RCAF Halifax 426 Sqn

Description

Halifax B MkIII 426 (Thunderbirds) Sqn RCAF

I was commissioned to paint this artwork of a RCAF Halifax 426 Sqn by the family of Durham-born Flight Engineer, Sgt (later Pilot Officer) Norman Kingsley Robinson (s/n 183935). Norman was a member of the RAF assigned to this Canadian Squadron.  I selected this mission as typical of his squadron’s efforts in WW2. Carried out on the night of 6th June 1944 – D-Day – the mission was to attack the rail yards at Coutances, a key town in Normandy. Taking off from RAF Linton-on-Ouse at 2222hrs and returning two hours later. Sadly P/O Robinson did not survive the war and he is buried in Cambridge City Cemetery. Parts of another 426 Sqn Halifax were used in the restoration of today’s airworthy RCAF Halifax, based at Trenton, Ontario.

 

 

 

 

 

 

 

The sortie that  the painting depicts: Handley Page Halifax B MkIII OW–P LK879 – 426Sqn RCAF – 6.6.44 Details from Public Records Office, AIR 27/1842 Page Eight RCAF/RAF Ops Log – Reference A1173

Departed from RAF Linton-on-Ouse 2222hrs, return 0222hrs
Attack was made at 0021.40 hours from 1800 feet @ 172M – IAS-170 m.p.h
Target was identified visually by bridge and by red and green TI through fair visibility with slight haze. Both red and green markers were seen going down at 0018 but all TI had burnt out at time of bombing. Target well concentrated with bomb bursts. An explosion reported at 0021 hours. Good attack. Master bomber not heard until away from target.
LOADS (unclear ciphers) 8 x 500lb M64 TO 025, 6 x 500lb OB TD 025 – 2 x 500lb GP LD.

This form of painting involves much research; typically 4-5 days worth of tracking down flight logs, details of squadron and personnel records and pouring over maps and aerial photography. I believe that the portrayal of such significant moments in history deserves a  realism and empathy for those whose lives such a painting commemorates.

The print process

From the original painting, a professional and colour-matched scan is made. Next the scan is individually hand-printed – to the exacting, archival standards of modern fine art printing. What’s more, it exceeds the Fine Art Trade Guild’s minimum standards for the production of giclée prints.

I use a printer called Art4Site Ltd., one of the UK’s leading and award-winning specialist fine art printers. Each artwork is printed on the latest Epson SureColor large format printers. These use ten colour, wide gamut UltraChrome HDX light-fast pigment inks ensuring fine art gallery quality. This means, in layman’s terms, you can hang it on your wall and up to seventy five years later, the colours should be as vibrant and faithful to the original as the day they were printed.

A high quality, individually-signed and limited edition print has lasting value

In addition, the artwork is printed on William Turner, 310 gsm paper from Hahnemühle. It’s an acid-free, museum-grade digital fine art paper—the finest available for giclée printing. It offers exceptional print fidelity with a beautiful textured surface and is a natural white, with 100% rag content. With a mean pH value of 7, it has excellent archival qualities.

Lastly, your individually signed, numbered print  measures 16″ x 20″. Every print is supplied with a Certificate of Authenticity, signed by the artist. You’ll receive your print packaged flat in protective packaging.