"The Terror of Tassaforonga Point" Giclee Print by Jack Fellows

Jack Fellows has been called a perfectionist at heart, and that attitude toward his work has created a passion for recording the essence of his subjects.

Jack's interest in art began as soon as he could pick up a pencil at about the age of four years old. Painting professionally since 1967, Fellows has drawn wide acclaim and numerous honors for his oils & pastel paintings in galleries and art shows throughout the world.

His favorite subjects, ethnic scenes, World War II vintage aircraft, and especially the Pacific Theater, at first seem to be an odd combination of subject matter. Fellows explains that he paints pictures of scenes that are not likely to be seen any longer. Such influences as having a wife of European descent and a father that was a Boeing Aircraft engineer that worked on the original B-17 project, further explains a basis for his subject selections.

The historic qualities of his paintings are emphasized through his attention to graduations of light, the precision in which he assigns tonal weight to highlight and shadow, creative use of brilliant colors and the feeling of depth that he creates. Fellows draws upon technical skills acquired during his training as a commercial artist, and paints with a realism that pulls the viewer emotionally into the painting.

His works are found in corporate, private, and museum collections as well as various publications worldwide.

"The Terror of Tassaforonga Point" Signed and Numbered Limited Edition Giclee Print by Jack Fellows

Guadalcanal 15 October, 1942

The second image in the new United States Marine Corp Aviation - Pacific Theaters of Operation Print Series, one of two which relate to the legendary action of Major Jack Cram on 15 October 1942, during the darkest days of the Guadalcanal campaign when the Marines needed miracles.

This painting is in the permanent collection of the US Marines HG

During World War Two, the Allies fought the forces of Imperial Japan on land, at sea, and above both for control of small island pieces of real-estate located strategically astride sea lane lines of supply…lines of supply critical in importance to both sides.

One such place was an island in the Solomons chain called Guadalcanal where the Allies discovered that the Japanese were putting the finishing touches on an airfield which would permit the Japanese to threaten the flow of supplies to Australia with their long-range land-based bombers, exposing the Australian continent to invasion, and putting the Allies’ entire strategic plan for the Southwest Pacific Theatre of Operations (SWPA) at risk.

Early in the morning of 7 August, 1942, two regiments of the United States Marine Corps landed an amphibious assault on Guadalcanal, setting in motion one of the most difficult and bloody contests for control of an island during the entire war, as both sides realized the consequences of losing. The fight raged on until the 9th of February, exactly six months from the day the Marines landed. During this early conflict (the first such operation for the Marines), much was to be learned by experience, new and unusual situations called for innovative solutions, always one of the Marines’ finest attributes.

On the 15th of October, after sustaining a terrible pounding the night before by Japanese warships, which destroyed most of the Americans’ airpower capabilities by shelling Henderson Field (as the airfield captured from the Japanese had come to be called)…the Marines climbed out of their foxholes and saw the Japanese landing troops and supplies fifteen miles up the beach at Tassafaronga Point, completely unmolested. As most of the aircraft which might oppose such a landing were destroyed, it was up to the Marines to come up with innovative solutions.

In the picture we see Maj. Jack Cram, aide and personal pilot to General Roy Geiger (Guadalcanal air boss) releasing the first of two aerial torpedoes against the sides of the transports at Tassafaronga Pt. Cram and his five-man crew, flying Geiger’s PBY-5A (nicknamed the “Blue Goose”) jury-rigged wire-pull releases for the torpedoes, turning the Blue Goose into a torpedo-bomber, a first, successfully sinking one transport (see photo), then making a harrowing return-trip, with 195 holes in the aircraft….and, miraculously, no one hurt.

22" by 16.5" Image Size, 28" by 24" Overall, Giclee Print, Edition of 199 - $200

Also Available:

22" by 16.5" Image Size, 28" by 24" Overall, Giclee Artist Proof, Edition of 10 - $225

All Limited Edition prints are signed and numbered (S/N) by the artist. Limited Edition prints are restricted to a certain number. For example, if 400 prints are made from an original painting, once they’re gone, that’s it. There is no limit to the number of open edition prints of a particular painting. That’s why Limited Edition prints are more expensive — and more valuable to collectors — than "open" edition. Rare objects are more valuable.

An Artist’s Proof (AP), generally, is the first 5% - 10% of the Limited Edition prints that come off the press. If the Limited Edition is 200 s/n, there would be 10 - 20 APs. This status is noted on the print. Collectors prefer APs because their value increases even more than a Limited Edition as time goes by.

A giclée print is created with digital printers using tiny ink jets that spray microscopic ink droplets onto a sheet of canvas, creating a lush, vibrant and textured art print that has the look of an original painting. These canvas giclées come stretched, ready for framing and need no glass in front of the image to protect it. The giclée is typically larger in size than the limited edition print and slightly smaller than the original painting.

All Limited Edition artwork includes a Certificate of Authenticity and is subject to availability at time of order. Although seller strives to remain currrent as to inventory, seller reserves the right to cancel a sale if item is no longer available at time of purchase.