Tag Archives: Northumberland

Remembering the miners who gave their lives

DAVID SIMPSON recalls the tragic loss of life in the coal mining  history of North East England where literally thousands of men lost their lives simply doing their job.

West Stanley memorial
Memorial to the West Stanley Colliery explosion of 1909.

“Bye mam”, shouted fourteen year-old John Richard Heard, as he set off for work, as he’d done so many times before.

“Bye son”, his mother replied and then, strangely, moments later, another farewell came as he briefly returned, for reasons that we will never know:

“Bye mam”.

“You’ve already said goodbye, son” came the reply, the mother not knowing that this goodbye, would be his last.

The young lad lived in Perkinsville, a little pit village near Pelton just west of Chester-le-Street. He worked at nearby Urpeth Busty Pit, a short walk from his home. How long he worked there, we don’t know. What sort of lad he was, we don’t know.

All we know is that the inquest notes for his death on that day, January 27, 1898, include the boy’s name, the name of the colliery owners, the name of the pit and the cause of death.

The mine owners were Charles Perkins and Partners, the successors to Lieutenant Colonel Edward Mosely Perkins, from whom ‘Perkins’ Ville’ was named. The Perkins family also owned the nearby iron works at Birtley where there is a prominent statue to E.M. Perkins’ memory. The pit was the Urpeth Busty Colliery, ‘busty’ being the name of the coal seam that this particular colliery worked. As for the cause of death, a short matter of fact explanation reads as follows:

“His work consisted in ‘helping-up’ the putter with his empty tubs, after which he should have returned to the siding. On this occasion, however, he did not return to his proper place, and being caught by the full tub, which the putter was bringing out, was crushed between it and the prop.”

The words “he should have” are typical of the comments found in the summaries of mine accidents at that time. Responsibility is firmly placed on the individual worker, even when the deceased worker might be as young as eleven, ten, nine or eight-years-old but this lad was fourteen, so clearly he must be considered an adult. To the modern mind the thought occurs that this is only a boy and he should not be working here at all, but these were very different times when the risk of death in the name of work and progress, even for children, was a simple and unfortunate fact of life.

Five months following John Richard’s death, his mother, Alice Heard, would also pass away. She was 41. Her death was perhaps hastened by her heart-breaking loss. Alice would share the grave with her beloved son in Pelton churchyard. She would, however, live to see the marriage of her daughter from whom my mother’s family descend. Alice was my great-great grandmother and the story of the lad – my grandma’s uncle – who came back to say that one last goodbye, has passed down to us.

Felling Colliery
Old postcard showing Felling Colliery the scene of a disaster in 1812

In our day and age no one expects to lose their life simply doing a job, simply earning a living for their family. Less do we expect to find children employed in such dangerous work. However, this was once the widely accepted reality in the coalfields of Northumberland and Durham and in other coalfields across the land. A century earlier, back in the early 1800s most people had worked as ‘agricultural labourers’. That was no doubt a relentless job and it certainly received very poor pay. It was a life of virtual servility, little better, perhaps, than that of the medieval peasants of old. For such people, mining was a very attractive proposition.

Businessmen, speculators, risk takers, entrepreneurs and men of money like Edward Mosely Perkins brought new opportunities for the impoverished. They opened mines and built new villages from scratch, offering simple home comforts and wages which though modest by the standards of today, would have been more than tempting for farm hands used to working the land.

Alice’s mother and father, were called Apperley and originated in rural Herefordshire where Apperleys had resided for centuries, presumably working the land. Mining brought new opportunities that drew people of modest means from far and wide to the North East seeking work in the coal mines. Another branch of my family came over from Ireland, also to work in the Durham mines. Mining was a comparatively lucrative trade, but of course it was also, as we have seen, potentially deadly.

Woodhorn Colliery museum
Woodhorn Colliery on the northern edge of Ashington is now a fabulous museum that celebrates and recreates the lives of miners. Photo © David Simpson 2018

The massive scale of this danger and the huge loss of life really only hit home to me some years ago when I co-authored a book about the history of Sunderland aimed at young people in that city. The book was filled with quirky facts and fun features but also the occasional poignant event.

This book was fun to do but one thing that really sticks in my mind is discovering that within the modern bounds of what is now the City of Sunderland we can find the names of around 2,700 men and boys who lost their lives working in the mines of that very area. So, that’s 2,700 just within the area covered by the present City of Sunderland. That is to say just one small part of the North East coalfield.

Now you might think there must have been some fairly major colliery disasters in the Sunderland area given that figure, but in truth that part of the region seems to have been reasonably fortunate in terms of mining deaths. The worst disaster in the area now covered by present day Sunderland was of a relatively modest scale. It was also a relatively early disaster, being an explosion at Newbottle Colliery in 1815 that claimed 57 lives.

Haswell disaster sculpture
Detail from sculpture commemorating the Haswell Colliery disaster of 1844. Photo David Simpson © 2018

However, by the time that colliery closed in 1956 it had claimed the lives of  148 men and boys over a period of time, all of whom died simply doing their job. Across the region most deaths in the mines were, sadly, an almost day to day experience. There were no major disasters at Ryhope Colliery, for example, which operated for 109 years (1857- 1966) yet it still claimed the lives of 291 men and boys during its working life. Further north, at Monkwearmouth, 297 lives were taken during that mine’s history. That is of course the colliery that once stood on the site now occupied by Sunderland Football Club’s Stadium of Light.

The intention here is not to be morbid or make a political point of some kind. It’s just important to highlight this rather sad element of our region’s history that should not be forgotten. Most towns and villages around our nation have war memorials recalling the names of those who gave their lives while bravely fighting for their country. Many were young men, of whom we should be rightly proud. In the coalfield of Northumberland and Durham many such war memorials stand in almost every town and village but those towns and villages could equally display monuments to the men and perhaps more significantly, the boys – the children – who gave their lives simply earning a living to support their families.

This is no less a tragedy than the sad losses of war and these are individuals of whom we should be no less proud, especially when we consider the part coal played in powering us towards the modern world and all the comforts we know today.

Mining tragedies weren’t just a nineteenth century phenomenon, however. In May 1951, for example, 83 men lost their lives in one single event in the colliery at Easington in County Durham. And if you find the human cost too unbearable to imagine you might consider that it was not just human lives that could be taken. In September 1880 a single disaster at Seaham Colliery claimed 164 men and boys but also killed 181 pit ponies working below ground. Mining could be a hard and cruel industry in so many respects.

Mine disaster memorial Stanley
West Stanley memorial. Photo © David Simpson 2018

If the plight of the region’s miners and their families, who faced such daily dangers is remembered at all, it is in the memorials to the major disasters. One good example is at Stanley in County Durham which recalls the disaster at the West Stanley Burns Pit in  February 1909 where 168 lives were lost. The memorial was unveiled in 1995 by the then Newcastle United football manager Kevin Keegan whose grandfather, a miner at this pit, had survived the event and had helped with the rescue effort.

There are many other memorials across the North East, some new, some old. At Haswell between Durham and Easington for example there stands alongside the 1830s remains of a colliery engine house a sculpture installed in 1996 by Michael Disley depicting the faces of miners trapped between layers of stone. It commemorates a disaster at the Haswell mine in 1844 which claimed 95 lives.

Haswell Colliery Engine House
Remains of Haswell Colliery engine house and commemorative sculpture. Photo © David Simpson 2018

One of the most important memorials and one that is contemporary with the event rather than a modern remembrance can be found in the churchyard at Heworth near Gateshead. Here a memorial to a disaster of special importance commemorates that which took place at Felling Colliery in 1812 in which 92 miners lost their lives. Their names are engraved around four sides of the monument. This disaster was of particular significance because it was the first pit tragedy to really come to the attention of the public conscience and was an event that really spurred on a determination to improve mine safety. It was the Felling disaster that ultimately brought about the development of the miners’ safety lamp.

Felling Memorial Heworth
Plaque and one side of 1812 Felling memorial at Heworth churchyard : Photo © David Simpson

Coincidentally the churchyard is also the burial place of Thomas Hepburn (c1795-1864), the Pelton-born, union leader who founded The Colliers of the United Association of Durham and Northumberland. Hepburn, who had worked in mines since the age of eight, fought hard to improve the rights and conditions of his fellow miners. He was a dignified and intelligent man, determined to fight the miners’ cause by peaceful means. He often worked against great adversity and faced much resistance from those who controlled the trade but he was an important part of the story in improving the often brutal conditions in which miners had to live and work.

Hester Pit memorial Earsdon
Memorial to Hartley Colliery disaster Earsdon churchyard. Photo © David Simpson 2018

For me the most moving memorial to a pit tragedy within our region is at the scene of the biggest North East mining tragedy of them all and one that I have only recently visited for the first time. It concerns the Hester Pit at New Hartley near Seaton Delaval in Northumberland. Here a disaster struck on the morning of Thursday, January 16, 1862 after a massive beam engine used for pumping water from the mine gave way, crashing into and destroying the mine shaft below. Deep below the number of miners was especially high as it was time for a shift change with about half the men due to end their shift and the others about to commence work.

Hester Pit Memorial Garden
Hester Pit Memorial Garden. Photo © David Simpson 2018

The men and boys were able to move to a higher seam to escape the imminent danger of flooding but the destruction of the shaft and cage meant that the only means of ventilation and escape from the build up of noxious gases had been destroyed.

Above ground men worked frantically to reach the entombed miners but the breakthrough would not come until the following Wednesday. Sadly, long before that point, the men below had succumbed to the gas. The last diary entry of one of the deceased occurred on the Friday and this suggests that it may have been on that day that most of the men had met their end.

The bodies sat in two rows, all as if they were simply sleeping. One boy’s head rested on the shoulder of his father, while two brothers embraced in a permanent affectionate slumber.

A miner involved in the attempted rescue effort was the first to encounter this scene. He climbed back to the surface and with great emotion announced the dreadful news to the waiting families and crowds above. There were no survivors below.

Two hundred and four men and boys lost their lives in what was the worst mining disaster ever recorded in the North East of England. Sadly, a third of those who died were under nineteen and included five boys aged ten or eleven years old and more than twenty were from twelve to fourteen years of age.

The dead were buried at Earsdon near Whitley Bay some four miles to the south and a continuous convoy of coffins and mourners is said to have run to there from New Hartley. A monument can still be seen in Earsdon churchyard commemorating the burials but the really moving place for me is the memorial garden at New Hartley itself that is built around the superstructure on the site of the shaft where the terrible events took place. The garden was opened in 1976 and in 2012 a memorial pathway by Russ Coleman was added recalling the names of those who lost their lives

Hester Pit Memorial Garden
Hester Pit Memorial Garden. Photo © David Simpson 2018

The one positive note that came from this tragedy was a change in the law, in 1865, which made it compulsory for mines to have more than one shaft, though some colliery owners opposed this additional expense. If there had been a second shaft at New Hartley, the miners would have been saved.

Disaster memorials like that at West Hartley are unusual and recollect only the major events. They do not record the names of the thousands of incidental deaths that occurred in North East mines over the decades which were not connected to major disasters.

Deaths such as that of John Richard Heard are perhaps only remembered, if at all, by those whose family histories feature such terrible heartbreaking episodes. There must be many a family throughout the region who share in this unfortunate legacy with their own family tales to tell of men and boys who lost their lives in our North East mines.

The memorials do help us to remember how times can change. They can provoke us to ask questions about humanity itself and how we can make our lives better for future generations.

Let’s not let the miners who gave their lives, miners like fourteen-yea- old John Richard Heard, be forgotten.

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The Durham Mining Museum (online resource)

To find out more about individual coal mines, mining disasters and pit fatalities in North East England I recommend visiting the fantastic Durham Miners Museum, an amazing online resource featuring vast amounts of information on coal mines, coal owners with extensive lists of names and information and reports about miners who were killed in the pit.  The site covers Northumberland as well as Durham and also lead and ironstone mining in places such as Cleveland and Cumberland. You can visit the site at www.dmm.org.uk/ 

Woodhorn Mining Museum

You can also find out more about the Hartley Colliery disaster and much else about the life of coal miners and coal mining in the region by visiting the fabulous Woodhorn Museum near Ashington

History Pages

About the history of the Easington area

About the history of the Stanley area

About the history of West Hartley and Seaton Delaval

Sarah creates a sense of place in colourful magical maps

We talk to 49-year old Morpeth-based artist, Sarah Farooqi in the latest in our series of interviews featuring talented artists and photographers from the North East of England. Sarah is best-known for her wonderful, colourful illustrated maps.

The Quayside by Sarah Farooqi
The Quayside by Sarah Farooqi

How would you describe your work?

I am a watercolour artist specialising in landscapes, townscapes and illustrated maps. From a pen drawing, my pictures evolve into busy, layered compositions which reflect my love of detail and colour, and hopefully a sense of fun.

Tell us how you first started out as an artist?

I began drawing when I was old enough to hold a pencil and went on to study graphic design at university. But then I took a wrong turn into corporate TV graphics and lost my enthusiasm. So I trained and worked as a primary teacher until I became a full time mum. During that time I was asked by my local school to work with their youngest children on an art project.

However, I had to stop myself grabbing the paint brushes off the children as I just wanted to do it myself! I started painting again soon after, and have never looked back. I spent a year experimenting and finding out exactly what it was I wanted to paint and how. Then once I had a couple of finished pieces I took them to show lots of galleries, shops, the National Trust etc. until I had a few places willing to sell my prints/cards. I joined Network Artists and had a group exhibition at Alnwick Garden in 2009. From there I was asked to make visitor maps for Alnwick Garden and Castle.

Detail from the Howick Hall Estate Map
Detail from Sarah Farroqi’s Howick Hall Estate Map

What work are you most proud of?

In the visitor centre at Howick Hall Gardens (near Alnwick) there is a huge map detailing the whole of the Howick estate, its rare plants/trees and wildlife. The map took the best part of a year to complete and some of it was previously unmapped so I was able to work closely with their head gardener and other members of the Howick team. The map has had a very positive reaction from visitors and I am very proud of it.

What inspires you?

Everything really. I love being outdoors and the intricacy of the natural world. But I also can’t resist a bleak northern industrial scene (see below), or something unexpected or irreverent, as I don’t like to take things too seriously. I also have a terrible sense of direction, so if someone asks me to make them a map I am inspired by that challenge.

Sarah Farooqi
Sarah Farooqi

What influence if any does North East England have in inspiring your work?

I grew up in Teesside and have fond memories of sketching at South Gare near Redcar. Home to the now ghosted blast furnace, at the time I loved peering through the railings and seeing the molten iron being poured into the trucks, and the architecture of the industrial landscape.

It was also right next to Paddy’s Hole with its fishermen’s huts and the North Sea. There is even a lighthouse at the end. Perfect!  Now I live in Northumberland I am totally spoilt by the North Northumberland coastline, with its empty windswept beaches and fabulous castles, and even more lighthouses. The fact that Northumberland is a bit of a secret to many people is also quite appealing – I like to help celebrate it.

What has been your most challenging creation?

Definitely the Howick Hall visitor map, as it involved mapping previously unchartered territory, working with a range of different groups, and the sheer scale of the project. I painted it on a series of squares which when laid out wouldn’t fit in any of the rooms in my house!

Howick Hall Estate Map
Howick Hall Estate Map by Sarah Farooqi

Do you have any tips for up and coming artists?

Never give up, and if you feel overwhelmed by the possibilities/challenges, take a deep breath, start at the beginning and just keep going. To begin with there will be set backs, and you need to go through these in order to learn how everything works. Also, if you are trying to make a living from your art, try and remember to put the customer/buyer at the centre of your marketing so that you make it as easy as possible for people to see, understand and buy your work. Also, being an artist can be a little isolating, so make sure you make connections with people and get out and about. All the other artists I know are really nice people, and happy to help.

Whch other artists or photographers inspire you?

The Cornish fisherman and artist Alfred Wallis who started painting on bits of old cardboard at the age of 68. Arthur Rackham, the Victorian artist whose work includes my favourite illustrations for the Wind in the Willows. Tove Jansson, who wrote and illustrated the Moomins. The stories, symbols and patterns in aboriginal art are fascinating. I am also amazed by the photos of Iceland by Benjamin Hardman, who I’ve just started following on Instagram.

What are your ambitions for the future?

More commissioned work, more of my own work, maybe expand my portfolio from Northumbria into Yorkshire and beyond, and one day to have a fabulous studio. I’d also like to illustrate a children’s book.

See more of Sarah’s work at www.sarahfarooqi.co.uk

Northumberland’s landscape and light make the perfect picture for David

In our latest interview featuring creative people in North East England we talk to Hexham-based landscape photographer and writer David Taylor. 

Charlies Garden. Photo David Taylor
Charlies Garden, Colywell Bay near Seaton Sluice, Northumberland. Photo by David Taylor

Where in the North East are you based?

I live in Hexham, just twenty minutes’ drive from Hadrian’s Wall Country.

How would you describe your work?

I’m a landscape and architectural photographer who lives and works in the north east of England. I’m particularly inspired by the Northumberland countryside, from the craggy landscape of Hadrian’s Wall to the wild moorlands of the Cheviot hills.

David Taylor North East photographer
David Taylor North East photographer

How did you get into photography?

I borrowed my school’s camera (and there was only one…) when I was studying A-Level art,  and was immediately hooked. There’s something compelling about making an image in a small fraction of a second without the need for pen or pencil! I’ve always liked being outdoors so landscape photography seemed the most natural fit.

What are you most proud of as a photographer?

I’ve written forty books and contributed to many others. These books have either been about photography techniques and equipment, or about Northumberland. I didn’t start out with the intention of combining writing with photography but I’m proud of the fact that I’ve achieved that.

Peel Crags, Hadrian's Wall. Photo David Taylor
Summer mist over Peel Crags, Hadrian’s Wall. Photo David Taylor

What do you most enjoy photographing and why?

Water in is a fascinating subject. How it appears in the final photo depends on a number of factors, such as how it’s illuminated to the length of exposure used. I could quite cheerfully spend all day just photographing watery subjects such as the sea.

What inspires you? 

The quality of light on a landscape. Light changes throughout the day, varying depending on where the sun is in the sky and the current weather condition. It means you can revisit the same location over and over again and still see and shoot something different each time. I find this both challenging – you can’t know precisely what will work and what won’t until you get to a location and see how it’s illuminated – and creatively inspiring.

Bamburgh Castle. Photo David Taylor
Bamburgh Castle. Photo David Taylor

What influence, if any does North East England have upon your work? 

I’m from Newcastle originally and grew up there. I spent a lot of time on the coast when I was young, as well as camping in places like Gosforth Park. That early exposure to the landscape of the North East is something that has been very influential. As much as I like travelling and visiting other parts of the world, I can’t see me wanting to stop photographing in and around the North East.

College Valley. Photo David Taylor
Looking down the College Valley, Northumberland. Photo David Taylor

What has been your most challenging photographic creation? 

I’m always a bit suspicious of photos that happen easily! They somehow don’t feel earned. It’s those images that require work or perseverance to achieve that tend to be my favourites. One shot – the view down Henhole in the College Valley in the Northumberland National Park – took six hours of trudging in rain across wet moorland to achieve. It was at the point that I was more than ready to go home that the sun finally broke out. The resulting photo took just a few minutes to set up and shoot, but this more than made up for the fact that I was soaking wet and still have a long walk ahead of me.

Do you have any tips for up and coming photographers? 

Photography has a reasonably steep learning curve but it’s not impossible to understand the basics of how an image is made. Once you’ve achieved this it’s just a question of practise to refine how and what you shoot. Be prepared to take creative risks and make mistakes; it’s often the mistakes you make that give you the greatest insight in how you can improve your photography. Don’t give up and have fun!

Footprints on Bamburgh beach. Photo David Taylor
Footprints on Bamburgh beach. Photo David Taylor

What other photographers or artists inspire you? 

Although he’s not a landscape photographer, Elliott Erwitt is one of my favourite photographers. His documentary photography is full of humanity and often wickedly funny. For me, there’s nothing better than curling up on a wet, grey day with one of his photography anthologies. I’ve tried to shoot like Erwitt and wasn’t that successful. It was a good indicator that I should stick to landscape…

What are your ambitions for the future? 

To keep on learning about photography. It’s such a big subject that’s impossible to know everything. It’s a worthwhile ambition to try though!

See more of David Taylor’s photography at: www.davidtaylorphotography.co.uk

 

Northumberland Snow. Photo David Taylor

The Beast from the East hits the Northumberland National Park. Photo David Taylor