William S. Phillips was a firefighter before he became an artist. The events on 9/11, ten years ago now, shook him to his core. “You become a firefighter because you are driven by a sense of community and purpose,” Phillips relates. “Firefighters always have, and always will be, walking into that burning building looking to save lives.” As a firefighter from Oregon, Bill had painted this iconic and heroic work of art to support firefighters nationwide.
For 10 years, A Prayer for My Brother has provided funds to the National Fallen Firefighters Foundation. Its mission is to honor and remember America's fallen fire heroes and to provide resources to assist their survivors in rebuilding their lives. “The self sacrifice continues in every corner of this country and beyond. Some of those men and women rushing into buildings today may have been only a child when 9/11 occurred. It is the same spirit of community and purpose that drives these firefighters today as it did that fateful day in New York City ten years ago.”

After looking at this powerful work, it may not surprise you to learn that Phillips is a former firefighter. (Bill left the profession after 16 years when he began to earn a living through his art.) Bill has painted this iconic and heroic work of art to support firefighters nationwide. He hopes that the outpouring of support for New York fire fighters continues to raise awareness and appreciation for the everyday, unsung heroes in communities everywhere.

Geoffrey de Havilland initially designed the DH-4 as a twin seat bomber which saw service in WWI. The U.S. Postal Service modified the aircraft to be flown from the rear cockpit and installed a watertight mail compartment in place of the forward cockpit. DH-4’s were the mainstay of the USPS air fleet right through 1927 when service passed its last airmail routes to private contractors.
This pilot is enjoying an incredibly good day for flying as he travels up New York’s Hudson River and over one of the many New York Central Railway trains headed north to Albany and points beyond. Flying by any standard was a risky profession in this early era of flight, so to be aloft on a day such as this was a truly revered experience.

"Among the Columns of Thor" has a double meaning to it. In Norse mythology, Thor is the god of thunder and war. These B-24 bombers from the 409th Squadron, 93rd Bomb group, are in column formation, literally flying among Thor's cloud columns as they return from their targets deep in Germany. They are escorted by P-51 fighters of the 3361st Fighter Squadron, 356th Fighter Group.
The paint scheme on the engine cowling of "Jersey Jerk," Donald Strait's plane, was designed by Freddie Schlack, another young pilot in the squadron. That pattern became the official scheme for the entire fighter group. Squadrons within the group would use different colored rudders to identify themselves.
The deep, ominous colors at the right of the image represent war, whereas the left side is painted with lighter colors, signifying peace. The silve color scheme of the planes can also represent Allied superiority and the coming end of the war. Naturally, the aircraft are flying from the darkness into the light.
Countersigned by Donald J. Straig, commander, 361st Fighter Squadron; Clinton DeWitt Burdick, pilot, 361st Fighter Squadron; K. O. Dessert, commander, 409th Bomb Squadron; and Edwin C. Baker, pilot, 409th Bomb Squadron.

Never destined to win a beauty pageant, the Choctaw’s good looks were always in the eyes of the beholder. And in the Sikorsky UH-34, the Marines found their girl. Affectionately called the “Huss,” the Choctaw went ashore as part of the first Marine aircraft unit in the Republic of Vietnam in 1962 and served in country until April1969. Here a pair of UH-34’s ply the skies over South Vietnam on an assault support mission ferrying troops and supplies.

The Doolittle Raid on Japan was always designed as a one way mission: from the carrier to friendly airfields in China by way of Tokyo. Due to early discovery by Japanese picket boats, Captain David Jones and the rest of Crew 5 (aircraft 02283) left the deck of the USS Hornet knowing their one-way trip was perilously shorter. They knew that their B-25 did not have the range to make those friendly airfields, and getting to the China coast or past Japanese-occupied China would take great skill and uncommon luck. At a small break in the cloud cover over Chu Chow the members of Crew 5, who could coax their aircraft no further, left the plane, trusting their parachutes, the wind and the Chinese people to lead them to safety. In Chinese folklore the lóng, or dragon, symbolizes all that is good: abundance, prosperity, good fortune, nobility, and divine protection, as well as the Chinese people themselves. The dragon is believed to be the benevolent guardian of water, as well as life-giving rain and storms. As they tumbled into the stormy night sky, David Jones and his crew entrusted their safety—and their lives—to the arms of the dragon.
The Chinese paid dearly for the aid and shelter they provided to American soldiers. In the Zhejiang-Jiangxi Campaign, Japanese forces killed an estimated 250,000 Chinese civilians as retaliation and intimidation to prevent further assistance of American soldiers. The brave sacrifices of the Chinese saved many lives and solidified the American people in their determination to succeed. William S. Phillips inspiring new limited edition Into the Arms of the Dragon pays tribute to the combined efforts of two nations. Both the Fine Art Limited Edition Giclée Canvas and Fine Art Limited Edition Giclée Print of this spectacular image have been signed by MSgt. Edwin Horton, Jr., Col. William M. Bower, David J. Thatcher, Lt. Col. Richard E. Cole, Thomas Griffin, and Col. Robert Hite

Greenwich Workshop Press is pleased to present the fine art book of the season, Into the Sunlit Splendor: The Aviation Art of William S. Phillips, featuring over 130 paintings in a definitive collection of his aviation art.
This deluxe Collector’s Edition™ book and fine art canvas set is extremely limited edition comes, jacketed and slipcased with a special, bound-in certificate sheet signed by the artist.The set is completed by the Limited Edition Fine Art Giclée Canvas, Lightning from the Sun, signed by the artist and numbered.
Lightning from the Sun showcases the Lockheed P-38 Lightning, the first fighter with two engines. Nearly 10,000 P-38s were produced, in eighteen variants. Known to the Germans as the “Forked Tailed Devil,” a leading P-38 Ace called it, “ ... one of the great aircraft of WWII.” And Japanese Ace Saburo Sakai said,“I was astonished to find an American aircraft that could outrun, outclimb and outdive our Zero ....

“They came from our secret base at Shangri-La,” replied President Franklin Delano Roosevelt when asked by reporters where the “land-based” bombers of Lt. Colonel “Jimmy” Doolittle’s raid had originated. In reality, Shangri-La was the USS Hornet and the idea of launching B-25s from an aircraft carrier was the result of determined and superb inter-service conception, planning and execution.
It is now 70 years since the USS Hornet’s loudspeakers blared, “Army pilots man your battle stations for take off!” Task Force 16 had been detected at 7:38 AM April 18, 1942, a staggering 170 miles short of their estimated point of departure, by the Japanese picket boat No. 23 Nitto Maru. The decision was quickly made to launch the attack early. Doolittle’s aircraft, the first to go, roared down and off the deck of the Hornet at 8:20 AM. Fifty-nine minutes later, by 9:19 AM, the sixteenth plane, under the commanded of Lt. W.G.  Farrow, was headed towards Japan.
To celebrate the 70th Anniversary of this historic event the five surviving Doolittle Tokyo Raiders will gather at The National Museum of the US Air Force at Wright-Patterson AFB April 17- 20, 2012. Consider this: of the 80 officers and crew that flew the one-way mission into enemy territory that day, there remain today only enough airmen to man a single B-25.
William S. Phillips’ Rising Into the Storm places us just off the bow of the Hornet seconds after Doolittle’s B-25 has left the deck. The atmosphere moments before had been tense. While two test take-offs from the ship had been performed months earlier off Norfolk, VA, those aircraft were not fully laden with fuel, bombs and crew. Throttles at full power, flaps down and his B-25 straining against its brakes, the plane rattled and roared as Doolittle waited for the release from the flag man.
When the signal was given, it was timed so that the carrier would be surging up on the crest of a wave as Doolittle’s plane left the deck. The joint velocity of the aircraft, ship and headwind pushed 50 knots. As Doolittle cleared the bow, a wind blast combined with the nose-high attitude they practiced, shot his Mitchell bomber sharply up in the air. He leveled out before stalling just as the mighty Hornet crashed back into the sea.
At his side sat Lt. Richard E. Cole, his co-pilot and one of the co-signers of the 70th Anniversary Commemorative Editions of Rising Into the Storm. Time has been kind and granted you the opportunity to own an authentic piece of Doolittle Raider history. These editions, beautiful works of art unto themselves, become historical documents when signed by the actual Raiders attending their 70th reunion in Dayton, OH:
Lt. Col. Richard E. Cole
Co-pilot of No. 1
Maj. Thomas C. Griffin
Navigator on No. 9
Lt. Col. Robert L. Hite
Co-pilot of No. 16
Lt. Col. Edward J. Saylor
Engineer-Gunner of No. 15
Master Sgt. David J. Thatcher
Engineer-Gunner of No. 7
There are two separate editions of Rising Into the Storm. The Fine Paper Art Edition, to be countersigned by the Raiders attending the 70th Anniversary Reunion, measures 27" x 23 1/2" and is limited to an edition 200. Designed into the border area of this print, along with the real signatures of actual Raid participants, is a complete roster, by plane, of the original Doolittle Raiders. The Fine Art Giclée Canvas is a stunning 36" x 22" and looks and feels like the original work of art. This edition will be signed by the Raiders attending the 70th reunion and is limited, in honor of the event, to an edition of 70.
Nearly three quarters of a century ago, 80 men, all volunteers, unhesitatingly climbed aboard their B-25 bombers with the full knowledge that their aircraft did not have the range to land at the friendly airfields the mission design had called for. It is a sense of duty that any service member can relate to; theirs is a job where uncommon acts of valor are common place. Of those original 80 airmen, only five remain. Purchase this piece of history before time passes you by.  
Royalties from the sale of these or any other Doolittle Raider Fine Art Editions support the Doolittle Tokyo Raider Scholarship Fund.

Where is the nearest carrier? is often the first question from a President when a crisis erupts overseas. A powerful instrument of diplomacy and military might, the Navy’s carrier battle group has been the United State’s reaction-force-of-choice since World War II. Collectors, naval and aviation enthusiasts all react in a similar fashion when William S. Phillips turns his painter’s eye on these seagoing airfields. All eight of his previous Fine Art Editions featuring carriers have Sold Out at the Publisher and are only available on the secondary market.
“An aircraft carrier is exciting beyond belief,” beams Phillips. “It’s the tip of the sword and it operates that way. It’s dangerous and it’s exciting. Nothing is static. Their size is phenomenal. The sense of mission and camaraderie from the engine room to the flight crews is inspiring. For the rest of my life, I’ll jump at the chance to get on one whenever I can.”
“In the late 1970s, I had the chance to deploy on the USS Kitty Hawk (CV 63) out of San Diego, but this scene could be anywhere in the world because sunsets are universal at sea. Coming on board a carrier is tough no matter what time of day it is. But I’ll tell you, landing in any kind of daylight beats coming aboard before absolute dark. They call flight operations at this time “Pink Ops.” The CAP aircraft, both coming in and going out, are early versions of the F-14.”
There is a Fine Art Edition of Sunset Recovery for every type of collector. There is a special and very limited over-sized 37" x 28" MasterWork™ Giclée Canvas edition of only 25 pieces. A more moderately sized yet beautiful 28" x 21" Fine Art Giclée Canvas and a traditional Fine Art Giclée Paper at 24" x 18" are also available. Don’t miss out on your opportunity to own one of William S. Phillips much admired aircraft carrier editions.

What is a Personal Commission?
The Personal Commission was created by The Greenwich Workshop, Inc. as a way for all customers who desire so to collect an artist whose fine art editions often sell out and are difficult to find. Collectors “commission” their personal copy of a given edition during a set period of time. The size of the edition is set by market demand keeping the image exclusive.
This Fine Art Anniversary Giclée Canvas edition will be limited to the number of prints ordered during the commission period August 15, 2011 – Oct 15, 2011. Confirmation of the final edition size will be sent October 18, 2011

By late-1944, the Allies controlled the skies over the newly liberated countries of Western Europe. But when the bombers of the mighty Eighth Air Force ventured into the heart of Nazi Germany, few missions proceeded without their fighter escorts close at hand. Now, for only a short time, the classic William S. Phillips homage to the bond between the Flying Fortresses and their “Little Friends” is available as a Greenwich Workshop Anniversary Edition.
The Long Ride Home features the P51-D Mustang Betty-E piloted by Lieutenant Colonel Wayne Blickenstaff of the 350th Fighter Squadron/353rd Fighter Group. “Ramrod” was the code word that designated these escort missions. Blickenstaff became a double ace during the war, incredibly shooting down five of those ten enemy aircraft in a single mission to become an Ace in a day. By the war’s end, Blickenstaff would receive the Distinguished Service Cross, the Silver Star, the Distinguished Flying Cross with three oak leaf clusters and the Air Medal with seven oak leaf clusters. The 353rd would be credited with destroying 330.5 enemy aircraft in the air and another 414 on the ground. These were the “Little Friends” you wanted around when the going got tough.
A raid into Germany meant a long day and a long mission. It was a grueling, intense and deadly endeavor that was not without its moments of serenity, beauty and a comradeship known only to men at war. The men are tire, and some in this armada may be wounded. Soon, with what little light there is left in the day, the groups will separate and return to their bases for debriefing and rest following The Long Ride Home.

A B-24 has lost one engine and streams smoke from another. She’s close to the White Cliffs of Dover but not out of trouble. Any second now, the last power may fail. Without enough altitude for a safe bail-out, her crew will brace for ditching and the English Channel is cold and choppy. She’s got one thing going for her¯a Spitfire Mark IXB of the 403 Squadron based at Kenley-Middlesex has come to meet her and weaves above. If her pilot chooses to ditch, the Spit pilot will tell Air-Sea Rescue.
When Bill did this painting, he liked it from the start. Old bomber pilots like it, too. Many recalled the exact situation, the irony of struggling out of enemy skies only to go down a few miles from the home base and the joy of seeing an RAF plane coming to ride herd. Built as an interceptor, the Spitfire lacked range for escorting the bombers very far. But all agreed that the plane was a beauty and never more so than when it played Samaritan for its wounded allies.

No place is more unique to the American landscape than the Grand Canyon. To stand at its rim and behold its vast beauty is truly one of the greatest experiences this country has to offer. It is only fitting that we introduce William S. Phillips’ Great American Landscapes series with this national treasure. Sunset casts its amber glow across the snow-swept terraces of Yaki Point, northeast from the artist’s location at Mather Point. This dramatically-sized canvas is one of the largest we’ve ever produced and captures the grand scope of this natural wonder far better than any replica has before.