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Mavas

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The Magazine of the Manchester Aviation Art Society

MAvAS

Issue 68 - March 2011


contents

Page

Meeting Report - December

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Barton Sketch Day

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Member profile - Chairman John Williams

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Big Draw

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The Digital Revolution and Aviation Art

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Meeting Report - February MAvAS Trophy Competition 12 An Irreverent Look at Perspective Part 3

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February’s Workshop

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Man Made Clouds

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Isle of Man Battle of Britain Commemorative Stamps

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A Grand Day Out

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Meeting Report - July Sketch In

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For Your Diary

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Front cover .. “Lightning at Duxford” by Charles Thompson Editor: David Bates 9 Busk Road, Chadderton, Oldham OL9 6SF Tel - 0161 284 3467 email -david@gallery9b.com 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 See us at ........www.mavas.co.uk Issued free to Members - Extra copies available from the Hon Sec - 0161 764 3928 Members 60p others £1.00


editorial Well its good to be back again as my third stint as Editor. Back in the mists of time when the magazine was in it’s black and white infancy, I was asked to take over for one issue when Jim MacKendrick, founding Editor became ill. That was the start of my association with the magazine, which has involved not only editing but churning out the pages on a lazer printer, having the living room floor strewn with piles of pages, then stapling and trimming to size. What luxury now! The enjoyment of working out lay-outs is still there along with the luxury of some colour for the printed version, but the freedom of design that comes with the Pdf edition is fantastic. Please forgive me if the next few issues are experimental in layout as I look at the possibilities.

The experimentation starts here with a double spread lay-out. For the Pdf version please set your Acrobat Reader for it. In the toolbar at the top click on View down to Page Display then across to Two -Up. This should display the front cover by itself then the inside pages in twos as in the printed version. I hope you will continue to both enjoy and contribute to our magazine.

Dave PLEASE NOTE - All members MUST make arrangements to collect paintings if they cannot attend on panel change evenings. A phone call to another member should suffice. PAINTINGS NOT COLLECTED WILL BE LEFT TO THE TENDER MERCY OF THE MUSEUM STAFF.


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t etty sigh Not a pr

Our Society Reporter Reveals All Shocking Statistics of the Traditional Christmas Meeting On Tuesday 7th December, 2010, the regular monthly meeting in the Conference Room was distinguished by having the lowest attendance since the Society was formed some 26 years ago. A grand total of five members turned up, namely Chairman John Williams, Treasurer Peter Grove, Secretary Peter Nield, Refreshments Officer Ron Sargeant and stalwart Peter Flitcroft. Athough it was bitterly cold, there was little local snow and the meeting was not cancelled because of bad weather. Still, the event ran its full course and the time was pleasantly spent discussing matters of art and the future of the society. Refreshments prepared by Ron provided a festive atmosphere and, as can be seen in the image below, a convivial evening was enjoyed by one and all. Note – Dumbo Peter does not yet know how to activate the self timer on his new Panasonic digi camera so he ain`t on it!


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Oops!

A cautionary Tale

Generally a shambles. We were inside a hangar. We used the society stands. Because members took little notice of prior efforts to create a Commitments List and limit entry to about 45 works we ended up with far too many paintings. Some ended up being displayed on the floor and artists end up hacked off. What a surprise! With no Commitments List it was almost impossible in the time available to decide what was what and to number and list the display. In the end I we sold 1 painting and some magazines. The 10% commision promised to charity North West Air Ambulance amounted to almost ziltch so, for shame, we decided to donate ÂŁ25. Then we all went home. Rare Viewing of our President

Oh look, an aeroplane!

City Airport (Formerly Barton Airport) Open Day and Fly-In on Sunday 12th September 2010.


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Featuring Jo Joined MAvAS on 2nd December, 2003. Joined Committee at AGM on 4th Became Vice-Chairman at AGM on 3rd March, 2009. Became Chairman at

Having taken no interest in art whilst at school I decide in 1990 to amend this a After sorting out the mysteries of colour mixing etc and going through Landsc to add my long term passion for all things connected to Aviation to the paint After persevering on my own I decided to join MAvAS and get involved with could also help to improve my techniques and bring out ideas for future proje My preferred mediums are Gouache and Acrylics on paper and canvas.

John was asked to choose two paintings for this article and I was The Beaver and the Comet are amongst my favourite aircraft. As chose his “Preparing the Launch� as a background image ....Ed.


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ohn Williams March, 2008. AGM on 2nd March, 2010.

and take up painting as a hobby. capes and Waterscapes I decided brush. h like minded people who could

delighted with his choice. I enjoy it as a painting, I

left “Beavering Around”

above “First across the Atlanic”


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The Big One may be forgiven for thinking the title refers to the prolific Charles Thompson. However in this case it refers to the international event of the same name. Members may have seen it advertised, seen it happening or even taken part. The Organisers state - October is Big Draw month in twenty countries and on five continents. Launched in 2000, this annual initiative has grown from 180 events in the UK to over 1500 worldwide. The Campaign aims to use drawing to connect visitors with museum and gallery collections, urban and rural spaces – and the wider community – in new and enjoyable ways.

Charles reports - For t term holiday week in schoolchildren to visi show. Staff are on han out paper and drawin display boards are soo The RAF Museum ha and right from the in GAvA have been invi children and to do det are selected to attend and two others usually

Charles wowed the crowds with his Concorde at the RAF Museum in 2008

Recently concern was expressed at the almost geriatric state of the membership Painting and drawing in public can be very entertaining perhaps with some goodw Museum. Though a firm commitment would be required


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Draw

the last four or five years, during the school half n October, the RAF Museum opens its doors to it the museum to draw and paint the aircraft on nd manning desks at various locations handing ng materials to the children, and several large on festooned with their results. ave always had a close affinity with the GAvA nauguration of the Big Draw, members of the ited to attend with a mind to helping out with the tonations. Each year two or three Full Members on each of the five days during the week and I y attend on the Wednesday.�

In 2010 Charles chose the Mew Gull as his subject, including the visitors on the gallery. His young admirers, above, just allow us a glimpse of his easel.

p. Perhaps this is a way to try to address this. will on both sides it could be arranged with the

Charles at work in 2009


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The Digital Revolution and Aviation Art Roger Markman discusses some implications The digital revolution that we are all living through shows no sign of slowing up and will probably continue for many years to come with largely unforeseen consequences. For some this is a terrifying prospect that seems to be sweeping away all previously held certainties with impunity; for others it is a golden age, a cyber gold rush where anyone with an idea or a dream can stake a claim in cyberspace. The potential rewards in this new world are real and far beyond that of the old time gold prospectors dreams. Striking it rich in this cyber world can mean wealth beyond the dreams of avarice! It is not only the dream of wealth as such that drives this revolution, as with so many earlier revolutions it is also the dream of freedom as well. It is this aspect that I shall be discussing here. Hitherto if anyone wanted to publish anything aimed at a wide market (as oppose to a mere sales leaflet) it was essential to go through a publisher. This applied to music in both recorded and sheet form, all books and also art prints. The publisher took a monitory risk and had to invest in what was at the end of the day a pile of stuff! This pile needed to be manufactured in the first instance, then warehoused until orders came for some of it from distributors/shops. Advertising was crucial and this involved further expense. The production and distribution of information (which is the nature of books, music and art prints) was also very slow and inefficient. Potential customers might not get to hear about items that might well interest them to buy. The catalogue was one means of disseminating information but this also needed to be advertised and distributed! The cyber revolution has changed everything forever! Music publishers are fighting to survive! The download is not the only threat to their existence. Most symphony orchestras in the world today


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(including the Halle in Manchester) can and do publish their own CDs.The recording technology can be hired and the resultant recordings edited on a PC. They then have the ability to sell tracks as downloads on their own website and also sell the CD proper from their website. There is no investment in pallet loads of CDs stored in a warehouse, no advertising expenses of any note; it is all almost cost free and risk free! Above all there is no need for the middleman, the hitherto indispensable publisher! Exactly the same is true of books and art prints but in these areas the revolution is still in a much earlier phase. The book revolution is waiting for the book-reader machines (effectively very hi resolution portable PCs) to catch on in terms of popularity and quality of image/print display. This can only be a matter of a very few years. One other aspect of books is little known but of great relevance here. I recently bought a book in Waterstones here in Manchester n the life of Sir Edward Elgar. I had to order it as they didn’t have a copy in the store. When I asked how long I would have to wait I was told that it would arrive in a few days, as the publishers would have to print one for me!! The publishers would have to print one for me!!! Yes there is now the technology to store a book on a computer hard drive and when even a single copy is required it is nevertheless economic to print off one single solitary copy and bind it! The publishers are not going to go down without a fight and this is one way they are doing so! And what of aviation art in both book and print form? Our Society can now if we wish, given the new technology, assemble a book of aviation art on our website and sell it from there. We could if we wanted to set up the PayPal account system or given the relatively small numbers involved, just limit payment to old fashioned cheques or similar sent by snail mail. Such a book could also combine the audiovisual dimension. It could include a DVD of the artists being interviewed and also filmed whilst


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actually painting perhaps also describing their work and what effects they are trying to achieve in the painting. The book might also be designable by the customer, that is the customer selects the chapters and topics they want and lave out others. Thus if you don’t have an interest in jets, leave them out and buy extra biplanes perhaps! All this also of course also applies to the production of art prints. In conclusion it is worth noting that above all this new revolution is highly empowering. Our Society can try these things using its web site at no cost and no risk. There is no limit to what can be done.

The only limit in the digital age is the limit of the human imagination!

2011 MAvAS Trophy Competition The start of the evening was somewhat disrupted because the usual arrangements for car parking and access to Air and Space Hall had been altered without anyone letting us know. Hopefully, these changes will be clarified before the AGM on 1st March. The meeting eventually got under way and 19 “General Aviation” paintings brought in for the MAvAS Trophy competition were assembled and subsequently appraised by Roger Markman. The winner, by consensus, was Eric Yuill for his impressive acrylic painting of a Gladiator of 72 Squadron. Unfortunately, the Trophy was not available on the night so Chairman John Williams, quick on his feet as usual, presented Eric with a token chipped mug. The real Trophy will be presented to Eric at the next meeting.


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Above ..Ace Appraiser Roger Markman at work. Below .. A worthy winner, Eric Yuill with his prizewinning Gladiator of 72 Sqdn.


“Gladiator of 72 sqdn.” Eric Yuillmavas 14

“And Lightening by Nature” Keith Stancombe


“English Electric Canberra” Peter Carter “Curtis to the Rescue” David Bates


“Dawn of the Dogfight” Terry Jones

“Dams Raid” Terry Farrimond


“Bolivian Beauty” Ron Leigh

“ ‘Raider ” David Bates


“Lightning Red” Ron Sargeant

“Shock Boom” Ron Sargeant


“Camel Ruined” Ron Sargeant

“Camels” Ron Sargeant


Clockwise top right

“I Wish I a Museum John Wil

“Smoke o John Wil

“ATA La Gwen Yu

“Tomcat” David Ba

“Blackbir Eric Yuill


e from

I was in m” lliams

on Go” lliams

ady” uill

” ates

rd” l


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“Lets get these Guys Home” Tony Bramham


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“Mistaken in Defence� Ossie Jones


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By now, the Blob Buddies were having a grand old time with their new eyes, looking here, there and everywhere without any problems. Archangel Gabriel, having recovered from God`s Master Stroke when he invented perspective via the Lens, had now become decidedly curious. He had overheard the Blobs discussing things like Eye Level, Horizon Line, Vanishing Point, Line of Sight, Cone of Vision, Centre of Vision, Centre of Interest and so on and, as Top Angel, Gabriel felt he had to find out what was what. So off he went to the Workshop again, all revved up as usual, to check it all out with the Boss. Typically, God was having his a break. “Oh no, not you again” he sighed, “What`s rattled your cage?”. Gabriel explained that, in his position, he should really know more about perspective. Gabriel looked so miserable that God was overcome with compassion and took pity on him. It was in his job description anyway. “Sit down old chap” he said “I`ll put the kettle on and we`ll go through the list. You hit me with a topic, and I`ll put you straight – OK?” “Right on” said Gabriel giving God a High Five.

“What’s rattled your cage?”

Gabriel started to panic. Trying to remember some of the words he had heard from the muttering Blobs, he blurted out ‘Eye Level’. “Right” said God “Just remember this Eye Level is everything. Get a grip of this and you`ll be OK. It is one of the main datums in my revolutionary Mk.1 compact eyeball design and can be considered as an imaginary line that passes across the centre of the eye at the front and I have arranged for it to sit sideways at 90º to the vertical centre line of the skull. As you know, I have now given the Blobs two eyes, one on each side, and I always do my best to position them in the skull so that Eye Level corresponds to a line joining the centres of the two eyes. Try to imagine you are looking out edgewise on along a big flat plate stuck on the front of your eyes, disappearing out to infinity.


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“That`s really cool” said Gabriel, “but I am still rather confused”. God winced, anticipating the worst. He was dead right. Gabriel came out with the inevitable question, “so what`s the ‘Horizon Line’ – isn`t it the same as Eye Level?” Wearily, God sighed and put down his beaker. Taking a deep breath, he said “Let`s get this sorted out once and for all. This word ‘Horizon’. or ‘Horizon Line’, is a complete red armadillo (he hadn`t invented herrings at this point). It is simply the line we can see where the earth or the sea meets the sky. In itself, it is just an object like anything else - a turnip, an aardvark or a Sopwith Camel, but its unique significance is that it lies square to my mysterious Magical Gravity Force that pulls things towards the centre of the Earth. When the Blobs were out and about, they, like you and many others, assumed that Eye Level and the Horizon were one and the same thing. The Silly Billies didn`t realise that because they were gravity bound and standing upright, their Eye Level and the Horizon lined up together purely as a matter of coincidence. Then, one day, one of them tripped over a frozen tomato and landed flat on his side with one ear in the grass and one ear pointing to the clouds. In that position, he discovered that the familiar Horizon was now sitting at right angles to his Eye Level. Not the same thing by a mile - Big Deal! I mean, ask yourself what happens in space. There are no Horizons out there - no up, down or sideways - but there is always Eye Level. So, wherever you are and wherever you are looking, think only of the Eye Level Datum line sitting across the centres of your two eyes. Some people refer to it as the ‘Eye Level Horizon’ which is by far the best way to describe it”.


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“OK, Boss” said Gabriel, “I think I can now understand the definition of Eye Level Horizon but what is its purpose?” “Well”, said God “that is all to do with the perspective system of my Mk.1 eyeball. In order to provide a perception of distance, the lens at the front of the eye is designed to make all parallel lines converge to a point of infinity. If a group of parallel lines sits parallel with your Eye Level Horizon they will all converge at infinity somewhere on Eye Level Horizon. If the group of parallel lines sits parallel with your Eye Level Horizon and to your direction of sight, they will all converge at infinity on Eye Level Horizon at the dead centre of where you are looking”. “Gosh! that`s a bit complicated” said Gabriel. “Rollocks!” said God, becoming exasperated “You wretched little Angel. You are just too idle to read what`s put in front of you – just like those guys in MAvAS - now read it again!” Gabriel, suitably chastised, read it again and, to his amazement, everything rapidly became clearer. “Rollocks!” said God, becoming exasperated By now, God was sorely wishing that the mithering Gabriel would sling his hook. He needed some quick action so, taking the initiative, he said “Before you go, is there anything else you are wondering about that the Blobs discussed? What about ‘Vanishing Points’”. “Brilliant!” said Gabriel “Just the ticket”. “Well” said God, “As I have just said, my compact new perspective system makes parallel lines converge steadily as they head into the distance until they come to a point at infinity and disappear, POOF! Hence the term Vanishing Point. Good name, eh!”. “Is that it?” said Gabriel, somewhat taken aback by God`s brevity. “Too right it is!” said God “ now sod off and get some harp practice in! If you want to know about Line of Sight, Centre of Vision, Cone of Vision and Picture Plane, you`ll have to come back in the next magazine.” With that, God pushed Gabriel out of the workshop, heaved a sigh of relief and put the kettle on again.


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Workshop – Saturday 5th February, 2011

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The Workshop on 5th February was poorly attended, mainly because of unavoidable last minute changes and atrocious weather. Nevertheless, Ron Sargeant brought materials and ideas along and the three members present enjoyed constructive exchanges on matters relating to watercolour. Keith Stancombe`s sketches were particularly revealing of his talents with the combination of graphite pencil, permanent marker and Papermate felt tipped pen. The results can be seen in the accompanying images.


MAN MADE CLOUDS mavas

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There are not many aviation paintings that depict the modern cloud that is created by us humans. That is the contrail. Though a sky crisscrossed by contrails is very common sight. I said modern because, apart from the occasional astronomical object entering our world`s atmosphere in past ages that made a trail marking its passage, the contrail only came about because we humans began to fly. Our earliest flights did not produce the phenomenon as the aircraft of the time could not fly high enough, height being one of the requirements needed to produce a contrail. The height to fly at and cause one is usually above twenty five thousand feet up to around forty thousand feet. I have never seen a statement of when the first contrail was recorded but they began to be observed around the time of the First World War as aircraft were developed with powerful engines and wing designs that could enable the aircraft to climb to higher altitudes. This man made cloud is condensation of the water vapour in an aircraft`s engine exhausts created by the engine`s combustion process. At the altitudes mentioned above, the temperatures are somewhere around –30ºC to –60ºC. Therefore, when the hot gases in the engine exhaust hit the cold air, the moisture content cooling rapidly forms droplets of water which instantly freeze as ice crystals in the trailing path of the aircraft. The appearance and duration of contrails are dependent on atmospheric conditions. The temperature of the air, if slightly to the warmer end of the range, will cause the intermittent trail, appearing and disappearing as the aircraft flies on. If cold and moist enough the trail is sharply defined The look of the contrail can be affected by varying conditions, the movement of air layers dropping or rising and winds blowing through. If the air is unstable


S

mavas trails 29 forming can form teeth and look a at the aircraft`s altitude, little like a zip. Others appear to zig-zag and twist. New sharp trails alongside old trails or crossing one another can soon fill the skyscape and when conditions are right they can spread to become cirrostratus layers covering the whole sky. A real man made cloud. Now at the beginning I said that not many artists depict contrails in their pictures. This is a pity because they can be very beautiful and may add some interest to a composition. I myself have done a few pictures using contrails. A few have been dominated by contrails. So in coming exhibitions I hope some of you artists will rise to the challenge. Get practising contrails. My pen sketches show you the idea.

Looking through the availlable paintings, I found Ron Wong’s Concorde which uses con trails to stunning effect

Contrails are actually one of my pet hates. When we get one of those beautiful cloudless mornings you can guarantee some idiots in big jets will crisscross the sky and before lunchtime the sun has gone away with the holiday makers who say “One just has to go abroad to get the sun.” WELL ONE WOULDN’T IF ONE STAYED AT HOME! ...Ed.


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By Roger Rumbold and Keith Woodcock

In 2009, the Isle of Man Post Office commissioned Keith Woodcock to produce the artwork for the stamps that they issued in April 2010 to mark the 70th Anniversary o the Battle of Britain, and with their kind permission the images of the stamps are reproduced above. These are available through their website

http://www.iompost.com/stamps The Presentation Pack, the brochure for which Keith has also illustrated, can be orde through the website for ÂŁ4.95 plus post and packing. Keith describes the process leading to the eventual issue of the stamps.

"It all starts very early, about 12 months prior to the stamps being issued, so the initia invitation call from the Isle of Man Post Office came around April or May 2009. The wanted suggestions for a set of 6 stamps to commemorate the 70th anniversary of the


of

ered

al ey e

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Battle of Britain. Having worked with them on 3 previous stamp sets I knew the sizes•and formats which they used, so selected a long format for the illustrated area and decided to use cropped images as the aircraft would be too small at postage stamp size if the whole aircraft was shown.•The subject itself (B of B) suggests combat so it was a matter of•selecting types to show. Meanwhile, Air Commodore Graham Pitchfork had been asked to produce the•descriptive information for printing in their•brochures, etc. so I worked very closely with him to sort out actual battles•in which the representative types were involved. This proved quite difficult, particularly trying to establish correct colour schemes and many hours were spent on research. Eventually we had agreement and I then proceeded to produce coloured sketch designs and layouts to submit for approval by the Post Office. This was given and final artwork had to be completed by early September 2009, even though the stamps were•not to be issued until April 2010. This•is because the final artwork has to have Royal approval and•sufficient time has to be built into the programme in case the artwork is rejected. Happily we were not in that position. Proofs of stamps and brochures were duly sent for my approval ( the brochures, covers and cards also contain other Battle of Britain images of mine) and any alterations or amendments discussed. The stamps were finally issued on 20th April 2010 to coincide with other similar celebratory events." Keith was also responsible for the artwork on the following earlier sets of Isle of Man stamps. “100 Years of Naval Aviation”. Issued in January 2009 and still available from the IoM Post Office. “Royal Air Force 90th Anniversary”. Issued in January 2008 and still available from the IoM Post Office. “Centenary of Flight”. Issued in 2003, but no longer available.


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By Peter Grove

In casting around for a title for this report of the visit by your Secretary and I to the Hepplestone Gallery I decided to shamelessly steal that of another great work of art, even though it is of the moving picture art form rather than our more stationary variety (unless we decide to introduce the video installation as a category in our competitions). Which of the two of us most closely resembles Wallace and which Grommit I must leave up to you, the reader, but I do have something of an enthusiasm for cheese. None of the above has anything to do with the recommendation received by Peter Nield that it would be worthwhile to visit the Hepplestone Fine Art Gallery. The recommendation came from Peter’s G.P. and doctors have such daunting power at vulnerable times that it is always a good idea to do as they say. Peter kindly invited me as a companion on our day out and, wary of the sinister power of the medical bush telegraph, I readily agreed. The gallery has recently moved from the comparative urban jungle of Eccleston to the rural idyll of Heskin Hall Farmers’ Market and Craft Centre at Heskin near Chorley. It is actually a pretty part of the country and a pleasant drive, with attractive views, including an extended view of the back of one of Mr. Ferguson’s tractors travelling at a speed very nearly half that of Ron Sargeant’s bicycle. Peter had made contact with the gallery’s owners (through the ubiquitous G.P.) and we were made very welcome on arrival including cups of coffee and a guided tour of the main exhibition, comprising a selection of Rolf Harris’s work. We were fortunate in that although the exhibition had officially finished the day before almost all of the works were still in place. Both Peter and I were very struck with the tremendous verve and freedom of the paintings, together with the vibrant use of colour, particularly a fearsome acidic green which appeared in a number of paintings in both shadows and highlights and yet didn’t overwhelm the painting as a whole.


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Hamersley Rocks by Rolf Harris There was a considerable range of subjects including outback and city landscapes, portraits, animal paintings (including a wonderful lion head) and intimate indoor scenes. Speaking personally, my favourite was a rather untypical painting of a couple talking on a wet London street, a painting that shone with reflected light. The works on show were all for sale and included signed prints and originals. In addition to the main exhibition, the gallery covered a number of other artists’ work including paintings and sculptures. Clive Hepplestone kindly provided us with several catalogues which Peter handed out at the last meeting and these give a good idea of the range of work at the gallery. Specific exhibitions of other recognised artists are planned and it is well worth keeping tabs on the gallery’s web-site (see details below). As Clive noted, it is unusual for the gallery to show aviation art but he also said that people do come in with strange requests and he now has our contact details in case any of these requests involve aeroplanes. I think that both Peter and I enjoyed our visit and would recommend it to other members, for the variety and quality of the art available, either as a specific visit or perhaps as part of a grand day out (Haigh Hall Country Park is close by). The details of the gallery are as follows: Hepplestone Fine Art Ltd. Heskin Hall Farmers Market and Craft Centre, Wood Lane, Heskin, Nr. Chorley, Web-Site: www.hepplestonefineart.com Lancs. e-mail: sales@hepplestonefineart.com PR7 5PA Tel: 01257 451121


A rather late report onmavas the 34July Sketch In. Despite a reasonable turn-out, the sketch in could be more accurately described as a talk in for most members. I was no better, as this was a rare visit I made the most of renewing friendships and talking to a prospective member - a distinct failure as he not been seen since. (Sorry Guys)

Dave Steeden managed to beat off the opposition to win the prize.


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Tuesday 5th April, 2011 “Aviation Cartooning” An illustrated talk by Rob Knotts

Tuesday 3rd May “Aviation in Modern Art” An illustrated talk by Peter Grove

Saturday 7th May “Workshop – Skies in Different Media” Conference Room 10-00am to 4-00pm Headed by Ron Sargeant

Sat, Sun, Mon - 28th, 29th, 30th May “Exhibition at ELRS Bury Wartime Weekend” Exhibitions Officer – Peter Grove Bring suitable work along – attachment by hooks and string. Stewarding will be required

Tuesday 7th June “Jim MacKendrick Trophy Competition” Subject – “Colourful Military Aviation” Adjudicator TBA Appraisal of work by Ossie Jones

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


mavas 36 HP.42 Horatius by Derek Lomas

Signed by members of 617 sqdn. Also by Derek


MAvAS march 2011  

Magazine of the Manchester Aviation Art Society

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