An interesting confluence of old and new: an Australian advertisement for a steamship passage to Britain to see both royal pageantry and aerial theatre, in the form of the 'Hendon Air Pageant', symbolised by aircraft performing aerobatics and trailing smoke:
In 1935 His Majesty the King will celebrate the Silver Jubilee of his accession. London -- the centre of the Empire -- will be en fete. This is the year for a trip Home!... You can go Orient at fares from £38, plus exchange.
In the event, the King did not attend the 1935 RAF Display. Presumably he was saving his energy for the formal Jubilee Review, a flypast at Duxford featuring 356 aircraft from 37 squadrons. Hopefully any Australians who went Orient to see Hendon also stayed the extra week for Duxford!
Image source: Australasian (Melbourne), 29 December 1934, p. 9.
Following a thread provided by John Ptak on Twitter led me to the above image of 'The great air-liner of the future', published in The Sphere (London), 19 September 1925, 24-25. I agree with John: it's an unusually fabulous image of the future of aviation, and I'd add unusually optimistic for Britain (though not uniquely so). ...continue reading →
This is the cover of the November 1937 issue of an American pulp magazine called Dare-Devil Aces. I vaguely knew about the existence of these aviation adventure magazines, or air pulps, but I'd assumed they were filled with stories of chivalric air combat of the Great War. Many undoubtedly were, but that's not what this cover illustrates. The biplane in RAF colours is a Hawker Fury II (I think; a Nimrod could also fit [edit: actually a Fairey Fantôme]); the bombers are German Dornier Do 23s. And the ocean liner looks to be RMS Queen Mary. In other words, this is all 1930s technology and it's a scene from the next war, not the last one. ...continue reading →
Walter Nessler called this painting Premonition. A premonition of what? It's clearly London, judging from St Paul's, the double deckers, and so on, but it's an unsettling version. Everything is jumbled together and smothered by blood-red clouds. But apart perhaps from the ominous sky, the only direct evidence of what's wrong with this picture is the surreal image of the giant gas mask on top of the building being constructed (or deconstructed). Nessler was a refugee from Nazi Germany, and painted Premonition in 1937, the same year that his former countrymen bombed Guernica, a known inspiration for artistic protests against aerial bombardment. Clearly we may take this as his certainty -- a premonition suggests a supernatural inevitability -- that his new home was going to suffer a similar fate to the cities of Spain. (Although back in 2005 there was some journalistic silliness over the fact that two of the buses display the numbers 77 -- 7/7 -- and 30 -- the route of the bus blown up in Tavistock Square.) ...continue reading →
A drawing by an Australian, John T. Collins, perhaps as a student exercise. Unlike in Britain, there was no dominant 'aerial pageant' here but rather many local ones, so it seems like a generic advertisement. It's dated to 1932 or 1933, but assuming the context is Australian then those would be Hawker Demons and it would be more like 1935 or 1936, when they entered RAAF service and represented the latest thing in aerial warfare down under.
The previous post in this series was supposed to be the last. But in the course of taking two months to write it, I managed to forget about another, earlier association between a White Australia and an Australian airship. This one wasn't a real airship; it was a fictional one which appeared in Randolph Bedford's 1909 play, White Australia; or the Empty North -- effectively an Australian version of Guy du Maurier's An Englishman's Home. Does this shed any light on Alban Roberts' 1914 airship, White Australia? ...continue reading →
Apropos of nothing, here's a (somewhat cropped) c. 1943 painting by a Japanese artist named Shori Arai. (Sometimes called Maintenance Work aboard Aircraft Carrier II, though clearly it's not maintenance that's going on there.) The original is held by the National Museum of Modern Art, Tokyo. It was also issued as a postcard by the Japanese Navy Ministry. ...continue reading →
An early contribution to the list of strange things dropped from the air in wartime was made by the crew of L13, a German naval Zeppelin under the command of Kapitänleutnant Heinrich Mathy. During a raid on London on the night of 8 September 1915, they dropped bombs from Bloomsbury to the City which killed 20 people and caused more than £200,000 worth of damage. But they also dropped the above object by parachute on Wrotham Park in Barnet. It's a ham-bone.
Clearly, though, it's no ordinary ham-bone. It's carved with a drawing of a Zeppelin dropping a bomb (perhaps L13's 300kg one, the largest one ever used so far in war) on the head of a sad man, along with an inscription reading 'Edwart [sic] Grey' on one side and 'was fang ich armer Teufel an?', the title and first line of an old German soldier's song: 'what's a poor devil to do?' Sir Edward Grey, at this point still Foreign Secretary as he had been when Britain declared war on Germany, would no doubt have been very sad indeed had a bomb (or even a ham-bone) hit him on the head; but the real reason for the tears running down his cheeks is given on the other side (not shown here), where it is written 'Zum Andenken an das ausgehungerte Deutschland', 'A souvenir from starving Germany'. The point was presumably to show that the naval blockade of Germany was not having the desired effect; but perhaps also to justify Zeppelin raids as reprisals for the attempt to starve the German people.
In any case, the ham-bone would appear to be an unofficial piece of propaganda devised by the Zeppelin's crew. Any effect it might have had would have been limited as it does not appear to have been mentioned in the wartime press, and whether Sir Edward himself got to hear of it is probably also doubtful. I don't know where it ended up, but thankfully the Intelligence Section, General Headquarters, Home Forces included the above photograph in a 1918 summary of the Zeppelin raids of August and September 1915 (The National Archives, AIR 1/2319/223/30/2). And here it is at last for the whole world to see!
This could be the lurid cover of an Edwardian novel about the dangers of aerial bombardment, with an aeroplane, an airship and Death himself hovering over a great city, watching the terrified populace streaming outwards in panic: the first knock-out blow from the air. But it's not. Instead it's the lurid cover of an Edwardian advertising brochure for Peps tablets, claimed to alleviate everything from coughs and colds to potter's rot and pulmonary tuberculosis, any ailment of the throat and chest. ...continue reading →
A scare was created in England last week by the reported appearance of a mysterious airship at night over the East Coast. Two residents of Ipswich separately saw the searchlight of the airship, and one declares he heard the engines. Residents in Hunstanton, a watering-place in Norfolk-on-the-Wash, state that they saw three bright lights pass from the east and disappear in the north-west after hovering overhead for half an hour. The steamer Arcadia also reported that she saw an airship to the north of the Orkneys. The airship is believed to have been a German visitor.
Artistic interpretations of phantom airships are not common; I'm not sure if this particular one is Australian or if it was sourced from the British press (or elsewhere), or for that matter whether it was drawn specifically to represent a phantom airship or just a generic one.1 It's a fanciful depiction, with its double-decker gondola and stubby wings. Phantom airships were almost universally equipped with searchlights, which were much less common features of real airships (though not vanishingly so). It is perhaps a reasonable representation of what people thought they were seeing when they saw phantom airships. On the ground below is a prosperous-looking town, but by the sea in the foreground is what might be a military base of some kind -- it's tempting to say those sheds are hangars, but I suspect it's a military or naval depot, as popular strategists believed that these would be the primary targets in a Zeppelin attack on Britain.
Thanks to David Waldron for the image.
Another contemporary drawing of a phantom airship appeared in the Whitby Gazette, 7 March 1913, p. 12, depicting the Othello incident; but the online version is not great; a better one is in Nigel Watson, UFOs of the First World War: Phantom Airships, Balloons, Aircraft and Other Mysterious Aerial Phenomena (Stroud: History Press, 2015), p. 54. ↩