Anthony Gross (1905-1984) was not so much interested in the glamorous end of war, which is probably just as well, because glamour tends to be in rather short supply in a medical facility, known as the advanced dressing station. His 1942 watercolour ‘The Battle of Egypt – Advanced Dressing Station Interior’ shows men waiting, resting and enduring, with one figure seated in the middle of the picture while others lie around him in a scene of fatigue and exhaustion rather than triumph. These are the human consequences of war, just a waiting room of pain and I’m still not sure that I can really comprehend how frightening this whole process must have been.
In early life Gross lived in Dulwich and Camberwell, apprenticed at the LCC School of Photo Engraving and Lithography, then studied at the Slade and in Paris, which gave him a rather serious artistic grounding before the Second World War arranged more urgent subject matter for him. The information panel at the museum notes that he was one of four official war artists commissioned to record the Middle East theatre of war, in this case focusing on the people patching up the wounded in conditions that look deeply sub-optimal, while everyone tries not to think too hard about what comes next.
And, something which interested me more than it probably should have done, but it was Anthony Gross who created the artwork for the first edition of William Golding’s Lord of the Flies.
Apologies for the slightly sub-optimal image quality here, but this is the Moon Under Water in Colindale, which is also listed in the Good Beer Guide. Using the venue’s own history:
“Several Wetherspoon pubs have ‘moon’ in their name, linking them with the ideal pub described in detail by George Orwell. The highly regarded author named his fictional pub ‘Moon Under Water’. This one was purpose built as a branch of the Woolworths chain. It opened in early summer of 1939, serving a fast-growing suburb. Woolworths traded here at Varley Parade for 45 years, closing in 1984.”
This is the rear area of the pub, which feels more like the dining area. The service was friendly and timely, with the venue having a laid-back and comfortable feel to it.
This venue is on the cheapest price band which made this meal and drink under £6, which feels very reasonable to me. Although goodness knows what they did to the eggs. A perfectly decent arrangement with the non alcohol Guinness.
My now obligatory carpet photo.
This is the more lively front bar and as I was in the venue for quite a time and they had a special offer on the curry, I accidentally ordered one of those as well. Anyway, this was hot and tasted as expected, alongside my non alcoholic Erdinger.
I like looking at the reviews of JD Wetherspoon venues and I was once again tempted by that here. The venue is rated towards the higher end of the scale nationally and I must admit, I rather liked it here and didn’t rush to leave. But that’s evident as I had two meals.
“After driving 4 hours from Belgium with my 17-year-old son, we came here for a proper meal. I ordered a beer for myself and gave him a tiny sip with his meal — perfectly legal under UK law. The manager (pictured) didn’t even approach us himself — instead, he sent a waiter to tell us we had to leave. When I asked him directly why, he offered vague excuses and no real explanation. Our meals were shoved into cartons, and we were shown the door with no respect or courtesy.”
This reviewer has decided to post photos of the team member which seems entirely out of order to me. And he gave alcohol to an underage person which is against the policies of JD Wetherspoon and he wondered why he got thrown out?
“Shocked when I had to speak to this branch manager this evening. My 18 year old ordered on the app for a Manchester Moon under water – correctly selecting the Manchester location 0.3 miles from her. The app sent her order here??? 155 miles away Why no one knows?”
I think everyone knows, she ordered it to the wrong venue. The downside of JD Wetherspoon having about thirty pubs with this name.
“Awful experience, the assistant ‘manager’ who barely looked 21 took great pride in saying as two of our party did not have their IDs that they could not stay past 9pm. He then tried to say it’s the law, which it clearly is not and when asked to provide proof it was the law, he was unable too, then said it was the branch policy. Probably made his night being spiteful and nasty to customers. Thing about Wetherspoons, there is little point in complaining as they specialise in being cheap and could not give a monkeys about their customers.”
Challenge 21 is almost certainly in their licensing requirements, but might as well mock how old the team member looks.
“Need to retrain the chefs. Went in twice for tea as we was working away from home. Both times the food was terrible. Everything was over cooked. Even the fried eggs. If a chef cant cook an egg then its time to give up.”
I have some sympathy with the egg comment.
“Typical moons pub, grotty and full of Not trendy people, I only went because it was a works drink. Had one drink and had to leave.”
Hmmmm, those blasted non trendy people…
I was slightly disappointed to discover that there weren’t any negative reviews from customers who weren’t allowed to bring their dog in.
Anyway, I liked it here and it’s the first time that I’ve visited. There were six real ales available as well as a number of craft beers, all enough to justify their place in the Good Beer Guide.
The Taylorcraft Auster Mk1, used as an Air Observation Post from 1942 to 1946, seems like a practical little machine. Its intentions were simple, get into the air, find things on the ground and help artillery hit them with greater accuracy than might otherwise have been the case. It rather feels like the drones that are currently being used in Ukraine and Russia.
Around 100 of them were built and in 1944, the Royal Air Force trained members of the British Army to fly them. I’m not sure whether that was because they weren’t exotic enough for the RAF pilots or were just incredibly easy to fly. There are a fair few of the later versions of the aircraft still about, but it seems there are only a couple of the Mark 1 versions, this one and another at Historic Army Aircraft Flight charitable trust. I think I like understated things, so this was one of my favourite aircraft in the museum, as who needs huge firepower?
Just as I thought I had finished my visit to the Royal Air Force museum, I found they had an art gallery section as well. The whole arrangement here is some substantial that I’ll have to visit again to try and see everything that I missed when I visited last week.
This artwork is by Sybil Andrews (1898-1992) and she painted ‘Air Sea Rescue Launch’ in around 1942, and it is something of a splendid reminder that wartime art was not always interested in giving us handsome fighter pilots staring nobly into the middle distance. There are bold colours and a sense of urgency to the painting, it feels like quite a punchy artwork.
That, really, is the theme that justifies this riveting blog post, which is that the war depended on rescue, repair and the sort of practical work that rarely gets turned into legend. The museum panel notes that this was one of seven paintings Andrews made about boat building while attached to the Camouflage Development and Training Centre at Farnham Castle under the War Artists Advisory Committee, and that she was working for the Royal Air Force as an official war artist. I like it when infrastructure is at the centre, there are enough artworks of moments of great rescue at sea or of battle scenes.
This reversible destination board for Brussels and Paris, dating from around 1937 and once fitted to the steps used for boarding Imperial Airways aircraft at Croydon Airport, is a wonderfully matter of fact relic from the early age of international air travel. That things like this survive at all pleases me greatly, I like the symbolism.
There is something rather pleasing about the simplicity of it with no glowing screens, no urgent gate change announcements, no little electronic dramas and just a solid sign informing passengers that they were off to Paris. Or Brussels. Depending, of course, on which way round somebody had turned it.
I very much like air travel today, but I do wonder just how different it would have been. It would have been a more occasional treat with less security hassle, no worrying about whether bags fitted into the sizer and probably not having to deal with checking in on-line 24 hours before and wondering if the seating Gods had given me a middle seat.
During the Second World War, playing cards were slipped into prisoner of war camps because they looked harmless enough, but hidden inside them were escape maps, allowing captured airmen and soldiers to peel apart the layers and reveal useful geography once the card game was over.
I do wonder how opposing military authorities failed to spot this little arrangement, especially given that wartime censors were not always generally known for their relaxed attitude to suspicious parcels. Perhaps the cards looked too banal to deserve much scrutiny, or perhaps someone simply saw a pack of them and thought that prisoners deserved at least one modest pleasure before returning to the business of attempted escape.
Either way, I like the ingenuity and the museum thinks that these were produced around 1943. The International Spy Museum in the United States notes:
“To date, decks of these cards are said to have helped at least 32 people escape from Colditz Castle and prompted some 316 escape attempts.”
There were some very careless military authorities amongst the German troops letting this lot through.
This is one of the photos on display at the Royal Air Force museum and it’s in the section which honours those who received a Royal Aero Club Aviator Certificate. To achieve this, the pilot had to complete two 5km flights and one 50m altitude flight.
In the photo is Marcus Dyce Manton (1893-1968) who was born in Sheffield on 14 September 1893. He obtained his Aviator Certificate on 4 June 1912 and I have to comment on just how brave that must have been. It’s all very easy on a scheduled Wizz Air flight to find flying really quite interesting, it was slightly less decadent in 1912 and the risks were real and high. He obtained the nickname of the ‘Boy Looper’ and completed hundreds of ‘loop the loops’ which excited and delighted many at air shows. This all seems like a rather unusual relationship with danger as early aircraft did have that sub-optimal habit of falling out of the sky.
It was no surprise that Manton was an important part of what was then known as the Royal Naval Air Service, being appointed as the Head Pilot Instructor at Hendon (where the museum is now based) at the start of the First World War. Until 1918, there were separate divisions which were the Royal Naval Air Service, which was the air arm of the Royal Navy, and the Royal Flying Corps, which were part of the Royal Army.
After the end of the First World War, he worked as a test pilot for Samuel White and English Electric, later becoming involved in gliding through the London Gliding Club. During the Second World War he served with Armstrong Whitworth as a Service Liaison Officer, and afterwards worked with Hawker Siddeley. Manton managed to get a fine in 1941 for not having a current driving licence which seems an omission for someone who had a licence to fly aircraft.
Manton died in April 1968 in Dorset, having seen aviation progress from fragile early contraptions to the jet age, something which must have given him endless excitement over the decades. His son, Graham Ashley Leonard Manton (1910-2005), also became something of a hero in the air force during the Second World War.
This is quite a powerful exhibit, it’s the chapel that was at RAF Stanley in the Falkland Islands. Initially a tent had been used as the chapel, but the General Engineering Flight converted this shipping container to create something more appropriate by adding a door and two windows.
Inside the chapel, with the altar made out of wood off-cuts and spent shell cases.
Badges.
The chapel was dedicated by the Rev. Philip Sladen (?-2003) on 27 July 1983 and it remained open on the islands until 1986. It was then returned to the UK and has now been moved to this museum.
This is what the Royal Air Force museum calls a personal mine extraction kit. It’s a little collection of objects to ensure that lives can be saved by finding landmines, all something of a contrast to the large bits of military aircraft located nearby.
These are the instructions and I have to note that using these little bits of stainless steel prods to try and find land mines sounds like a sub-optimal way to spend an evening. I get annoyed at cryptic crosswords, so I can’t imagine the amount of patience and bravery must be involved to be crawling about in the sand somewhere trying to prod for mines.
I liked that the museum had made these little notes visible that were an aide memoir into the use of the kit, it made it seem really rather more real.
I’ve been meaning to visit this museum for a little while after having seen it from the train when travelling between Luton and London. The museum is free of charge and asks visitors to register online, but I don’t think it’s essential.
This exhibit is a briefcase from the 1920s that was owned by Sir Samuel Hoare, the 1st Viscount Templewood (1880-1959), who was a pivotal figure in the development of British civil and military aviation during the interwar period. Serving as the Secretary of State for Air on three separate occasions throughout the 1920s, he became a tireless advocate for the ‘imperial air routes’ that sought to connect the distant corners of the British Empire. Hoare was not merely a desk-bound administrator; he famously took to the skies himself, embarking on a landmark 10,000 mile flight to India in 1927 alongside his wife to demonstrate the safety and potential of long-distance air travel. In reality, at this time, air travel wasn’t entirely safe, but it was certainly right to make others aware of the potential.
In a different world, Hoare could have easily become Prime Minister and he remained one of the most important and influential Cabinet Ministers in the late 1930s and early 1940s. Unfortunately for him, Churchill didn’t like him and threw him out of Government when he became the wartime Prime Minister.
Hoare was one of the most important Ministers during the twentieth century in terms of the evolution of air travel. I like exhibits such as this as they’re a personal connection to a very different time during history and it’s something of a contrast to the huge bits of aircraft that are dotted around the rest of the museum.
