Shortly after the declaration of war Londoners lifted fearful eyes to the skies, as it seemed that bombs might be about to rain down on them from the skies...
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Art
Miss Earhart’s Arrival
Walter Sickert, Miss Earhart's Arrival (1932). A fascinating image. The occasion is Amelia Earhart's arrival at Hanworth aerodrome on 22 May 1932, after her solo flight across the Atlantic, the first by a woman and in record time. She was already well-known as an aviator, but this feat made her a celebrity. You can see that here in the crush of spectators around her and her aeroplane -- except she can barely be seen (hers is the tiny face in the mid-righthand side, with a man in a homburg to her left); and the aeroplane isn't hers, it belongs to National Flying Services which was rushing her from Londonderry to London on behalf of Paramount News; and everyone is getting pelted by a heavy English rain.1 In a further commentary on the nature of modern fame, Sickert painted Miss Earhart's Arrival, in just five days, from a photograph in the Daily Sketch. Flight was highly critical of this aviation celebrity industry, commenting that
So long as the newspapers fill column after column with sensational accounts of 'intrepid bird-men' (or women) who gamble with death and win or lose as the case may be, people will be found who will risk their lives for the sake of the publicity upon which they know full well that they can count. If the newspapers were to confine themselves to giving the news of such flights in half-a-dozen lines, we should soon see the end of these futile 'stunts.'2
But then we wouldn't have this wonderful painting.
Image source: Tate.
The never-arriving aerial train
John Ptak asks of this cover from the October 1922 issue Popular Mechanics: 'why?' It's a good question. The accompanying article doesn't really help:
Consider yourself aboard a giant airplane whose whirring propellers rapidly drive from view faint objects on the earth far below. As towns and hamlets recede in the distance you realize that you are fast approaching the one that is your destination, for the captain is giving orders to make ready for the discharge of passengers at one of the intermediate points along the route of the great air liner. The crew unfold from the capacious hold a small air boat, and lower it dangling from the huge hull by its special tackle. You and several fellow passengers climb down into the seats behind the pilot and buckle yourselves in as the big ship slows its engines to enable the little wings to catch the air. With a quick movement of a lever your steersman unleashes the small craft, which begins its motorless flight and gracefully glides downward to a safe landing, while the mother plane speeds out of sight.
It turns out that this was an idea which cropped up repeatedly in the first few decades of flight. But such 'aerial trains' never quite came to commercial fruition. Which suggests that yes, you could indeed consider yourself leaving an airliner in mid-air; but you probably wouldn't want to.
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When was the Red Baron?
Manfred von Richthofen is undoubtedly the most famous aviator of the First World War, possibly of all time. But he's not famous by name, so much as by nickname: he is the Red Baron, a reference to his red aircraft and his aristocratic birth. It instantly evokes images of knights of the sky, grappling together in mid-air until one is felled, tumbling to the ground far below. As an example, here's an account from the British press of 'The end of the Red Baron' (with Joseph Simpson's illustration, above):
Cavalry Captain Baron von Richthofen was shot down in aerial combat on the day when the German papers announced his 79th and 80th victories. Boyd Cable writes: 'The Red Baron, with his famous "circus," discovered two of our artillery observing machines, and with a few followers attacked, the greater part of the "circus" drawing off to allow the Baron to go in and down the two. They put up a fight, and, while the Baron manoeuvred for position, a number of our lighting scout machines appeared and attacked the "circus." The Baron joined the mêlée, which, scattering into groups, developed into what our men call "a dog fight." In the course of this the Baron dropped on the tail of a fighting scout, which dived, with the Baron in close pursuit. Another of our scouts seeing this dived after the German, opening fire on him. All three machines came near enough to the ground to be engaged by infantry machine-gun fire, and the Baron was seen to swerve, continue his dive headlong and crash in our lines. His body and the famous blood-red Fokker triplane were afterwards brought in by the infantry, and the Baron was buried with full military honours. He was hit by one bullet, and the position of the wound showed clearly that he had been killed by the pilot who dived down after him.'1
The odd thing is this is the only use of the phrase 'red baron' in the British Newspaper Archive in reference to Richthofen for the entire war -- and even then, it's after his death. Nor have I been able to find it in the other major English-language newspaper archives: Gale NewsVault, ukpressonline, Welsh Newspapers Online, Trove, PapersPast, or Chronicling America. (I can in fact find quite a few mentions of 'red baron' in BNA during the war, but not as anything to do with 'the' Red Baron, or even a person: it was the name of a prize winner at the 1912 Royal Ulster Agricultural Society show, described in 1916 as 'Red Baron, the stud bull in the herd of the Hon. Frederick Wrench, Killacoona, Ballybrack, that has proved such a veritable gold mine for him'.2) Nor does 'red baron' appear in Flight magazine for the war, nor in the 1918 English translation of Richthofen's autobiography Der Rote Kampfflieger, tellingly translated as 'The Red Battle Flyer'.
So if Richthofen was called the Red Baron during the war, as I had assumed and as seems widely to be believed, this practice does not seem to have made its way into the press and so can't have been very widespread. Perhaps it was a nickname bestowed upon him by Allied airmen, though even there something less polite seems more probable. But in any case, Wikipedia's claim that
Richthofen painted his aircraft red, and this combined with his title led to him being called 'The Red Baron', both inside and outside Germany.
needs to be qualified, a lot.
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The year for a trip Home
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.
The great air-liner of the future
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).
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Pulp aviation
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.
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Anticipation vs experience vs memory
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.)
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Aerial Pageant
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.
Image source: State Library of Victoria.
Australia and the airship — IV
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?
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