots in the squadron.|
Vivian Snell (deceased)
|Battle of Britain Hurricane pilot with No.501 Sqn. Shot down over Cranbrook on 25th October 1940 while flying Hurricane P2903, bailing out uninjured. During his service life Vivian flew the Fairy Battle with 103 Squadron, later flying the Hawker Hurricane with 151 and 501(F) Squadrons during the Battle of Britain in 1940. Vivian shot down a Bf109E on the 25th October 1940 and was then shot down himself while piloting Hurricane Mk.I serial N2438. After having minor wounds attended to he returned to his squadron and flew through the rest of the Battle of Britain. In 1941 he was flying the American built Douglas DB7 Havoc night fighter with number 85(F) Squadron. He commanded his own Mosquito Squadron towards the end of the War. Vivian was released from the RAF in 1946 with the rank of Wing Commander.|
Warrant Officer David Denchfield (deceased)
|Called up in 1939 he converted to Spitfires and joined 610 Squadron at Acklington in the Battle of Britain. On a Blenheim escort to St Omer in February 1941 his aircraft was hit and, having baled out at 5,000 feet, he was captured by the Germans. He spent time in several POW camps, including Stalg Luft III, and at the end of the war in May 1945 flew back to the UK in a Lancaster of 617 Squadron. Sadly he passed away on 5th December 2012.|
Wing Commander George W Swanwick (deceased)
|George Swanwick was born on 10th November 1915 and was an air-gunner on Wallaces and Hinds with 504 squadron at RAF Hucknall during the 1930s. In May 1936, 504 became part of the Auxiliary Air Force, and in October 1938 converted to a fighter unit, equipped with Gauntlets. In 1938 George re-trained as a pilot, and was promoted to Sergeant Pilot in August 1939. In May 1940 George Swanwick joined 7 BGS, and on 7th September was posted to 54 Squadron at Catterick flying Spitfires. He then went to 41 Squadron at Hornchurch. Commissioned in late 1941, he was posted to 222 Squadron at North Weald in April 1942 as a Flight Commander. In July George Swanwick joined 603 Squadron in Malta and in September 1942, George was posted to 7 OTU at Port Sudan as Flight Commander. In July 1943, he joined 81 Squadron in Malta as a supernumerary. George was invalided back to the UK and following his discharge from hospital in 1944, George held various staff appointments until the end of the war. George Swanwick was granted a Permament Commission in 1949 and retired on 30th April 1970, as a Wing Commander. Sadly, George Swanwick passed away on 4th January 2011.|
|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.|
|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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