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WWII Original Consolidated PB4Y-2 Privateer Patrol Bomber Illustration Art by Jerome Biederman
Item #: VF4015
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WWII original aircraft on art board that measures 25″x20″. Illustrated image measures 19″x14.25″. This particular aircraft is identified on the reverse 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 United States Consolidated PB4Y-2 Privateer and was part of a series of aviation paintings that Jerome did in the early 70's. 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

A PB4Y-2B carrying ASM-N-2 Bat glide bombs.

The Privateer was externally similar to the Liberator, but the fuselage was longer to accommodate a flight engineer's station, and had a tall single vertical stabilizer rather than the B-24's twin tail configuration. The defensive armament was also increased to 12 .50-in (12.7 mm) M2 Browning machine guns in six turrets (two dorsal, two waist, nose and tail), with the B-24's ventral, retractable Sperry ball turret being omitted. Turbosuperchargers were not fitted to the engines since maritime patrol missions were not usually flown at high altitude.

The Ford Motor Company (which produced B-24s for the United States Army Air Forces) had earlier built an experimental variant (B-24K) using the single tail of a Douglas B-23 Dragon. Aircraft handling was improved, and the Air Corps' proposed B-24N production model was to be built by Ford, but the order was canceled on 31 May 1945 and the B-24N never entered production. The Navy's desire for substantial redesigns, however, had sustained interest in the new tail assembly.

The Navy eventually took delivery of 739 Privateers, the majority after the end of the war, although several squadrons saw service in the Pacific theater in the reconnaissance, search and rescue, electronic countermeasures, communication relay, and anti-shipping roles (the latter with the "Bat" radar-guided bomb.)

Operational history

The Privateer entered Navy service during late 1944, Patrol Bomber Squadrons 118 and 119 (VPB-118 and VPB-119) being the first Fleet squadrons to equip with the aircraft. The first overseas deployment began on 6 January 1945, when VPB-118 left for operations in the Marianas. On 2 March 1945 VPB-119 began "offensive search" missions out of Clark Field, Luzon in the Philippines, flying sectored searches of the seas and coastlines extending from the Gulf of Tonkin in the south, along the Chinese coast, and beyond Okinawa in the north.

The Privateer was used as a typhoon/hurricane hunter from 1945 to the mid-1950s. One aircraft, designated BuNo 59415 of VPB-119, went down when it experienced mechanical trouble while investigating a Category 1 typhoon near Batan Island in the Philippines. It attempted to land on the island, but was unable to do so and crashed. It was one of only six hurricane hunter flights that were ever lost, and the only one found.

U.S. Coast Guard PB4Y-2G.

Privateers were also used during the Korean War to fly "Firefly" night illumination missions dropping parachute flares to detect North Korean and Chinese seaborne infiltrators. In addition, Privateers were used by the US Navy for signals intelligence (SIGINT) flights off of the coast of the Soviet Union and the People's Republic of China. On 8 April 1950, Soviet La-11 fighters shot down a US Navy PB4Y-2 Privateer (BuNo 59645) over the Baltic Sea, off the coast of Liepāja, Latvia. Named the Turbulent Turtle, the aircraft was assigned to Patrol Squadron 26 (VP-26), Det A  The French also used Privateers as bombers during the Indochina War.

All Navy PB4Y-2s were retired by 1954, though unarmed PB4Y-2G Privateers served until 1958 with the Coast Guard before being auctioned off for salvage.

The U.S. Navy dropped the patrol-bomber designation in 1951 and the remaining PB4Y-2s were redesignated P4Y-2 Privateer. The earlier XP4Y-1 Corregidor was a completely different design, based on the Consolidated Model 31 twin-engine flying boat. PB4Y-2s were still being used as drones in the 1950s/early 1960s, designated PB4Y-2K, and P4Y-2K after 1951. They were then redesignated QP-4B under the 1962 United States Tri-Service aircraft designation system, part of the new patrol series, between the Lockheed P-3 Orion and the Martin P-5 Marlin.

A number of PB4Ys were supplied to the Republic of China Air Force for use in missions over the People's Republic of China. One was shot down by ground fire on 12 September 1954, near Xiamen, People's Republic of China. The crew of nine were killed. Another was shot down on 15 February 1961 by Burmese Hawker Sea Fury fighter aircraft, near the Thai-Burmese border, killing the crew of five. Two other crew members were taken prisoner. This aircraft was carrying supplies for Chinese Kuomintang forces fighting in northern Burma.

Privateers in aerial firefighting

P4Y-2 Tanker 123 BuNo 66260 (N7620C), of Hawkins & Powers in service supporting the CDF, at Chester Air Attack Base in the late 1990s—crashed 18 July 2002.
PB4Y-2 BuNo 66261 (marked as BuNo 66304) in the collection of the National Museum of Naval Aviation at NAS Pensacola, Florida.


 
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 $450.00 USD