Fabulous Fans – Part Two

During my project I re-packed the fans so they could be immediately visible before they are handled. This is so important due to the fragility of some of the fans. They are all stored in draws in the museums costume store, packed in protective compartments separated by tissue. Fans were traditionally stored in metal or cardboard fan boxes, but I like to think that a wealthy lady would have a selection of fans displayed just like this ready to match with her outfit.

Selection of Fans

Following on from the first five fans in my top ten is a bone and silk gauze fan dated 1910. The symbolism of this particular fan really caught my eye and made it stand out to me. It depicts pale blue dragonflies emerging from the chrysalis, which are painted onto the gauze fan leaf. This symbolises a woman’s liberation from her restrictive garments during the early 20th Century. It shows how the fan as an accessory can be a subtle yet powerful tool, not only in the language of the fan but also in the image or decoration.

The language of the fan was a very subtle way for a lady to communicate with gentlemen suitors. A few examples of this are:

Placing the fan near the heart: ‘You have won my love.’

To fan very quickly: ‘I am engaged.’

Carrying the fan open in the left hand: ‘Come and talk to me.’

Due to the popularity of the fan they were often given as gifts or bought as souvenirs. This delicate Chinese hand painted fan showing a fishing scene is beautifully detailed. My favourite part being the carved fan guard that shows intricate carved leaves and a small bird with tiny eye detail.

The sticks are made from bamboo, which is typical of Chinese fans and when open the sticks show that they have been carved and printed with an oriental floral pattern in a grey metallic paint.

Carved sticks

Carved sticks

At first glance I thought the next fan could have been a child’s, due to its smaller size. However these smaller more dainty fans, known as brise fans became very popular at the beginning of the 19th Century. A brise fan is typically made of bone or ivory and has no fan leaf. Instead the sticks are heavily pierced to give an ornate lace like effect, and then strung with satin ribbon, some coloured but in this case cream. They were usually painted with dainty, pretty flowers. At the time these elegant fans were the epitome of contemporary style.

This example is made of celluloid (a type of plastic) and is painted with very pretty floral posies, most likely in gouache. A gold metallic painted line follows the ribbon that has strung the sticks together.

Brise Fan

Brise Fan

The final fans in my top ten are from my favourite era, but are both so different in style.

The first is dated c.1920. It is the most unusual shape and has a really practical yet delicate fastening. The fan guards are imitation tortoiseshell made from celluloid and are formed in a teardrop shape. Due to the size of the fan and its fastening, which is also a retractable handle it is most likely that it was designed as a pocket fan. The fan is made up of three layers of feathers, showing a combination of guinea fowl and pheasant.

Ladies who accompanied gentlemen on shooting parties would be given a box of feathers to take home. These were often made into fans just like this one.

My favourite from the collection

My favourite from the collection

I was drawn to the final fan in my top ten as it has a very glamorous feel to it. It is a ‘fly whisk’ fan and is one of the most modern fans in the collection dating from 1920-1930. Fans became increasingly less popular during this period and were rarely used after the 1930s. However during the 1920s extravagant fans like this one were considered the must have accessory for a slim line evening dress. The fan is made from a large black ostrich feather and the single handle is slightly curved and is made of black celluloid. It has an art deco style sphere at the end of the handle, which is decorated in a typical linear art deco style with striped inserts in cream.

Fans made after the 1930s were normally made for advertising, as souvenirs or to mark special occasions. Some fashion houses, for example Hermes, have been known to give fans away at catwalk shows, and it is noted that the fashion designer Karl Lagerfeld holds a fan while watching his famous Chanel shows.

 

 

Angel

A couple of us volunteers at the Laing Art Gallery are recording details of a large archive of material relating to the Tyneside Victorian artist Ralph Hedley. Recently I came across two photos of a carved angel. The angel is holding up a church lectern, and on the back of the photo there’s notes mentioning Horden Church, and Jos. Potts & Son, architect.

It was not hard to discover that Horden is near Peterlee, and its church is St. Mary, which was designed by Joseph Potts and built in 1913.

J. Potts & Son, a prolific architects and surveyors practice, started in Sunderland, and it moved to Newcastle in about 1890. It finally closed in the 1950s.

But it’s not so easy to discover if the angel is still in Horden.

Do you know where this angel is?

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First World War Stories: The Birtley Belgians

I’m currently working on the ‘Workshop of the World’ project to catalogue the historic records of Vickers Armstrong and its predecessor companies. This project will make thousands of fascinating documents available to the public for the very first time thanks to a generous grant from the Andrew W. Mellon Foundation (made through the National Cataloguing Grants Programme). Included amongst these records is a superb album of photographs taken in the National Projectile Factory, built in Birtley during the First World War.

Introductory page to the album, 1916 (TWAM ref. 1027/271)

Introductory page to the album, 1916 (TWAM ref. 1027/271)

By May 1915 the British war effort was not going well. It had become clear that the Army was simply not being supplied with the quantity of high explosive shells it needed. The ‘Shell Scandal’ as it became known led to the fall of the Liberal government and its replacement with a coalition. A new Ministry of Munitions was created, with David Lloyd George as Minister and it solved the shell crisis by building new munitions factories across Britain, including one at Birtley, near Gateshead.

These National Projectile Factories needed workers, though, and with so many British men away fighting in the trenches there was a real shortage. This was partly resolved by the large-scale employment of women in the munitions factories but foreign workers also had a key role to play. What made the National Projectile Factory at Birtley so special is that the management and workers there were all Belgian.

The Director General of the factory was a Belgian, Hubert Debauche and the majority of the workforce was made up of Belgian soldiers who had been wounded during the War. Those men were unfit for military service but could still support the war effort through their labour. Significantly they were answerable to their own Government rather than the British. By running it as a Belgian factory, problems such as the language barrier and different working practices between Belgium and Britain were side-stepped.

The work in the factory would have been very hard by modern standards – 12 hour shifts, 6 days a week. The workers were still considered to be soldiers and were supposed to wear their military uniform at all times in the factory.

View of two Belgians at work in the National Projectile factory, Birtley, June 1916 (TWAM ref. 1027/271)

View of two Belgians at work in the National Projectile factory, Birtley, June 1916 (TWAM ref. 1027/271)

This rigid insistence on military discipline by some managers led to a riot by the Belgian workers on 21 December 1916. The trigger was the imprisonment of a worker for wearing a civilian cap when he went to ask for four days leave. The enquiry which followed recommended that military uniform should no longer be worn in the factory or the colony of Elisabethville, where the workers lived.

The factory was built and equipped by Armstrong Whitworth and the firm also built their own cartridge factory beside it. Research carried out by John Bygate using Belgian archives suggests that Armstrong Whitworth resisted handing over control of the shell factory but by early 1916 the Belgians had taken charge. The firm obviously maintained an interest in the factory, though, as the photograph album in the Vickers Armstrong collection testifies. The photographs were taken in June 1916, shortly after the factory became operational. The images show the Belgian workers carrying out various processes involved in shell production.

Pressing the copper band on each shell, June 1916 (TWAM ref. 1027/271)

Pressing the copper band on each shell, June 1916 (TWAM ref. 1027/271)

 

 Riveting the base plate of a shell, June 1916 (TWAM ref.1027/271)

Riveting the base plate of a shell, June 1916 (TWAM ref.1027/271)

All the images in the album have been digitised and are available online in a new Flickr set.

No attempt was made to assimilate the Belgian workers and their families into the local community. Instead, a separate village known as Elisabethville was established on the northern edge of Birtley, named after the Belgian Queen Elisabeth. The entrance to the Colony was opposite the pub, the Three Tuns.

Ordnance Survey map showing the site before the construction of the factory, 1915

Ordnance Survey map showing the site before the construction of the factory, 1915

The buildings were all prefabricated, with accommodation consisting of nearly 900 two and three-bedroomed cottages for families and 22 barracks for single men. The village was fenced off from the rest of Birtley and had its own police force or ‘gendarmes’ as they were called, who could deal with minor offences. Elisabethville had the facilities you would expect of a normal village – shops, a school, a hospital and a church.

At its height Elisabethville was home to around 6,000 Belgian men, women and children. After the signing of the Armistice in November 1918 the Belgians were repatriated back to their homeland and memories of what had happened at Elisabethville slowly began to fade. The album, though, is a reminder of a fascinating episode in North East history and we’re delighted to be able to share it with you. It’s also a testimony to the remarkable achievements of the Belgian workers, many of them left disabled by the War, who produced their shells at a faster rate than any other factory in the country.

You can find out much more about the Birtley Belgians in the book ‘Of Arms and the Heroes’ by John G. Bygate. Useful information can also be found in the recent publication by Brian Armstrong ‘They made ammunition at Birtley’, published by BAE Systems. Reference copies of both are available in the Archives searchroom. Details of our location and opening times can be found on our website.

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

Arcs & Sparks: Discovery Museum’s Electrical History Store

In Discovery Museum’s basement, beneath the feet of our unsuspecting visitors, there are store rooms full of even more science and technology artefacts awaiting their time in the spotlight.  My colleague Toni previously blogged about some of her experiences working to sort out one of these stores (/behind-the-scenes-in-the-science-and-industry-stores/).  As work progressed we realised that the basement was already home to much of our historic electrical engineering collection.  We therefore decided to turn one of the largest of the basement rooms into a dedicated electrical history store, Arcs & Sparks.

Arcs & Sparks

Arcs & Sparks

We’ve organised the store to tell the story of electrical engineering from the generation of electricity right through to its use in everyday appliances.  This collection is of national importance and contains some real gems going back to the earliest days of electrical generation and use.

Our 1850s Nollet dynamo (patented in 1850 by Belgian inventor Floris Nollet) has a shaft with sixteen coils of wire (within a brass band) which spin between the poles of eight large red horseshoe magnets.

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Nollet dynamo (TWCMS : 2013.1430)

This generated enough electricity to do useful work, such as powering arc lamps in lighthouses.  With its obvious red magnets and wire coils, the Nollet dynamo is great for explaining the basic principles of electricity generation.

Once an electricity supply was available, magnetism could be created by passing current through another set of wire coils known as “field coils”.  These “electromagnets” could then be used in dynamos instead of the large and heavy horseshoe magnets.  Henry Wilde invented his electromagnet generator in 1873.

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Wylde generator (TWCMS : 1995.434)

Our Wilde generator is only a quarter the weight of the Nollet dynamo but just as powerful.  It was made in 1883 to power arc lamps at the Wallsend Café.

The shafts of these early dynamos were spun by reciprocating steam engines like that in our distinctive blue Robey unit, but soon the faster and more efficient steam turbines took over (we have a couple of these in the store too).  Interestingly, most electricity is still generated in exactly the same way today, by giant steam turbines.  Even nuclear power stations simply use the heat of the nuclear reaction to boil water to make steam.

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Robey reciprocating steam generating set (TWCMS : A39)

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Parsons steam turbine generating set (TWCMS : C3304)

The next section of Arcs & Sparks explores how the electricity was controlled and transmitted from the power station to homes and businesses.  There are transformers, voltmeters, cables and cable joints, insulators, switchgear and fuses, and models of other things that would be just too big to fit in the museum.

TRANSMISSION

Models of Reyrolle circuit breakers, a selection of voltmeters, and a model transmission tower or “pylon”

Then, around the next corner, is the last section which compares how electricity was first used with what it’s used for today.

People started using electricity before anything like a mains supply was available, relying instead on basic battery cells.  Right from the beginning some saw its potential to facilitate instant communication, and the first commercial electric telegraph system, by Cooke & Wheatstone, started sending text messages in 1837.

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Cooke & Wheatstone telegraph receiver, 1837 (TWCMS : 1997.3739)

Electric telegraphy was first used by the new inter-city railway companies as a means of communication even faster than their trains, but was soon adopted by other businesses and by the general public for personal messaging.

Joseph Swan invented the light bulb in 1879.  His house in Gateshead was the first in the world to be lit by electricity, and in 1881 he established the world’s first light bulb factory in Benwell, Newcastle. Fittingly then, Discovery Museum has one of the very finest collections of early lamps, including some of Swan’s first production models.  Many of these are on permanent display in our Science Maze gallery, but most of the remainder are carefully stored in Arcs & Sparks.

By the end of the 19th century suddenly everyone was thinking about electricity and finding new things to do with it.  Such as…electrotherapy anyone?

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Control panel for Watson Treatment Table (TWCMS : 2013.301)

Or how about a wireless electric tramway?  This stone box with a metal lid is an electric stud from a Brown Surface Contact System tramway.  Instead of “unsightly” overhead wires, the cabling was buried between the rails where it fed studs like this at the road surface every few feet.

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Electric tramway stud (TWCMS : 2013.477)

When a tram passed over a stud, its on-board magnet pulled up a contact switch within the stud which made its surface live.  The current was then collected by a skate beneath the tram.  The switch dropped back down after the tram had passed.  At any one time, the tram would be in contact with two or three such studs.  Sounds clever, but in very wet weather this system could be lethal; there are stories of horses stepping on supposedly safe studs and being electrocuted.  This system was only ever used by Wolverhampton Corporation Tramways, from 1902 to 1922.

Electricity came into its own in the 20th century when used to power labour-saving devices such as vacuum cleaners and washing machines, and we have a selection of these and other gadgets in the final part of Arcs & Sparks.  At first, electric motors simply mechanised the former hand processes so early appliances tended to resemble their unpowered predecessors.  Later on, things were redesigned to make better use of the rotative properties of the electrical motors, so we got front-loading washers, spin dryers and cyclonic vacuum cleaners.

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Early washing machine with mangle by Beattie Bros (TWCMS : J6522) & relatively modern c.1940 Bendix automatic front loader (TWCMS : 1993.11198)

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Co-op vacuum cleaner (TWCMS : J17030) and a modern Dyson

Then we have radios, computers, a television, and an electric kettle.  We’re now so addicted to electricity that we can’t even make a cup of tea without it!

Uses

If this has…um…sparked your interest, please come and join one of our free guided tours on the first Wednesday of every month: http://www.twmuseums.org.uk/discovery/whats-on/events/behind-the-scenes-the-arcs-and-sparks-store.html.

To book, call 0191 232 6789 or email discoveryevents@twmuseums.org.uk with “Arcs and Sparks” in the subject box.

 

A North-East Artist in the Trenches in World War 1

This view of soldiers in a trench on the Somme battlefront around Péronne was drawn by Victor Noble Rainbird, a local artist who fought with various battalions of the Northumberland Fusiliers during the First World War. His sketch shows a trench bell, set up to warn of gas attacks. Both sides in the war used gas – originally tear gas and subsequently mustard or phosgene gas. (There’s an eyewitness account of a gas attack on the Somme battlefield here.) Péronne is situated on a bend in the River Somme and was an important town in the war. It was absolutely devastated before its capture by the British army in March 1917, as can be seen in photos of King George V’s visit in July (photos here). Rainbird might also have been there in July when some Northumberland Fusilier battalions arrived on rubble-clearing duties. Others were at Péronne briefly in September. (Péronne is marked on a map showing the changing front lines on the Somme battlefront in early 1917 here, together with Arras, which was also part of Rainbird’s wartime story. There’s a map here of the Western Front battlefields in France and Belgium.)

This sketch is one of a small group of Rainbird’s battlefield drawings currently on show in Paintings of World War 1 at the Laing Art Gallery until October 19th. The sketches, which seem to date from 1917 to 1918, open a window on Rainbird’s experiences and those of other North-East soldiers during the war. The drawings are tiny, sketched in a notebook the artist could carry in a pocket.

TWCMS_C650webXRainbird titled this sketch Wancourt, Moonrise. It may show the ruined house on Wancourt Ridge alongside the tower (apparently the ruins of an old windmill reinforced with concrete), which had been a German observation and machine-gun post, causing a lot of trouble for British soldiers before it was captured in April 1917. The victorious soldiers were from Rainbird’s original Brigade (made up of the 4th, 5th, 6th & 7th Battalions of Northumberland Fusiliers) in the 50th Division. However, at the time, Rainbird himself was almost certainly at Arras, 7 miles further north, with the 34th Division (they arrived in Wancourt later). Francis Buckley of the 7th Northumberland Fusiliers described the battle, which took place in appalling weather:

…about April 16 [actual date, April 15], 1917, Lieut.-Col. F. Robinson of the 6th N.F. discovered the enemy approaching the ruined buildings on the Wancourt Tower Hill, and promptly ordered a platoon to attack them. This plan succeeded admirably and the Tower and house were captured. The place was of vital importance to us as it commanded direct observation on all the roads leading to our part of the front. On April 17 the enemy shelled the Tower with 8-inch howitzers—generally a sign that he meant to attack sooner or later. The Tower contained a formidable concrete machine-gun emplacement, facing of course our way, but by General Rees’ orders it was blown up by the Engineers. Sure enough the enemy attacked the Tower that night, and at an unfortunate time for us, for the 7th N.F. were in the process of relieving the 6th N.F. in the front line, and it was a vile night, with a blizzard of snow.

The German attack succeeded in driving our men out of the Tower and buildings, and though several bombing attacks were made that night to recover the position it could not be done… next day…it was arranged to attack across the open supported by a barrage from five brigades of field artillery. The hour was fixed for twelve noon (German time) just when the enemy is thinking about his dinner. Without any preliminary bombardment, the barrage opened out at the appointed hour, and fairly drove the enemy off the hill top. The 7th N.F. advanced in perfect order and with little opposition recaptured the Tower and the neighbouring trenches….As this operation was carried out in full view of all the surrounding country it attracted considerable attention, and congratulations soon poured in from all sides.

Francis Buckley’s sketch, from his history of the 7th Battalion of Northumberland Fusiliers, shows the land around Wancourt and the tower. This is probably the kind of field observation drawings that Army Headquarters had sent Rainbird to make for the 34th Division Northumberland Fusiliers, who were in the centre of the Arras Offensive battlefront, near Arras itself. (The front extended south to Wancourt and Croisilles, and north to Vimy Ridge.) The troops would have needed sketch views marked with trenches, roads, hills, gun positions and other features. The ability to make views, rather than flat maps, would have been enormously helpful for soldiers to visualise the terrain they would be moving through. The army was able to print maps and plans in towns they held, like Arras, to supply to soldiers before important attacks. Rainbird was later congratulated for his drawings at Army Headquarters.

Why had Rainbird moved from his original unit? During the war, some soldiers could find themselves moved around a lot, according to battle need. Rainbird apparently had Lewis gun skills and had already been separated from his first battalion to go to an anti-aircraft unit to protect the massive Zeneghem ammunition depot and canal/rail interchange, which was built in 1916, very close to Watten in France.

These soldiers at Wancourt are standing in front of the sandbagged entrance to a trench dugout (similar to the dugout illustrated on a BBC virtual tour of a World War 1 trench, here). As Rainbird noted in the title of the sketch, Wancourt was on the Hindenberg Line, which was originally a series of strong German defensive positions. The course of war brought the 34th Division Northumberland Fusiliers to Wancourt from early November 1917 to the end of January 1918. Rainbird had returned to these troops after special leave in England to take part in a military memorial plaque design competition, sometime during the competition period of mid August to the end of December 1917.

The relatively quiet time the Northumberland Fusiliers were having at Wancourt came to an end in March 1918, when the Germans launched a major offensive to retake the Somme area. Rainbird took part in fighting at St Leger, near Wancourt. He then moved north with the 34th Division to Armentières, near the River Lys, in the French Flanders region adjacent to Belgium. The Division lost thousands of soldiers killed or wounded in these battles. In a huge German gas and explosives attack on Armentières, Lieutenant John Shakespear, author of the 34th Divisional history, recorded that from gas alone, “we had about nine hundred casualties. Two companies of 25th Northumberlands … were practically all gassed”. The British front line troops were forced into a withdrawal, described by Lieutenant Shakespear:

I don’t think that anyone who was concerned that night’s operation will ever forget it. The troops had been engaged heavily for three days and nights, and had suffered heavy losses. The night was very dark, detailed maps were scarce, the positions alike of friends and foes were very uncertain and were constantly changing. The plan of retirement was for the 101st, 102nd, and 103rd Brigades to retire by the Armentières-Bailleul railway and road… The enemy barraged the railway so heavily that the troops had to leave it and find their way across country in small parties…

After moving in April to St Jans Cappel on the border with Belgium, the troops of the 34th Division found themselves almost immediately in the middle of another battle, to try to prevent the Ypres area being overrun and protect the route to Dunkirk and the other French Channel ports. Thousands of British soldiers fell on the battlefield at this time, like the soldier in this sketch, who lies surrounded by poppies. The German troops also suffered severe losses.

Rainbird titled this sketch Poppies (from a shell hole). It was often impossible to bury dead soldiers immediately after a battle, and huge numbers lay on the battlefields until they could be reached. Poppies bloomed there from April (if the weather was warm) to September. The shelling of the war churned up the earth, releasing the poppy seeds, so that the battlefields were covered in poppies, and the flower has become the symbol of the sacrifice of the wartime soldiers.

Rainbird’s little pencil sketch of the dead soldier on the battlefield is linked to a painting he produced in 1930, revealing the continuing impact the war had for him, even 12 years after it ended. In the photograph, Rainbird is posing with his painting, All Quiet on the Western Front, which was illustrated in the Shields Daily News of 7th May 1930 (reproduced courtesy North Shields Local Studies Centre). It’s difficult to see all the details as newspaper photographs of the time were not very high quality, but the caption gives interesting information:

At a special interview granted to a “Shields Daily News” representative Mr. Rainbird said the idea for the title of his picture was gathered from the oft repeated phrase in Earl Haig’s official communiqué, “All Quiet on the Western Front”. The picture… portrays a soldier of the 5th Battn. Northumberland Fusiliers killed in action lying amidst the barbed wire entanglements and Flanders poppies. Mr. Rainbird used his own likeness as a model for the soldier, and his own regimental number is on the gas mask on the soldier’s breast. The dead soldier’s likeness to the artist is remarkable. The whole picture is an expression of what Mr. Rainbird actually saw at the last battle of the Somme. In the background we can see the barrage slowly creeping over “No Man’s Land”. The soldiers have gone on ahead, leaving their fallen comrade behind, while from the clouds we have gazing down three Angels of Peace on “All Quiet on the Western Front”.

After the enormous losses suffered by the 34rd Division in late 1917 and early 1918, the remaining troops were withdrawn from fighting. They spent a few weeks building a new defensive line close to Poperinge, near Ypres, in Belgium. Then, in mid May, Rainbird moved with the remnants of the 34rd Division to near Lumbres, south of Calais. There, he was involved in training American shock assault troops in the use of the Lewis gun. He was in England for officer training when the war ended in November 1918. After this, Rainbird returned to his home town of North Shields to pick up his career as an artist, exhibiting at the Laing Art Gallery and elsewhere. Sadly, he apparently developed a drink problem, possibly linked to his wartime experiences. He died at the age of 49.

Sources and related information

Victor Noble Rainbird Obituary, Shield Daily News, March 9th 1936, copy in the Victor Noble Rainbird folder at North Shields Local Studies Centre, North Shields Library.

 WW1 Battlefields of the Western Front

Victor Noble Rainbird Wikipedia page

The changing battlefronts following the German withdrawal to the Hindenberg Line in 1917 is shown here, with Arras and Péronne marked.

The History of the Fiftieth Division 1914-1919. By Everard Wyrall, 1921

The History of the Thirty-Fourth Division 1914-1919. By Lieut.-Colonel John Shakespear, 1921. (One of the illustrations is a sketch view by Major Vignoles, showing military features in the landscape for a forthcoming attack. Perhaps Rainbird contributed field observations for this sketch.)

King George V at Péronne, July 1917, The Royal Visits To The Western Front, 1914-1918

First World War Official Photographs

British troops crossing the Somme into Péronne, March 1917

British troops watching shelling at Wancourt

The daily routine of front line service, Imperial War Museum online

Gas Attack, 1916, The Somme, Eyewitness History online

Dug-out Entrance Virtual Tour, BBC online

Photograph of an officer, sargeant and private soldier of the Northumberland Fusiliers in World War 1

Photograph of British soldiers in tents in a mine crater on the Somme

The Project Gutenberg EBook of ‘Q.6.a and Other places, Recollections of 1916, 1917 and 1918’ by Francis Buckley, eBook (history of the 7th Battalion of Northumberland Fusilers)

Northumberland Fusiliers War Diaries (microfiche) Local Studies, Newcastle City Library; & the National Archives

The War Diary of the 1/7th Battalion Northumberland Fusiliers
April 1915 – January 1918

The 4th Battalion of Northumberland Fusiliers. Gives research resources, etc