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Boat Yard by Sybil Andrews, oil on canvas

Fine Art, In Storage, FA00995

This is one of seven paintings Andrews made about boat building, which she developed after the war from wartime sketches taken while working for the British Power Boat Company in Hythe, Southampton, which built high-speed launch craft for RAF air sea rescue missions.

Sybil Andrews oil painting of Air Sea Rescue boat building at the British Power Boat Company, Hythe, Please contact Museum Copyright Officer or Collection Curator before using this asset / RAF Museum

Air Sea Rescue Launch by Sybil Andrews, oil on canvas

Fine Art, London, Art Gallery, Hangar Three, FA00993

This is one of seven paintings Andrews made about boat building, which she developed after the war from wartime sketches taken while working for the British Power Boat Company in Hythe, Southampton, which built high-speed launch craft for RAF air sea rescue missions.

Sybil Andrews painting of an Air Sea Rescue boat, ready for launch, Glenbow Museum of Art, Calgary, Alberta, Canada. / RAF Museum

Hull Shop by Sybil Andrews, oil on canvas

Fine Art, In Storage, FA00999

This is one of seven paintings Andrews made about boat building, which she developed after the war from wartime sketches taken while working for the British Power Boat Company in Hythe, Southampton, which built high-speed launch craft for RAF air sea rescue missions.

Hull Shop by Sybil Andrews, oil on canva, Please contact Museum Copyright Officer or Collection Curator before using this asset

Air Raid by Cyril Power, linocut

Fine Art, London, Art Gallery, Hangar Three, FA00972

Power’s linocut print of a biplane ‘dog fight’ recalls his First World War service in the Royal Flying Corps, when he supervised aircraft repairs at Lympne aerodrome, Kent. He developed the print in four lino-block colour separations of red, light blue, grey and dark blue from a wartime sketch.

Cyril Power linocut print of a First World War dog fight, RAF Museum

Baghdad and the River Tigris from 10000 ft Looking North Towards Khadimain by Richard Carline, oil on canvas

Fine Art, London, Art Gallery, Hangar Three, FA00893

Richard and his elder brother Sydney became Official War Artists of RAF subjects in 1918 after serving as a wireless operator and a fighter pilot respectively – Richard in France and Sydney in Italy.

Richard Carline aerial view painting of Baghdad and the River Tigris, © The Estate of Richard Carline / Bridgeman Images. / RAF Museum

No. 19 Air Flight over Wytschaete by Paul Nash, watercolour, gouache and chalk on paper

Fine Art, London, Art Gallery, Hangar Three, FA00848

From February 1917, Nash served with the Hampshire Regiment in the trenches of Flanders, on the Western Front. This is one of 50 drawings he made of the Ypres Salient battlefields that November, when he returned to the Front after injury, now serving as an Official War Artist.

No.19 Air Flight Over Wytschaete by Paul Nash, Paul Nash. watercolour, gouache and chalks on paper, 1917., Copyright expired.

Study for ‘Take Off’: Flight Engineer by Dame Laura Knight, charcoal and watercolour on paper

Fine Art, London, Art Gallery, Hangar Three, FA01176

This preparatory study of Flight Sergeant Alexander Quadling, a Flight Engineer, is one of many Knight made for the painting ‘Take Off’ (1943, Imperial War Museums), in which she represented a Stirling bomber crew at RAF Mildenhall preparing for flight.

Study for 'Take Off': Flight Engineer by Dame Laura Knight, charcoal and watercolour on paper, 1943, The artist's estate and Bridgeman Images / RAF Museum

Rear Gunner (Pilot Officer Percy Arthur Dalton) by Jacob Kramer, lithograph

Fine Art, In Storage, FA00821

Jacob Kramer made this portrait when his Leeds friend Percy Dalton joined the RAF Volunteer Reserve. Following his promotion to Flight Lieutenant, Dalton died when his Wellington bomber was shot down over France in 1942.

Jacob Kramer lithographic portrait of Rear Gunner Pilot Officer Percy Arthur Dalton, Consult Collection Curator before use.

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

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

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