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Eagles on the Channel Front by Robert Taylor. - Cranston Fine Arts Aviation, Military and Naval Art
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Eagles on the Channel Front by Robert Taylor.


Eagles on the Channel Front by Robert Taylor.

An exceptional painting by the worlds foremost aviation artist remembering the most famous of all Luftwaffe Fighter Wings that fought on the Western Front during the early years of World War Two. Prints are signed by Luftwaffe Aces who contested the great air battles with pilots of the RAF on the infamous Channel Front, 1940-1941 Badly mauled during the Battle of Britain, by early 1941 the Luftwaffe fighter wings, strung right across northern France, were back on strength. The front line squadrons were reequipping with the up-rated Me109F and, though suffering initial over-heating problems, the remarkable new Fw190A was making its first appearances. The Luftwaffe pilots were again full of confidence, and having the air endurance advantage of fighting close to their bases, they were competing on equal terms with the Spitfires and Hurricanes of RAF Fighter Command. Having spent the first 18 months of the war fighting a defensive air battle, RAF Fighter Command was raring to go onto the attack. The mix of Rhubarbs - two or three-plane, low-level incursions to attack enemy bases and installations - and large fighter sweeps aimed to entice the Luftwaffe up for a fight, kept the German fighter pilots busy throughout the summer. All through 1941 great air battles raged all along the Channel Front. Robert Taylors comprehensive work Eagles on the Channel Front, the fourth and final print in his widely acclaimed Wings of the Luftwaffe series, recreates a scene in northern France in the late autumn of 1941. Having just returned to their temporary airstrip in the region of St. Omer, Luftwaffe pilots of JG-26 excitedly debrief their recent encounter with Spitfires and Hurricanes, fought high over the Channel coast. The gleaming new Me109Fs are discreetly parked under trees on the edge the airfield, providing some cover from low-level surprise attacks. While ground crews busily prepare the Wings Me109s for another mission, a group of the exciting new Fw190A fighters taxi out. The scenario will continue right into winter. In his inimitable style, and with inordinate skill, Robert Taylor manages to evoke the heady atmosphere of a German front line airfield on the Channel Front in 1941.
AMAZING VALUE! - The value of the signatures on this item is in excess of the price of the print itself!
Item Code : RT0001Eagles on the Channel Front by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINTSigned limited edition of 500 prints.


Great value : Value of signatures exceeds price of item!
Image size 29 inches x 16 inches (74cm x 41cm) Marquardt, Heinz
Naumann, Johannes
Nippa, Erhard
Schopfel, Gerhard
Seeger, Gunther
+ Artist : Robert Taylor


Signature(s) value alone : 250
£80 Off!Now : £210.00

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Ltn. Hans-Ekkehard Bob of JG21 Becomes an Ace by Ivan Berryman.
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Bf109E of III./JG2 - Summer 1940 by Ivan Berryman.
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Stormclouds Gather by Nicolas Trudgian
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Fighter General by Graeme Lothian.
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Other editions of this item : Eagles on the Channel Front by Robert Taylor RT0001
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINT Limited edition of 10 artist proofs.

SOLD OUT (June 2009)
Image size 29 inches x 16 inches (74cm x 41cm) Marquardt, Heinz
Naumann, Johannes
Nippa, Erhard
Schopfel, Gerhard
Seeger, Gunther
+ Artist : Robert Taylor


Signature(s) value alone : 250
SOLD
OUT
VIEW EDITION...
General descriptions of types of editions :

Signatures on this item
NameInfo


The signature of Major Gerhard Schopfel (deceased)

Major Gerhard Schopfel (deceased)
*Signature Value : £55

Gerhard Schopfel was Staffelkapitan of 9./JG26 at the outbreak of war, and became Kommandeur of III./JG26 in August 1940. In December 1941 he succeeded Adolf Galland as Kommodore of JG26 until Januray 1943. Later, Kommodore of JG4 and JG6. He flew over 700 combat missions, achieving 40 victories, all in the West. He was awarded the Knight's Cross in 1940. Died 17th May 2003.


The signature of Oberfeldwebel Heinz Marquardt (deceased)

Oberfeldwebel Heinz Marquardt (deceased)
*Signature Value : £60

In late 1941 Heinz Marquardt was with a training squadron south of Paris. In August 1943 he was posted to join IV./JG51 in Russia, achieving his first victory two months later. Shot down eight times, he once achieved twelve victories in a single day. Awarded the Knight's Cross in November 1944, he flew a total of 320 missions, and scored 121 victories. Sadly, Heinz Marquardt died 19th December 2003, aged 80.


Oberleutnant Erhard Nippa (deceased)
*Signature Value : £45

Erhard Nippa served first with 10./JG2 'Richthofen', one of the most successful fighter bomber units attacking the British shipping on the Channel Front, amalgamating with 15./SK210 in 1942. Erhard then fought in the Mediterranean theatre before joining II./SG10in Russia. He flew over 300 missions and was awarded the Knight's Cross in 1944.


The signature of Oberleutnant Gunther Seeger (deceased)

Oberleutnant Gunther Seeger (deceased)
*Signature Value : £45

In February 1940, Gunther Seeger was an Unteroffizier with 3./JG2, scoring his first victory in the early days of the Battle of Britain. he served on the Channel Front until December 1942, including several months with the Geschwaderstabsschwarm. He transferred to the Mediterranean theatre with II./JG2 before joining 6./JG53. In February 1943 he joined 7./JG53 becoming Staffelkapitan in September 1944. Awarded the Knight's Cross, Gunther Seeger scored 56 victories.


Oberst Johannes Naumann (deceased)
*Signature Value : £45

With III./JG26 at the outbreak of war, Johannes flew in all the campaigns of 1939 - 40, including the Battle of Britain. He led 6./JG26 on the Channel Front, and later 7./JG26. In March 1944 he became Kommandeur of II./JG26, and in August Kommandeur II./JG6. He flew 450 missions, scored 45 victories, all in the West, and was awarded the Knight's Cross in 1944.
The Aircraft :
NameInfo
Me109Willy Messerschmitt designed the BF109 during the early 1930s. The Bf109 was one of the first all metal monocoque construction fighters with a closed canopy and retractable undercarriage. The engine of the Me109 was a V12 aero engine which was liquid-cooled. The Bf109 first saw operational service during the Spanish Civil War and flew to the end of World War II, during which time it was the backbone of the Luftwaffe fighter squadrons. During the Battle of Britian the Bf109 was used in the role of an escort fighter, a role for which it was not designed for, and it was also used as a fighter bomber. During the last days of May 1940 Robert Stanford-Tuck, the RAF ace, got the chance to fly an Me109 which they had rebuilt after it had crash landed. Stanford-Tuck found out that the Me109 was a wonderful little plane, it was slightly faster than the Spitfire, but lacked the Spitfire manoeuvrability. By testing the Me109, Tuck could put himself inside the Me109 when fighting them, knowing its weak and strong points. With the introduction of the improved Bf109F in the spring of 1941, the type again proved to be an effective fighter during the invasion of Yugoslavia and during the Battle of Crete and the invasion of Russia and it was used during the Siege of the Mediteranean island of Malta. The Bf109 was the main fighter for the Luftwaffe until 1942 when the Fw190 entered service and shared this position, and was partially replaced in Western Europe, but the Me109 continued to serve on the Eastern Front and during the defence of the Reich against the allied bombers. It was also used to good effect in the Mediterranean and North Africa in support of The Africa Korps. The Me109 was also supplied to several German allies, including Finland, Hungary, Romania, Bulgaria, Croatia, and Slovakia. The Bf109 scored more kills than any other fighter of any country during the war and was built in greater numbers with a total of over 31,000 aircraft being built. The Bf109 was flown by the three top German aces of the war war. Erich Hartmann with 352 victories, Gerhard Barkhorn with 301 victories and Gunther Rall with 275 kills. Bf109 pilots were credited with the destruction of 100 or more enemy aircraft. Thirteen Luftwaffe Aces scored more than 200 kills. Altogether this group of pilots were credited with a total of nearly 15,000 kills, of which the Messerschmitt Bf109 was credited with over 10,000 of these victories. The Bf109 was the most produced warplane during World War II, with 30,573 examples built during the war, and the most produced fighter aircraft in history, with a total of 33,984 units produced up to April 1945. Bf109s remained in foreign service for many years after World War II. The Swiss used their Bf109Gs well into the 1950s. The Finnish Air Force did not retire their Bf109Gs until March 1954. Romania used its Bf109s until 1955. The Spanish Hispanos flew even longer. Some were still in service in the late 1960s.
Fw190The Focke-Wulf 190 development project began in 1937. Conceived as a hedge against total dependence on the Messerchmitt 109, the 190 was designed by Kurt Tank utilizing a radial engine. This was against generally accepted design criteria in Germany, and many historians believe that the decision to produce a radial engine fighter was largely due to the limited manufacturing capacity for in-line, water-cooled engines which were widely used on all other Luftwaffe aircraft. Despite these concerns, Tanks design was brilliant, and the 190 would become one of the top fighter aircraft of WWII. The first prototype flew in mid-1939. The aircraft had excellent flying characteristics, a wonderful rate of acceleration, and was heavily armed. By late 1940 the new fighter was ordered into production. Nicknamed the butcher bird, by Luftwaffe pilots, early 190s were quite successful in the bomber interceptor role, but at this stage of the war many Allied bombing raids lacked fighter escort. As the war dragged on, Allied bombers were increasingly accompanied by fighters, including the very effective P-51 Mustang. The Allies learned from experience that the 190s performance fell off sharply at altitudes above 20,000 feet. As a result, most Allied bombing missions were shifted to higher altitudes when fighter opposition was likely. Kurt Tank had recognized this shortcoming and began working on a high-altitude version of the 190 utilizing an in-line, water-cooled engine. Utilizing a Jumo 12-cylinder engine rated at 1770-HP, and capable of 2,240-HP for short bursts with its methanol injection system, the 190D, or Long Nose or Dora as it was called, had a top speed of 426-MPH at 22,000 feet. Armament was improved with two fuselage and two wing mounted 20mm cannon. To accommodate the changes in power plants the Dora had a longer, more streamlined fuselage, with 24 inches added to the nose, and an additional 19 inches added aft of the cockpit to compensate for the altered center of gravity. By mid 1944 the Dora began to reach fighter squadrons in quantity. Although the aircraft had all the right attributes to serve admirably in the high altitude interceptor role, it was not generally focused on such missions. Instead many 190Ds were assigned to protect airfields where Me-262 jet fighters were based. This was due to the latter aircrafts extreme vulnerability to Allied attack during takeoff and landing. The 190Ds also played a major role in Operation Bodenplatte, the New Years Day raid in 1945 which destroyed approximately 500 Allied aircraft on the ground. The High Command was impressed with the 190Ds record on this raid, and ordered most future production of the Doras to be equipped as fighter-bombers. In retrospect this was a strategic error, and this capable aircraft was not fully utilized in the role for which it was intended.
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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