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  LARGE AIRPLANE PROPELLER SECTION EMBEDDED WITH WEATHER STATION

  SKU: 14-406

  $995.00

  Today we introduce you to a large trench art piece. By definition, trench art was an art form wherein soldiers at the front (or recovering in a hospital from wounds) took discarded battlefield items such as shell casings, belt buckles, driving belts, and so on, then fashioned them into interesting and useful items prized by the folks on the home front. [Please note, not only soldiers near or at the front constructed these items. Some of the more complicated pieces were fashioned at home].
  This item certainly falls into the trench art category. It is especially noteworthy because it comes from the Imperial German Air Service. Trench art from this military discipline are VERY difficult-to-find. I have seen some propeller-based pieces over the years, but never anything so large. The smaller pieces have always been items that one could set on a desk, such as photograph frames, ink blotters, and etc. One would have to procure a giant’s desk to display this beauty!
  [Before I describe Mister “large-and-in-charge,” please allow me to digress with a description of a propeller’s construction]. Whenever one views an Imperial German Air Service propeller’s segment, one immediately is aware that it displays two different colors. The Germans took “slices” of wood and glued them together to make their propellers. These glued pieces often featured contrasting colors. I am not aware of any “technical” reason to use different-colored wood (or perhaps wood from a different kind of tree), it may just have been a matter of aesthetics. (I certainly am greatly-simplifying the manufacturing process, as a great deal of woodworking was involved in making all of a propeller’s pieces fit correctly into the end result). What makes this particular item so attractive and interesting is that it is large enough to comprehend the propeller’s scope. Sections of the propeller’s ends were removed (probably damaged), but one can still see the center’s hub. One can visualize how the complete propeller must have looked when mounted on an airplane. Propellers and landing gear were two of the most-damaged airplane parts, especially in the training schools. Student pilots frequently set their planes on their noses during landing. Since the propeller was still turning at a high rate of speed, its tips dug into the ground and broke].
  Our piece today measures a whopping 34″ in length and 9″ in width. As you look at its obverse, you can actually see the different shades of wood that were glued together. It is quite striking. The center hub section (where the propeller was mounted to the engine with several large bolts) has been mounted with a combination thermometer/weather station. It is circular. The station is no longer operative, and is only useful for decorative purposes. It once sported a glass cover over it, which also is no longer present. Its reverse displays a single, old, mounting device. It is NOT sufficient to safely mount the piece for display. The item’s new owner will need to create a more secure mounting device for displaying the propeller securely on a wall. Naturally, other methods of display are available without mounting it to a wall. It is a very handsome piece, the likes of which will NOT be displayed on every collector’s wall!
  [Due to its size and weight, additional charges will be incurred shipping it to your doorstep].

  Height: in
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  Today we introduce you to a large trench art piece. By definition, trench art was an art form wherein soldiers at the front (or recovering in a hospital from wounds) took discarded battlefield items such as shell casings, belt buckles, driving belts, and so on, then fashioned them into interesting and useful items prized by the folks on the home front. [Please note, not only soldiers near or at the front constructed these items. Some of the more complicated pieces were fashioned at home].
  This item certainly falls into the trench art category. It is especially noteworthy because it comes from the Imperial German Air Service. Trench art from this military discipline are VERY difficult-to-find. I have seen some propeller-based pieces over the years, but never anything so large. The smaller pieces have always been items that one could set on a desk, such as photograph frames, ink blotters, and etc. One would have to procure a giant’s desk to display this beauty!
  [Before I describe Mister “large-and-in-charge,” please allow me to digress with a description of a propeller’s construction]. Whenever one views an Imperial German Air Service propeller’s segment, one immediately is aware that it displays two different colors. The Germans took “slices” of wood and glued them together to make their propellers. These glued pieces often featured contrasting colors. I am not aware of any “technical” reason to use different-colored wood (or perhaps wood from a different kind of tree), it may just have been a matter of aesthetics. (I certainly am greatly-simplifying the manufacturing process, as a great deal of woodworking was involved in making all of a propeller’s pieces fit correctly into the end result). What makes this particular item so attractive and interesting is that it is large enough to comprehend the propeller’s scope. Sections of the propeller’s ends were removed (probably damaged), but one can still see the center’s hub. One can visualize how the complete propeller must have looked when mounted on an airplane. Propellers and landing gear were two of the most-damaged airplane parts, especially in the training schools. Student pilots frequently set their planes on their noses during landing. Since the propeller was still turning at a high rate of speed, its tips dug into the ground and broke].
  Our piece today measures a whopping 34″ in length and 9″ in width. As you look at its obverse, you can actually see the different shades of wood that were glued together. It is quite striking. The center hub section (where the propeller was mounted to the engine with several large bolts) has been mounted with a combination thermometer/weather station. It is circular. The station is no longer operative, and is only useful for decorative purposes. It once sported a glass cover over it, which also is no longer present. Its reverse displays a single, old, mounting device. It is NOT sufficient to safely mount the piece for display. The item’s new owner will need to create a more secure mounting device for displaying the propeller securely on a wall. Naturally, other methods of display are available without mounting it to a wall. It is a very handsome piece, the likes of which will NOT be displayed on every collector’s wall!
  [Due to its size and weight, additional charges will be incurred shipping it to your doorstep].

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  JACK D. HUNTER – ORIGINAL PAINTING – FEATURING ONE ALBATROS D. Va AND ONE SE-5

  SKU: 16-392

  $1,495.00 $1,196.00

  JACK D. HUNTER – ORIGINAL PAINTING – FEATURING ONE ALBATROS D. Va AND ONE SE-5

  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 one of his paintings in the smaller and more compact size. Its simple, elegant, black, molded frame measures 14 3/8″ x 19 3/8.” The painting’s subject is an encounter between an Albatros D. Va and a British SE-5. The Albatros is in the foreground and the SE-5 is in the background. The British plane is nosing down on his way to the ground. If you look carefully, you will note that some of the guy wires have become detached and the English bird is mortally wounded. In the lower left corner we see where Jack has signed the painting. The reverse features a hand printed note by Jack D. Hunter describing the painting’s action. The description ends with his signature. This beautiful painting would be outstanding in any collection.

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  JACK D. HUNTER – ORIGINAL PAINTING – FEATURING ONE ALBATROS D. Va AND ONE SE-5

  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 one of his paintings in the smaller and more compact size. Its simple, elegant, black, molded frame measures 14 3/8″ x 19 3/8.” The painting’s subject is an encounter between an Albatros D. Va and a British SE-5. The Albatros is in the foreground and the SE-5 is in the background. The British plane is nosing down on his way to the ground. If you look carefully, you will note that some of the guy wires have become detached and the English bird is mortally wounded. In the lower left corner we see where Jack has signed the painting. The reverse features a hand printed note by Jack D. Hunter describing the painting’s action. The description ends with his signature. This beautiful painting would be outstanding in any collection.

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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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