Family memories – a soldier’s Great War sketchbook

Recently, one of our visitors has shown us some interesting First World War drawings by his grandfather, Private James McGarrigle. A coal miner at Seaton Delaval before he joined up, Private McGarrigle was a soldier with 7th Northumberland Fusiliers Observation Corps throughout the war. He wasn’t a trained artist, but the sketchbook he kept during the war gives us a picture of life in the trenches as ordinary soldiers experienced it.

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Soldiers tried to keep their spirits up with humour. A photo (here) shows the reality of the River Somme system around Péronne in 1917 – Private McGarrigle drew his sketch just a month before the town was taken by the British army in March 1917, following German occupation.

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McGarrigle’s humour is a bit darker in this sketch – “To ‘El wi’ bravery”, he’s written on the picture, showing a soldier weeping in his dugout as the bombs explode around him. At the top of the drawing, McGarrigle noted that the sketch showed a new trench that the soldiers were building at Wancourt. A lot of fighting took place around Wancourt, near Arras, in 1917 and 1918, and there’s a photo here. McGarrigle’s experiences must have been fairly similar to those of Northumberland Fusilier Victor Noble Rainbird, whose sketchbook drawings are in our collection (previous post, here). Rainbird was also at Péronne and Wancourt, though not at the same time as McGarrigle.

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Although McGarrigle has used a comic style for this drawing, the subject is anything but humorous. He’s titled it, “Twas a night I’ll ne’re forget as long as I may live”. He’s shown a soldier clinging to a mule while another mule tries to turn back in alarm. The supplies of Stokes mortar bombs they’ve been carrying lie scattered on the ground. McGarrigle may have been picturing the pack mule track to the area named Tyne Cottages at Passchendaele, where the 7th Battalion Northumberland Fusiliers were operating in late 1917.  The battalion historian, Captain Francis Buckley, mentions the dead pack mules on the track and the awful mud of at Passchendaele.

McGarrigle Xmas letter reducedOne Christmas, Private McGarrigle sent his niece a sketch of rats in his sleeping area on Christmas morning, saying, ‘I hope … Santa Claus [did not] put in your stockings the same as he did mine.’

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Private McGarrigle’s duties in the Field Observation unit involved making sketches of the countryside and the front lines so the unit commanders could plan for action. This drawing shows the view through a telescope with a tank position and barbed wire lines marked. Much of the observation work was done under cover of darkness. In an interview with James McGarrigle in 1938, the Blyth News & Ashington Post reported that, ‘many were the nights when he and Capt. Francis Buckley used to crawl beyond the lines and sketch the “lay of the land.” The information collected in that way … proved of great use to the Allies’.

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This sketch shows the ruined town of Bapaume on the left. Bapaume had been badly damaged in March 1918  during the German offensive to retake the Somme area. It was retaken by the British army in September along with Riencourt, which is also marked on the map. The 7th Battalion Northumberland Fusiliers were here for a few weeks in September, as Francis Buckley’s history of the battalion records. 

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Bapaume also features in this map, on the left, with a sunken road leading to the town, and observations noted on the drawing. Buckley recorded in the battalion history, ‘At dawn on September 28 [1918] the grand assault on the Hindenburg Line began….McGarrigle went to the O.P. [observation post] in the front line on September 28 and had rather a rough passage.’  Later, the battalion moved on to near Viesly. Francis Buckley noted that ‘McGarrigle made a useful sketch of the view in front.’ Conditions were dangerous for the observers – Buckley recorded, ‘Our only cover was a shallow trench about one foot deep; and for an hour whilst I was trying to sketch the details of the landscape the enemy’s 4.2-inch howitzers shelled the hill persistently.’ Buckley was responsible for bringing all the information in the observers’ sketches together, and then using them ‘to make a drawing of the panorama in front, which was printed out for the use of the troops in the line.’

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The two soldiers in this drawing are up to their calves in water in the trench as bombs fly overhead. It’s ironically titled “It ain’t a’f so rough on this sector Corporal is it”. At the bottom McGarrigle’s written the note “Hautmont November 21st 1918”. The 7th Battalion Northumberland Fusiliers were near Hautmont in France when the Armistice was declared on 11th November 1918. McGarrigle’s battalion must still have been in the area on the 21st, and his humorous image presumably records conditions just before the war ended.

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James Mcgarrigle, photo of, newsp vert rdcd 3.3.1938After the war, James McGarrigle returned to the mine at Seaton Delaval. This drawing of a pit pony down the mine is signed with the initials of his brother Charles, who was also a miner and an artist. The two shared a cottage. The mine sketch probably dates from before the war, as the page next to the drawing in the sketchbook is dated 1916. The waggon driver seems to be wearing his safety lamp around his neck.  James McGarrigle carried on with his painting in his spare time. He told the Blyth News & Ashington Post reporter, “If I am busy with a painting in such a week as this when I don’t come in from work until after tea, I spend the evenings putting in the ‘bottom’ [base layers of paint] and I leave the real colour work until Saturday”, so that he would have daylight to blend the oil colours properly.

Maybe one of your relatives was involved in the Great War and you have information or photos you’d like to share? You can share your family First World War stories with the world on these websites – Lives of the First World War   &   First World War Centenary history pin.  You may also be interested in these local websites – Durham at War  &   Sunderland in the First World War. Information about Tyne & Wear Archives & Museums’ First World War project can be found here – Wor Life : Tyne and Wear in the First World War  &   worlife1914.tumblr.com.

 

 

The engraving of John Hodgson

H. F. S. Mackreth produced the miniature of John Hodgson for inclusion in Hodgson’s work ‘The History of Northumberland’. This meant an engraving had to be produced from it so that multiple copies could be made for the books. An engraver uses a sharp tool to cut the lines and dots into the metal plate, with deeper incisions producing darker lines in the finished print. When the plate is finished, ink is applied to the plate and then wiped away, so only the ink in the incised lines remains. A piece of dampened paper is then put over the plate and they pass through a roller press together so that the pressure forces the paper into the inked lines.

It was Harriet’s brother, Robert, who organised the engraving of the picture. The cost was estimated to be about 60 guineas, so in 1831 he wrote a circular to those people who were already subscribers to the ‘History’ asking them to subscribe in turn to the portrait to the tune of one guinea each, in exchange for a copy of the print. He managed to get 68 subscribers, including the Bishop of Durham, the Duke of Northumberland, and various Johns: John Buddle, John Clayton, John Dobson and John Adamson.

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A close-up of the John Hodgson engraving, showing the use of stipple and line in the engraving. Copyright National Portrait Gallery.

The engraving was done by Edward Scriven, the foremost engraver of the time, who produced about 200 portraits during his career. Instead of using a traditional copper plate he engraved it on steel, a method which had only come into use during the 1820s. While it was much harder to work steel than copper, the metal could take greater detail and would last longer and therefore produce more copies. Scriven used stipple (dots) on the face, for greater variety of tone, and parallel lines for the cloth and background. He also added a border of about 40 lines, slightly further apart towards the outer edge.

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A magnified section of the background line engraving.

Robert Mackreth posted the finished plate to John Hodgson, who wrote back: ‘I cannot account for it, but the parcel containing the plate and impressions, that came last night, needed no other announcement that it came from Newcastle than the great quantity of coal-dust that had insinuated itself into the whole of it – a handful, at least’.

John Hodgson died in June 1845 and by September Robert Currie & Co of Grey Street, Newcastle, were offering prints of the engraving for sale, for 6s, 12s and £1-1-0, ‘to enable his friends to possess a copy of the only likeness extant’. The original steel plate is now in the Laing Art Gallery, Newcastle.

A copy of the engraving is currently on display at Segedunum Roman Fort as part of the Wall Face exhibition.

Washington’s changing landscape

I was recently looking through photographs from our Washington Development Corporation collection to find images for a new Flickr set.  The thing that really struck me was how dramatically the Washington landscape changed in the late 1960s and 1970s. Fifty years ago, when Washington New Town was created, the area was blighted by industrial waste. Two sites in particular stand out – the ‘white heap’ at Newall’s Insulation and Chemical Company and the pit heap at Washington ‘F’ Colliery.

View of Washington New Town from Penshaw Hill, May 1965 (TWAM ref. DT.TUR/2/36063AP).

View of Washington New Town from Penshaw Hill, May 1965 (TWAM ref. DT.TUR/2/36063AP)

Stephen Holley notes in ‘Quicker by Quango’ (his history of Washington New Town) that in 1964 a third of Washington’s workforce were employed in its four collieries – Harraton, Glebe, Washington ‘F’ and Usworth. Washington ‘F’ Colliery was vital to local employment, with well over a thousand workers but its massive pit heap literally cast a shadow over Washington. Holley describes how it “shed red dust in the dry weather and sulphurous fumes when it rained”. This was not unusual – pit heaps were a common sight in colliery villages, made up of the waste rock (mostly shale) removed during coal mining.

View of Washington ‘F’ Colliery, May 1965 (TWAM ref. 5417/120/5)

View of Washington ‘F’ Colliery, May 1965 (TWAM ref. 5417/120/5)

On 21 June 1968 Washington ‘F’ Colliery closed and two years later the Washington Development Corporation acquired the land. The Development Corporation was instrumental in the planning, design and construction of the New Town and was also responsible for landscaping and the reclamation of the industrial wasteland. It quickly set about cleaning up the pit’s legacy.

Removal of Washington ‘F’ Pit heap nearing completion, 1971 (TWAM ref. 5417/120/3)

Removal of Washington ‘F’ Pit heap nearing completion, 1971 (TWAM ref. 5417/120/3)

The Development Corporation removed the pit heap in lorries, using the colliery shale as road foundations. The surrounding area was landscaped to create Albany Park, while the engine house and headgear were reopened in 1976 as Washington ‘F’ Pit Museum, now managed by Sunderland Council. In the space of a few years the site was barely recognisable, transformed from a local eyesore to a place of fun and relaxation.

Washington ‘F’ Pit Museum, c1976 (TWAM ref. 5417/120/4)

Washington ‘F’ Pit Museum, c1976 (TWAM ref. 5417/120/4)

It never ceases to amaze me how quickly we can change our landscape. If you enjoyed these old photographs then why not visit our Archives searchroom. There you can browse through hundreds more images of Washington taken over the past 50 years. You can find details of our location and opening times on our website.

 

 

The Mackreths and Thunder Thursday 1837-style

The artist Harriet Mackreth lived with her family at 3 High Swinburne Place in Newcastle, just off Westgate Road. The house held her parents, her two older sisters and her brother, while the 1841 census also mentions two female servants of about 25 and 15 years old. The building had three floors, plus basement and attic rooms for the servants, with two or three rooms per floor. She lived there for almost 30 years and must have painted many of her portrait miniatures within its rooms.

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The house where the artist H.F.S. Mackreth lived.

In 1837 the house made it into the newspapers, as a result of a heavy thunderstorm:

‘The thunder was more than usually loud, and the lightning was very vivid at Newcastle on Sunday. Rain fell also in perfect torrents. Indeed, we scarcely ever remember so much to have fallen in so short a space of time. The chimney of Mr Wm Beaumont’s house in Greenfield Place, Westgate, was struck by the lightning, and the bricks fell through the roof of Mr Mackreth’s house, the electric fluid then entered the servant’s bed-room, singed a gown that was hung up, and made several holes in it, and coloured the wall; passed along the bell wire, melting it as it went continuing to follow the wire into the drawing room; it then found a passage into the adjoining house … Mr Mackreth’s servant was thrown down in the kitchen, but was not hurt; neither Mr and Mrs Mackreth sustained any injury. A strong smell of sulphur was felt after the lightning had passed through the house’ (Reading Mercury, 29th July 1837).

An engraving of one of Harriet’s portraits is currently on display at Segedunum Roman Fort as part of the Wall Face exhibition.

First World War Party in Pilgrim Street, Newcastle

C13536 - bridge and buildingThere was an absolute craze for street parties in Newcastle in August 1919 to celebrate the signing of the Peace Treaty on June 28th – the official end of the First World War. There were a few ‘Peace’ and ‘Victory’ tea parties in July, but they really took off in August, when a heatwave coincided with the children’s school summer holiday. The Peace Treaty was followed by thanksgiving services, music concerts and celebratory dinners in Newcastle, as well as a big Victory Parade on July 19th. But all this was rather formal and grand. The tea parties were a chance for ordinary people to celebrate peace and give children a treat after the long years of the war.

C13536 horse & cartFor many of the parties, the flags of Britain and her allies were strung across the streets, and shop windows might be decorated with strips of cloth or paper. Even the kerb stones have been painted for this celebration pictured in this scene.

The only ‘Victory’ tea party in Pilgrim Street I have seen reported in The Evening Chronicle of 1919 was the Eldon Mission Victory Tea Party, which was attended on August 5th by 330 children from poor families. That evening, the Lord Mayor and City Corporation held numerous tea parties across the city, catering for nearly 6,000 poor children in total. As well as having tea and songs, they were given an ‘artistic souvenir card’ with photographs of the King and Queen and wartime leaders, and a message from the Mayor. Evening parties meant that helpers who were working during the day could attend, and streets were quiet so they could put out tables. The evenings would have been light until late on at that time of year, and the weather was warm. The Eldon Mission Hall was a bit further down Pilgrim Street, the other side of the railway viaduct (though still close). However, because the street sloped steeply there, maybe the party was moved up the street to a comparatively flat area.

Pilgrim St 1920 photo, around 1920 © Newcastle Libraries, ref 003937

We can’t see the buildings where the tables have been set out in the watercolour, but this photo from about 1900-1920 shows what this area of the street looked like (photo © Newcastle Libraries, ref 003937).

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John Joseph Potts sketched the scene from a window on the side of the Royal Arcade, where he had an office. He was an accountant, and spare-time artist. His watercolour shows a little scene from Newcastle’s history. It also records a view that has disappeared for ever. 

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The right side of this photo is roughly the modern-day equivalent of Potts’s view. The tall dark office block replaced the building with decorated triangular gables. I took the photo from the big roundabout complex which occupies the space where the Royal Arcade and surrounding buildings previously stood.

Pilgrim St 1937 with Royal Arcade copy

Here’s Pott’s vantage point – the Royal Arcade, viewed from the side, on the right of the photo (we’re now looking up Pilgrim Street towards the city centre). The part of the street where the party took place had already been demolished by the time of this photograph, taken in 1937, leaving a curving pavement and widened roadway in its place. However, you might recognise the building with decorated triangular gables, which appears in Potts’s watercolour. (Photo © Newcastle Libraries, ref. 37282.) 

C13536 - bridge and buildingIn the watercolour, a train is going over the rail bridge above the lines of flags. The bridge is the only part of the view that remains today, though the structure has been remodelled to allow the Tyne Bridge approach roads to pass underneath. We can see how the roofs on the other side of the railway bridge drop away, as the street at that time sloped steeply down towards the Quayside.

1959 © Newcastle Libraries, ref 47149

The area is recognisable in a 1959 photograph (© Newcastle Libraries, ref 47149). However, the steep section of Pilgrim Street beyond the viaduct had gone by the time of the photo, and the road had been re-routed and flattened out quite a lot to create the approach to the Tyne Bridge.

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John Joseph Potts’s watercolour of the Pilgrim Street tea party is on show until October 19th at the Laing Art Gallery. From October 25th until June 28th 2015, it will be displayed at Discovery Museum in When the Lamps Went out: Life on Tyneside in the First World War, with photographs of other street party celebrations of the time.

Visit the Wor Life website for more about our events and exhibitions relating to the First World War.