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 Last Flight of Yellow Ten" Signed and Numbered Limited Edition Giclee Print by Jack Fellows
As the Allies tightened the noose around what remained of the Third Reich in the spring of 1945, surviving Luftwaffe pilots, whose worst fear (worse than being killed in combat) was to be captured by the Red Army, as it rapidly advanced across Germany from the east…as not much imagination was required to foresee what the Russians might have in store for their former aerial tormentors, whom they now had on the run. By April, the situation was hopeless, even to the most optimistic, so to some, a more attractive alternative to capture by the communists was surrender to the British or the American forces, sometimes only a short flight away.
“Yellow Ten”, so named for the colored number on either side of the fuselage, was assigned to JG.26 in March of 1945, and due to the chaotic conditions of that period, not much is known of its short service record, other than it was captured, or surrendered in April (or as late as May) at the Luftwaffe airbase at Flensburg on the Danish frontier…which, at the time, was in the hands of the advancing Allied forces. This particular machine was eventually shipped to the United States for evaluation, donated subsequently to Georgia Tech, and by 1955, had arrived at an advanced state of decrepitude, due to vandalism and neglect. It is now fully restored to better than new condition, at the expense of warbird collector, Doug Champlin (Champlin Fighter Museum), an extremely rare example of the last iteration of the Fw.190 evolutionary line, the Fw. 190D-13, the 17th example, and probably one of the last of the 190s, a total of about 20,000 Fw.190s of all series had been produced by the war’s end.
The artist was commissioned by Mr. Champlin in 1987 to depict what it may have looked like as the machine was surrendered to RAF forces occupying Flensburg (if that was, indeed, the case) during the last few days of April, 1945, and it is displayed at the Museum, as of this writing.
27" by 19.5" Image Size, 31.5" by 24" Overall, Edition of 200 - $200
Also available as:
27" by 19.5" Image Size, 31.5" by 24" Overall, 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.
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