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No Turning Back by Robert Taylor. - Cranston Fine Arts Aviation, Military and Naval Art
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No Turning Back by Robert Taylor.


No Turning Back by Robert Taylor.

A Lancaster of No. 61 Squadron, RAF, piloted by Flt. Lt. Bill Reid, under attack from a German Fw190 en route to Dusseldorf on the night of November 3rd, 1943. Already injured in a previous attack, Bill Reid was again wounded but pressed on for another 50 minutes to bomb the target, then fly his badly damaged aircraft on the long journey home. The courage and devotion to duty that earned Bill Reid the Victoria Cross, was a hallmark of RAF bomber crews throughout their long six year campaign.
Item Code : RT0304No Turning Back by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINT Aircrew edition. Signed limited edition of 600 prints.

Paper size 32 inches x 24 inches (81cm x 61cm) Reid, Bill
Broom, Ivor
Burnett, Wilf
Iveson, Tony
+ Artist : Robert Taylor
£60 Off!
Supplied with one or more free art prints!
Now : £200.00

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EXCLUSIVE website offer from Cranston Fine Arts - FREE art print(s) supplied with the above item!


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FREE PRINT : Focke-Wulf Fw190A-5/U8 by Ivan Berryman.

This complimentary art print worth £60
(Size : 12 inches x 9 inches (31cm x 23cm))
has been specially chosen by Cranston Fine Arts to complement the above edition, and will be sent FREE with your order.

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Focke-Wulf Fw190A-5/U8 by Ivan Berryman.
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Incident over Mannheim by Ivan Berryman.
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Messerschmitt Me262B-1a/U1 by Ivan Berryman.
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Gunners Moon by Ivan Berryman. (C)
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German Night Fighter Aviation Art Prints by Robert Taylor and Ivan Berryman.

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Titles in this pack :
No Turning Back by Robert Taylor.  (View This Item)
Focke-Wulf Fw190A-5/U8 by Ivan Berryman.  (View This Item)
Messerschmitt Me262B-1a/U1 by Ivan Berryman.  (View This Item)
Gunners Moon by Ivan Berryman.  (View This Item)

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Other editions of this item : No Turning Back by Robert Taylor RT0304
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
ARTIST
PROOF
Aircrew edition artist proofs. Limited edition of 25 artist proofs. Paper size 32 inches x 24 inches (81cm x 61cm) Reid, Bill
Burnett, Wilf
Broom, Ivor
Iveson, Tony
+ Artist : Robert Taylor
£90 Off!
Supplied with one or more free art prints!
Now : £325.00VIEW EDITION...
PRINT Bomber Command Edition. Signed limited edition of 200 prints. Paper size 32 inches x 24 inches (81cm x 61cm) Bradford, Stan
Knights, Bob
Woolley, Dennis
Curtis, Lawrence
Newham, Douglas
Farquharson, William
Burnside, Dudley
Wolstenholme, Kenneth
Reid, Bill
Broom, Ivor
Burnett, Wilf
Iveson, Tony
+ Artist : Robert Taylor
£100 Off!
Supplied with one or more free art prints!
Now : £295.00VIEW EDITION...
General descriptions of types of editions :


Extra Details : No Turning Back by Robert Taylor.
About all editions :

A photogaph of the print :

Signatures on this item
NameInfo


The signature of Air Commodore Wilf Burnett DSO OBE DFC AFC (deceased)

Air Commodore Wilf Burnett DSO OBE DFC AFC (deceased)
Canadian Wilf Burnett joined the RAF before the war and at the outbreak of hostilities was flying Hampdens. He completed his first tour of 30 operations in September 1940, flying with 49 Sqn at Scampton. His crew had bombed invasion barges in the Channel ports, mined enemy waters, operated against the Ruhr, and taken part in the first raids against Berlin. In July 1941 he was posted to 408 (Goose) Sqn RCAF, at Syerston, where one night in January 1942, returning from Hamburg, their Hampden crashed in extreme weather. Wilf was the sole survivor, and he was hospitalised. Recovering he was accepted to command 138 (Special Duties) Sqn at Tempsford who were engaged in dropping agents and supplies to the Resistance in occupied countries flying Halifaxes, later Stirlings. He died 26th November 2006.


The signature of Air Marshal Sir Ivor Broom KCB CBE DSO DFC AFC (deceased)

Air Marshal Sir Ivor Broom KCB CBE DSO DFC AFC (deceased)
Entering the RAF in 1940 he joined No 114 Squadron as a sergeant pilot flying Blenheims. After 12 operations he and his crew were allocated to No 105 Squadron and then No 107 Squadron, the last remaining Blenheim Squadron in Malta. The Squadron remained there without relief for five months carrying out low level attacks on the shipping. Very few of the original crews survived the detachment, in fact he was commissioned during this period, when 107 Squadron had lost all their officers and for a short time was the only officer, other than the CO, in the Squadron. At the end of this tour he was awarded the DFC. In early 1943 he became one of the first Mosquito instructors in the Pathfinder Force and later moved to No 571 Squadron with the Light Night Strike Force. He then formed No 163 Squadron as acting Wing Commander. He was awarded a bar to his DFC for a low level moonlight mining attack on the Dormund - Ems Canal from 50ft and then a second bar for getting a 4000lb bomb into the mouth of a railway tunnel during the final German Ardennes offensive. During his time on Mosquitoes his navigator was Tommy Broom, together they formed an inseparable combination. Remaining with the RAF after WWII and in accordance with peacetime rules for a much smaller Air Force he was reduced in rank first to Squadron Leader and then to Flight Lieutenant in 1948. Promoted to Air Marshal in 1974 he became the Head of the UK National Air Traffic Services and was the first serving officer to be appointed to the Board of the Civil Aviation Authority. Retiring from the RAF in 1979 he has been actively engaged in civil aviation since then. He died 24th January 2003.


The signature of Flight Lieutenant Bill Reid VC (deceased)

Flight Lieutenant Bill Reid VC (deceased)
Volunteering for RAF aircrew in 1940, Bill Reid learned to fly in California, training on the Stearman, Vultee and Harvard. After gaining his pilots wings back in England he flew Wellingtons before moving on to Lancasters in 1943. On the night of Nov 3rd 1943, his Lancaster suffered two severe attacks from Luftwaffe night fighters, badly wounding Reid, killing his navigator and radio operator, and severely damaging the aircraft. Bill flew on 200 miles to accurately bomb the target and get his aircraft home. For this act of outstanding courage and determination he was awarded the Victoria Cross. Died 28th November 2001.


The signature of Squadron Leader Tony Iveson DFC (deceased)

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.
The Aircraft :
NameInfo
LancasterThe Avro Lancaster arose from the avro Manchester and the first prototype Lancaster was a converted Manchester with four engines. The Lancaster was first flown in January 1941, and started operations in March 1942. By March 1945 The Royal Air Force had 56 squadrons of Lancasters with the first squadron equipped being No.44 Squadron. During World War Two the Avro Lancaster flew 156,000 sorties and dropped 618,378 tonnes of bombs between 1942 and 1945. Lancaster Bomberss took part in the devastating round-the-clock raids on Hamburg during Air Marshall Harris' "Operation Gomorrah" in July 1943. Just 35 Lancasters completed more than 100 successful operations each, and 3,249 were lost in action. The most successful survivor completed 139 operations, and the Lancaster was scrapped after the war in 1947. A few Lancasters were converted into tankers and the two tanker aircraft were joined by another converted Lancaster and were used in the Berlin Airlift, achieving 757 tanker sorties. A famous Lancaster bombing raid was the 1943 mission, codenamed Operation Chastise, to destroy the dams of the Ruhr Valley. The operation was carried out by 617 Squadron in modified Mk IIIs carrying special drum shaped bouncing bombs designed by Barnes Wallis. Also famous was a series of Lancaster attacks using Tallboy bombs against the German battleship Tirpitz, which first disabled and later sank the ship. The Lancaster bomber was the basis of the new Avro Lincoln bomber, initially known as the Lancaster IV and Lancaster V. (Becoming Lincoln B1 and B2 respectively.) Their Lancastrian airliner was also based on the Lancaster but was not very successful. Other developments were the Avro York and the successful Shackleton which continued in airborne early warning service up to 1992.
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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