"Fourth Fighter Patrol"
By Artist, Robert Taylor
Limited to 1000 prints
Edition #: 192/1000
Size: 33" x 25" (83.8 x 63.5 cm)
COA Not Available
Signed by Colonel Don Blakeslee, Colonel James Goodson, Major General Chesley G. Peterson, Lieutenant Colonel Jim Clark, and Artist Robert Taylor.
Limited edition aviation art print Fourth Fighter Patrol signed in pencil by DON BLAKESLEE, JAMES GOODSON, CHESLEY PETERSON, JIM CLARKE , and artist ROBERT TAYLOR . This iconic Taylor print shows P-51 Mustang fighters of the famous Fourth Fighter Group as they climb on full power amidst evening cumulus clouds over northern France. They are climbing to rendezvous with a large formation of B-17 Flying Fortress bombers and to intercept the FW-190 fighters of the Luftwaffe. The Mustang was the outstanding Allied long-range offensive fighter of the war. Originally commissioned by the British, it was fitted with the British Merlin engine built under license by Packard and thankfully adopted by the USAAF.
This print has been SOLD OUT for years and is only available as a Secondary Market offering.
Never Framed & Stored Flat in Smoke-Free Environment. This print has a slight crease in the bottom left corner outside of the image area.
About the Artist:
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 popularize 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.
Robert's aviation paintings are instantly recognizable. 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!