Hubert Arthur Finney (1905 - 1991)

Raising a barrage balloon in Hyde Park

£950.00

SKU: 11005

Wash on paper

Signed and dated

Presentation:
folio

Size:
Height – 35.4cm x Width – 57cm

1 in stock

DESCRIPTION

Provenance:
The Artist’s Studio

Barrage balloons flew above Britain during World War II, becoming an iconic feature of the British skyline

A number of the types of aircraft used by Nazi Germany during its Blitzkrieg campaigns relied on diving to release bombs accurately. Ju-87 Stuka dive bombers even had special sirens fitted to their wings to increase the noise produced when diving to strike fear into those on the ground. To counter this low-flying threat, Balloons were raised with heavy cables designed to destroy low flying aircraft, forcing them up into the effective range of Anti-Aircraft Defences.

Balloons were raised with heavy cables designed to destroy low flying aircraft

Mainly crewed by the Women’s Auxiliary Air Force, these balloons were grouped into Squadrons like fighter aircraft. Described by one WAAF as three times the size of a cricket pitch’, the balloons were simple to manufacture and operate, and were often anchored to trucks via a winch that could be used to control the balloon’s height. They were designed to hang in the sky, their anchoring cables and hydrogen filling designed to deter any low flying or attacks on the balloons themselves.

Black and white photo of a W.A.A.F. operators in a hangar. They are all standing still in uniform, with their hands behind their back and in a row as they are reporting for inspection at the end of a day of training. Behind them, the ballons have been tucked away and can be seen floating in the hangar.

Balloons safely tucked away in the hangar for the night. W.A.A.F. balloon operators report for inspection before going off duty after a strenuous day of training on the balloon site. England. Image: Wikicommons

Although ineffective in stopping high level bombers like the He111 and the Do17, the Balloons did force the Stuka into higher flight patterns during the Battle of Britain, making it easier for the RAF and anti aircraft crews to shoot them down. An attempt by the Luftwaffe to break through defences at low level over Dover in 1940 was thwarted by balloons, and one source has Balloons responsible for “102 aircraft crashes in the cables, resulting in 66 crashed or forced landings.”

We are grateful to Andrew Cormack for assistance.

Disclaimer:
Modern British Art Gallery are continually seeking to improve the quality of the information on their website. We actively undertake to post new and more accurate information on our stable of artists.

We openly acknowledge the use of information from other sites including Wikipedia, artbiogs.co.uk and Tate.org and other public domains. We are grateful for the use of this information and we openly invite any comments on how to improve the accuracy of what we have posted.

THE ARTIST

Hubert Arthur Finney
Hubert Arthur
Finney
1905 - 1991

A reclusive figure whose work has remained largely unseen, Finney studied under Eric Gill before winning a scholarship to the Royal College of Art in the early 1920’s; his closest friends there were Charles Mahoney,(1903-1968), Gerald Ososki (1903-1981) and Barnett Freedman (1901-1958). Finney had the good fortune to attend the RCA as part of a golden generation, many of whom went on to become some of Britain’s best loved artists (amongst them Ravilious, Bawden, Hepworth, Moore, Dunbar, Sorrell, and Piper). After a travelling scholarship to Rome, in 1929, Finney returned to become a teacher at Chelsea School of Art – working alongside Henry Moore who was in charge of the Sculpture Department and Graham Sutherland, the Department of Design.
From 1927-1934 he exhibited at the NEAC. In 1935 his painting Mother and Child was acquired by Carlisle Art Gallery. During WW2 Finney worked for the light rescue service of the Civil Defense.
After the war he taught part time under Anthony Betts at Reading University and was in charge of life drawing there when he retired in 1970. Although he was reluctant to show his work he did exhibit at the RA Summer exhibition (in 1950 and 1954) and the Portrait Society and at The Paris Salon. A large solo exhibition took place at the University of Oxford’s Institute of Education in 1964, and at The Lightbox, Woking, in 2022.

We are grateful to Nicholas Finney and David Buckman for assistance.

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