Battersea Power Station AA077607
BATTERSEA POWER STATION, London. View of the station in Battersea, as seen at dusk from across the River Thames in Westminster, and showing steam rising from its four distinctive chimneys and lights illuminating the surrounding industrial machinery. Photographed by John Gay. Date range: 1955 - 1960.
© Historic England
Dudley blast furnaces OP02658
Blast furnace, Russell's Hall, Dudley, West Midlands, 1859. Mr Mills, dilute albumen print. Mr Mills, otherwise unknown as a photographer, recorded the blast furnaces at Russell's Hall, west of Dudley, when the industry was producing a vast number of iron products, including nails, boilers, vices and chains. Coal mining around Dudley had been recorded in the early 13th century and the area was famous for the manufacture of iron nails in the early 16th century. By the late 18th century Dudley was at the centre of England's iron industry, and the region was dubbed the 'Black Country' because of the blackening of the landscape by the coal and iron industries. Russell's Hall itself was pockmarked by clay pits and coal shafts, and significant urban development only took place after the Second World War.
© Historic England Archive
The Clay Pit, Harold Harvey (1874-1941)
Oil on canvas, Newlyn School, 1923. View of Leswidden China Clay Works near St Just. This painting shows the harsh, labour-intensive working conditions of a china clay pit. Leswidden China Clay Works, near St Just, was a more primitive works than the larger, more mechanised works in the St Austell area. The pit was closed before 1942. Harold Harvey was one of the few successful artists of the period who was born and raised in Cornwall. He grew up surrounded by the industry he would later paint and counted many of the working people he depicted as friends. He originally studied under Norman Garstin, but also visited Paris as a young man where he was greatly influenced by the Post-Impressionist movement. His earlier work was very much influenced by Stanhope Forbes, though it changed as he grew older, his brushwork becoming less thick and his forms more simple. Some of his later work shows a period stylisation but without the Picasso influences of his contemporaries Ernest and Dod Procter. Harvey continued to work right up to his death in 1941.