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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 |
  Flt Lt Russell Rusty Waughman DFC AFC *Signature Value : £20 | Volunteered for the RAF in 1941. After training in Canada, he qualified as a heavy bomber pilot. In November 1943 he was posted to No.101 (Special Duties) Squadron at Ludford Magna. He completed a tour of operations, which began during the Battle of Berlin, where they did several operations. Surviving a mid-air collision, only to write the aircraft off on landing, Rusty and his crew on a subsequent flight had a miraculous escape when their aircraft was blown upside down, over the target, at Mailly-le-Camp; they also survived the Nuremberg raid on 30th March 1944, when 97 aircraft were lost - including about one quarter of 101 Sqn strength that night. |
 Warrant Officer Harry Irons DFC (deceased) *Signature Value : £40 | Joining the RAF at the age of 16 in 1940, he did 2 full tours as a Rear Gunner with 9 Squadron and took part in nearly all the famous raids of Bomber Command. He finished in 1945 at 158 Squadron flying Halifaxes. 'I had just turned 18 when we went on a gunnery school course. After that six-week training, we usually went for a further three months training to an Operational Training Unit. It so happened that 9 Squadron had just converted from Wellingtons to Lancasters and they were 14 air gunners short on the squadron, so they posted us from gunnery school after six weeks' training straight to the squadron. 'When I got there, I was approached by a Flt Lt Stubbs, who said to me: 'You're my new gunner. We've got a gunner already but he's been flying Wellingtons and he doesn't want to be a rear gunner. He wants to go in the mid-upper turret. You'll be the rear gunner.' But, he said, on my first raid, the best thing for me to do would be to go on the mid-upper turret. 'That way you can see exactly what's going on,' he said. 'My first raid in Lancasters with 9 Squadron was to Dusseldorf on September 10th, 1942. Every time we went on a bombing raid, we had to do an air test first. We would test our guns, test the bomb sight, test the hydraulics, test the engines, and when you landed, if everything was OK, you told the engineers that everything was fine for the raid. As we landed, the armourers arrived with the bomb load. I still remember now, it was one 4,000 pounder - one huge, fat bomb - and 1,200 incendiaries. 'Our bomb aimer was an 'old sweat'. We used to call him 'The Old Boy'. He was 26. He said that with that bomb load we had, we were definitely going to the Happy Valley. When we returned to the mess, we got ready to go to the briefing. We were briefed and the curtain came down off the target and there it was - Dusseldorf. 'That's right,' said the bomb aimer to me, 'that's where we are going, Dusseldorf.' Most of our raids were on the Ruhr Valley and the reason why I am alive now is because - I don't know why - but I never went to Berlin. I wouldn't be talking to you now if I had been to Berlin. I can assure you. 'We put all our gear on. It took about half an hour for the air gunner to get dressed with all the clothing. I clambered into the mid-upper turret and off we went. As we crossed the Dutch coast, I could see we were about 1,400 or 1,500 feet over the coast. I could see a huge number of lights coming up. Far below us there was light flak, in beautiful colours, but it never touched us because we were a little too high. 'We crossed over Holland and the bomb aimer said: 'We are approaching the target, Skipper,' so I decided to swing my turret around and have a look. I was absolutely shocked by what I saw. I could not believe my eyes seeing what was in front of me. The flak, the guns, the lights, the search lights. It was incredible and I was really, really, really frightened. The plane was bouncing about. Then the bomb aimer said: 'Bomb doors open' and in we go straight and level. 'On my left I could see an aircraft on fire going down, and one below us I could see exploding. And I thought to myself: 'We're in for something here!'. I could not believe that we were going to fly through this huge explosion. But we went through it. Then the pilot was talking to the bomb aimer, and the bomb aimer said: 'We have missed the target, Skipper. We're going to have to go round again.' And I thought: 'Dear, oh dear, we've got to go all the way round, come back and go through all that again.' Which we did. And on the second run, we dropped our bombs. 'Bomb doors closed. On the way home. Flying back, there were problems with the oxygen, so the skipper – he was 21 and on his second tour, and old hand – took us down lower. We had to drop below 10,000 feet, and as we crossed the Dutch coast, the light flak opened up. It was absolutely hair-raising. There were hundreds and hundreds of these lights flashing past us but, strangely enough, not one of them hit us. 'When we got back, we landed and had a look at our aircraft. There were about 10 or 15 holes, two or three inches wide, across the fuselage, flak holes caused by shrapnel from the shells. We must have caught them on the Dutch coast. We were lucky but I've seen much worse. We went in for a briefing, had a coffee and went to bed. That was my first raid. Later, I found out, that our skipper, who had finished his tour, unfortunately got killed during training a couple of weeks later.' Harry Irons died on 10th November 2020. |
| 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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Waughman, Russell (signed in person)
(signed in person)
