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Published 20th century A.D. Wilkinson, Richard H., Reading Egyptian Art, London, 1992; hard back WITH Lucas, A. and Harris, J. R., Ancient Egyptian Materials and Industries, New York, 1999 (reprint of 1962 edition); paperback WITH Otto, Eberhard, Ancient Egyptian Art, New York, ND; hardback; all illustrated. 2.81 kg total, 23.5 x 15.5 - 27 x 23 cm (9 1/4 x 6 1/8 - 10 5/8 x 9 in.). Ex libris a Hertfordshire gentleman. [3, No Reserve]

A silver presentation box, Harman Brothers, Birmingham 1978, the rectangular box with engine turned decoration and cast floral border, the central inscription reads ‘ Presented to W.B Parsons in grateful appreciation of 10 years loyal service by the Directors of Lucas Industries 1979’ 20.5cm wide

A sheet of 300gm watercolour paper containing the original watercolour, gouache and ink character art composited into the cutaway of 'The Night Buzzard' as featured in Star Wars Episode IX Rise of Skywalker. Painted by John R. Mullaney in 2020.Measures 26x18.5cm. The three characters were hand drawn and painted at a larger scale than the cutaway itself to allow for more detail and flexibility of positioning before they were digitally composited into the eventual piece. Reference photography of each character was provided by Lucasfilm and this was used to ensure screen-accuracy. An additional unpainted image of Ushar peering inside a storage crate was drafted before John and the team at DK and Lucasfilm decided he would be depicted in a different posture and location. Ushar's mace was also drafted before it was decided to composite the photographic version of the character's weapon. Consideration had to be given to each character's colouring to ensure it matched the lighting of the main cutaway and the relative position in which they would be located. The artwork appears on pages 252-3 of DK's 2020 title Star Wars Complete Vehicles Incredible Cross-Sections. It remains the only canon depiction within the Star Wars universe of the entire vehicle interior used by the sequel trilogy's primary adversary.About The ProjectIn 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star WarsAbout The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers. John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of 300gm watercolour paper containing the original watercolour, gouache and ink character art composited into the cutaway of 'The Night Buzzard' as featured in Star Wars Episode IX Rise of Skywalker for Dorling Kindersley's (see images, book not included in lot) . Painted by John R. Mullaney in 2020. Measures 9 x 33,5cm. The three characters were hand drawn and painted at a larger scale than the cutaway itself (see lot 205) to allow for more detail and flexibility of positioning before they were digitally composited into the eventual piece. Reference photography of each character was provided by Lucasfilm and this was used to ensure screen-accuracy. Two of the characters would be composited into the artwork as gunners manning the ship's weapon meaning it wasn't necessary to paint the full extent of their character. Consideration needed to be given to each character's colouring to ensure it matched the lighting of the main cutaway and the relative position in which each character would be located. The artwork appears on pages 252-3 of DK's 2020 title Star Wars Complete Vehicles Incredible Cross-Sections. It remains the only canon depiction within the Star Wars universe of the entire vehicle interior used by the sequel trilogy's primary adversaryAbout The ProjectIn 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star Wars.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of A3 tracing paper of an initial preliminary artwork depicting the legacy characters' route through Mos Eisley spaceport as featured in Star Wars Episode IV A New Hope. Drawn by John R. Mullaney in 2001.Measures 29.5 x 19cm. This artwork was produced as part of the planning process undertaken by the artist, DK art editor John Kelly and Lucasfilm's project consultant Curtis Saxton.The artist's brief was to produce an aerial cityscape view of the infamous “hive of scum and villainy”. But accurately plotting the buildings glimpsed in the Mos Eisley sequence required a forensic approach. By using shadow directions seen in the 1977 original as well as the 20th anniversary reissue edition, and matching background architecture that appeared in more than one shot, the team were able to calculate the relationship between buildings which line the route taken by Kenobi, Skywalker and the droids - from the outskirts of the city to the notorious Cantina, before they later head to Docking Bay 94. With the route plotted, the artist was then able to build up the rest of the spaceport ultimately creating one of his most ambitious and prestigious paintings to date, with the eventual artwork personally approved by George Lucas. Originally appearing on pages 12-13 of the original title: Inside the Worlds of Star Wars Trilogy, the art has been subsequently published in multiple reprints of the Inside the Worlds of Star Wars and Incredible Cross-Sections series.Two decades on from the creation of this vital first planning sketch, the final illustration remains the only published canon depiction of the city's layout in the franchise's history.About The Series In 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star Wars.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A Lucas Industries Ltd patent brass carbide cycle lamp

A Lucas Industries Ltd patent brass carbide cycle lamp

Set of ten original vintage art exhibition advertising posters. 1. Original vintage advertising poster for Hans Coper 1920-1981 exhibition at Serpentine Gallery Kensington Gardens 7 June - 15 July 1984, featuring a photograph of a ceramic vase. Hans Coper (1920-1981) was German-born British studio potter, an abstract but functional vessel artist, known for making vases, fruit bowls, candle holders. Printed by Skelton's Press, Wellingborough, Northamptonshire. Good condition, creasing, folds. Country of issue: UK, designer: Unknown, size (cm): 60x42, year of printing: 1984.; 2. Lucas Samaras: Polaroid photographs 1969-1983 at the Serpentine Gallery 6 September - 12 October 1986, featuring a photograph of a nude man sat on a chair with floral and black fabric, and a face of a bearded man, possibly Samaras, looking at the camera. Lucas Samaras (b.1936) is a Greek-American artist, known for photography, sculpture, printmaking. Fair condition, folds, creasing, tears on edges. Country of issue: UK, size (cm): 84x60, year of printing: 1986.; 3. Caravaggio to Giordano Painting in Naples 1606-1705 exhibition at the Royal Academy of Arts 2nd October - 12th December 1982, featuring Portrait of a Woman by an Italian Baroque painter Massimo Stanzione (1585-1656), depicting a lady in an ornate dress with various patterns holding a chicken, Martini logo in the right bottom corner. Good condition, folds, pinholes, staining, creasing. Country of issue: UK, size (cm): 76x51, year of printing: 1982.; 4. The Treasury of San Marco presented by Olivetty - The greatest Classical, Byzantine, Islamic and Western Medieval treasures from the Basilica of San Marco, Venice at the British Museum 12 July - 2 September 1984, featuring a photograph of golden 12th century reliquary of the Holy Blood in the shape of a church, with silver and golden patterns on the walls and the domes with crosses of the church. Good condition, folds, creasing, tears, pinholes, small paper loss in top left corner. Country of issue: UK, size (cm): 76x51, year of printing: 1984.; 5. English Romanesque Art 1066-1200 at the Hayward Gallery 5 April - 8 July 1984, featuring an illustration detail of - Leaf related to the Winchester Bible c.1160-80, depicting a soldier with a sword and a shield with a crowned man holding a shield and ornate patterns. Poster designed by Philip Miles. Printed in England by UDO Litho Ltd. Good condition, folds, creasing, pinholes, country of issue: UK, size (cm): 76x51, year of printing: 1984.; 6. for Islamic Bookbindings 14 December 1983 - 4 March 1984 at the Victoria & Albert Museum as part of World of Islam Festival Trust, featuring a stunning floral pattern book binding with peacocks, deer, hares, panthers and wild goats. Good condition, folds, creasing, pinholes, country of issue: UK, size (cm): 76x51, year of printing: 1984.; 7. Murillo, presented in association with The Prado, Madrid, 15th January-27th March 1983 at the Royal Academy of Arts, Sponsored by BAT Industries, featuring an oil canvas painting Children Eating a Tart by a Spanish Baroque painter Bartolome Esteban Murillo (1617-1682), depicting two children smiling as they eat a tart, with a dog looking at them and a basket of fruit with apples and oranges before them. Good condition, creasing, pinholes, folds. Country of issue: UK, designer: Bartolome Murillo, size (cm): 76x51, year of printing: 1983.; 8. Japonisme - Japanese Reflections in Western Art that took place at the Northern Centre for Contemporary Art 18 September - 1 November 1986 Supported by Northern Arts The Great Britain, Sasakawa Foundation, Sunderland Borough Council; the poster features an artwork titled The Fisherman by a French impressionist Jean-Louis Forain (1852-1931) depicting a fisherman and a dog fishing with the sky reflection on the still water. Good condition, folds, creasing. Country of issue: UK, designer: Jean-Louis Forain, size (cm): 60x42, year of printing: 1986.; 9. Henry Peach Robinson Master of the Art of Pictorial Photography 25 February to 24 April 1988 at the Barbican Art Gallery, featuring a photograph by an English pictorialist photographer H.P. Robinson (1830-1901) titled Sleep from 1867, depicting two children asleep in bed with a window overseeing the sea. Good condition, folds, creasing. Country of issue: UK, size (cm): 76x51, year of printing: 1988.; 10. W.H. Smith illustration Awards exhibition at the Victoria & Albert Museum 15 July - 1 November 1987, featuring artwork by a Welsh illustrator Ralph Steadman (b.1936) for 'I, Leonardo', Cape, 1983, depicting a man in red and blue robes sat at the table with 'Ralph Steadman' written in black ink and illustration of gears behind him. Good condition, folds, creasing. Country of issue: UK, designer: Ralph Steadman, size (cm): 76x51, year of printing: 1987.

A collection of motor vehicle, engines and automobile books to include CONTRIBUTION TO VICTORY, a ring bound book produced by Southall; five booklets from the Institution of Automobile Engineers, books relating to Lucas Industries, etc.

A fine ‘Birmingham Blitz’ George Medal pair awarded to John Hadley, Member of an A.R.P. Rescue Party on the occasion of the devastating raid on the B.S.A. Works at Small Heath on the night of 19-20 November 1940 - the original recommendation concludes with the statement that ‘the Regional Commissioner considers that Hadley’s actions deserve the George Cross.’ George Medal, G.VI.R., 1st issue (John Hadley); Defence Medal, mounted as worn, good very fine (2) £3,000-£4,000 --- G.M. London Gazette 11 April 1941: ‘John Hadley, Member, A.R.P. Rescue Party, Birmingham. As a result of aerial bombardment a four storey building collapsed. A man and a girl, who had taken shelter under a bench on the ground floor, were buried under the wreckage. Hadley, after three hours of effort with an oxy-acetylene apparatus, succeeded in cutting a way to the trapped couple, and rescued them. The precarious nature and weight of the debris made any form of propping or support for a tunnel impossible. The building was burning and work was suspended several times so that water could be directed into the tunnel. Hadley displayed great courage and determination in the face of grave danger.’ Lord Dudley, the Regional Commissioner, made a recommendation for the award of the George Cross to Hadley but this was refused on the basis that a works electrician, A. F. Stevens, had been gazetted for the George Medal in January 1941 for the same incident and for a similar act of gallantry. The night of 19th-20th November 1940 saw the first major aerial raid launched on Birmingham as part of a campaign by the German Luftwaffe designed to break the Brummie spirit. Coming five days after the destruction of Coventry, Birmingham fell prey to the most severe attack during the course of the Second World War. Lasting nearly all night the nine hours’ of intense bombing by 440 bombers killed 450 people and badly injured 540 others. Around 400 tonnes of high explosives were dropped during the raid – Hitler’s retaliation for British raids on Hamburg, Bremen and Kiel. Factories damaged in the raid included Lucas Industries and G.E.C. works and the Birmingham Small Arms Company (BSA) factory was also badly damaged – 53 employees were killed as they took shelter behind blast walls, 89 were injured, 30 of them seriously, and rifle production was said to have been halted for three months as a result. Sold with research including copied ‘Secret’ and confidential reports on the B.S.A. works raid and Selection Committee recommendation for the George Medal which concludes with the statement that ‘the Regional Commissioner considers that Hadley’s actions deserve the George Cross.’

This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. A full-size, limited edition statue of Darth Vader as seen throughout George Lucas' Star Wars franchise. Released in 1996 by the Rubie's Costume Company as part of a limited edition run of licensed, life-size figures, this statue is numbered 342 of 500. Rubie's was one of the first companies to produce high-quality costume displays in the 1990s, with some of their creations used for promotional purposes by Lucasfilm around the world. Each statue was hand-crafted by Michael Burnett Studios from original molds, blueprints, and photos from the Lucasfilm archives. This particular statue originally came from production software company Play Industries, where it was displayed in a company museum. Made of fiberglass and molded latex with various plastics, a fabric cape and robe, and metal armature components, it is a nearly exact copy of Lord Vader's infamous black costume and mask. It comes mounted to a custom base featuring the Star Wars logo and edition number engraved into an affixed plaque. The statue and its helmet can easily be removed from the stand. The lot shows minor wear, including several grips missing from the affixed lightsaber handle, and its electronic elements remain untested, but it remains in good overall condition. The belt boxes are wired for lights, but require a battery pack installed at the back of the leg, which is currently missing. Shipping crate included. Dimensions: 84" x 35" x 24" (213 cm x 89 cm x 61 cm) Special shipping required; see notice in the Buyer's Guide. Contains electronic components; see notice in the Buyer's Guide. Estimate: $6,000 - 8,000

This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. A full-size statue of an Imperial stormtrooper as seen in George Lucas' Star Wars: A New Hope. Created by the legendary Don Post Studios as part of a limited-edition run, the statue is numbered "137." Don Post pieces were highly valued for their accuracy and production quality, with some creations used for promotional purposes by Lucasfilm around the world. This particular statue originally came from production software company Play Industries, where it was displayed in a company museum. Made of fiberglass with metal armature components within, the statue features a replica blaster fixed to the right hand with removable arms for easy transport. It comes mounted to a custom-made base affixed with a plaque engraved with the Star Wars logo and edition number. The lot shows minor wear from shipping and storage, but it remains in good overall condition. Dimensions: 84" x 41" x 19" (213 cm x 89 cm x 61 cm) Special shipping required; see notice in the Buyer's Guide. Estimate: $4,000 - 6,000

2 Lucas Industries Archivist Photos and related paperwork

A Lucas motor cycle rear light No 344 (acetylene) first produced in 1915 and discontinued in 1929 - included in the lot is documentation from Lucas Industries of Solihull and a photostat of the original catalogue entry priced at 14/= (fourteen shillings)

Original vintage advertising poster - Give him a Lucas accessory - featuring a stylised design depicting Santa Claus and its reindeer against a green background. Lucas Industries plc was a Birmingham-based British manufacturer of motor industry and aerospace industry components. Once prominent, it was listed on the London Stock Exchange and was formerly a constituent of the FTSE 100 Index. In August 1996, Lucas merged with the American Varity Corporation to form LucasVarity plc. After LucasVarity was sold to TRW the Lucas brand name was licensed for its brand equity to Elta Lighting for aftermarket auto parts in the United Kingdom. The Lucas trademark is currently owned by ZF Friedrichshafen, which retained the Elta arrangement.Year of printing: 1950s, country of printing: UK, designer: Unknown, dimensions (cm): 76x51. Good condition, creases, folds, faint staining in margins, small paper losses.

Lucas Industries chromium wheel shaped display stand, marked to the base 'Joseph Lucas Ltd, England'

Lucas - The First Hundred Years by Harold Nockolds, 1976 and 1978 in two volumes, 349pp and 432pp respectively. These are chairman's presentation copies bound in half-leather and green cloth bindings, with gilt titles on the spines. Included is a pictorial bookplate on the inside front cover of each volume, signed by the then Lucas Industries Chairman, Bernard Scott. Very clean examples. (2)

Lucas Industries. Various equipment and maintenance brochures giving running instructions, an 'Electricalities' catalogue of the early 1930s, a James Grose accessories catalogue, together with similar trade catalogues for Charles Church & Co., 1904 and Buck & Hickman, AF (11)

MOTORING: A printed folding 8vo menu for a dinner held at the Savoy Hotel restaurant, 10th March 1938, signed in pencil to the covers by over twenty individuals including Herbert Austin, 1st Baron Austin (1866-1941, English Automobile Designer and founder of the Austin Motor Company), William Rootes, 1st Baron Rootes (1894-1964, British Motor Manufacturer), Peter Bennett, 1st Baron Bennett of Edgbaston (1880-1957, British Businessman, Chairman of Lucas Industries), Oliver Lucas (designer of the electric car horn) etc. Some light scuffing and age wear, about VG

A Qum rug 20th century, part silk, the central deep red floral medallion with weeping willow motifs, within a dark blue outer border with all-over design, the madder spandrels also with weeping willows, within a floral meander outer border, 79.5 x 52in. (202 x 132cm.) * Passed down by descent from the Lucas family of Lucas Industries.

Silver-clad, wooden jewellery box, presented to Florence Coveney for 40 years service to Lucas Industries, 1976. Base and lid hallmarked Birmingham 1976 `H BROS`. Length 20cm.

Robert Taylor, Limited Edition Print, "The Dambusters`, signed in pencil by:. Air Marshal Sir Harold (Mick) Martin, KCB, CB, DSO, DFC, AFC, RAAF. Corporal Ken Lucas. Flight Engineer Sergeant Raymond Ernest Grayston. Flight Lieutenant Joseph Charles McCarthy, RCAF, DSO, bar to Distinguished Flying Cross. Flight Lieutenant William "Bill` Reid, VC. Flight Sergeant W.C. (Bill) Townsend, CGM, DFM. Group Captain Lord Leonard Cheshire, VC. Marshal of the Royal Air Force, Sir Arthur T. (Bomber) Harris. Flying Officer Geoffrey Rice, DFC. Sergeant George Leonard (Johnny) Johnston, DFM. Squadron Leader David John Shannon, DSO and Bar, DFC and Bar. Squadron Leader Ken Brown, CGM, CD and Bar. Squadron Leader Les Munro, CNZM, DSO, QSO, DFC, JP. Warrant Officer Norman Cyril Jackson, VC. Wing Commander Roderick Alastair Brook Learoyd, VC. On 16th May 1943 nineteen Lancasters of 617 Squadron under the leadership of Wing Commander Guy Gibson attacked the Moehne, Eder and Sorpe Dams which provided water for the great armament industries of the German Ruhr. The dam faces of the Moehne and Eder were smashed and vast flood waters released. On arrival at the Moehne Dam, Gibson attacked first and scored a direct hit with his Barnes Wallis bouncing bomb. The next aircraft in was hit by flak, and blew up crashing just beyond the dam. Robert Taylor`s print shows the number three aircraft, piloted by Flight Lieutenant Mick Martin making his determined run in, just releasing his bouncing bomb and heading through the devensive curtain of gunfire. Guy Gibson`s aircraft is flying in front and to the starboard of Martin`s in an effort to distract the flak. In spite of this Martin collected a shell right through a wing tank, but his bomb scored another direct hit. Gibson and Martin, then flew in with each of the two successive attacks either distracting the defences of attempting to suppress them with fire from their own air-gunners. The cumulative effect of the fourth direct hit breached the Dam and 150,000,000 gallons flooded the Ruhr valley washing away factories, railway bridges, electric pylons but above all greatly reducing water supplies, necessary to the armament industrial processes. The total cost of the overall operation to 617 Squadron was 56 members lost from 133 original flyers, and eight Lancasters destroyed and four damaged. Gibson was awarded the VC and 32 other aircrew were decorated for this most famous of all air offensive actions. Visit www.dnfa.com for condition reports