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Red Arrows by Robert Taylor. - Cranston Fine Arts Aviation, Military and Naval Art
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Red Arrows by Robert Taylor.


Red Arrows by Robert Taylor.

The R.A.F.s Red Arrows - perhaps the finest close formation aerobatic team in the world, flying their renowned Hawk jets over the Gloucestershire countryside.
Item Code : DHM2162Red Arrows by Robert Taylor. - This Edition
TYPEEDITION DETAILSSIZESIGNATURESOFFERSYOUR PRICEPURCHASING
PRINT Special signed limited edition of 1500 prints, signed by the pilot only.

Paper size 24 inches x 30 inches (61cm x 76cm) Hoskins, Brian
+ Artist : Robert Taylor


Signature(s) value alone : 15
£70.00

Quantity:
All prices on our website are displayed in British Pounds Sterling


General descriptions of types of editions :

Signatures on this item
NameInfo
Squadron Leader Brian Hoskins
*Signature Value : £15

Squadron Leader Brian Hoskins led the Red Arrows display team for three years from 1979 to 1981. Being Team Leader of the Royal Air Force Aerobatic Team is a prized role. They have to be of at least Squadron Leader rank and must have completed a three-year tour as a Red Arrows team pilot earlier in their career.
The Aircraft :
NameInfo
HawkThe BAe Hawk News of the first flight of the Hawk on 21 August 1974 was greeted with derision by Hunter pilots at the RAF's tactical weapons training unit. For understandably selfish reasons they were sceptical about the ability of the Hawk to replace the rugged, versatile and much-loved Hunter. "Forget Hawk - Fly Hunter" was one typical bumper sticker of the time but now 25 years on, such scepticism seems barely credible. With the arrival of the first Hawk aircraft at RAF Valley in November 1976, a new era of flying training began, and the first of thousands of fast-jet pilots discovered the joys of flying this truly thoroughbred aircraft. Since then, the BAe Hawk has earned a reputation as the world's best advanced trainer and light strike aircraft. The basic design has been refined and improved in a series of variants ranging from multi-role light fighter to the US Navy's carrier trainer. But the one quality that sets the Hawk apart from other aircraft is handling characteristics. In the on pilots own words, - "I had flown the Gnat and Hunter and in 1979 had just finished flying Canberra PR9s before transferring to the Jaguar, when I was given the opportunity to get some flying on the Hawk. It was a revelation. Here was an aircraft that was pure joy to fly, at low level it settled comfortably at 450 knots at around 150 feet and it could be flown into valleys under the most frightening weather safe in the knowledge that it could be turned around without losing airspeed almost in its own length. And at medium level? 1v1 combat in this aircraft is something else, - compared with the Hawk, the Jaguar is like flying an anvil".
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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