Issue 82 September 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

Hello and welcome,In this issue sees the final instalment of RobKnott’s look at lighter than air flight in art, and ourthanks go to Rob for his efforts. Thanks also to allour 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 fordetails.Apologies to Ron Sargeant, Les Owen and CharlesThompson whose contributions will unfortunatelyhave to wait for the next issue.Thanks especially to Ian Burns who not only sentan article but offered his book as a prize for the bestWW1 naval aviation - details to follow.

Happy and successful painting, Dave.

Front cover this issue isfrom “Target ofOpportunity” by T. Jones

Rear Cover ImageIs another croppedpainting - This year’sJim MackendrickTrophy Winner“Falling Heroes” by Chris Jones

Front and back covershave been selectedfrom the entries forthe Jim MackendrickTrophy

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ContentsA look at the East Lancs Railway Society week-end 4

Lighter Than Air with Rob Knotts 5

Introducing Roger Markman 8

A Grand Day Out at Barton 10

The Jim Mackendrick Trophy Competition 12

Ian Burns on the East Indies and Egypt Seaplane Squadron 18

Meeting August 2014 23

Richard’s Route and his tribute to the Dakota 24

Peter Nield looks at the use of reference images 28

Meeting July 2014 30

Sad demise of the ASAA 32

Diary Dates - keep up to date 33

4East Lancs Railway Society Weekend Exhibition

This event took place over the period Sat.,Sun., Mon., 24th, 25th and 26th May.Approximately 25 paintings were displayedin our regular small carriage on platform 2together with various prints and societymagazines. Stewarding was provided bymembers but no other members wereobserved on site over the three days. Theweather was generally very poor over thefirst two days and it was noticeable thatseveral of the regular exhibitors either failedto appear or left early. This year,  the usualfly-over by an aircraft of the B of B Flightwas noticeable by its absence. Sales wereconfined to prints and magazines butyielded £42 for MAvAS. Our thanks toExhibition Officer Peter Grove for lookingafter the organisation.

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LIGHTER- THAN -AIR ART

Rob Knottsconcludes his look

at some artinspired by lighter- than - air craft.

During WWII the US Navy operated blimps on convoy protection anti-submarinepatrol 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 Pacificoperational flights, escorting 89,000 ships. Not one ship escorted by US NavyBlimps was lost to submarines in WWII.A series of watercolours painted by Adolf Dehn in 1943 portray many aspectsof the operations. The painting above left is described as: "A blimp landing as itsettles to earth; the airship has made another landing."The painting on the right is described as; "Engines humming, these Navy airshipsset a course over their great high-ceilinged hangars after casting off on a morningflight. 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 aUS Navy blimp pilot Bill Aldrin, on a postcard on the internet. Sadly Bill hastaken his final posting. The cartoon shows a delightful scene of the activitiesassociated with landing a US Navy blimp.

6Even now ropes are dropped from a blimp as it comes into land. They are caughtby the ground handling crew who hold onto them and use them to slow theblimp and haul it down. The blimp's captain is shown barking out orders, theco-pilot is distressfully worried. Disarray prevails on the ground as the handlingcrew struggle to achieve the objective of slowing the blimp. Someone on theleft, who looks like a US Marine, quizzically views the whole escapade withapparent disbelief.

This article would be incomplete if it ignored the work of cutaway drawing artists. Many willargue that they are notworks of art in theconventional sense,stressing that they areonly technical drawings.However, they offercompelling images fortheir technical detail andthe abundance ofinformation. They alsoshow how things work.Over the years FlightMagazine has created atruly unique collection oftechnical cutawaysdrawings. The followingdrawing, a work of art initself, shows the gondolaof a blimp

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This article would be incomplete if it ignored the work of cutaway drawing artists. Many willargue that they are notworks of art in theconventional sense,stressing that they areonly technical drawings.However, they offercompelling images fortheir technical detail andthe abundance ofinformation. They alsoshow how things work.Over the years FlightMagazine has created atruly unique collection oftechnical cutawaysdrawings. The followingdrawing, a work of art initself, shows the gondola

T h eillustrationleft is ana r t i s t ' simpressionof am o d e r na i r s h i pdeliveringcargo to ar e m o t eArctic site.

My artistic efforts focus on cartooning. I will end my article on lighter-than-air art witha very modest contribution of my own. In WW1 Royal Naval Air Service World crewsflew long sorties in cramped conditions offered by Submarine Scout blimps. Doubtlesson-board catering facilities were restricted while meals though adequate were boring. Mycartoon depicts an opportunity grasped to alleviate the culinary boredom.

I have attempted toportray certainmilestones in lighter-than-air developmentand flight togetherwith examples ofapplication and artisticrepresentation. Myown artistic effortsfocus on cartooning.Consequently, someexamples of cartoonart have also beenportrayed.

This article is dedicated to airship enthusiasts and aviation artists the world over.

'”Future Airships in the Arctic “

The State of Alaska, USA is seeking a practical approach to transporting large and heavysupplies together with fuel, building material and goods to remote communities in Arcticregions where transport infrastructure and facilities are extremely limited. Possibilities ofusing cargo airships are being studied. Similar opportunities exist in Canada and Russia.

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I share my birthday with the RAF andwas born twenty-nine years exactly afterit came into being.I grew up in the shadow of “the war” andlike most of my generation so muchconversation seemed to be about it. Myfather had been in the RAF and hadserved as a mechanic specialising inaircraft instruments, bombsights andauto pilots. Most of his service had beenwith Bomber Command.

I cannot remember a time when I was not interested in aircraft. As avery young child I much preferred my small Dinky model aircraft toany other toys including expensive train sets, the “must have” toy forlittle 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 “airminded”, to use an antique phrase of the time! This was boosted byRAF Flying Review magazine, plentiful supplies of Biggles books andThe Observers Book of Aircraft. At the time I had memorised everyone of the aircraft in the Observers book and added the latest copiesas they came out annually. William Green’s “Famous Bombers andFighters of WW2” were also essential reading. If only they had run Oand A Levels in “Aviation Studies” at my school I would have passedwith top marks!

Featuring

Roger Markman

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I was unaware of what is now known as aviation art, until several lifetimeslater when I saw a Gerald Coulson print of a Mosquito in an art shop windowby sheer chance. This was around 1982.That got me hooked and I have not stopped being fascinated by aviation artsince. It was around this time that I also first joined MAVAS and began athirty odd year association.All I know about aviation art I have learned mainly from discussing the subjectwith 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 agreat 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 tolook very deeply into a picture and analyse just how the artist has constructedthe composition and what he intends the viewer to do by way of respondingto 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 inthis way and derive some interest and benefit in what I have to say. Thisalso extends to my being invited to write articles such as this one for ourjournal and to give ad hoc lectures.Over the years I have lost count of the number of articles and lectures thatI 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 amazingand fascinating people, artists and pilots. This is not to mention as well somefascinating aircraft.I cannot end this little article without mention of a certain matter my verygood friend Peter Nield often reminds me about! Why am I not more activein terms of having a go at painting/drawing myself???????In one way I am actually!!! I am an addicted doodler and all my doodles areof aircraft! Unfortunately my rate of progress in terms of drawing a Lancasteror Spitfire, for example, I would rate at plus or minus 3% over my entirelifetime! I know where the pencil should go, but it seems to have a will of itsown! This is borne out by my art results in school, pretty poor! If I have anytalent anywhere it might just be for writing! In school I was sometimes top inEnglish!

Per Ardua Ad MAVAS!

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Off we went to the City Airport Family Day at Barton Airfieldhotly pursued by the Great British Public.

Peter Grove, Peter Nield, Dave Steeden andmyself (Colin Taylor) were there for the settingup. This year, instead of the blister hangar, wewere in a marquee by the control tower, settingup on grass. This proved to be a bit cramped, aswas the entire site with vehicles close to bothentrances, but the fine weather meant that visitorscomprised a steady stream rather than the crowdwhich would have been the consequence of rainshowers! Terry Jones andRoger Rumbold providedadditional paintings andprints. Unfortunately nopaintings were sold and onlyone print and a few photoswent out the door. TheWoodford Avro standopposite was giving themaway!

A Grand Day Out

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Dave Steeden became the star turn by returning every sooften with a new pen and inksketch of everything fromhelicopters and hamburgerstands. Now that is what aviationartists should be doing!Being a Family Day there wasface painting and funfair rides, ananimal menagerie and a HarleyDavidson corner, car geeks in oldcrocks and babies in strollers. Butthere was also an Airshow!

There were aerobatics from a Pitts Special andan Extra and formation flying from pairs ofRV8’s, Yaks and Jungmanns. An autogyro dida surprisingly spirited display with smoke and

the BBMF Dakota did a flypast.

So a Grand Day Out and an opportunity to publiciseourselves but no sales and no new members. Lets callit a no-score draw!

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Attendance was seventeen including Hon Member andAdjudicator Richard Jackson, a veteran who was on Juno beachwith the 234th Field Company of the Royal Engineers. Twentypaintings were entered for the competition and the winnerselected by Richard was ‘The Beginning of the End’, anexcellent painting by John Williams portraying C-47s droppingairborne troops. Richard also gave a brief and movingdescription of his role in the invasion and the subsequentprogress of 234 FC through France, Belgium and into Holland.He also brought with him a copy of his service record, a mapdrawn by his RE Company showing their route through Europeand a Christmas Card given to Richard's Company by thecouncil and people of Roosendaal and Nispen in Holland. Theappraisal of paintings that followed was chaired by Colin Taylor.Altogether a very successful meeting. The new paintings wereassembled on the display panel next day by Colin Taylor, PeterGrove and Keith Stancombe. Unfortunately, the winningpainting was voluntarily withdrawn later for personal reasons.

13Catalina Engine byJ. M. MacKendrick

Meeting – 3rd June, 2014

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Ultimate Winning Painting“Falling Heros”By Chris.Jones

Target of Opportunity by T. Jones

Ware Vandals by D.Bates

Havocs of the 94th

by P.W.Grove

Normandy Bound by P.G.Nield

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Ultimate Winning Painting

Call sign “V” for Vincent by S.Kerry

It’s On Boys - D-Day by D.J.Taylor

D-Day - Mix 1by R. Sargeant

Airspeed Horsa, Benouville Bridgeby C.G.Taylor

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France D-Day 1944 by K.J.Stancombe

Eyes of the Western Approaches by D.Bates

Getting Prepared by W.Leeming

Here We Go by J.Shevlan

D-Day - Mix 3 by R. Sargeant

D-Day - Mix 4 by R. Sargeant

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Eyes of the Western Approaches by D.Bates

A Field in Normandy by R. J. Rumbold

Here We Go by J.Shevlan

D-Day - Mix 2 by R. Sargeant

D-Day - Mix 3 by R. Sargeant

Tank Busters by T.Jones

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‘Raid on El Afule’ is by C R Fleming-Williams. Whilst an exciting impression, with a nicerendering of the Short 184 in the foreground, the only thing remotely accurate about it is the layoutof 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.

Ian Burns takes my sentence and expandsit to nearly five fact filled pages

“There was alsoa seaplane sqnof the RNAS.”

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‘Short Over Damascus’ is by Donald Maxwell. Sadly, Idon’t know the identity of the Short, so cannot commenton 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 mouthof the Dardanelles, south then east along the Turkish coast, returning west along thecoast of Palestine, past Egypt and as far west as Sollum and Bardia. From its baseon a sandy island at Port Said, its reach extended through the Suez Canal, down thelength of the Red Sea to Aden and beyond into the Indian Ocean to the Chagos Islandssouth of the equator. To cover this vast area there were never more than four seaplanecarriers, 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 ofNieuport monoplanes, but that is another story. They had been given austereconversions and were each able to support just two or three floatplanes. Joining themwere Ben-my-Chree (ex-Isle of Man Steam Packet Co) and Empress (ex-SouthEastern and Chatham Railway Company), which had been fully converted with largeboxy hangars and workshops aft.

20They 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 guardshipat the Dardanelles, remaining there until after the loss on Ben-my-Chree. The final shipwas City of Oxford, after a chequered career as dummy battleship and balloon ship, shejoined 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 widelyproduced and used British floatplane of the war. It was intended as a multi-rolereconnaissance, bomber and torpedo aircraft.

The little Sopwith floatplane was never designed to be a fighting machine, evolvingfrom a racing machine. Attempts to fit a machine gun had a Heath Robinson elementabout them. It was a willing horse, however, and could often be found with a Lewis gunor two pointing out at odd angles, or overloaded with bombs.

Neither were racehorses, the Short cruised at around 65mph and could not be coaxedover 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, cametogether off Haifa. They sent six Short 184s and four Sopwiths to attack the HejazRailway at El Afuleh Junction, some 25 miles inland from Haifa. It was the largestsingle raid carried out by naval aviation during the war. They left station buildings andmunitions burning, a locomotive and much rolling stock destroyed or damaged. Alongthe line south of the junction another train and rolling stock were wrecked, the rails andembankment damaged. Other than a few bullet holes the attackers suffered no damage.

Sopwith Schneider, 3722,a typical exampleof a type that servedaboard Ben-my-Chreethroughout her career as aseaplane carrier.

Short 184, 842, which was piloted by Flt CdrC.H.K. Edmonds on the first successfulaerial torpedo attack on 12 August 1915.

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This was not the case a few weeks later. At dawn (It was always at dawn!) on 17September two flights, each comprising a Short with two Sopwiths as escort, leftBen-my-Chree to spot the fire of naval guns on to targets around El Arish. One flightreturned safely, but the second was intercepted by a Rumpler C.I fromFliegerabteilung 300 ’Pascha’. The German two-seater overpowered the Sopwiths,shooting one down in flames and forcing the other down to the sea. During thecombat 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 duringits operations.

Castellorizo is a small, arid Greek island, its harbour opens to the north and isoverlooked by the Turkish coast less than two miles away. Ben-my-Chree had usedit as a base on several occasions prior to her arrival on the morning of 9 January1917. She took up moorings alongside several French naval ships, planning to workwith them over the next few days. However, at 2.10pm a hidden Turkish battery onthe mainland opened fire. Within minutes Ben-my-Chree was burning fiercely andhad to be abandoned, a total loss. No lives were lost and very few were injured, butit was a severe blow to the EIESS.

Empress returned to Port Said and the squadron continued operating. More bombingraids 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 fromBeirut to Damascus and back. The round trip was over 150 miles, almost all of itover land inhospitable to floatplanes.

By early 1918, Anne and Raven had been returned to merchant service and Empresswas preparing to sail to Gibraltar, only City of Oxford remained active. Early inFebruary she took aboard four Shorts, and their crews, and set sail through the SuezCanal to join the Red Sea Patrol blockading the Yemen coast. It was the last operationof the EIESS and lasted from 13 February to 29 March. During this period the four

HMS Raven and HMS Ben-my-Chree at Port Said in 1916. The island base of the EastIndies and Egypt Seaplane Squadron can be seen behind the two ships.

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Shorts made 58 flights, totaling 51½ flying hours, and dropped fifty-two 65-lband sixty-three 16-lb bombs. By the end of the operations, one Short was out ofservice and the three remaining Shorts, although nominally serviceable, werenoted as being unfit for inland flying.

Three days after City of Oxford’s return to Suez the RNAS and RFC werecombined into the Royal Air Force. On that day the East Indies and EgyptSeaplane 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, topay off, on 14 September 1918.

The East Indies andEgypt SeaplaneSquadron was full ofcolourful charactersbut, with limited spaceavailable, I have namedonly one. All isrevealed, includingmany photographs, inmy book on Ben-my-Chree and some followup articles in theJournal of Cross andCockade International(www.crossandcockade.com).

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Attendance at the meeting was twelve, including Hon Member Richard Jacksonand Paul Rose. Essentially a sketching night in Air and Space Hall. LenSakowicz presided over the Sketching session which, by concensus, resulted ina three way split with Ron Sargeant, David Steeden and Roger Rumbold sharingthe glory.

Meeting 5th August 2014

It seems obvious that most of not only need practise but also tuition. TheCommittee hopes to remedy this as soon as possible.

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At the June meeting Richard Jackson acted asadjudicator for the latest MacKendrick Trophycompetition, for which the subject was D-DayAircraft. As many of you may know, Richardlanded with the Canadians on D-Day as part ofa Royal Engineers Company and the societythought he would be a particularly appropriateadjudicator for this subject.In addition to selecting the winning painting,Richard gave a brief but fascinating and movingdescription of his role in the invasion and thesubsequent progress through France and Belgiuminto Holland by the war's end. Richard hadbrought with him copies of his service record, amap drawn by his RE Company showing theirroute through Europe and a Christmas Card givento Richard's Company by the council and peopleof Roosendaal and Nispen in Holland. This cardcarries the signatures of many of the members ofRichard's Company. With Richard's permission,we thought that these documents would be ofinterest to all society members, particularly atthis time.

As Adjudicator at the D-Day competition on 3rd June 2014 my choice of the Dakota aircraft, when discussing the Air War of that day and beyond, reflected the increasingrespect of we, the ground forces whose variety of needs it served. This was a big factor in the success of the campaign as a whole.During the first days of the invasion a storm arose in the channel, leaving us having used up the food packs etc., carried to serve us for a while. It was then that the Dakotasdropped 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 became the workhorse of our forces with it`s crew of three, armament nil and maximumspeed of 230mph.When the air strips we built became available, it`s use to carry casualties to England included three W.A.A.F. members to tend to the wounded. These were the first servicewomen to land in France after D-Day.The Dakota served honourably and valiantly, being remembered for it`s part in the Allied Airborne Operations in September 1944, the gallant failure of the British 1st AirborneDivision at Arnhem.Used in every theatre of the war, Dakotas earned their place in the affections of their R.A.F. aircrews.Richard S. Jackson

THE DAKOTA

Richard’s Route

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As Adjudicator at the D-Day competition on 3rd June 2014 my choice of the Dakota aircraft, when discussing the Air War of that day and beyond, reflected the increasingrespect of we, the ground forces whose variety of needs it served. This was a big factor in the success of the campaign as a whole.During the first days of the invasion a storm arose in the channel, leaving us having used up the food packs etc., carried to serve us for a while. It was then that the Dakotas

It`s service was an invaluable factor in the early days ongoing success. It certainly became the workhorse of our forces with it`s crew of three, armament nil and maximum

When the air strips we built became available, it`s use to carry casualties to England included three W.A.A.F. members to tend to the wounded. These were the first service

The Dakota served honourably and valiantly, being remembered for it`s part in the Allied Airborne Operations in September 1944, the gallant failure of the British 1st Airborne

Used in every theatre of the war, Dakotas earned their place in the affections of their R.A.F. aircrews.

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The other evening I realised that my mind had gone blank again. This realisationwas, in itself, quite an achievement. Things were clearly going down the pan andin an effort to avoid becoming a cabbage, I resorted – as one does on theseoccasions – to rambling thoughts. These gradually settled upon the matter ofoutsourced images and whether or not these should be used in our artwork. Itcould just as easily have been a fantasy trip about Harriet Quimby but that`s theluck of the draw.Anyway, at one time or another, I guess that we have all used photographs ofaircraft to assist us with the images in our paintings. This allows us to createaccurate images in the right perspective without recourse to projection methods.With perspective in mind, images and backgrounds from different photographscan be mixed and matched without offending the eye.Frequently, photographs are the only reference we have to gain an accurate ideaof 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 aposition to pursue our own air-to-air shots.So, what about our photograph source material? I suppose if we are playingaround in our own homes it doesn`t matter what photograph we use. In order tohone our skills, we can employ images selected from a book or the net withoutupsetting anyone. However, if we are going to place the resulting work in thepublic domain – say on our panel, or in the magazine or on our website, we haveto be very careful because of copyright issues, especially when the work is forsale.Using our own photographs is OK, but using someone else`s photograph isanother matter. We can always ask permission to use the image and if that isgranted 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 itis usual to acknowledge the source. It appears that UK copyright remains withthe photographer until 70 years after his or her death so presumably, anypurchased copyright would last 70 years from the date of purchase.

That is the Question

To Copy, and What toCopy

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However, if we decide to ignore copyright issues – possibly because the sourceis not shown - and employ someone else`s photograph for work intended for thepublic domain, it makes sense for us to ensure that the selected image and/orbackground are significantly varied to avoid association with the original. Inother words, use outsourced material as a guide only.It is the opinion of this writer that this last stated principle should be incorporatedas rule in the MAvAS Constitution. In this way, any copyright issues involvingMAvAS 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 learnhow to paint and lay out a composition. That is quite OK in private but once thatcopied work appears in the public domain in one`s own name – and for sale - itis open to copyright issues. The aforementioned principles are the same andpermission from the artist, or copyright owner, is required before one can goahead. If, for whatever reason, the artist is unavailable a rider can be includedafter the title on the painting which states ‘After Artist X’, whoever Artist Xmight 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 meansfireproof. Try this on with a copy painting of Mickey Mouse and you will soonfind the men in black from Disney knocking on the door!Again, in the opinion of this writer, any copyright problems for MAvAS thatresult from the use of another artist’s work can be avoided by incorporating asimple rule in the Constitution that states, “Artwork intended for the publicdomain must not be copied, either in part or in its entirety, from artwork by otherartists”So those are my thoughts, no more, no less. You may have different ideas but Ithink you will agree that it is a subject that needs to be addressed – maybe at thenext AGM?The following references might be of interest :-

1. Copyright Notice: digital images, photographs and the internethttp:/www.ipo.gov.uk/c-notice-201401.pdf

2. Copyright Law - The Duration of Copyrighthttp:/www.copyrightservice.co.uk/copyright/p10_duration

3. Copyright, Designs and Patents Act 1988http://www.legislation.gov.uk/ukpga/1988/48/contents

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Next, Colin described thedevelopment of the aircraft carrier inthe period and commented upon theprogress made in the design of theaircraft and airships involved.We are sure this will raise interest inWW1 aviation and extend the actionbeyond the Western Front.

Godwin Brumowski

The subject for this meeting was WW1Air Operations, a power point presentationby Peter Grove and Colin Taylor.Twelve members attended. First, Peter addressed the historic andmilitary aspects of the Italian Campaign,giving details of the various aircraftinvolved together with the notable acesof the day.

Aviatik BI - 2 a/c

Lohner Type M

Phönix DII

Phönix CI

Ansaldo A1 Balilla

Macchi M5

Francesco Baracca

F2A in dazzle scheme

SS airship with BE gondola

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Next, Colin described thedevelopment of the aircraft carrier inthe period and commented upon theprogress made in the design of theaircraft and airships involved.We are sure this will raise interest inWW1 aviation and extend the actionbeyond the Western Front.

HMS Ben-My-Chree off Dardanelles

F2A in dazzle scheme

SS airship with BE gondola

Short Folder S.64

Ark Royal (1914)

Sopwith Schneider

HMS Furious

HMS Engadine

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25 years ago Alan Swann was in the UK and visited the Guild of AviationArtists where the topic of an aviation artists society in Australia wasraised with Guild members. Alan was an avid aviation enthusiast and, onhis return home, immediately took appropriate steps and ASAA was born

The initial group met at the Australian Sports Aircraft Association withRay Honisett as President. Ray, a teacher at the Royal MelbourneInstitute of Technology, provided much tuition and inspiration to needymembers. Later, meetings were held at the home of John Leeden

ASAA had members in Australia, New Zealand, France and Israel and wasblessed with great artists like Ray, who has paintings in the AustralianWar Museum in Canberra, John Leeden and Steve Hayen, both winnersof the prestigious Royal Australian Air Force (RAAF) Heritage Award.

As people aged, membership began to fall and in spite of efforts by theCommittee this trend continued to a critical level. This obliged ASAA tocancel its legal incorporation with the Department of Justice, ConsumerAffairs Department and a special AGM was held to implement theaction. Cancellation requires surplus funds to be distributed afterall/any debts are paid and unless this is done by the organisation itselfthe Department of Justice will handle the distribution.

Consequently, our funds were given to the like-minded AustralianAviation Restoration Group (ARAG), to whom we are affiliated. It wasagreed the funds would support the restoration of their Beaufortbomber. A sponsor board will include ASAA amongst those who havecontributed to this worthy cause.

As for those of us who remain committed to aviation art, we shall keepmeeting informally to pursue our interests and to chew the aviation fatfor as long as we can.

In closing I would like to thank the Manchester Aviation Art Society fortheir support and assistance over the years and we who continue, albeitinformally, look forward to hearing of your activities via your wonderfulpublication, the MAvAS Magazine.

SincerelyBrian Evans 22/6/2014

The Australian Society ofAviation Artists Inc. (ASAA)

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Meetings are held from 7-00pm to 9-30pm in the Conference Room in theAir 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 SeptemberSouthport Air Show

Exhibition Officer S. Ridgway assisted by P. Grove

Tuesday 7th OctoberAvro Competition

Subject – WW1 AviationAdjudicator – T.B.A.

Tuesday 4th NovemberAviation Related Still Life Sketching

Saturday 8th NovemberWorkshop – 10-00am to 4-00pm

Medium – AcrylicsA Demo by Guest Artist, Carl Jacobs

Tuesday 2nd December“Market Place”

Annual seasonal eventBring items for sale or swap

10% on sales to MAvAS

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