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For more than two decades, BrandNet has commissioned original artworks to tell Australian military stories. These paintings became the source of limited-edition prints, medallions, collectables and gifts that found their way into thousands of Australian homes. The original paintings themselves were never sold. They have remained in the BrandNet Archives ever since.
Now, for the first time, the originals are being offered to collectors. Unlike the numbered editions that came after it, the original is not one of a limited edition. It is a true one of one. There is only one original, and once it is sold it leaves the BrandNet Archives and will never be available again.
Lancaster: Into the Cauldron is the original acrylic on canvas by Australian aviation artist Drew Harrison, from the Iconic Aviation Collection, the six-painting series commissioned to celebrate aircraft that shaped Royal Australian Air Force history. It honours the Australians of RAF Bomber Command by placing the most famous of them all, W4783, AR-G ‘G for George’ of No. 460 Squadron RAAF, back where its story was forged: committed to a night operation over wartime Europe, with searchlights cutting the darkness, flak bursting and the glow of the target area below.
For thousands of young Australians, the air war over Europe was the most dangerous theatre in which they could serve. No. 460 Squadron, formed in 1941 and flying Lancasters from 1942, became one of Bomber Command’s hardest-working heavy bomber squadrons, flying more bombing raids than any other Australian squadron and dropping 24,856 tons of bombs. The cost was immense: 3,486 Australians died serving with Bomber Command, and 460 Squadron alone suffered 1,018 fatal casualties and lost 181 aircraft.
G for George flew around 90 operations between 1942 and 1944, including raids on Berlin, Hamburg, Cologne and the V-weapon research site at Peenemünde, before being withdrawn and flown to Australia. Today it is preserved by the Australian War Memorial, a physical link to those who served and those who did not return.
Harrison built the painting around darkness, vulnerability and tension. The night palette allows small points of light to carry unusual weight, and there is no comfortable distance from the action: George is already committed, the crew entering the cauldron with the dangers of route, target and return journey still ahead. The searchlights and anti-aircraft fire are not decorative; they narrow the world around the aircraft and convey what archival photography cannot, the feeling of a heavy bomber moving deliberately into a hostile night. The original is the unique source work behind the Lancaster limited-edition canvas, paper and aluminium artworks.
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