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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

Mural Study of the Camouflage Workshop, Ministry of Home Security Camouflage Establishment (III) by Anne Newland, graphite and watercolour on paper

Fine Art, In Storage, FA01376

During the Second World War mural painter Anne Newland worked for the Ministry of Home Security Camouflage Establishment in the Midlands. Its aim was to conceal major British buildings from enemy sight, preventing their destruction from air raids.

Anne Newland watercolour study for a proposed mural of the camouflage workshop, Ministry of Home Security Camouflage Establishment, Consult Collection Curator before use. / RAF Museum

Mural Study of the Camouflage Workshop, Ministry of Home Security Camouflage Establishment (I) by Anne Newland, graphite and watercolour on paper

Fine Art, In Storage, FA01380

During the Second World War mural painter Anne Newland worked for the Ministry of Home Security Camouflage Establishment in the Midlands. Its aim was to conceal major British buildings from enemy sight, preventing their destruction from air raids.

Anne Newland watercolour study for a proposed mural of the camouflage workshop, Ministry of Home Security Camouflage Establishment, The artist's estate / RAF Museum / RAF Museum

Air Raid by Cyril Power, linocut

Fine Art, In Storage, FA00562

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 Air Raid, linocut on paper. Depiction of a First World War dogfight., © RAF Museum / RAF Museum

Flying Officer Wilfred M Sizer DFC, No. 213 Squadron by Cuthbert Orde, charcoal on paper

Fine Art, In Storage, FA03284

This portrait is one of many that the Air Ministry commissioned from Cuthbert Orde, independently of the War Artists' Advisory Committee, to promote the contributions of Fighter Command pilots during the Battle of Britain.

Flying Officer Wilfred M Sizer DFC, No. 213 Squadron by Cuthbert Orde, charcoal on paper, Trustees of the Royal Air Force Museum/Iain Duncan / RAF Museum

Damaged Propellers Arrive at a Maintenance Station by Roland Vivian Pitchforth, watercolour on paper

Fine Art, London, Art Gallery, Hangar Three, L001-1793

From the Air Ministry allocation of works from the War Artists' Advisory Committee, 1947. Original accession number: LD5014.

Damaged Propellers Arrive at a Maintenance Station by Roland Vivian Pitchforth, watercolour on paper, 1942, © RAF Museum / RAF Museum

Fired Out Engines by Roland Vivian Pitchforth, watercolour on paper

Fine Art, London, Art Gallery, Hangar Three, L001-1794

From the Air Ministry allocation of works from the War Artists' Advisory Committee, 1947. Original accession number: LD1989.

Fired Out Engines by Roland Vivian Pitchforth, watercolour on paper, 1942-43, © RAF Museum / RAF Museum

Speed, Moment of Force by Paul Sayers, oil on canvas

Fine Art, London, Art Gallery, Hangar Three, FA02073

This is one of twelve paintings Sayers made to commemorate the Battle of Britain, which he first exhibited at London’s Barbican Centre before touring them to the RAF Museum in 1990.

Paul Sayers painting of an abstract impression of a fighter pilot's flight during the Battle of Britain, © Paul Sayers / 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