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The Battle of Egypt: Advanced Dressing Station Interior by Anthony Gross, graphite and watercolour on paper

Fine Art, London, Art Gallery, Hangar Three, L001-1912

Anthony Gross made over 30 watercolours of the First Battle of El Alamein in July 1942 when, as an Official War Artist, he was commissioned to record the Middle East theatre of war.

The Battle of Egypt: Advanced Dressing Station Interior by Anthony Gross, graphite and watercolour on paper, © RAF Museum / Crown Copyright (expired)

Entering the Ballonet by Robert Austin, charcoal on paper

Fine Art, In Storage, L001-1874

This drawing of women testing a balloon for leakage is one of several large-scale exhibition drawings by Robert Austin, commissioned through the War Artists’ Advisory Committee with RAF Balloon Command.

Robert Austin drawing of WAAFs in Balloon Command with a barrage balloon, one of whom enters the ballonet, © RAF Museum / RAF Museum

An Officer from Salisbury, Southern Rhodesia, 281: Flt Lt Taylor by Edith Honor Earl, chalk on paper

Fine Art, In Storage, FA00925

Edith Honor Earl made this portrait drawing for her exhibition 'Warriors of the Empire' with the Royal Empire Society, which opened in London’s Grosvenor House in December 1944. It is one of 22 portraits by her in the RAF Museum collection (besides others elsewhere) which celebrate the contributions of Service personnel from the British colonies and Commonwealth in the Second World War.

Bust length portrait in coloured chalks, figure frontally posed, wearing No.1 RAF uniform with Observer's brevet and DFC ribbon, without cap. Head resting on left hand. Small associative landscape drawing of Southern Rhodesia in upper right corner., RAF Museum

An Airman from Ceylon, 294: Sielman by Edith Honor Earl, chalk on paper

Fine Art, In Storage, FA00927

Edith Honor Earl made this portrait drawing for her exhibition 'Warriors of the Empire' with the Royal Empire Society, which opened in London’s Grosvenor House in December 1944. It is one of 22 portraits by her in the RAF Museum collection (besides others elsewhere) which celebrate the contributions of Service personnel from the British colonies and Commonwealth in the Second World War.

Bust length portrait in coloured chalks, positioning turning to the sitter's left, wearing RAF uniform without a cap. Small associative landscape drawing of Ceylon (Sri Lanka) on upper right corner of composition., RAF Museum

An Officer from South Australia, 297: Sqn Ldr D.H. Smith by Edith Honor Earl, chalk on paper

Fine Art, In Storage, FA00922

Donald Hamilton Smith (1915-1999) enlisted into the Royal Australian Air (RAAF) Citizens Air Force in August 1940 after the Battle of France.

Bust length colour chalk portrait of an Australian officer, frontally posed, in RAAF No. 1 Dress without cap. Small associative landscape drawing of Southern Australia in upper right corner., RAF Museum

An Officer from Tasmania 318: Flt Lt Falkinder by Edith Honor Earl, chalk on paper

Fine Art, In Storage, FA00931

Charles William Falkinder from Tasmania enlisted in the Royal Australian Air Force (RAAF) in May 1940, where he undertook pilot and navigator training. He was among the first of the Empire Air Training Scheme trainees to serve with the RAF, arriving in England in August 1941. He flew 117 missions over Europe with RAF Bomber Command.

Bust length portrait in coloured chalks, frontally posed, wearing RAAF uniform with flying badge, medal ribbons and Pathfinder Force badge, without a cap. Small associative landscape drawing of Tasmania in upper right corner., RAF Museum

Merry Christmas with T-1 Space Suits (from 'Bunk' portfolio) by Eduardo Paolozzi, lithograph

Fine Art, London, Art Gallery, Hangar Three, FA05398

While in the late-1940s austerity measures persisted in Britain, American commodities and advertising, by contrast, reflected the USA’s economic and cultural dominance. They also reflected America’s popular imagination inspired by the emerging jet and space age.

Copyright restrictions prevent us from showing this image

Yours Till the Boys Come Home (from 'Bunk' portfolio) by Eduardo Paolozzi, screenprint

Fine Art, London, Art Gallery, Hangar Three, FA05412

While in the late-1940s austerity measures persisted in Britain, American commodities and advertising, by contrast, reflected the USA’s economic and cultural dominance. They also reflected America’s popular imagination inspired by the emerging jet and space age.

Copyright restrictions prevent us from showing this image

A Funny Thing Happened on the Way to the Airport (from 'Bunk' portfolio) by Eduardo Paolozzi, lithograph

Fine Art, London, Art Gallery, Hangar Three, FA05406

While in the late-1940s austerity measures persisted in Britain, American commodities and advertising, by contrast, reflected the USA’s economic and cultural dominance. They also reflected America’s popular imagination inspired by the emerging jet and space age.

Copyright restrictions prevent us from showing this image

The Bastard Word Studies by Fiona Banner aka The Vanity Press, graphite on Fabriano paper

Fine Art, London, Art Gallery, Hangar Three, X008-7568

Fiona Banner's art explores the relationship between language and conflict. Her suite of drawings, The Bastard Word Studies, signifies how the failure of language fuels war.

The Bastard Word Studies by Fiona Banner, graphite on paper, 2006-7., Fiona Banner aka The Vanity Press / RAF Museum