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Bristol Blenheim by Robert Taylor. - Cranston Fine Arts Aviation, Military and Naval Art
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Bristol Blenheim by Robert Taylor.


Bristol Blenheim by Robert Taylor.

Item Code : DHM6083Bristol Blenheim by Robert Taylor. - This Edition
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PRINTEx companion print edition.

Originally a companion print to Front Line Hurricanes, we have two prints that are available individually, initialled by Robert Taylor.
Image size 13.5 inches x 9 inches (34cm x 23cm) Paper size 17 inches x 14 inches (43cm x 36cm)none£60.00

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All prices on our website are displayed in British Pounds Sterling


General descriptions of types of editions :

The Aircraft :
NameInfo
BlenheimThe Bristol Blenheim, the most plentiful aircraft in the RAFs inventory when WWII began, was designed by Frank Barnwell, and when first flown in 1936 was unique with its all metal monoplane design incorporating a retractable undercarriage, wing flaps, metal props, and supercharged engines. A typical bomb load for a Blenheim was 1,000 pounds. In the early stages of the war Blenheims were used on many daylight bombing missions. On the day that war was declared on Germany, a Blenheim piloted by Flying Officer Andrew McPherson was the first British aircraft to cross the German coast and the following morning 15 Blenheims from three squadrons set off on one of the first bombing missions The Blenheim units operated throughout the battle, often taking heavy casualties, although they were never accorded the publicity of the fighter squadrons. The Blenheim units raided German occupied airfields throughout July to December 1940, both during daylight hours and at night. Although most of these raids were unproductive, there were some successes; on 1 August five out of 12 Blenheims sent to attack Haamstede and Evere (Brussels) were able to bomb, destroying or heavily damaging three Bf 109s of II./JG 27 and apparently killing a Staffelkapitän identified as Hauptmann Albrecht von Ankum-Frank. Two other 109s were claimed by Blenheim gunners. Another successful raid on Haamstede was made by a single Blenheim on 7 August which destroyed one 109 of 4./JG 54, heavily damaged another and caused lighter damage to four more. There were also some missions which produced an almost 100% casualty rate amongst the Blenheims. One such operation was mounted on 13 August 1940 against a Luftwaffe airfield near Aalborg in north-western Denmark by 12 aircraft of 82 Squadron. One Blenheim returned early (the pilot was later charged and due to appear before a court martial, but was killed on another operation); the other 11, which reached Denmark, were shot down, five by flak and six by Bf 109s. Blenheim-equipped units had been formed to carry out long-range strategic reconnaissance missions over Germany and German-occupied territories, as well as bombing operations. In this role, the Blenheims once again proved to be too slow and vulnerable against Luftwaffe fighters and they took constant casualties While great heroism was displayed by the air crews, tremendous losses were sustained during these missions. The Blenhiem was easy pickings at altitude for German Bf-109 fighters who quickly learned to attack from below. To protect the vulnerable bellies of the Blenheims many missions were shifted to low altitude, but this increased the aircrafts exposure to anti-aircraft fire. In the German night-bombing raid on London on 18 June 1940, Blenheims accounted for five German bombers, thus proving that they were better-suited for night fighting. In July, No. 600 Squadron, by then based at RAF Manston, had some of its Mk IFs equipped with AI Mk III radar. With this radar equipment, a Blenheim from the Fighter Interception Unit (FIU) at RAF Ford achieved the first success on the night of 2–3 July 1940, accounting for a Dornier Do 17 bomber. More successes came, and before long the Blenheim proved itself invaluable as a night fighter. One Blenheim pilot, Squadron Leader Arthur Scarf, was posthumously awarded the Victoria Cross for an attack on Singora, Thailand, on 9 December 1941. Another bomber of No. 60 Squadron RAF was credited with shooting down Lt Col Tateo Katō's Nakajima Ki-43 fighter and badly damaging two others in a single engagement on 22 May 1942, over the Bay of Bengal. Katō's death was a severe blow to the Imperial Japanese Army 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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