Showing 21 to 30 of 66 search results

Winged Figure by Elisabeth Frink, bronze

Fine Art, London, Art Gallery, Hangar Three, FA20048

From her student days of the 1950s, to the late 1960s, Frink sculpted various winged figures which resembled men and birds as hybrid creatures. These were influenced by her childhood experiences of the Second World War.

Copyright restrictions prevent us from showing this image

WRAF Technician Servicing a Helicopter at Shawbury by Boyd & Evans, crayon on paper

Fine Art, London, Art Gallery, Hangar Three, FA00495

Fionnuala Boyd and Les Evans work inter-dependently as an artistic partnership, at times drawing on the same leaves of paper to realise a shared vision. Photography is central to their practice. In the studio, when away from the subject, they based their drawings on photographs, and today photography is their main medium.

WRAF Technician Servicing A helicopter at Shawbury by Leslie Evans and Fionnuala Boyd, pencil crayon on paper, Boyd & Evans / RAF Museum

Study for the Lightning by Humphrey Ocean, graphite on paper

Fine Art, London, Art Gallery, Hangar Three, FA00917

‘The project spanned two years, beginning in January 1987 after the Museum’s then Curator of Art, the late Tony Harold, got in touch. He had liked my painting Lord Volvo and His Estate (1982, Wolverhampton Art Gallery) and thought about how I might translate my treatment of the automobile and men into depicting RAF aircraft and crew.

Copyright restrictions prevent us from showing this image

The Lightning by Humphrey Ocean, oil on canvas

Fine Art, London, Art Gallery, Hangar Three, FA00991

A decade after his musical explorations with singer Ian Dury’s band Kilburn and the High Roads, painter Humphrey Ocean was commissioned by the RAF Museum to represent the English Electric Lightning F6 aircraft at RAF Binbrook just before its withdrawal from service.

Copyright restrictions prevent us from showing this image

Winged Figure III by Elisabeth Frink, bronze

Fine Art, London, Art Gallery, Hangar Three, FA20039

From her student days of the 1950s, to the late 1960s, Frink sculpted various winged figures which resembled men and birds as hybrid creatures. These were influenced by her childhood experiences of the Second World War.

Copyright restrictions prevent us from showing this image

The Test House by Terence Cuneo, oil on canvas

Fine Art, London, Art Gallery, Hangar Three, FA05567

Painted in June 1944.

The Test House by Terence Cuneo - painting of a wind-tunnel at the Royal Aircraft Establishment, Farnborough, Hants, Consult Collection Curator before use. / RAF Museum

Hawker Harrier by Bryan Organ, oil on canvas

Fine Art, London, Art Gallery, Hangar Three, FA05592

Two years after the RAF Museum opened to visitors, it commissioned Bryan Organ, known for his depictions of famous people, to paint a ‘portrait’ of the Hawker Siddeley Harrier aircraft. Several years later, he also drew the Museum’s founding Director, Dr John Tanner.

Hawker Harrier by Bryan Organ, oil on canvas, Bryan Organ and the Redfern Gallery / RAF Museum

Icarus III by Michael Ayron, bronze

Fine Art, London, Art Gallery, Hangar Three, FA20038

Although the career of Michael Ayrton – painter, sculptor, writer – defied neat categorisation, classical antiquity and its relevance to modern life was a recurring theme in his work.

Icarus III, bronze by Michael Ayrton, 1960, The artist's estate / RAF Museum

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

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