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Steel Ladle by Graham Sutherland, gouache, ink, graphite and collaged paper on paper

Fine Art, In Storage, X008-9485

Graham Sutherland was employed as a full-time Official War Artist, placed with the Ministry of Home Security to depict scenes of bomb damage, and then with the Ministry of Supply, to represent industrial production.

Molten steel being poured into a ladle from a furnace., The artist's estate / 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

Veteran Mechanic by Robert Austin, charcoal and pastel on paper

Fine Art, London, Art Gallery, Hangar Three, L001-1903

From the Air Ministry allocation of works from the War Artists' Advisory Committee, 1947. Original accession number: LD607. On loan from the RAF Air Historical Branch (MOD).

Robert Austin pastel drawing of a veteran mechanic, © RAF Museum / RAF Museum

Photo Op by kennardphillipps, photomontage: digital inkjet print on paper

Fine Art, In Storage, X008-9481

This photomontage by Peter Kennard and Cat Phillipps - collectively known as kennardphillipps - is a satirical reflection on former Prime Minister Tony Blair’s decision for Britain to invade Iraq with the United States and an example of protest art made in opposition to the Iraq War (2003-11).

kennardphillipps 2006 photomontage inkjet print representing former prime minister Tony Blair taking a 'selfie' photograph with his phone in front of burning oil fields in Iraq., 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

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

Evadne in Green Dimension (from 'Bunk' portfolio) by Eduardo Paolozzi, screenprint

Fine Art, London, Art Gallery, Hangar Three, FA05371

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

View of the Blitz by Mary Viola Paterson, etching

Fine Art, In Storage, FA03406

This etching is an original impression, printed and signed by 'Viola Paterson'. Later impressions, or ‘re-strikes’, were posthumously printed in 1983 by Yvonne Drewry in a folio edition of 150.

Etching of searchlights illuminating the night sky over a city, far away a church glows, and two cones of light search from a, Every effort has been made to identify the owner of copyright in this work. If you are the current owner or their agent, please contact us at askcollections@rafmuseum.org © RAF Museum

I was a Rich Man's Plaything (from 'Bunk' portfolio) by Eduardo Paolozzi, screenprint and lithograph

Fine Art, London, Art Gallery, Hangar Three, FA05394

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

Take-off (from 'Bunk' portfolio) by Eduardo Paolozzi, screenprint and lithograph

Fine Art, London, Art Gallery, Hangar Three, FA05370

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