Issue 82 September 2014
2 Front and back covers have been selected from the entries for the Jim Mackendrick Trophy
Front cover this issue is from “Target of
Opportunity” by T. Jones
Editorial Hello and welcome, In this issue sees the final instalment of Rob Knott’s look at lighter than air flight in art, and our thanks go to Rob for his efforts. Thanks also to all our contributors who make this magazine possible. It is a sad thing to see the end of an art society, especially a national aviation art society. P32 for details. Apologies to Ron Sargeant, Les Owen and Charles Thompson whose contributions will unfortunately have to wait for the next issue. Thanks especially to Ian Burns who not only sent an article but offered his book as a prize for the best WW1 naval aviation - details to follow. Happy and successful painting, Dave.
Rear Cover Image Is another cropped painting - This year’s Jim Mackendrick Trophy Winner “Falling Heroes” by Chris Jones
If any member has an objection to the Society holding Membership records on a computer and using the information for society purposes deemed suitable by the Committee, eg; the production and distribution of a membership list, please notify the Editor
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Contents A look at the East Lancs Railway Society week-end
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Lighter Than Air with Rob Knotts
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Introducing Roger Markman
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A Grand Day Out at Barton
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The Jim Mackendrick Trophy Competition
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Ian Burns on the East Indies and Egypt Seaplane Squadron
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Meeting August 2014
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Richard’s Route and his tribute to the Dakota
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Peter Nield looks at the use of reference images
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Meeting July 2014
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Sad demise of the ASAA
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Diary Dates - keep up to date
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4 East Lancs Railway Society Weekend Exhibition
This event took place over the period Sat., Sun., Mon., 24th, 25th and 26th May. Approximately 25 paintings were displayed in our regular small carriage on platform 2 together with various prints and society magazines. Stewarding was provided by members but no other members were observed on site over the three days. The weather was generally very poor over the first two days and it was noticeable that several of the regular exhibitors either failed to appear or left early. This year, the usual fly-over by an aircraft of the B of B Flight was noticeable by its absence. Sales were confined to prints and magazines but yielded ÂŁ42 for MAvAS. Our thanks to Exhibition Officer Peter Grove for looking after the organisation.
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LIGHTER - THAN AIR ART Rob Knotts concludes his look at some art inspired by lighter - than - air craft. During WWII the US Navy operated blimps on convoy protection anti-submarine patrol operations in the Atlantic, Pacific and later in the war in the Mediterranean. A total of 5,550,000 hours flown covered 356,000 Atlantic and 20,300 Pacific operational flights, escorting 89,000 ships. Not one ship escorted by US Navy Blimps was lost to submarines in WWII. A series of watercolours painted by Adolf Dehn in 1943 portray many aspects of the operations. The painting above left is described as: "A blimp landing as it settles to earth; the airship has made another landing." The painting on the right is described as; "Engines humming, these Navy airships set a course over their great high-ceilinged hangars after casting off on a morning flight. Air-borne, the airship is at home in the elements." Adolf Dehn's paintings are part of the US Navy's art collection. Returning to cartoon art. I recently found the following cartoon, the work of a US Navy blimp pilot Bill Aldrin, on a postcard on the internet. Sadly Bill has taken his final posting. The cartoon shows a delightful scene of the activities associated with landing a US Navy blimp.
Even now ropes are dropped from a blimp as it comes into land. They are caught 6 onto them and use them to slow the by the ground handling crew who hold blimp and haul it down. The blimp's captain is shown barking out orders, the co-pilot is distressfully worried. Disarray prevails on the ground as the handling crew struggle to achieve the objective of slowing the blimp. Someone on the left, who looks like a US Marine, quizzically views the whole escapade with apparent disbelief.
This article would be incomplete if it ignored the work of cutaway drawing artists. Many wi argue that they are no works of art in th conventional sense stressing that they ar only technical drawing However, they offe compelling images fo their technical detail an the abundance o information. They als show how things work Over the years Fligh Magazine has created truly unique collection o technical cutaway drawings. The followin drawing, a work of art i itself, shows the gondol of a blimp
ill ot he e, re gs. er or nd of so k. ht a of ys ng in la
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T h e illustration left is an artist's impression of a modern airship delivering cargo to a remote Arctic site. '�Future Airships in the Arctic “ The State of Alaska, USA is seeking a practical approach to transporting large and heavy supplies together with fuel, building material and goods to remote communities in Arctic regions where transport infrastructure and facilities are extremely limited. Possibilities of using cargo airships are being studied. Similar opportunities exist in Canada and Russia.
My artistic efforts focus on cartooning. I will end my article on lighter-than-air art with a very modest contribution of my own. In WW1 Royal Naval Air Service World crews flew long sorties in cramped conditions offered by Submarine Scout blimps. Doubtless on-board catering facilities were restricted while meals though adequate were boring. My cartoon depicts an opportunity grasped to alleviate the culinary boredom. I have attempted to portray certain milestones in lighterthan-air development and flight together with examples of application and artistic representation. My own artistic efforts focus on cartooning. Consequently, some examples of cartoon art have also been portrayed.
This article is dedicated to airship enthusiasts and aviation artists the world over.
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Featuring
Roger Markman
I share my birthday with the RAF and was born twenty-nine years exactly after it came into being. I grew up in the shadow of “the war” and like most of my generation so much conversation seemed to be about it. My father had been in the RAF and had served as a mechanic specialising in aircraft instruments, bombsights and auto pilots. Most of his service had been with Bomber Command. I cannot remember a time when I was not interested in aircraft. As a very young child I much preferred my small Dinky model aircraft to any other toys including expensive train sets, the “must have” toy for little boys (and big little boys) of the era. I clearly remember making my first plastic construction kit, a Spitfire, with my father's help. It was a big step forward in becoming totally “air minded”, to use an antique phrase of the time! This was boosted by RAF Flying Review magazine, plentiful supplies of Biggles books and The Observers Book of Aircraft. At the time I had memorised every one of the aircraft in the Observers book and added the latest copies as they came out annually. William Green’s “Famous Bombers and Fighters of WW2” were also essential reading. If only they had run O and A Levels in “Aviation Studies” at my school I would have passed with top marks!
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I was unaware of what is now known as aviation art, until several lifetimes later when I saw a Gerald Coulson print of a Mosquito in an art shop window by sheer chance. This was around 1982. That got me hooked and I have not stopped being fascinated by aviation art since. It was around this time that I also first joined MAVAS and began a thirty odd year association. All I know about aviation art I have learned mainly from discussing the subject with aviation artists. Books and magazines/journals on the subject are still about as rare as hens' teeth although our magazine plus those of GAvA, ASAA and CAAA are a great source of learning for me. I have also, to a large extent, become a self taught art critic. Writing my book “Classic Aircraft in Aviation Art” back in the nineties taught me/forced me to look very deeply into a picture and analyse just how the artist has constructed the composition and what he intends the viewer to do by way of responding to it. When asked to host “crit” sessions I really do enjoy doing this enormously! I am also tremendously proud that the members of MAVAS honour me in this way and derive some interest and benefit in what I have to say. This also extends to my being invited to write articles such as this one for our journal and to give ad hoc lectures. Over the years I have lost count of the number of articles and lectures that I have given to MAVAS. Of all of them the one on the history of the spin was, in my opinion, the very best. My passion for aviation art has brought me into contact with some amazing and fascinating people, artists and pilots. This is not to mention as well some fascinating aircraft. I cannot end this little article without mention of a certain matter my very good friend Peter Nield often reminds me about! Why am I not more active in terms of having a go at painting/drawing myself??????? In one way I am actually!!! I am an addicted doodler and all my doodles are of aircraft! Unfortunately my rate of progress in terms of drawing a Lancaster or Spitfire, for example, I would rate at plus or minus 3% over my entire lifetime! I know where the pencil should go, but it seems to have a will of its own! This is borne out by my art results in school, pretty poor! If I have any talent anywhere it might just be for writing! In school I was sometimes top in English!
Per Ardua Ad MAVAS!
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A Grand Day Out Off we went to the City Airport Family Day at Barton Airfield hotly pursued by the Great British Public.
Peter Grove, Peter Nield, Dave Steeden and myself (Colin Taylor) were there for the setting up. This year, instead of the blister hangar, we were in a marquee by the control tower, setting up on grass. This proved to be a bit cramped, as was the entire site with vehicles close to both entrances, but the fine weather meant that visitors comprised a steady stream rather than the crowd which would have been the consequence of rain showers! Terry Jones and Roger Rumbold provided additional paintings and prints. Unfortunately no paintings were sold and only one print and a few photos went out the door. The Woodford Avro stand opposite was giving them away!
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Dave Steeden became the star turn by returning every so often with a new pen and ink sketch of everything from helicopters and hamburger stands. Now that is what aviation artists should be doing! Being a Family Day there was face painting and funfair rides, an animal menagerie and a Harley Davidson corner, car geeks in old crocks and babies in strollers. But there was also an Airshow! There were aerobatics from a Pitts Special and an Extra and formation flying from pairs of RV8’s, Yaks and Jungmanns. An autogyro did a surprisingly spirited display with smoke and the BBMF Dakota did a flypast.
So a Grand Day Out and an opportunity to publicise ourselves but no sales and no new members. Lets call it a no-score draw!
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Attendance was seventeen including Hon Member and Adjudicator Richard Jackson, a veteran who was on Juno beach with the 234th Field Company of the Royal Engineers. Twenty paintings were entered for the competition and the winner selected by Richard was ‘The Beginning of the End’, an excellent painting by John Williams portraying C-47s dropping airborne troops. Richard also gave a brief and moving description of his role in the invasion and the subsequent progress of 234 FC through France, Belgium and into Holland. He also brought with him a copy of his service record, a map drawn by his RE Company showing their route through Europe and a Christmas Card given to Richard's Company by the council and people of Roosendaal and Nispen in Holland. The appraisal of paintings that followed was chaired by Colin Taylor. Altogether a very successful meeting. The new paintings were assembled on the display panel next day by Colin Taylor, Peter Grove and Keith Stancombe. Unfortunately, the winning painting was voluntarily withdrawn later for personal reasons.
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Catalina Engine by J. M. MacKendrick
Meeting – 3rd June, 2014
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Havocs of the 94th by P.W.Grove
Target of Opportunity by T. Jones
Ware Vandals by D.Bates
Ultimate Winning Painting
“Falling Heros� By Chris.Jones
Normandy Bound by P.G.Nield
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It’s On Boys - D-Day by D.J.Taylor
Airspeed Horsa, Benouville Bridge by C.G.Taylor
D-Day - Mix 1 by R. Sargeant
Call sign “V” for Vincent by S.Kerry
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Here We Go
France D-Day 1944 by K.J.Stancombe
D-Day - Mix 4
by R. Sargeant
Eyes of the Western
D-Day - Mix 3 Getting Prepared by W.Leeming
by
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o by J.Shevlan
A Field in Normandy by R. J. Rumbold
n Approaches by D.Bates
D-Day - Mix 2 by R. Sargeant
R. Sargeant
Tank Busters
by T.Jones
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“There was also a seaplane sqn of the RNAS.” Ian Burns takes my sentence and expands it to nearly five fact filled pages
‘Raid on El Afule’ is by C R Fleming-Williams. Whilst an exciting impression, with a nice rendering of the Short 184 in the foreground, the only thing remotely accurate about it is the layout of the station at El Afule. There were only six Shorts in total and only four attacked the station. The lead machine had its fin painted red, otherwise all were in basic clear doped fabric finish.
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‘Short Over Damascus’ is by Donald Maxwell. Sadly, I don’t know the identity of the Short, so cannot comment on whether it was clear doped or PC10/12 finish.
“There was also a seaplane sqn of the RNAS.” Indeed there was, but it was actually a squadron of ships with seaplanes attached, the East Indies and Egypt Seaplane Squadron (EIESS). Its writ ran from the mouth of the Dardanelles, south then east along the Turkish coast, returning west along the coast of Palestine, past Egypt and as far west as Sollum and Bardia. From its base on a sandy island at Port Said, its reach extended through the Suez Canal, down the length of the Red Sea to Aden and beyond into the Indian Ocean to the Chagos Islands south of the equator. To cover this vast area there were never more than four seaplane carriers, all converted merchant ships, and a handful of obsolescent floatplanes. The EIESS formed at Port Said early in 1916, shortly after the evacuation of Gallipoli. The first ships were two German prizes Anne (ex-Anne Rickmers) and Raven (ex-Rabenfels). They had previously worked with a French seaplane squadron of Nieuport monoplanes, but that is another story. They had been given austere conversions and were each able to support just two or three floatplanes. Joining them were Ben-my-Chree (ex-Isle of Man Steam Packet Co) and Empress (ex-South Eastern and Chatham Railway Company), which had been fully converted with large boxy hangars and workshops aft.
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They could house up to six floatplanes. Ben-my-Chree came down from Gallipoli. Empress came out from Queenstown in Ireland, to be sent up to act a aviation guardship at the Dardanelles, remaining there until after the loss on Ben-my-Chree. The final ship was City of Oxford, after a chequered career as dummy battleship and balloon ship, she joined the squadron in August 1917. The EIESS used only Short 184 and Sopwith Schneider and Baby floatplanes. The Short 184 floatplane, a large single-engined two-seater, was the most widely produced and used British floatplane of the war. It was intended as a multi-role reconnaissance, bomber and torpedo aircraft.
Short 184, 842, which was piloted by Flt Cdr C.H.K. Edmonds on the first successful aerial torpedo attack on 12 August 1915.
The little Sopwith floatplane was never designed to be a fighting machine, evolving from a racing machine. Attempts to fit a machine gun had a Heath Robinson element about them. It was a willing horse, however, and could often be found with a Lewis gun or two pointing out at odd angles, or overloaded with bombs. Sopwith Schneider, 3722, a typical example of a type that served aboard Ben-my-Chree throughout her career as a seaplane carrier.
Neither were racehorses, the Short cruised at around 65mph and could not be coaxed over 75mph, even in a dive. The Sopwith could manage 80mph, on a good day. At dawn 25 August 1916, Ben-my-Chree, Anne and Raven, with their escorts, came together off Haifa. They sent six Short 184s and four Sopwiths to attack the Hejaz Railway at El Afuleh Junction, some 25 miles inland from Haifa. It was the largest single raid carried out by naval aviation during the war. They left station buildings and munitions burning, a locomotive and much rolling stock destroyed or damaged. Along the line south of the junction another train and rolling stock were wrecked, the rails and embankment damaged. Other than a few bullet holes the attackers suffered no damage.
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HMS Raven and HMS Ben-my-Chree at Port Said in 1916. The island base of the East Indies and Egypt Seaplane Squadron can be seen behind the two ships.
This was not the case a few weeks later. At dawn (It was always at dawn!) on 17 September two flights, each comprising a Short with two Sopwiths as escort, left Ben-my-Chree to spot the fire of naval guns on to targets around El Arish. One flight returned safely, but the second was intercepted by a Rumpler C.I from Fliegerabteilung 300 ’Pascha’. The German two-seater overpowered the Sopwiths, shooting one down in flames and forcing the other down to the sea. During the combat the Short was able to escape to the shelter on the ships’ anti-aircraft guns. Flt Lt John Thearsby Bankes-Price was the only loss the Squadron suffered during its operations. Castellorizo is a small, arid Greek island, its harbour opens to the north and is overlooked by the Turkish coast less than two miles away. Ben-my-Chree had used it as a base on several occasions prior to her arrival on the morning of 9 January 1917. She took up moorings alongside several French naval ships, planning to work with them over the next few days. However, at 2.10pm a hidden Turkish battery on the mainland opened fire. Within minutes Ben-my-Chree was burning fiercely and had to be abandoned, a total loss. No lives were lost and very few were injured, but it was a severe blow to the EIESS. Empress returned to Port Said and the squadron continued operating. More bombing raids were made against the vital railway supplying the Turkish armies at the Front. On 28 February 1917 a Short from Anne made an epic reconnaissance flight from Beirut to Damascus and back. The round trip was over 150 miles, almost all of it over land inhospitable to floatplanes. By early 1918, Anne and Raven had been returned to merchant service and Empress was preparing to sail to Gibraltar, only City of Oxford remained active. Early in February she took aboard four Shorts, and their crews, and set sail through the Suez Canal to join the Red Sea Patrol blockading the Yemen coast. It was the last operation of the EIESS and lasted from 13 February to 29 March. During this period the four
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Shorts made 58 flights, totaling 51½ flying hours, and dropped fifty-two 65-lb and sixty-three 16-lb bombs. By the end of the operations, one Short was out of service and the three remaining Shorts, although nominally serviceable, were noted as being unfit for inland flying. Three days after City of Oxford’s return to Suez the RNAS and RFC were combined into the Royal Air Force. On that day the East Indies and Egypt Seaplane Squadron effectively ceased to exist. Eventually, it became part of 64 (Egypt) Wing, RAF. City of Oxford, the last seaplane carrier of the squadron, became the seaplane depot ship for Egypt command until ordered to the UK, to pay off, on 14 September 1918. The East Indies and Egypt Seaplane Squadron was full of colourful characters but, with limited space available, I have named only one. All is revealed, including many photographs, in my book on Ben-myChree and some follow up articles in the Journal of Cross and Cockade International (www.crossandcockad e.com).
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Meeting 5th August 2014 Attendance at the meeting was twelve, including Hon Member Richard Jackson and Paul Rose. Essentially a sketching night in Air and Space Hall. Len Sakowicz presided over the Sketching session which, by concensus, resulted in a three way split with Ron Sargeant, David Steeden and Roger Rumbold sharing the glory. It seems obvious that most of not only need practise but also tuition. The Committee hopes to remedy this as soon as possible.
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Richard’s Route At the June meeting Richard Jackson acted as adjudicator for the latest MacKendrick Trophy competition, for which the subject was D-Day Aircraft. As many of you may know, Richard landed with the Canadians on D-Day as part of a Royal Engineers Company and the society thought he would be a particularly appropriate adjudicator for this subject. In addition to selecting the winning painting, Richard gave a brief but fascinating and moving description of his role in the invasion and the subsequent progress through France and Belgium into Holland by the war's end. Richard had brought with him copies of his service record, a map drawn by his RE Company showing their route through Europe and a Christmas Card given to Richard's Company by the council and people of Roosendaal and Nispen in Holland. This card carries the signatures of many of the members of Richard's Company. With Richard's permission, we thought that these documents would be of interest to all society members, particularly at this time.
THE DAKOTA
As Adjudicator at the D-Day competition on 3rd June 2014 my choice of the Dakota a respect of we, the ground forces whose variety of needs it served. This was a big factor
During the first days of the invasion a storm arose in the channel, leaving us having us dropped canisters of food items as well as ammunition etc., which kept us going. It`s service was an invaluable factor in the early days ongoing success. It certainly bec speed of 230mph. When the air strips we built became available, it`s use to carry casualties to England in women to land in France after D-Day. The Dakota served honourably and valiantly, being remembered for it`s part in the Allie Division at Arnhem.
Used in every theatre of the war, Dakotas earned their place in the affections of their R. Richard S. Jackson
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aircraft, when discussing the Air War of that day and beyond, reflected the increasing in the success of the campaign as a whole.
sed up the food packs etc., carried to serve us for a while. It was then that the Dakotas
came the workhorse of our forces with it`s crew of three, armament nil and maximum
ncluded three W.A.A.F. members to tend to the wounded. These were the first service
ed Airborne Operations in September 1944, the gallant failure of the British 1st Airborne
.A.F. aircrews.
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To Copy, and What to Copy That is the Question
The other evening I realised that my mind had gone blank again. This realisation was, in itself, quite an achievement. Things were clearly going down the pan and in an effort to avoid becoming a cabbage, I resorted – as one does on these occasions – to rambling thoughts. These gradually settled upon the matter of outsourced images and whether or not these should be used in our artwork. It could just as easily have been a fantasy trip about Harriet Quimby but that`s the luck of the draw. Anyway, at one time or another, I guess that we have all used photographs of aircraft to assist us with the images in our paintings. This allows us to create accurate images in the right perspective without recourse to projection methods. With perspective in mind, images and backgrounds from different photographs can be mixed and matched without offending the eye. Frequently, photographs are the only reference we have to gain an accurate idea of what our subject looks like. The aircraft in question might not exist any more, any rare example might be miles away in a museum and we are hardly in a position to pursue our own air-to-air shots. So, what about our photograph source material? I suppose if we are playing around in our own homes it doesn`t matter what photograph we use. In order to hone our skills, we can employ images selected from a book or the net without upsetting anyone. However, if we are going to place the resulting work in the public domain – say on our panel, or in the magazine or on our website, we have to be very careful because of copyright issues, especially when the work is for sale. Using our own photographs is OK, but using someone else`s photograph is another matter. We can always ask permission to use the image and if that is granted by the copyright owner, who may not necessarily be the photographer, then we can go ahead and copy the image in whole or in part. In this situation it is usual to acknowledge the source. It appears that UK copyright remains with the photographer until 70 years after his or her death so presumably, any purchased copyright would last 70 years from the date of purchase.
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However, if we decide to ignore copyright issues – possibly because the source is not shown - and employ someone else`s photograph for work intended for the public domain, it makes sense for us to ensure that the selected image and/or background are significantly varied to avoid association with the original. In other words, use outsourced material as a guide only. It is the opinion of this writer that this last stated principle should be incorporated as rule in the MAvAS Constitution. In this way, any copyright issues involving MAvAS can be avoided. The same applies when it comes to copying the work of other artists. Historically, copying the work of the great Masters has always been an excellent way to learn how to paint and lay out a composition. That is quite OK in private but once that copied work appears in the public domain in one`s own name – and for sale - it is open to copyright issues. The aforementioned principles are the same and permission from the artist, or copyright owner, is required before one can go ahead. If, for whatever reason, the artist is unavailable a rider can be included after the title on the painting which states ‘After Artist X’, whoever Artist X might be. This is one means of acknowledging that one`s painting is a copy of, or in the style of, the work by the original artist. It is, however, by no means fireproof. Try this on with a copy painting of Mickey Mouse and you will soon find the men in black from Disney knocking on the door! Again, in the opinion of this writer, any copyright problems for MAvAS that result from the use of another artist’s work can be avoided by incorporating a simple rule in the Constitution that states, “Artwork intended for the public domain must not be copied, either in part or in its entirety, from artwork by other artists” So those are my thoughts, no more, no less. You may have different ideas but I think you will agree that it is a subject that needs to be addressed – maybe at the next AGM? The following references might be of interest :1. Copyright Notice: digital images, photographs and the internet http:/www.ipo.gov.uk/c-notice-201401.pdf 2. Copyright Law - The Duration of Copyright http:/www.copyrightservice.co.uk/copyright/p10_duration 3.
Copyright, Designs and Patents Act 1988 http://www.legislation.gov.uk/ukpga/1988/48/contents
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F2A
SS ai
Godwin Brumowski
Aviatik BI - 2 a/c
Phรถnix DII
The subject for this meeting was WW1 Air Operations, a power point presentation by Peter Grove and Colin Taylor. Twelve members attended. First, Peter addressed the historic and military aspects of the Italian Campaign, giving details of the various aircraft involved together with the notable aces of the day.
Lohner Type M
Macchi M5
Phรถnix CI
Ansaldo A1 Balilla
Francesco Baracca
Next, developm the period progress aircraft an We are su WW1 avi beyond th
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A in dazzle scheme
irship with BE gondola HMS Ben-My-Chree off Dardanelles
Short Folder S.64 Sopwith Schneider
Ark Royal (1914)
Colin described the ment of the aircraft carrier in d and commented upon the made in the design of the nd airships involved. ure this will raise interest in iation and extend the action he Western Front. HMS Furious
HMS Engadine
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The Australian Society of Aviation Artists Inc. (ASAA) 25 years ago Alan Swann was in the UK and visited the Guild of Aviation Artists where the topic of an aviation artists society in Australia was raised with Guild members. Alan was an avid aviation enthusiast and, on his return home, immediately took appropriate steps and ASAA was born The initial group met at the Australian Sports Aircraft Association with Ray Honisett as President. Ray, a teacher at the Royal Melbourne Institute of Technology, provided much tuition and inspiration to needy members. Later, meetings were held at the home of John Leeden ASAA had members in Australia, New Zealand, France and Israel and was blessed with great artists like Ray, who has paintings in the Australian War Museum in Canberra, John Leeden and Steve Hayen, both winners of the prestigious Royal Australian Air Force (RAAF) Heritage Award. As people aged, membership began to fall and in spite of efforts by the Committee this trend continued to a critical level. This obliged ASAA to cancel its legal incorporation with the Department of Justice, Consumer Affairs Department and a special AGM was held to implement the action. Cancellation requires surplus funds to be distributed after all/any debts are paid and unless this is done by the organisation itself the Department of Justice will handle the distribution. Consequently, our funds were given to the like-minded Australian Aviation Restoration Group (ARAG), to whom we are affiliated. It was agreed the funds would support the restoration of their Beaufort bomber. A sponsor board will include ASAA amongst those who have contributed to this worthy cause. As for those of us who remain committed to aviation art, we shall keep meeting informally to pursue our interests and to chew the aviation fat for as long as we can. In closing I would like to thank the Manchester Aviation Art Society for their support and assistance over the years and we who continue, albeit informally, look forward to hearing of your activities via your wonderful publication, the MAvAS Magazine. Sincerely Brian Evans
22/6/2014
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Meetings are held from 7-00pm to 9-30pm in the Conference Room in the Air and Space Hall at the Museum of Science & Industry in Manchester on the first Tuesday in the month unless otherwise stated.
Sat/Sun 20th/21st September Southport Air Show Exhibition Officer S. Ridgway assisted by P. Grove
Tuesday 7th October Avro Competition Subject – WW1 Aviation Adjudicator – T.B.A.
Tuesday 4th November Aviation Related Still Life Sketching
Saturday 8th November Workshop – 10-00am to 4-00pm Medium – Acrylics A Demo by Guest Artist, Carl Jacobs
Tuesday 2nd December “Market Place” Annual seasonal event Bring items for sale or swap 10% on sales to MAvAS
Editor: Dave Bates Tel: 0161-284-3467 Email: david-bates@ntlworld.com Society website: www.mavas.co.uk