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Issue 81 June 2014

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EDITORIAL

If any member has an objection to the Society holdingMembership records on a computer and using the informa-tion for society purposes deemed suitable by the Commit-tee, eg; the production and distribution of a membershiplist, please notify the Editor

Front cover this issue is DavidBates’ painting “”Hawkeye”“At school a prefect caught meshowing a friend a GrummanTracker in my Observer’s book.To my delight and amazementmy punishment was to draw hima picture of it The Grummanfamily have been favourites eversince..”

Rear Cover ImageIs another croppedpainting “Flight Deck”

Hello and welcome,Rob Knotts has the penultimate episode of hisserial on lighter than air art - possible subjectsfor the Avro Trophy? And Neil Fraser givesus an insight on how his methods of workingare changing in this digital age. I had agreedalong with Colin and Peter, to talk aboutdifferent theatres of the First World War.Embarrassingly I now find that I will be atWoodall Spa so I thought I would include abrief look at the Eastern war against theOttoman Empire in the mag. This also meanspeople who can’t attend meetings might getsome ideas.I found it a fascinating area and the article cangive only a very brief look at a vast number ofscenarios for paintings, I hope it will stimulateyou to produce some memorable work.Due to a slight hiccup we feature 2 artists inthis issue- which should make it twice as good

Happy and successful painting

Dave

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EDITORIAL CONTENTSLighter Than Air with Rob Knotts 4

Neil Fraser gives an insight on how he works 10

Alternative work evening 14

Introducing Keith Stancombe 16

March meeting the AGM 18

May meeting - drawing the figure. 19

Portrait of the Artist as an Old Man 20

Not the Western front! Dave Bates goes Middle East 22

Diary Dates - keep up to date 27

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On 12 May 1926the Norge, asemi-rigid Italian-built airship,carried out thefirst flight overthe North Pole.The expeditionwas the brainchildof the famousNorwegian polarexplorer andexpedition leaderRoald Amundsen.The airship was

designed and piloted by Italian Army Colonel Umberto Nobile, anaeronautical engineer. The American explorer Lincoln Ellsworth, whoalong with the Aero Club of Norway financed the trip was also a memberof the expedition. On reaching the North Pole the Norwegian, Americanand Italian flags were dropped from the airship onto the ice. The pictureabove shows a painting of the airship and the flags.

The Norge took off from Spitzbergen, flew across the North Pole landedin Alaska. Intense rivalry between Amundsen and Nobile resulted in apublic quarrel after the trip, made worse by Amundsen accusing Nobileof incompetence. Nobile, frustrated by Amundsen’s attitude andtreatment, announced that he would make another polar flight, thistime under the Italian flag. Nobile's attempt in 1928 in 'Italia' ended ina crash landing. Ugo Matania portrayed the aftermath of the crash inan illustration for the Italian magazine 'Il Mattino Illustrato'; the paintingon the right shows Nobile's crew seeking help by radio.

Rob Knotts continues his fascinating series looking at how lighter than air craft have been portrayed over the years.

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On 12 May 1926the Norge, asemi-rigid Italian-built airship,carried out thefirst flight overthe North Pole.The expeditionwas the brainchildof the famousNorwegian polarexplorer andexpedition leaderRoald Amundsen.The airship was

designed and piloted by Italian Army Colonel Umberto Nobile, anaeronautical engineer. The American explorer Lincoln Ellsworth, whoalong with the Aero Club of Norway financed the trip was also a memberof the expedition. On reaching the North Pole the Norwegian, Americanand Italian flags were dropped from the airship onto the ice. The picture

The Norge took off from Spitzbergen, flew across the North Pole landedin Alaska. Intense rivalry between Amundsen and Nobile resulted in apublic quarrel after the trip, made worse by Amundsen accusing Nobileof incompetence. Nobile, frustrated by Amundsen’s attitude andtreatment, announced that he would make another polar flight, thistime under the Italian flag. Nobile's attempt in 1928 in 'Italia' ended ina crash landing. Ugo Matania portrayed the aftermath of the crash inan illustration for the Italian magazine 'Il Mattino Illustrato'; the painting

LZ 127 Graf Zeppelin, a German-built and operated rigidairship, was perhaps the most famous airship of all. Itoperated commercially from 1928 to 1937. The airshipwas named after the German pioneer of airships,Ferdinand von Zeppelin. During its operating life, theairship made 590 flights covering more than a millionmiles (1.6 million km). It was operated by a crew of 36officers and men.

Rob Knotts continues his fascinating series looking at how lighter than air craft have been portrayed over the years.

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One groundbreaking flight made by the Graf Zeppelin was a research trip to the Arctic. Thepolar flight took one week from July 24–31, 1931 during which the Graf Zeppelin travelledabout 6,600 miles (10,600 km). In 1929 the Graf Zeppelin flew around the world in a 21day trip. It landed in Moscow during the voyage and inspired the Soviet Union's AirforceMinistry (Osoaviahim) to publish plans to build a fleet of 7+ huge zeppelins. The SovietUnion was then under the firm guidance of Stalin who was determined to make his countryfirst in everything and to show what Communism could accomplish.

The fleet was to be named after Lenin (1870-1924), whose cult of personality was propagated at that time. A famous and importantpre-WWII Communist propaganda poster was used to promote workers and factories to collect funds for the fleet. The poster wasreleased in 1931. Several small experimental zeppelins and 4 big ones were built. In the period 1932-1937 these airships weretransporting loads all over the country. However, rapid development of fast airplanes which proved to be an excellent weapon againstsluggish zeppelins brought the project to an end.

'Graf Zeppelin'

A research trip to the Arctic.

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One groundbreaking flight made by the Graf Zeppelin was a research trip to the Arctic. Thepolar flight took one week from July 24–31, 1931 during which the Graf Zeppelin travelledabout 6,600 miles (10,600 km). In 1929 the Graf Zeppelin flew around the world in a 21day trip. It landed in Moscow during the voyage and inspired the Soviet Union's AirforceMinistry (Osoaviahim) to publish plans to build a fleet of 7+ huge zeppelins. The SovietUnion was then under the firm guidance of Stalin who was determined to make his countryfirst in everything and to show what Communism could accomplish.

The fleet was to be named after Lenin (1870-1924), whose cult of personality was propagated at that time. A famous and importantpre-WWII Communist propaganda poster was used to promote workers and factories to collect funds for the fleet. The poster wasreleased in 1931. Several small experimental zeppelins and 4 big ones were built. In the period 1932-1937 these airships weretransporting loads all over the country. However, rapid development of fast airplanes which proved to be an excellent weapon against

A dramatic, original oil painting on canvas byAlexander Kircher shows a scene of the Graf Zeppelintransferring passengers to the Russian icebreakerMalygin off Franz Josef Land during its famous Arcticvoyage. The Graf Zeppelin casts a giant shadow in thepale sunshine in the icy arctic environment.

8 In late 19th Century Paris,Toulouse-Lautrec wascommissioned to design aseries of posters promotingthe Moulin Rouge. Since thenart has been used to sell aproduct. Advertising tourismand travel benefit from posterart. For example, in 1935 the'German Hamburg- AmerikaLine' commissioned AntonOttmar to design a travelposter advertising travel fromGermany to South America in3 days using the GrafZeppelin airship. The posteron the left shows the GrafZeppelin, and a map of theroute from Friedrichshafen toBuenos Aires.

His Majesty's Airship R100, knownsimply as the R100, was a privatelydesigned and built rigid British airshipmade as part of a two-shipcompetition to develop a commercialairship service for use on BritishEmpire routes as part of the ImperialAirship Scheme. The other airship,the R101, was built by the British AirMinistry, but both airships werefunded by the Government. The R100was built by the Airship GuaranteeCompany, a subsidiary of VickersArmstrong. Right is the "The R100"song sheet music..

9In late 19th Century Paris,Toulouse-Lautrec wascommissioned to design aseries of posters promotingthe Moulin Rouge. Since thenart has been used to sell aproduct. Advertising tourismand travel benefit from posterart. For example, in 1935 the'German Hamburg- AmerikaLine' commissioned AntonOttmar to design a travelposter advertising travel fromGermany to South America in3 days using the GrafZeppelin airship. The posteron the left shows the GrafZeppelin, and a map of theroute from Friedrichshafen to

The painting on the above shows R100. It was used as anillustration in 'Ships of the Air', a book by award winningchildren's book author and illustrator Lynn Curlee. Thebook was published by Houghton-Mifflin in 1996. Thepainting was the title page illustration.The R100 first flew in November 1929. It made a seriesof trial flights and a successful return crossing of theAtlantic in July–August 1930, but following the crash ofR101 in October 1930 the Imperial Airship Scheme wasterminated and it was broken up for scrap.Novelist Nevil Shute Norway was Deputy Chief Engineerof R100, and his experiences colour his novels and ofcourse are covered in his autobiography “Slide Rule”

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More than one way to skin a cat ?

When Neil Fraser retired to his native Scotland he kept in touch andand recounts how his methods of setting up the elements of an aviation

painting have evolved.

Leaving Manchester in 2004 was a bit of a wrench - glad to get backto the land of heather and porridge - but do miss our get togethers andthe extra drive the Society timetable gave our creative streaks.There are a few aviation artists around up here but distance isolates usand makes the concept of a similar society here a bit unlikely.Still working mainly with Acrylic on canvas but picked up somecomputer related ability along the way.Acquiring a digital camera in 2004 pushed me to get to grips withPhotoshop Elements - the photo editing software that went with it.Somewhere along the way editing photos turned into creating virtual artoriginals . The set of Lightning profiles was a kind of test to see whatcould be done. They came out quite well I thought. Getting the coloursto appear correct in print was a tricky exercise. I didn‘t pursue my notionto create prints after that.I’m not entirely won over to digital art for scenic works. Gareth Hectorhas recently set the bar very high in that field and it is near impossibleto distinguish his original oils from his digital works butdigital/conventional artists of his quality are few and far between.Photoshop remains a favourite tool for quick composition try outsThe internet provided me with various Art forums to socialise withother artists and one of these led several of us into the world of virtual3D creation.Fortunately a magnificent free programme called Blender enabled us tobenefit from a tutorial given by Kevin, one of the forum members andtake our first steps into this new world. It was a steep ,frustrating learningcurve but worth the effort. Looking back now I doubt if I would have persisted if Kevin had notheld our hands through the initial blunders. In truth, mastering the basicsof virtual model building isn’t that hard , you just need the patience anddetermination to fall over, get up and do it again and again.

Now given 803 Sqn colours it is thebasis for a four ship over the DornochFirth . A rough Photo shop versionbased on a 3D render prior to an Acrylicpainting.

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The pencil Scimitar drawingis an APM basedcomposition try out.

Initially the Scimitar wasplain grey and formed thebasis for this Acrylic ofone tossing a dummy RedBeard Nuke at Cape Wrathrange.

The fleet grows.

Now given 803 Sqn colours it is thebasis for a four ship over the DornochFirth . A rough Photo shop versionbased on a 3D render prior to an Acrylicpainting.

The latest addition.

Some colouring inattempts 3D style

The additionof crewmemberswas anothertemptation.

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a) Apache - Acrylic on canvas -a/c from a photo taken by afriend at Spadeadam and reset in Afghanistan . Scenery - imagined,based on an episode in the book “Apache”.

b) RAF Valley Gnats - Acrylic on canvas - from a 1/72 modeland own landscape photo.

c) Hunter GA9 - Acrylic on canvas board - from a 1/48th model.

d) I still use APM, it was the basis of this Blenheim V painting.

e) APM also helped create the F14 pair.

f) Photoshop Lightnings.

g) I’ve built up a small collection of virtual models.

h) The first painting I made based on 3D models was thisacrylic of Merlin engined Beaufighters with a Martinet tug overBerwick. The outcome was well received which encouraged meto continue with 3D builds as artists dummies when required.

Learning this new skill opened up the exciting possibility of setting upvirtual scenes and the ability to play god and move elements around atwill to find the best composition.One problem with 3D is the temptation to make the model better. Thereis no need to produce more than a basic grey model yet I’ve spent hoursand hours learning how to apply texture (paint and markings)). It’s satisfyingto achieve a realistic looking finish but I suspect my time would bebetter spent painting on canvas ! The addition of crew members wasanother temptation I succumbed to.Each system, APM or 3D has it’s drawbacks. APM is time consuming insetting up the initial plot and it can be frustrating trying to fine tunean angle to suit. 3D modelling takes time to create the basic model butis more flexible in allowing quick re arrangements. Probably both systemsonce mastered, are fairly equal in terms of time required .

The Paintings

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a b

c d

e f

g h

Meeting – 4thApril, 2014

Arley Hall by Roger Rumbold

Chain Maze by David Steeden

Waiting for Spring by Roger Rumbold Phil’s Chariotby Peter Grove

Last Day of Steam by David Steeden

Immortality by Keith Stancombe

Noted that figure studiesand portraiture are

subjects that we shouldpursue in the future.

Arley Hall by Roger Rumbold

Phil’s Chariotby Peter Grove

Self Portrait by Colin Taylor

Sandy’s Brother by Keith Stancombe

Catherine and Susanby Terry Jones

Mary Pickford by Peter NieldEleven examples work in variousmedia were brought along forappraisal. These included an abstractpainting of rusty chains, a derelictsteam engine, a side-car racing scene,a tractor, four portraits, a selfportrait, a sketch of Arley Hall and aSpitfire (whoops!).

My interest in aviation and depicting aircraftgoes back to childhood days. At juniorschool I would be asked by the teacher todraw aeroplanes in front of the class in chalkon the blackboard - a fact I find hard toremember but my old classmates tell me it`strue! I suppose you could call them early demos.

In the 50’s and 60’s my lust foraircraft took me to the popular‘R.A.F. at Home’ displays and twiceI hitch hiked to Farnborough andback. The prototype Harrier was afantastic sight along with other typessadly no longer flying.Art School beckoned in the early60’s, being shown by Royal Collegeof Art Graduates their variousmethods, mediums and approaches.

Landscapes and still life were my preferred subjects, never having theconfidence and ability for life drawing from models. But today I`m sure Icould do flesh justice.After further art education I worked for25 years as an artist/visualiser inadvertising agencies and an in-housestudio, producing visuals and cameraready artwork. This was mainly forindustrial products and services,business to business rather thanconsumer promotions. I loved theadvertising world and the people in it.

Introducing -

Keith Stancombe

The early 90`s recession hit the advertisingindustry hard. Being made redundant at 50,and an old man in a young man’s game, Ispent the last 15 years of my working lifein industry, much of it on a production line– something I always wanted to do.I joined MAvAS a few years ago afterseeing their exhibition at Manchester`s IanAllen Bookshop, being amazed that,locally, theirs was a group for such aspecialised segment of the art spectrum.

Aviation-wise, I have always admired amainly anonymous group of people. Theyare the men and women who designed,built, flew and serviced aircraft andphotographed them for us to paint anddraw. I stand humbly at the end of thisillustrious group, sketchbook in hand, andthank them for all my subject matter.Finding MAvAS, it`s members and

artworks very inspiring, my preferred mediums are mainly acrylics,watercolours and pencil, depicting real and imaginary aircraft for my own

pleasure, covering any era frombiplanes to Blackbirds.Boy, I really like paintingplanes and am pleased to havewon 2 trophies, JimMacKendrick and Avro, withboth entries done on theTuesday of the competition.Must be a name for it –procrastination!

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A.G.M.

Meeting – 4th March, 2014

The nine members who attended tonight`s Annual GeneralMeeting met the minimum requirement for an AGM Quorum,thereby allowing an overall state of ‘no change’ to theConstitution or Elected Officers to be approved. The sketchingsession that was to follow the AGM did not take place asgeneral discussion regarding the future direction of MAvAScontinued just beyond 9-00pm when the meeting concluded.

Noted that we maintained the new pattern of leaving thepremises by 9-30pm in conjunction with the Friends Tech Crews

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The meeting was a life sketching session with memberPeter Grove acting as model. An initial sketching time often minutes was followed by another twenty minutes aftera brief break. Six of the eight members attendingproduced drawings of Peter. Work was varied and selfconfessed non-artist, Roger Markman, is to becommended for at least having a go!

Concerns were expressed about the poor attendance at meetingsin recent times and it was agreed that a questionnaire would becirculated in an attempt to discover why this should be happening.

Apologies from our staff photographer, he became so excited he forgot tophotograph the model. We had to scour the crowd shots.

Roger

Colin

KeithPeter N

Terry

Peter F

( and an ItalianFuturist and four

others.)

A few years ago Joyce saw anadvert for Oldham College, a freeAdult Art Access course, a year, 16hours a week. I had drawn andpainted all my life but could do withextending - and it was free. Isigned up. It took over my life. 16+ hours in college and almostevery waking hour working athome. The course evolved into athree year BTEC, but Governmentcash ended at two. How about apre-degree course - a bit intenseconsidering health issues, try afoundation degree, more relaxed.Then, no more messy art, try atop-up degree in digital art.

Joyce said NO! to theMaster’s Degree.

Editor Dave Bates takes time off totalk about his artistic background.

Some of my aviation paintings in various media

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Force D was sent to protect British oil interests in the southof Persia. On achieving objectives it was thought a furtheradvance was needed to protect Basra, then to further toprotect Amara, then further to protect Kut, then on toBaghdad. General Nixon commanded Force D from Delhiand the War Office from London. The Ground commander was General Townsend. He had fought a commendablecampaign up to Kut, despite being pushed further and further up the Tigris. He hadrequested considerable reinforcements, (the climate and disease had decimated hisforce), before advancing, but had received non. The Turks had been heavily reinforcedhowever and his further advance came up against strong defences and he was forcedto withdraw back to Kut where he was surrounded. Despite supply drops of food andmedical items, when a relief force failed, he was forced to surrender.

WW1 Aviationbut please

Not the Western Front!

A few Bristol Scouts

A steady trickle of BE2c s

A few Caudron C3 s

Maurice Farman Shorthorn

Seaplanes from R.N.A.S.

A handful of Martinsyde

MESOPOTAMIABetween, (and sometimes under) the Tigris and the Euphrates rivers.

The marshes around Basra were crossed by converted canoes, stern-wheel riverboatswere used as troop ships and 4.5 inch naval guns were mounted on barges

A large amount of cavalry, Indian or Arab, which actually charged, bullock cartambulances, water carts or any type of carts were pulled by mules. Not forgetting RE8s

23Aircraft had proved invaluable for reconnaissance in a previouslyunmapped land. Photography was high on priority list when thefighting forces were re-organised. In the wet season the rivers werehigh and used by naval craft of all types and the RFC HQ usedspecially converted barges as a darkroom and a maintenance base.In the dry season cavalry and armoured cars roamed the desert,incidentally rescuing downed pilots, including a special deeppenetration raid. 90 miles behind Turkish lines, to fiindLt.Col.Tennant the Air Commander downed by ground fire in anew DH4.Logistics was a big problem with ships unable unload due to a lackof manpower, and sick and wounded packed on barges and smallsteamers of all kind waiting to be transferred to hospital ships orthe vast tented hospital camps.The intense heat in summer as well as it’s enervating effect on mencould have a devastating effect on material, wings warping,covering stripping off wings, cooling systems adequate for Europeoverheating frighteningly quickly.

30 Sqn had 3 Spads in late 1917but ended up flying mainly RE8’s63 Sqn RE8 and BE2C

A few Bristol Scouts

A steady trickle of BE2c s

A few Caudron C3 s

Maurice Farman Shorthorn

A couple of ShortSeaplanes from R.N.A.S.

One or two Voisins

A handful of MartinsydeScouts (above) &Elephants (below)

Later some DH4s

Not forgetting RE8s

What the Arabs left of the Caudron of Lt.Metz, Metz and observer Lt. Burn werekilled after a running fight of 4 miles - 30sqn’s first fatalities.

Enemy aircraft sighted!

Mobile wireless vans kept HQ andfield commanders in the loop.

Indian field engineers built anarrow guage railway to

speed up the flow of materials.

Invaluable as fast mobilefirepower.

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Imperial Trooper

EGYPT and PALESTINE Hot and dry.

Egypt was occupied by Imperial forces and the Suez Canal was the mainfocus. Originally defended by half a dozen Farmans and French seaplanes,in early 1916 the 5th Wing of the RFC was formed with 14 Sqn and 67 Sqnformed from 1 sqn Australian Flying Corps, bothflying BE2Cs and Bristol Scouts. There was also aseaplane sqn of the RNAS. Squadrons usually sent

detached flights to support groundforces defending the Canal,engaging Turkish forces across theSinai Desert, and against theSenussi religious brotherhood inthe Western Desert.This last was action in a vast theatre, with BE2cs flyingreconnaissance for cavalry, camelry, and armoured carsand ranging

across to Libya managing torescue the survivors of twotorpedoed ships. By the way,Lawrence of Arabia gallopedacross all three theatres of war.

Facing East, theTurks were pushing across theSinai Desert and both Squadrons were busy photographingand bombing enemy installations, especially wells andpumping equipment. Like Mesopotamia, there were twostages. General Murray, withhis HQ at Cairo’s Savoy Hotel,built the infrastructure - railwaylines and water pipelines, butwas rather ineffective

offensively - slowly pushing the Turks backto the Palestinian border. He launched twooffensives to break through at Gaza butsuffered heavy losses.

Lawrence

Imperial Camel Corps

R.R. Armoured Car

Indian lancers

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Australian Light Horse

In June 1917 he was replaced byGeneral Allenby who immediatelyemptied the Savoy and moved his HQto tents on the Palestinian border. Hedemanded more men and aircraftespecially latest types to combatthe Turks (really Germans), who

were givenan intermittent quantity of the latestaircraft. The War Office sent BristolFighters in Sept. 1917 to 67 Sqn. andformed 5 new Sqns. in Egypt with amixed bag of old types and new whichenabled mapping and reconnaissance toproceed unmolested and the identifiedtargets to be bombed and strafed.

Allenby’s offensive pounded Gaza and sweptinto Beersheba and led to a sweeping advanceand every plane capable of flying, bombedand strafed the retreating Turks in co-operation with cavalry, camelry, armouredcars, Austin and Ford light cars, andLaurence’s raiders, backed by infantry provedirresistible. Bad weather slowed the advanceand allowed the Germans to re-equip withnew aircraft, however the increasing numbersof Bristol Fighters and SE5As held thebalance and Allenby’s renewed offensive

swept on and the Turkssigned an Armistice inOctober 1918.

Camels carried water, petrol, food,everything that was required

Light Car Patrol

Bristol M1c

Australian LightLawrence enters Damascus

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Sailor in the Desert:The Adventures ofPhillip Gunn, DSM,RN in the MesopotamiaCampaign, 1915

The National Army MuseumBook of the Turkish Front1914-18: The Campaigns atGallipoli, in Mesopotamiaand in Palestine

Wings Over the Desert:In Action with an RFCPilot in Palestine 1916-18

Steel Chariots in the Desert:The First World WarExperiences of a Rolls RoyceArmoured Car Driver withthe Duke of Westminster inLibya and in Arabia withT.E.Lawrence

With the Imperial CamelCorps in the Great War: TheStory of a Serving Officerwith the British 2nd BattalionAgainst the Senussi andDuring the PalestineCampaign

History of no.30squadron RAF. Egyptand Mesopotamia 1914to 1919

111Sqn formed Aug 1917 in Egyptfrom a nucleus of 14 Sqn. were givena mixed bag of older types and BristolFighters, then in October SE5a and Jan1918 Nieuport 17,23 and 24. 113 Sqn. Formed in Egypt, inAugust. with BE2Cs and RE8 got themixed bag of Nieuports Feb. 1918.

142 Sqn formed in Egypt Feb 1918BE12a, Martinsyde G102, RE8,AW.FK8, BE2e144 Sqn Formed Egypt March1918Be2e, BE12a. Martinsyde S1, RE8,Dh9/

Some sqn formed late on.

In the Clouds AboveBaghdad: Recollectionsof the R. F. C. inMesopotamia during theFirst World WarAgainst the Turks

RAF Squadrons: AComprehensive Record ofthe Movement andEquipment of All RAFSquadrons and TheirAntecedents Since 1912

http://www.awmlondon.gov.au/

http://www.turkeyswar.com/aviation_index.html

http://www.rafweb.org/index.htmlhttp://www.wwiaviation.com/

http://www.awm.gov.au/histories/first_world_war/AWMOHWW1/AIF/Vol8/

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Diary DatesMeetings are held from 7-00pm to 9-30pm in the Conference Room inthe Air and Space Hall at the Museum of Science & Industry inManchester on the first Tuesday in the month unless otherwise stated.

Tuesday 1st JulyWW1 Air Operations

Presented by P. Grove & C. Taylor

Sunday 13th JulyBarton Family Day

Exhibition Officer C. Taylor asst. by P. Grove & P. Nield

Tuesday 5th AugustSketching in Air & Space Hall

Hosted by L. Sakowicz

Saturday 9th AugustWorkshop – 10-00am to 4-00pm

Medium – WatercoloursHosted by R. Sargeant

Tuesday 2nd SeptemberSketching in Charcoal

A Demonstration by D. F. Steeden

Sat/Sun 20th/21st SeptemberSouthport Air Show

Exhibition Officer S. Ridgway asst. by P. Grove

Tuesday 7th OctoberAvro Competition

Subject WW1 AviationAdjudicator T.B.A.

http://www.turkeyswar.com/aviation_index.html

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Editor: Dave BatesTel: 0161-284-3467Email: david-bates@ntlworld.comSociety website: www.mavas.co.uk