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  INK BLOTTER MADE FROM A PROPELLER

  SKU: 24-15

  $150.00

  This is a unique ink blotter that makes an interesting desk piece. The blotter is made of segments of wood from a propeller (I cannot say whether it is British, American, French, or German). The top of it has a hand-carved propeller that measures 5″. The top unscrews to allow access to the bottom of the blotter. This way the blotting paper could be removed when it became too soiled. This would look great on your desk.

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  This is a unique ink blotter that makes an interesting desk piece. The blotter is made of segments of wood from a propeller (I cannot say whether it is British, American, French, or German). The top of it has a hand-carved propeller that measures 5″. The top unscrews to allow access to the bottom of the blotter. This way the blotting paper could be removed when it became too soiled. This would look great on your desk.

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  JACK D. HUNTER – ORIGINAL PAINTING – FEATURING ENGLISH DH 2 SHOOTING DOWN FOKKER E III (EINDECKER)

  SKU: 16-394

  $1,495.00 $1,196.00

  JACK D. HUNTER – ORIGINAL PAINTING – FEATURING ENGLISH DH 2 SHOOTING DOWN FOKKER E III (EINDECKER)

  My good friend, the late Jack Hunter, was both an accomplished writer (author of the legendary WW I aviation novel The Blue Max) and painter. The first example of his artwork appeared with the release of The Blue Max’s 1st edition. The publisher would not pay for a color dust jacket, so Jack volunteered to provide the artwork. This way his first published effort had the benefit of a more professional-looking dust jacket.

  Jack continued to paint for more than forty years. He did so mostly for relaxation and to stimulate his mind in between those times when he was writing books. His painting is prized by collectors and has appeared in several museums. In Jack’s paintings, the airplanes were the “stars.” He worked very hard to capture all of an airplane’s correct details. Before starting on a new painting, he first produced what he termed “work sketches.” Many of these were in color. He endeavored to correctly portray ALL his subject aircraft’s historical details before he began the full painting. Even if he had previously produced paintings of Fokker Triplanes in the past, he still painted a new “work sketch” to ensure its story’s details were absolutely accurate. For Jack, his painting was an extension of his writing: he always was telling a story. He usually included a typed or handwritten description of each painting’s action. These generally were attached to its reverse, to help its new owner understand the painting and its particular airplanes.

  Our action in this painting occurs during April 1916. The Fokker E. III had been Germany’s primary single-seater airplane during 1915 and through early 1916. Aces like Max Immelmann and Oswald Boelcke had made their reputations in it, becoming the first Imperial German Air Service pilots to be awarded the Orden Pour le Mérite. As was seen countless times during the air war, new technology was constantly appearing that made previous aircraft obsolete. The Fokker E. III was rendered obsolete by the likes of the British DH 2 (whose tail number is B7313). The latter was a very unusual airplane, as the engine and propeller were located behind the pilot.

  In this painting, which is a vertical presentation, the Fokker E. III is beginning its final descent toward earth. The British pilot is looking down at his vanquished prey. A fine cloud cover appears above the planes, while a multicolored battlefield is below. Jack Hunter’s signature appears on the painting’s right lower corner. Jack primarily produced two different sized paintings. This is the smaller of the two. The painting measures 9 ½”x 14 ½.” The painting is single-matted. It sports a simple black frame, and its overall measurements are 14 3/4″ x 19 3/4.”

  This is a fine opportunity to obtain an original piece of artwork from a multi talented artist.

  Height: in
  Width: in
  Length: in

  JACK D. HUNTER – ORIGINAL PAINTING – FEATURING ENGLISH DH 2 SHOOTING DOWN FOKKER E III (EINDECKER)

  My good friend, the late Jack Hunter, was both an accomplished writer (author of the legendary WW I aviation novel The Blue Max) and painter. The first example of his artwork appeared with the release of The Blue Max’s 1st edition. The publisher would not pay for a color dust jacket, so Jack volunteered to provide the artwork. This way his first published effort had the benefit of a more professional-looking dust jacket.

  Jack continued to paint for more than forty years. He did so mostly for relaxation and to stimulate his mind in between those times when he was writing books. His painting is prized by collectors and has appeared in several museums. In Jack’s paintings, the airplanes were the “stars.” He worked very hard to capture all of an airplane’s correct details. Before starting on a new painting, he first produced what he termed “work sketches.” Many of these were in color. He endeavored to correctly portray ALL his subject aircraft’s historical details before he began the full painting. Even if he had previously produced paintings of Fokker Triplanes in the past, he still painted a new “work sketch” to ensure its story’s details were absolutely accurate. For Jack, his painting was an extension of his writing: he always was telling a story. He usually included a typed or handwritten description of each painting’s action. These generally were attached to its reverse, to help its new owner understand the painting and its particular airplanes.

  Our action in this painting occurs during April 1916. The Fokker E. III had been Germany’s primary single-seater airplane during 1915 and through early 1916. Aces like Max Immelmann and Oswald Boelcke had made their reputations in it, becoming the first Imperial German Air Service pilots to be awarded the Orden Pour le Mérite. As was seen countless times during the air war, new technology was constantly appearing that made previous aircraft obsolete. The Fokker E. III was rendered obsolete by the likes of the British DH 2 (whose tail number is B7313). The latter was a very unusual airplane, as the engine and propeller were located behind the pilot.

  In this painting, which is a vertical presentation, the Fokker E. III is beginning its final descent toward earth. The British pilot is looking down at his vanquished prey. A fine cloud cover appears above the planes, while a multicolored battlefield is below. Jack Hunter’s signature appears on the painting’s right lower corner. Jack primarily produced two different sized paintings. This is the smaller of the two. The painting measures 9 ½”x 14 ½.” The painting is single-matted. It sports a simple black frame, and its overall measurements are 14 3/4″ x 19 3/4.” This is a fine opportunity to obtain an original piece of artwork from a multi talented artist.

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  JACK D. HUNTER – ORIGINAL PAINTING – FEATURING TWO JASTA 11 FOKKER Dr. 1’s (TRIPLANES) AND ONE BRITISH NIEUPORT 17c

  SKU: 16-391

  $2,195.00 $1,756.00

  JACK D. HUNTER – ORIGINAL PAINTING – FEATURING TWO JASTA 11 FOKKER Dr. 1’s (TRIPLANES) AND ONE BRITISH NIEUPORT 17c

  The late Jack D. Hunter was an amazing talent and a good friend. One of my favorite “Jack” stories occurred when his first book (The Blue Max) was being prepared for publication. As was standard for first-time authors, Jack was informed that his dust jacket would be rendered in black and white (artwork AND color were too expensive for a writer without a proven sales record). Jack, however, told the publisher that HE would provide the artwork if the dust jacket was published in color. The publisher printed 5,000 (a first-time author’s standard run) hardback copies, in color, as The Blue Max’s first edition. It became a top-seller as soon as it was published, then quickly was snapped up and turned into a major motion picture starring George Peppard, James Mason, and Ursula Andress. Jack went on to write seventeen books before his 2009 death. In addition, he became a talented aviation artist whose work resides in museums’ and enthusiasts’ art collections all over the world. Throughout his years as an artist, Jack produced paintings in two basic sizes. His more commonly-seen artwork was larger, measuring 13 ½” x 18 ½.”

  Occasionally, Jack also produced a smaller size that measured 9 3/8″ x 14 3/8.” Today we are offering the larger painting, which is displayed within a 18 3/4″ x 23 3/4″ frame. The simple, elegant black molded frame is accented by an inner, gold trim band. The painting’s single gray matte provides a subtle contrast to the colorful action of its subject, a pair of Jagdstaffel (Jasta) 11’s Fokker Dr. 1’s (the legendary Triplanes) engaging a British Nieuport 17c. The Nieuport 17c was a very nimble and accomplished aircraft. While it was a bit unusual for the RFC (later the RAF) to employ a French airplane, the British aircraft industry was hard-pressed to produce enough aircraft to supply an expanding air service, AND replace the massive, daily losses. Sheer necessity required that they purchase 527 Nieuport 17’s from their French allies. Frankly, I rather enjoy seeing a Nieuport 17c here rather than the rather ubiquitous SE 5’s or Sopwith Camels. The plane’s graceful lines and its fuselage’s unusual side construction make the aircraft uniquely French even when arrayed in British colors. British Squadron Numbers 1, 6, 11, 29, 32, 40, and 60 employed this aircraft. It is also interesting to note that top British air aces Albert Ball and Billy Bishop (1894-1956) favored the sleek Nieuport 17. [Ball was the fourth-leading British ace.

  Even though he was killed in 1917, he had won forty-five victories. His final air battle was with Lothar von Richthofen. Von Richthofen’s plane was shot up, so he withdrew to his airfield. Although the German High Command credited Richthofen with shooting Ball down, it was highly-unlikely. Ball evidently emerged from a cloud bank upside down following his pursuit of Richthofen, then crashed before he could recover. Ball was awarded the Victoria Cross posthumously. Bishop’s total of seventy-two victories made him Great Britain’s top WW I ace]. The painting reveals that the Nieuport 17’s pilot has just dispatched one triplane.

  The wounded Fokker is smoking and headed for the ground. The remaining Dr. 1 is preparing to engage the Nieuport. Both triplanes are dressed in Jasta 11’s famous colors. Too often people tend to forget that only 320 Fokker Triplanes were produced during WW I. In spite of what movies such as 2006’s Flyboys depict, entire squadrons of red triplanes did NOT make up 90% of the Imperial German Air Service. Also, the Dr. 1 was not an easy airplane for a novice to fly. An experienced pilot like Manfred von Richthofen could do amazing things with the plane. It took great skill, however. While the plane was extremely maneuverable, it was not speedy. [The Fokker D. VII was considered Germany’s finest WW I combat aircraft, with approximately 3,300 examples produced. Manfred von Richthofen was involved in its testing phase, but died before the airplanes reached the squadron level. The airplane was specifically prohibited by the Treaty of Versailles. All surviving examples were required to be destroyed or turned over to Allied authorities]. The painting’s reverse sports a typewritten description by Jack D. Hunter, describing its action in great detail. The description ends with his signature. This beautiful painting is a must for any collection, especially since it features two airplanes from WW I Germany’s most famous jasta.

  Height: in
  Width: in
  Length: in

  JACK D. HUNTER – ORIGINAL PAINTING – FEATURING TWO JASTA 11 FOKKER Dr. 1’s (TRIPLANES) AND ONE BRITISH NIEUPORT 17c

  The late Jack D. Hunter was an amazing talent and a good friend. One of my favorite “Jack” stories occurred when his first book (The Blue Max) was being prepared for publication. As was standard for first-time authors, Jack was informed that his dust jacket would be rendered in black and white (artwork AND color were too expensive for a writer without a proven sales record). Jack, however, told the publisher that HE would provide the artwork if the dust jacket was published in color. The publisher printed 5,000 (a first-time author’s standard run) hardback copies, in color, as The Blue Max’s first edition. It became a top-seller as soon as it was published, then quickly was snapped up and turned into a major motion picture starring George Peppard, James Mason, and Ursula Andress. Jack went on to write seventeen books before his 2009 death. In addition, he became a talented aviation artist whose work resides in museums’ and enthusiasts’ art collections all over the world. Throughout his years as an artist, Jack produced paintings in two basic sizes. His more commonly-seen artwork was larger, measuring 13 ½” x 18 ½.”

  Occasionally, Jack also produced a smaller size that measured 9 3/8″ x 14 3/8.” Today we are offering the larger painting, which is displayed within a 18 3/4″ x 23 3/4″ frame. The simple, elegant black molded frame is accented by an inner, gold trim band. The painting’s single gray matte provides a subtle contrast to the colorful action of its subject, a pair of Jagdstaffel (Jasta) 11’s Fokker Dr. 1’s (the legendary Triplanes) engaging a British Nieuport 17c. The Nieuport 17c was a very nimble and accomplished aircraft. While it was a bit unusual for the RFC (later the RAF) to employ a French airplane, the British aircraft industry was hard-pressed to produce enough aircraft to supply an expanding air service, AND replace the massive, daily losses. Sheer necessity required that they purchase 527 Nieuport 17’s from their French allies. Frankly, I rather enjoy seeing a Nieuport 17c here rather than the rather ubiquitous SE 5’s or Sopwith Camels. The plane’s graceful lines and its fuselage’s unusual side construction make the aircraft uniquely French even when arrayed in British colors. British Squadron Numbers 1, 6, 11, 29, 32, 40, and 60 employed this aircraft. It is also interesting to note that top British air aces Albert Ball and Billy Bishop (1894-1956) favored the sleek Nieuport 17. [Ball was the fourth-leading British ace.

  Even though he was killed in 1917, he had won forty-five victories. His final air battle was with Lothar von Richthofen. Von Richthofen’s plane was shot up, so he withdrew to his airfield. Although the German High Command credited Richthofen with shooting Ball down, it was highly-unlikely. Ball evidently emerged from a cloud bank upside down following his pursuit of Richthofen, then crashed before he could recover. Ball was awarded the Victoria Cross posthumously. Bishop’s total of seventy-two victories made him Great Britain’s top WW I ace]. The painting reveals that the Nieuport 17’s pilot has just dispatched one triplane.

  The wounded Fokker is smoking and headed for the ground. The remaining Dr. 1 is preparing to engage the Nieuport. Both triplanes are dressed in Jasta 11’s famous colors. Too often people tend to forget that only 320 Fokker Triplanes were produced during WW I. In spite of what movies such as 2006’s Flyboys depict, entire squadrons of red triplanes did NOT make up 90% of the Imperial German Air Service. Also, the Dr. 1 was not an easy airplane for a novice to fly. An experienced pilot like Manfred von Richthofen could do amazing things with the plane. It took great skill, however. While the plane was extremely maneuverable, it was not speedy. [The Fokker D. VII was considered Germany’s finest WW I combat aircraft, with approximately 3,300 examples produced. Manfred von Richthofen was involved in its testing phase, but died before the airplanes reached the squadron level. The airplane was specifically prohibited by the Treaty of Versailles. All surviving examples were required to be destroyed or turned over to Allied authorities]. The painting’s reverse sports a typewritten description by Jack D. Hunter, describing its action in great detail. The description ends with his signature. This beautiful painting is a must for any collection, especially since it features two airplanes from WW I Germany’s most famous jasta.

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