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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

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

Going to be Decorated: Bomber Command by Alfred Reginald Thomson, oil on canvas

Fine Art, London, Art Gallery, Hangar Three, L001-1885

In this work, Bomber Command airmen in a hut celebrate news of their awards for distinguished service. After an evening of drinking, they have left behind an empty decanter and glasses, and have playfully climbed to the rafters of the building.

Going to be Decorated: Bomber Command by Alfred Reginald Thomson, oil on canvas, Consult Collection Curator before use. / RAF Museum

The Winged Life (book cover design) by John Minton, watercolour, gouache and ink on paper

Fine Art, London, Art Gallery, Hangar Three, FA00565

Minton designed this cover for a biography of the pioneering French aviator and writer Antoine de Saint-Exupéry, who disappeared in 1944 aboard a reconnaissance flight from Corsica.

John Minton book cover illustration for 'The Winged Life', depicting Antoine de Saint-Exupu00e9ry adjacent to an aircraft in flight, Consult Collection Curator before use. / RAF Museum

The Ultimate Planet (from 'Bunk' portfolio) by Eduardo Paolozzi, screenprint

Fine Art, London, Art Gallery, Hangar Three, FA05374

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

Was this Metal Monster Master or Slave? (from 'Bunk' portfolio) by Eduardo Paolozzi, screenprint

Fine Art, London, Art Gallery, Hangar Three, FA05377

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

Excavating Tunnel for RAF Control Rooms: Maltese Miners by Leslie Cole, oil on canvas.

Fine Art, London, Art Gallery, Hangar Three, L001-1834

After selling numerous Home Front pictures to the War Artists’ Advisory Committee, Cole was appointed an Official War Artist. For his first commission in 1943 he recorded the German Siege of Malta in its last months.

Excavating a tunnel for RAF Control Rooms: Maltese Miners by Leslie Cole, Crown copyright: expired / RAF Museum

Crucifixion by Gladys Hynes, oil on cardboard

Fine Art, London, Art Gallery, Hangar Three, FA04334

Gladys Hynes painted ‘Crucifixion’ in 1939 as one of several artistic statements against Britain’s declaration of war on Germany.

Gladys Hynes oil on cardboard painting of a pilot with his arms outstretched in the pose of a crucifixion on an aircraft, Please contact Museum Copyright Officer or Collection Curator before using this asset / RAF Museum

Augsburg Raid, April 17 1942 by Paul Nash, watercolour and gouache on paper

Fine Art, London, Art Gallery, Hangar Three, FA00985

Famed for his First World War works, in 1940 Nash was invited again to become an Official War Artist for the revived scheme chaired by Sir Kenneth Clark. When Clark’s War Artists’ Advisory Committee assigned him to the Air Ministry Nash made propagandist watercolours of RAF and crashed Luftwaffe aircraft.

Augsburg Raid, April 17 1942 by Paul Nash, watercolour and gouache on paper, The artist's estate / Consult Collection Curator before use.

Ground Operational Exercise (GROPE) by Leslie Cole, oil on canvas.

Fine Art, London, Art Gallery, Hangar Three, L001-1756

Leslie Cole’s painting represents a ground operational exercise or 'GROPE' – a form of synthetic training for air crew which, to test concentration, simulated the demanding navigational conditions of a bombing raid.

Ground Operational Exercise, oil on canvas, by Leslie Cole, oil on canvas,1943, Crown copyright: expired.