Call us at 1-800-595-8272 (U.S. & Canada) 1-573-335-6727
Here at Ozark Airfield Artworks we offer a large selection art prints. These prints
mainly depict modern and historic aviation along with military, civil and space flight. We
also deal with naval subjects and military armor and infantry works. These prints are
from all the top national and international artists along with some local artists. Many of
our prints are signed by the artist and by famous pilots and veterans. If you are looking
for a specific plane, pilot, artist or subject please contact us.
mainly depict modern and historic aviation along with military, civil and space flight. We
also deal with naval subjects and military armor and infantry works. These prints are
from all the top national and international artists along with some local artists. Many of
our prints are signed by the artist and by famous pilots and veterans. If you are looking
for a specific plane, pilot, artist or subject please contact us.
Copyright © Ozark Airfield Artworks 2005 All Rights
Reserved 2007
Reserved 2007
All images are copyrighted by the individual artist and may not be
reproduced without their consent.
reproduced without their consent.
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See our great selection of
artists like Sam Lyons,
John D Shaw, Robert
Bailey, & Domenic DeNardo!
artists like Sam Lyons,
John D Shaw, Robert
Bailey, & Domenic DeNardo!
Thousands of Civil and
Military Aviation Art
prints.
Military Aviation Art
prints.
Click here to see one the most
popular aviation artist in the
country, Sam Lyons. We offer
one of the largest selections of
Sam Lyons aviation art.
popular aviation artist in the
country, Sam Lyons. We offer
one of the largest selections of
Sam Lyons aviation art.
Click Here to see some of the
world's best World War II Aviation
Art! John Shaw pays tribute to
the men who fought for the
American Freedom during World
War II.
world's best World War II Aviation
Art! John Shaw pays tribute to
the men who fought for the
American Freedom during World
War II.
SOLD OUT
We are proud to be able to offer aviation art by Ron
Cole. Here is a little about Ron's path to aviation art
work, in his own words;
"Maybe I'm an oddball among aviation artists - in fact
among artists in general. This very evening my family and I
attended an art gallery opening here in Wilmington, North
Carolina. While I was formally educated in all areas of art
and design while in college at the Rochester Institute of
Technology (RIT), I don't 'get' most modern art. Thus, I had
to really put on a performance at the gala tonight. I am
foremost a deeply nostalgic person. I've rarely been
satisfied with my own time and place, so I've always sought
to recreate something former. I'm also an emotional
individual who, while searching the past for times and
places worth recreating, has focused upon extreme events
in history. My chosen events are often heroic, glorious,
devastating, tragic - always powerful.
My father was a pilot and a military officer. I grew up
reading magazines such as Air Enthusiast and RC Modeler
- my mother was on many covers of the latter. I was flying
before I was driving. My early days consisted not of sports
and social occasions, but the building of model airplanes
on my bedroom workbench. These attributes and interests
conspired to make me a true enthusiast of military aviation
history, at its most dramatic period: WW2.
By the time I was in high school I was a very well known
3D modeler on the competitive model-making circuit, with a
room full of awards. In the book Scratchbuilt! by John
Alcorn, I was described as ". . .one of the world's most
promising young model-makers."
I was the President and founder of the Japanese
Information International (JII) and its magazine the Asahi
Journal - both devoted to the study and 'recreation'
(through modeling and written word) of Japanese WW2
equipment and history. At my young age, my professional
inexperience was perhaps offset by the active participation
of Robert Mikesh, then curator of the National Air & Space
Museum, and several Japanese WW2 veterans in Japan
and America.
Japanese culture and history fascinated me, as I found it to
be replete with the kind of selfless, heroic drama that I was
attracted to as an impressionable youth. My study and
focus upon Japanese history and aviation was a path less
traveled - at least as an American. To me, that made it even
more interesting.
In those days I didn't call myself an artist (though one of my
'titles' was Staff Artist for the World Airline Historical
Society). I was an historian and a 3D model-maker. It was
a consequence of great pain and tragedy that the situation
was changed.
My strong emotions coupled with my years of studying
history led me down other paths that were also less
traveled. I was then, in the words of Wired Magazine Chief
Editor Alex Heard, "A hotblooded
sociopolitical idealist . . . a young Che Guevara in the
making."
Joel Dyer, writing for The New York Times said, "He is
today and has always been a victim of his own inability to
turn away from an injustice . . . he threw himself into the
maelstrom of (controversy) and expects no reward. Indeed,
he hasn't been rewarded, and he often fears for his life."
Evidently, public saber rattling was among my talents.
To be brief: I strongly opposed some things that the U.S.
Government was doing to American citizens. I publicly
railed against acts of violence by federal law enforcement,
and the erosion of personal liberties and civil rights. After
writing two books, producing two documentaries, and
touring the country giving fiery speeches - I was arrested
by the FBI and sent to prison for four years. Crime: Failure
to pay $600 in taxes on certain firearms.
Prison was a hellish nightmare, both for myself and for my
family. I tried as hard as I could to survive in an
environment full of violent offenders, gang violence, and
racial tensions. I wasn't physically tortured, but . . .
I often thought of the words spoken to me by one of my
friends who had recently passed away. He was a Japanese
veteran of WW2 and a former prisoner of the English during
the war. "(The guards) did not physically strike you, but
they tortured you nonetheless. I could handle being
beaten, as I was in (Navy) training every day, but they
made you less than human. It was more subtle, more
insidious, but torture nevertheless."
Slowly I adapted, and discovered ways to exercise my
rotting talents within the severe limits of captivity. I was
able to order a very basic set of Crayola colored pencils
from off the commissary list (for I think $2), and obtain plain
white envelopes used for legal mail from a guard.
Cole. Here is a little about Ron's path to aviation art
work, in his own words;
"Maybe I'm an oddball among aviation artists - in fact
among artists in general. This very evening my family and I
attended an art gallery opening here in Wilmington, North
Carolina. While I was formally educated in all areas of art
and design while in college at the Rochester Institute of
Technology (RIT), I don't 'get' most modern art. Thus, I had
to really put on a performance at the gala tonight. I am
foremost a deeply nostalgic person. I've rarely been
satisfied with my own time and place, so I've always sought
to recreate something former. I'm also an emotional
individual who, while searching the past for times and
places worth recreating, has focused upon extreme events
in history. My chosen events are often heroic, glorious,
devastating, tragic - always powerful.
My father was a pilot and a military officer. I grew up
reading magazines such as Air Enthusiast and RC Modeler
- my mother was on many covers of the latter. I was flying
before I was driving. My early days consisted not of sports
and social occasions, but the building of model airplanes
on my bedroom workbench. These attributes and interests
conspired to make me a true enthusiast of military aviation
history, at its most dramatic period: WW2.
By the time I was in high school I was a very well known
3D modeler on the competitive model-making circuit, with a
room full of awards. In the book Scratchbuilt! by John
Alcorn, I was described as ". . .one of the world's most
promising young model-makers."
I was the President and founder of the Japanese
Information International (JII) and its magazine the Asahi
Journal - both devoted to the study and 'recreation'
(through modeling and written word) of Japanese WW2
equipment and history. At my young age, my professional
inexperience was perhaps offset by the active participation
of Robert Mikesh, then curator of the National Air & Space
Museum, and several Japanese WW2 veterans in Japan
and America.
Japanese culture and history fascinated me, as I found it to
be replete with the kind of selfless, heroic drama that I was
attracted to as an impressionable youth. My study and
focus upon Japanese history and aviation was a path less
traveled - at least as an American. To me, that made it even
more interesting.
In those days I didn't call myself an artist (though one of my
'titles' was Staff Artist for the World Airline Historical
Society). I was an historian and a 3D model-maker. It was
a consequence of great pain and tragedy that the situation
was changed.
My strong emotions coupled with my years of studying
history led me down other paths that were also less
traveled. I was then, in the words of Wired Magazine Chief
Editor Alex Heard, "A hotblooded
sociopolitical idealist . . . a young Che Guevara in the
making."
Joel Dyer, writing for The New York Times said, "He is
today and has always been a victim of his own inability to
turn away from an injustice . . . he threw himself into the
maelstrom of (controversy) and expects no reward. Indeed,
he hasn't been rewarded, and he often fears for his life."
Evidently, public saber rattling was among my talents.
To be brief: I strongly opposed some things that the U.S.
Government was doing to American citizens. I publicly
railed against acts of violence by federal law enforcement,
and the erosion of personal liberties and civil rights. After
writing two books, producing two documentaries, and
touring the country giving fiery speeches - I was arrested
by the FBI and sent to prison for four years. Crime: Failure
to pay $600 in taxes on certain firearms.
Prison was a hellish nightmare, both for myself and for my
family. I tried as hard as I could to survive in an
environment full of violent offenders, gang violence, and
racial tensions. I wasn't physically tortured, but . . .
I often thought of the words spoken to me by one of my
friends who had recently passed away. He was a Japanese
veteran of WW2 and a former prisoner of the English during
the war. "(The guards) did not physically strike you, but
they tortured you nonetheless. I could handle being
beaten, as I was in (Navy) training every day, but they
made you less than human. It was more subtle, more
insidious, but torture nevertheless."
Slowly I adapted, and discovered ways to exercise my
rotting talents within the severe limits of captivity. I was
able to order a very basic set of Crayola colored pencils
from off the commissary list (for I think $2), and obtain plain
white envelopes used for legal mail from a guard.
The first of many drawings: U.S. federal jail permits a lot of time to draw,
though with very limited tools, and no reference material!
though with very limited tools, and no reference material!
While I had nothing but my memories of flight and
airplanes to guide me, I began to draw in my cell. As the
months passed I learned to push the limits of my pencils,
adding diluted toothpaste to my pieces for highlights. After
I was transferred to a minimum security facility I was able
to get sheets of typing paper. My drawings gained the
respect of the inmates, and I drew portraits of them for their
families as a business on the side.
When I was finally released, I was by then calling myself an
artist. Even while I was still living in a halfway house I was
selling my aviation art through a local art shop. My life
turned around quickly. Within two months of my release I
was married, and shortly after that we had a son together.
I was offered a great job within the field that I'd given up for
politics years before. I went to work in Los Angeles as
Head Model-Maker for 3D Industrial Design. Five years
after throwing my life asunder to be an activist, I was
where I would have been in life if I'd entered my career
right out of college.
By 2004 I had my own design business in California,
designing toys, building architectural and special effects
models, and offering architectural rendering services.
Aviation art was my hobby, when my business left me the
time.
After my wife graduated with her BA in English from
Loyola Marrymount University, we moved here to
Wilmington, North Carolina to facilitate her Masters
programme at UNCW in Creative Writing. I sold my LA
business and entered semi-retirement at age 37.
Now my hobby of aviation art is my casual profession, and
I love it dearly! But as an artist I'm still an oddball. I'm still
a man of nostalgia and emotion, extreme passions, and as
a consequence of hard years - a strong point of view. Hard
as those elements are to live with in some respects, I
believe that they contribute very positively to my artwork
and my writing - the latter another of my favorite pastimes.
I market my own artwork, as I'd never surrender the rights
to my work to another entity. I also produce and print
everything right here in-house, on the professional
equipment left over from my business - because I don't
trust anyone else with my quality control.
I recreate times, places, and emotions that I take very
personally. Thus my subject matter is perhaps not as
marketable to great numbers of art collectors. My
Kamikaze pieces, for example, display a super-human
courage and resolve that I often tried to draw from as a
prisoner to survive. Personal feelings, but I've been
extremely pleased to see that people do appreciate my
work and desire to collect it.
My little boy, now age 6, follows close in my artistic
footsteps. Like any father, I hope he can benefit from the
best of his dad's experiences and talents - and also learn
from his worst"
-Ron Cole
airplanes to guide me, I began to draw in my cell. As the
months passed I learned to push the limits of my pencils,
adding diluted toothpaste to my pieces for highlights. After
I was transferred to a minimum security facility I was able
to get sheets of typing paper. My drawings gained the
respect of the inmates, and I drew portraits of them for their
families as a business on the side.
When I was finally released, I was by then calling myself an
artist. Even while I was still living in a halfway house I was
selling my aviation art through a local art shop. My life
turned around quickly. Within two months of my release I
was married, and shortly after that we had a son together.
I was offered a great job within the field that I'd given up for
politics years before. I went to work in Los Angeles as
Head Model-Maker for 3D Industrial Design. Five years
after throwing my life asunder to be an activist, I was
where I would have been in life if I'd entered my career
right out of college.
By 2004 I had my own design business in California,
designing toys, building architectural and special effects
models, and offering architectural rendering services.
Aviation art was my hobby, when my business left me the
time.
After my wife graduated with her BA in English from
Loyola Marrymount University, we moved here to
Wilmington, North Carolina to facilitate her Masters
programme at UNCW in Creative Writing. I sold my LA
business and entered semi-retirement at age 37.
Now my hobby of aviation art is my casual profession, and
I love it dearly! But as an artist I'm still an oddball. I'm still
a man of nostalgia and emotion, extreme passions, and as
a consequence of hard years - a strong point of view. Hard
as those elements are to live with in some respects, I
believe that they contribute very positively to my artwork
and my writing - the latter another of my favorite pastimes.
I market my own artwork, as I'd never surrender the rights
to my work to another entity. I also produce and print
everything right here in-house, on the professional
equipment left over from my business - because I don't
trust anyone else with my quality control.
I recreate times, places, and emotions that I take very
personally. Thus my subject matter is perhaps not as
marketable to great numbers of art collectors. My
Kamikaze pieces, for example, display a super-human
courage and resolve that I often tried to draw from as a
prisoner to survive. Personal feelings, but I've been
extremely pleased to see that people do appreciate my
work and desire to collect it.
My little boy, now age 6, follows close in my artistic
footsteps. Like any father, I hope he can benefit from the
best of his dad's experiences and talents - and also learn
from his worst"
-Ron Cole
All text and images on this page is the
property of Cole's Aircraft and Ron Cole and
may not be copied or used without the
consent of the artist Ron Cole
property of Cole's Aircraft and Ron Cole and
may not be copied or used without the
consent of the artist Ron Cole