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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 |
  Major Franz Kieslich (deceased) *Signature Value : £60 | Franz Kieslich born in Bochum ion 12th March 1913 and served with 7./St.G. 77 in France in 1940, and later serving in Yugoslavia. Transferring to the Russian Front he was promoted Gruppenadjutant III./St.G. 77. And in October 1942 became Staffelkapitan 7./St.G. 77. In February 1944 he was promoted Kommandeur III./SG 77. He fought at Stalingrad, Kursk, Kiev and most of the other major engagements on the Eastern Front. In February1945 he became Kommodore erganzungs-SG148. Awarded the Knight's Cross with Oak Leaves, he flew over 1000 combat missions, and had been shot down twenty times. His wards were awarded Ritterkreuz on 05.01.1943 as Oberleutnant and Staffelkapitän 7./StukaG 77 and ( 619 ). Eichenlaub on 10.10.1944 as Hauptmann and Kommandeur III./StukaG 77. He passed away on 31st August 2012. |
 Oberleutnant Helmut Fickel (deceased) *Signature Value : £40 | One of the outstanding Stuka pilots of III./SG 2 'Immelmann', Helmut fickle joined 8./St.G. 2 on the Eastern Front in February 1943. In October he became Adjutant of III./SG 2. and flew as wingman to the great Hans-Ulrich Rudel, perhaps the most successful pilot of World War II. In November 1944 Helmut was promoted Staffelkapitian of 9./SG 2, on one occasion he and his radio operator being rescued by Rudel after crash landing behind enemy lines. He led 9./SG 2 until the end of the war, completing a total of over 800 missions. He was the Knight's Cross in June 1944. Sadly, we have learned that Helmut Fickel passed away on 6th April 2005. |
 Oberst Kurt Kuhlmey (deceased) *Signature Value : £50 | One of the most outstanding Stuka leaders of World War II, Kurt Kuhlmey was Staffelkapitan of 1./St.G.1 at the outbreak of war, serving in the Polish, Norwegian and French campaigns, before being transferred to the attack on Malta. He took part in successful strikes against HMS Illustrious, and the Malta convoys of 1941. He fought in North Africa, becoming Kommandeur of II./St.G.3 in April 1942. A year later he was promoted Kommodore of SG3. In March 1945 he was Kommodore of SG2 'Immelmann', and in the last weeks of the war was with the staff of the General der Schalchtflieger. He flew over 500 combat missions, and was awarded the Knight's Cross. Died 30th April 1993. |
| The Aircraft : | |
| Name | Info |
| Ju87 | By 1935 the German Luftwaffe was developing its first monoplane divebomber which entered production in 1936 as the Ju87 Stuka. The Stuka was to evolve into arguably the most successful single engine Axis divebomber of WW II. Utilizing a nearly vertical dive position the Stuka was stunningly accurate in the days when horizontal bombing was a relatively inaccurate science. The Ju87 was built for functionality and ruggedness. A fixed landing gear and exceptionally strong wing design were incorporated and no attempt was made to minimize protrusions. The Stuka was not designed for speed; it was an aerodynamic nightmare. The Stuka also incorporated a siren which when activated during a dive was designed to inflict psychological damage on the enemy below. The Ju87 was used with tremendous success in the Blitzkrieg attacks on Norway, Poland, Belgium, France, Holland, Yugoslavia, and Greece. Virtually unchallenged in the air during these Blitzkriegs the Stukas took a devastating toll on Allied ground and mechanized forces. Shipping was also vulnerable to the pinpoint attacks of the Stuka, and the Ju87 destroyed more Allied shipping than all other German aircraft put together during WW II. During Hitlers air attacks on Britain the Stukas reputation for invulnerability was shattered. Facing British Hurricanes and Spitfires the slower and less maneuverable Ju87s were destroyed in large numbers, eventually forcing their withdrawal from that conflict. Germanys attempt to develop an improved twin engine divebomber resulted in the introduction of the Messerschmitt 210 which was an unmitigated disaster. As a result, the Stuka remained in production longer than expected and the aircraft played a major role in Germanys surprise attack on Russia. In the first day of combat alone Stukas were credited with the destruction of over 700 Russian aircraft with minimal losses. One of Germanys top aces of WW II was Hans-Ulrich Rudel. Rudel flew over 2,500 combat missions in Ju87s, and was shot down on twelve occasions. Rudel was credited with destroying 519 tanks, 800 vehicles, 150 artillery pieces, one Russian battleship, one cruiser and one destroyer. Rudel was also credited with shooting down nine Russian aircraft in air-to-air combat. |
| 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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Kuhlmey, Kurt 
(signed in person)