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RAF Morse School at Olympia, Blackpool by Charles Cundall, oil on canvas

Fine Art, London, Art Gallery, Hangar Three, L001-1803

Cundall produced a series of panoramic views of Admiralty and Air Ministry subjects for his Official War Artist commissions in the Second World War. In this work a large cohort of RAF wireless operators undergo initial training to decipher Morse Code.

RAF Morse School at Olympia, Blackpool by Charles Cundall, oil on canvas, © RAF Museum / RAF Museum

The Bastard Word Studies by Fiona Banner aka The Vanity Press, graphite on Fabriano paper

Fine Art, London, Art Gallery, Hangar Three, X008-7568

Fiona Banner's art explores the relationship between language and conflict. Her suite of drawings, The Bastard Word Studies, signifies how the failure of language fuels war.

The Bastard Word Studies by Fiona Banner, graphite on paper, 2006-7., Fiona Banner aka The Vanity Press / 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

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

Fighter Affiliation: Halifax and Hurricane by Walter Thomas Monnington, oil on canvas

Fine Art, London, Art Gallery, Hangar Three, L001-1755

This painting represents a Fighter Affiliation exercise in which the crew of a Halifax bomber were trained to out-manoeuvre a naturally faster and more agile Hurricane fighter. The exercise was designed to emulate the real-life situations faced by bomber crew pursued by enemy fighters.

Fighter affiliation: Halifax and Hurricane. Walter T. Monnington. Oil on canvas, © RAF Museum

Study for Bristol Aeroplane Company, Corsham by Olga Lehmann, graphite on paper

Fine Art, London, Art Gallery, Hangar Three, X008-7550

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 BAC Underground Factory, Corsham by Olga Lehmann, The artist's estate

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

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

Merry Christmas with T-1 Space Suits (from 'Bunk' portfolio) by Eduardo Paolozzi, lithograph

Fine Art, London, Art Gallery, Hangar Three, FA05398

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

A New Brand of Brilliance (from 'Bunk' portfolio) by Eduardo Paolozzi, lithograph

Fine Art, London, Art Gallery, Hangar Three, FA05399

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