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Coastal Defences I by Michael Ayrton, gouache on paper

Fine Art, In Storage, FA01854

Michael Ayrton depicted this scene in January 1941, as one of a series of 'Coastal Defences' paintings. Aged 20 and at the beginning of his artistic career, he had yet to establish a reputation for himself and was not on the War Artists’ Advisory Committee’s (WAAC) list of names for consideration as an Official War Artist. In the hope of securing a commission, he speculatively showed his series to the Committee's Chair, Kenneth Clark, at the National Gallery, but was unsuccessful.

Gouache painting depicting barbed wire fence, oil drums with wood and corrugated metal beside a path., The artist's estate

Studies of a Land Girl in a Gun Pit Overlooking an Aerodrome by Denis Barnham, ink on paper

Fine Art, In Storage, FA01015

Inscribed: '3/6/44 Studies of a Landgirl in a gun pit overlooking an aerodrome. Redhill 44.'

Studies of a Land Girl in a Gun Pit Overlooking an Aerodrome: seated female figure on the right looks back at the viewer. Three female figures to her left, two seated and one standing, look towards the aerodrome on the horizon behind, The artist's estate / RAF Museum

Making an Engine (from The Great War: Britain's Efforts and Ideals - Building Aircraft) by C.R.W. Nevinson, lithograph

Fine Art, In Storage, FA04046

Nevinson made this print in 1917 as part of an ambitious multi-artist lithographic project known as 'The Great War: Britain's Efforts and Ideals' - a propagandist publishing scheme commissioned by the government’s Department of Information. For the 'Efforts' side of the series, nine artists each made six prints on assigned themes. Nevinson's theme was Building Aircraft, while others included Making Soldiers, Making Sailors (curiously there was no ‘Making Airmen’), Making Guns, and Building Ships. The aim of the series was to persuade people to contribute to the war effort, as serving personnel in the Armed Forces, factory workers or fabricators.

Making an Engine by C.R.W. Nevinson, lithograph, 1917. Black and white semi-abstract image of male factory operatives in caps and overalls involved in aircraft engine manufacture. Drive belts run down from the building's roof., RAF Museum

Acetylene Welder (from The Great War: Britain's Efforts and Ideals - Building Aircraft) by C.R.W. Nevinson, lithograph

Fine Art, In Storage, FA04044

Nevinson made this print in 1917 as part of an ambitious multi-artist lithographic project known as 'The Great War: Britain's Efforts and Ideals' - a propagandist publishing scheme commissioned by the government’s Department of Information. For the 'Efforts' side of the series, nine artists each made six prints on assigned themes. Nevinson's theme was Building Aircraft, while others included Making Soldiers, Making Sailors (curiously there was no ‘Making Airmen’), Making Guns, and Building Ships. The aim of the series was to persuade people to contribute to the war effort, as serving personnel in the Armed Forces, factory workers or fabricators.

Acetylene Welder by C.R.W. Nevinson, lithograph, 1917. Black and white semi-abstract image of two women in safety goggles, depicted in profile, welding aircraft parts in a vice as sparks come off the apparatus., RAF Museum

Assembling Parts (from The Great War: Britain's Efforts and Ideals - Building Aircraft) by C.R.W. Nevinson, lithograph

Fine Art, In Storage, FA04045

Nevinson made this print in 1917 as part of an ambitious multi-artist lithographic project known as 'The Great War: Britain's Efforts and Ideals' - a propagandist publishing scheme commissioned by the government’s Department of Information. For the 'Efforts' side of the series, nine artists each made six prints on assigned themes. Nevinson's theme was Building Aircraft, while others included Making Soldiers, Making Sailors (curiously there was no ‘Making Airmen’), Making Guns, and Building Ships. The aim of the series was to persuade people to contribute to the war effort, as serving personnel in the Armed Forces, factory workers or fabricators.

Assembling Parts by C.R.W. Nevinson, lithograph, 1917. Black and white, semi-abstract image of male and female factory workers in overalls assembling a First World War biplane., RAF Museum

Bristol Aeroplane Company, Corsham by Olga Lehmann, oil on canvas

Fine Art, In Storage, FA01375

A versatile painter, illustrator and designer, Olga Lehmann was one of few wartime artists who received steady commissions outside of the Official War Artists’ scheme.

Bristol Aeroplane Company, Corsham by Olga Lehmann, oil on canvas, 1943, The artist's estate / RAF Museum / u00a9 Estate of Olga Lehman

Study for Bristol Aeroplane Company, Corsham: Production Line (i) by Olga Lehmann, graphite, watercolour and ink on paper

Fine Art, In Storage, FA01370

A versatile painter, illustrator and designer, Olga Lehmann was one of few wartime artists who received steady commissions outside of the Official War Artists’ scheme.

Study for Bristol Aeroplane Company, Corsham: Production Line (i) by Olga Lehmann, graphite, watercolour and ink on paper, 1943, The artist's estate / RAF Museum / RAF Museum

Study for Bristol Aeroplane Company, Corsham: General View by Olga Lehmann, graphite, watercolour and ink on paper

Fine Art, In Storage, FA01369

A versatile painter, illustrator and designer, Olga Lehmann was one of few wartime artists who received steady commissions outside of the Official War Artists’ scheme.

Study for the Bristol Aeroplane Company, Corsham: General View, by Olga Lehmann, graphite, watercolour and ink on paper, The artist's estate / RAF Museum

Study for Bristol Aeroplane Company, Corsham: Production Line (ii) by Olga Lehmann, graphite, watercolour and ink on paper

Fine Art, In Storage, FA01371

A versatile painter, illustrator and designer, Olga Lehmann was one of few wartime artists who received steady commissions outside of the Official War Artists’ scheme.

Study for Bristol Aeroplane Company, Corsham: Production Line (ii) by Olga Lehmann, graphite, watercolour and ink on paper, 1943, The artist's estate / RAF Museum / RAF Museum

Spitfires on a Camouflaged Runway by Eric Ravilious, watercolour on paper

Fine Art, London, Art Gallery, Hangar Three, L001-1791

After his first assignment with the Admiralty, from February 1942 Official War Artist Eric Ravilious worked on Air Ministry subjects.

Spitfires on a Camouflaged Runway by Eric Ravilious, watercolour on paper, Crown copyright: expired RAF Museum / RAF Museum