Showing 31 to 40 of 67 search results

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. / Please contact Museum Copyright Officer or Collection Curator before using this asset

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

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.

Eduardo Paolozzi print from 'Bunk' portfolio - science fiction magazines, Consult Collection Curator before use. / Trustees of the Paolozzi Foundation, licensed by DACS 2022

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.

Eduardo Paolozzi print from 'Bunk' portfolio - science fiction magazine cover, Consult Collection Curator before use. / Trustees of the Paolozzi Foundation, licensed by DACS.

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

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

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.

Bunk! Eduardo Paolozzi., RAF Museum

Wind Tunnel Test (from 'Bunk' portfolio) by Eduardo Paolozzi, screenprint and lithograph

Fine Art, London, Art Gallery, Hangar Three, FA05391

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.

Bunk! Eduardo Paolozzi., Consult Collection Curator before use.

Man Holds the Key (from 'Bunk' portfolio) by Eduardo Paolozzi, screenprint

Fine Art, London, Art Gallery, Hangar Three, FA05397

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.

Bunk! Eduardo Paolozzi., Consult Collection Curator before use.

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