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WW1 British Royal Aircraft Factory S.E.5 Original Illustration Art by Jerome Biederman
Item #: VF4117
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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 British Royal Aircraft Factory S.E.5 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

Wooden frame construction
S.E.5a aircraft of No. 32 Squadron RAF. The wartime censor scratched out the serial numbers but left the squadron markings.
James McCudden's S.E.5a (200 h.p. geared Hispano-Suiza with 4-bladed propellor) of No. 56 Squadron RAF.

The S.E.5 (Scout Experimental 5) was designed by Henry Folland, John Kenworthy and Major Frank Goodden of the Royal Aircraft Factory in Farnborough. It was built around the new 150 hp (112 kW) Hispano-Suiza 8 a V8 engine that, while providing excellent performance, was initially underdeveloped and unreliable. The first of three prototypes flew on 22 November 1916. The first two prototypes were lost in crashes (the first killing the chief test pilot at the Royal Aircraft Factory, Major F. W. Goodden on 28 January 1917) due to a weakness in their wing design. The third prototype underwent modification before production commenced; the S.E.5 was known in service as an exceptionally strong aircraft which could be dived at very high speed – the squarer wings also gave much improved lateral control at low airspeeds.

Like the other significant Royal Aircraft Factory aircraft of the war (B.E.2, F.E.2 and R.E.8) the S.E.5 was inherently stable, making it an excellent gunnery platform, but it was also quite manoeverable. It was one of the fastest aircraft of the war at 138 mph (222 km/h), equal at least in speed to the SPAD S.XIII and faster than any standard German type of the period.

While the S.E.5 was not as agile and effective in a tight dogfight as the Camel it was much easier and safer to fly, particularly for novice pilots. The S.E.5 had one synchronised .303-inch Vickers machine gun to the Camel's two, but it also had a wing-mounted Lewis gun on a Foster mounting, which enabled the pilot to fire at an enemy aircraft from below as well as providing two guns firing forward. This was much appreciated by the pilots of the first S.E.5 squadrons as the new hydraulic-link "C.C." synchronising gear for the Vickers was unreliable at first. The Vickers gun was mounted on the forward left dorsal surface of the fuselage with the breech inside the cockpit, at a slight upwards angle. The cockpit was set amidships, making it difficult to see over the long front fuselage, but otherwise visibility was good. Perhaps its greatest advantage over the Camel was its superior performance at altitude, making it a much better match for the Fokker D.VII when that fighter arrived at the front.

S.E.5a

Only 77 original S.E.5 aircraft were built before production settled on the improved S.E.5a. The initial models of the S.E.5a differed from late production examples of the S.E.5 only in the type of engine installed – a geared 200 hp Hispano-Suiza 8b, often turning a large clockwise-rotation four-bladed propeller, replacing the 150 hp H.S. 8A model. In total 5,265 S.E.5s were built by six manufacturers: Austin Motors (1,650), Air Navigation and Engineering Company (560), Curtiss (1), Martinsyde (258), the Royal Aircraft Factory (200), Vickers (2,164) and Wolseley Motors Limited (431). A few were converted to two-seat trainers and there were plans for Curtiss to build 1,000 S.E.5s in the United States but only one was completed before the end of the war. At first, airframe construction outstripped the very limited supply of French-built Hispano-Suiza engines and squadrons earmarked to receive the new fighter had to soldier on with Airco DH 5s and Nieuport 24s until early 1918. The troublesome geared "-8b" model was prone to have serious gear reduction system problems, sometimes with the propeller (and even the entire gearbox on a very few occasions) separating from the engine and airframe in flight, a problem shared with the similarly-powered Sopwith Dolphin.

The introduction of the 200 hp (149 kW) Wolseley Viper, a high-compression, direct-drive version of the Hispano-Suiza 8a made under licence by Wolseley Motors Limited, solved the S.E.5a's engine problems and was adopted as the standard powerplant.

About 38 of the late-production Austin-built S.E.5as were assigned to the American Expeditionary Force, with the 25th Aero Squadron getting its aircraft (mostly armed only with the fuselage-mounted Vickers gun) at the very end of the war.

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 $550.00 USD