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WW1 French Nieuport 11 Original Illustration Fighter Plane Art by Jerome Biederman
Item #: VF4012
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WWI original aircraft on art board that measures 25″x20″. Illustrated image measures 19″x14.25″. This particular aircraft is identified at the bottom and sighed by the artist. Jerome Biederman was born February 1, 1913 in Braddock, Pennsylvania. He was a graduate of Chicago’s American Academy Of Art. He maintained studios in Pittsburgh, San Francisco, and Nashville during his career. This original Gouache watercolor illustration is of a French Nieuport 11 and was part of a series of aviation paintings that Jerome did in 1975. His artwork routinely sells for over a thousand dollars and he is listed with Artfact with many of his artworks with a selling history.
 

Design and development

Royal Naval Air Service Nieuport 11

The Nieuport 11 was a smaller, simplified version of the Nieuport 10, designed specifically as a single-seat fighter. Like the "10" the "11" was a sesquiplane, a biplane with a full-sized top wing with two spars, and a lower wing of much narrower chord and a single spar. Interplane struts in the form of a "Vee" joined the wings together. The sesquiplane layout reduces drag and improves the rate of climb, as well as offering a better view from the cockpit than either biplane or monoplane, while being substantially stronger than contemporary monoplanes. The narrow lower wing may be subject to aeroelastic flutter at high air speeds, a problem that manifested itself on the much faster German Albatros D.III and the later "vee-strut" Nieuport fighters. A single example of the Nieuport 11 was modified with a smaller lower wing and canted interplance struts but no further development ensued. Nieuport 11s were supplied to the French Aéronautique Militaire, the British Royal Naval Air Service, the Imperial Russian Air Service, Belgium, and Italy. 646 Nieuport 11s were produced by the Italian Macchi company under license, and additional Nieuport 16s were built under license in Russia by Dux. When Romania suffered military setbacks and needed aircraft, several RNAS Nieuport 11s, along with Nieuport 12s were provided.

Nieuport 16

Nieuport 16 with Le Prieur rockets

In 1916 an improved version appeared as the Nieuport 16 which was a strengthened Nieuport 11 airframe powered by a 110 hp (92 kW) Le Rhône 9J rotary engine. Visible differences included a larger aperture in front of the "horse shoe" cowling and a headrest for the pilot. Later versions had a fuselage-mounted synchronized Vickers gun, but in this configuration the combined effect of the heavier 9J engine and the Vickers gun compromised maneuverability and made the craft nose-heavy. The Nieuport 16 was an interim type pending the delivery of the slightly larger Nieuport 17 C.1 which was designed for the heavier engine and machine gun with a new, full-perimeter ring cowl, and remedied the 16's balance problems, as well as improving performance.

Operational history

Nieuport 11 of the Escadrille Américaine (later Escadrille Lafayette)

The Nieuport 11 reached the French front in January 1916, and 90 were in service within the month.

This small, sesquiplane outclassed the Fokker Eindecker in every respect, including speed, climb rate and maneuverability. It featured ailerons for lateral control rather than the Fokker's wing warping, giving lighter, quicker roll response, and its elevator was attached to a conventional tail plane which provided better pitch control as opposed to the all-moving, balanced "Morane type" elevators of the Fokker. The Fokker's success was solely due to its synchronized machine gun which fired forward through the arc of its propeller. At the time, the Allies lacked a similar system, and the Nieuport 11's Lewis machine gun was mounted to fire over the propeller, allowing uninterrupted forward fire. The Lewis was not synchronizable, due to its open bolt firing cycle design which resulted in an unpredictable rate of fire. Clearing gun jams and replacing ammunition drums in flight were challenging though, and the drums limited ammunition supply. This was eventually resolved in French service by the application of the Alkan synchronization gear with a Vickers machine gun to Nieuport fighters starting with some later examples of the Nieuport 16. The British, in the absence of their own satisfactory synchronizer, continued with the overwing Lewis but employed a new "double" Lewis drum with a capacity of 98 rounds.

During the course of the Battle of Verdun in February 1916, the combination of the Nieuport 11s technical advantages and the concentration of the fighters within the first dedicated fighter units allowed the French to establish air superiority, forcing radical changes in German tactics.

Some Nieuport 11s and 16s were fitted to fire Le Prieur rockets from the struts for attacks on observation balloons and airships.

By March 1916 the Bébé was being replaced by the improved Nieuport 17, although Italian-built examples remained in first line service longer, as did Russian examples. Thereafter the Nieuport 11s and 16 continued to be widely used as trainers.

 

The Artist

"History will duly set aside the years 1900-1950 as the most momentous. Invention followed close upon the heels of invention...of all the bewildering and glittering array, few if any remotely approach in importance that role occupied by the ability and means to move...on the land, in the air, above and below the surface of the water," expressed Jerome D. Biederman. And few artists have been equally adept at capturing important vintage automobiles and other forms of transportation as this pioneering artist.

 

"My final year in high school, I convinced myself that, above all else, I wanted to become an artist, and started a vigorous inquiry into every school of art within a thousand miles of my hometown Pittsburgh," Biederman wrote in his autobiography, published in the November-December 1970 issue of Horseless Carriage Gazette. He attended the American Academy of Art in Chicago. "The only entrance requirement consisted of artistic proof of one's ability, so I prepared a complete catalog featuring an imaginary automobile. Each page portrayed a separate model, each laboriously rendered in profile, all in full and glorious color. When this massive document was finally lashed together, it possessed all the weight and characteristics of a suitcase loaded with bricks. Thus, for better or worse, my artistic career was launched."

 

Biederman graduated from the Academy in October 1932, and like many of his contemporaries, the rigors of the Depression meant that it took him three years to find a job in his field. "My introduction to the advertising world was a revelation akin to the opening of 1,000 doors," he wrote. "Such mysteries as art direction, layout, production, type, reproduction-all unfolded in rapid succession...I survived this routine for years, but slowly and inevitably had begun the realization that the artist must at some time look to specialization and away from generalization in order that he might achieve recognition, prominence, and even fame. In 1940, I departed the advertising affair for the calmer atmosphere of a studio.

 

"I turned my full attention and energies to transportation vehicles...on/in the water, air and land," he continued. "Movement in its various forms has dominated my time, my thinking, and my life these past thirty years. In the years that followed, I did become known and my particular specialty recognized, but many detours were necessary, including art directorships, freelance artist, etc. As my exhibits became more numerous and my sells more regular, exposure of my efforts began to enter into commercial channels...calendars, prints, premiums, novelties, magazines, as well as other channels."

 

As Biederman's expanding body of work was gaining him prominence, he began a relationship with the McCleery-Cumming Corporation in 1956; this calendar company retained the artist to create six paintings for each of their 1958 automobile calendars. He painted for the calendar company for 36 years, and in the first 31 of those years, 186 automobile paintings were printed without interruption. A total of 444 Biederman transportation paintings were published in McCleery-Cumming calendars by 1993. In addition to the calendars, Mr. Biederman's automotive paintings were featured prominently in Playboy magazine, Automobile Quarterly and Horseless Carriage Gazette. He retired at the age of 75, in 1988, and died in 1996.

 

According to his widow, most of Biederman's paintings were done in tempera on heavyweight 20 x 30-inch illustration board. Calendar art averaged roughly 10 x 15 inches, depending on the subject. A substantial portion of Biederman's body of work remains intact, and most originals are available for purchase at $1,200 apiece.

 

"It seems to me that despite the untold millions of devotees adherent to this, that and the other...the fundamental 'love affair' lies in and with the internal combustion engine, the good, bad or indifferent that surrounds it," Biederman wrote. "The combination of motor, wheels and body, has known, knows, and will experience moments of greatness, be they in performance, styling, concept, even flights of fancy."
Shipping Weight: 3 lbs
Your Price $500.00 USD