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Collections at Black Country Living Museum

Collections.

You have searched for items in our Black Country Landscape theme.

Our online collections are just a very small part of the 80,000 items we have at the museum.

The Caponfield Suite, print 1 of 10 by Harry Eccleston b 1923 d 2010 The Caponfield Suite, print 1 of 10 by Harry Eccleston b 1923 d 2010

Harry was fascinated by the steelworks gantry which figures in several of the prints in his 'Caponfield Suite'. To him, its demolition in the early 1980s was 'like Renoir losing all his women'.

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Black Country Black Country

Etching, signed by H. Eccleston, 1937.

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Black Country Museum Black Country Museum

View of the canal arm at the Black Country Living Museum, looking towards the anchor forge and rolling mill.

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Sedgley Park, 1837 Sedgley Park, 1837

Illustration of Sedgley Park, 1837, from 'The history of Sedgley Park School' by F. C. Husenbeth, 1856.

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N. Hingley & Sons Works N. Hingley & Sons Works

View of the works of N. Hingley & Sons, Netherton, taken from their catalogue.

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Puddling Furnace, print by R.S.Chattock (1825-1906) Puddling Furnace, print by R.S.Chattock (1825-1906)

One of a series of prints of the Black Country completed around 1872. Puddling is the process whereby pig iron is converted into wrought iron.

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"At Dudley Castle", print by R.S. Chattock (1825-1906) "At Dudley Castle", print by R.S. Chattock (1825-1906)

One of a series of prints of the Black Country completed around 1872. Most of them are industrial in theme but this one retrospectively depicts Dudley Castle during the English Civil War, when it was a Royalist stronghold.

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"Worked Out", print by R.S. Chattock (1825-1906) "Worked Out", print by R.S. Chattock (1825-1906)

One of a series of prints of the Black Country completed around 1872. Tracts of the South Staffordshire coalfield were indeed becoming 'worked out' or exhausted in this period. In the foreground: a deserted engine house and 'haystack' boiler.

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Coke Hearth, Cradley, print by R.S. Chattock (1825-1906) Coke Hearth, Cradley, print by R.S. Chattock (1825-1906)

One of a series of prints of the Black Country completed around 1872. Coke was essential to iron smelting and forging. To produce coke the volatile content of coal - water, coal gas and coal tar has to be burnt off in a furnace.

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The Gin, print by R.S. Chattock (1825-1906) The Gin, print by R.S. Chattock (1825-1906)

One of a series of prints of the Black Country completed around 1872. Horse powered winding gins were still being used at some mines into the 1920s.

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Tapping a Blast Furnace, print by R.S. Chattock (1825-1906) Tapping a Blast Furnace, print by R.S. Chattock (1825-1906)

One of a series of prints of the Black Country completed around 1872. In 'tapping' newly smelted iron is released at the base of a blast furnace to flow into troughs of sand - shown in the foreground of the picture - to form slabs of iron called 'pigs'.

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The Black Country, print by Harry Eccleston, b 1923 d 2010 The Black Country, print by Harry Eccleston, b 1923 d 2010

This print which is about the size of a parcel label, was executed by Harry Eccleston in 1937 at Bilston School of Art, when he was just 14 years old.

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Blast Furnaces, Caponfield print by Harry Eccleston, b 1923 d 2010 Blast Furnaces, Caponfield print by Harry Eccleston, b 1923 d 2010

Another student work from 1937.Though he would spend most of his professional life in Essex, the Black Country landscape would continue to inspire Coseley-born Harry throughout his life .

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Black Country Summer, print by Harry Eccleston,  b 1923 d 2010 Black Country Summer, print by Harry Eccleston, b 1923 d 2010

In addition to the finished print, the museum has Harry's preparatory sketches for this piece.

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Trick Cyclist, print by Harry Eccleston,  b 1923 d 2010 Trick Cyclist, print by Harry Eccleston, b 1923 d 2010

The print is dated 1955, the place is the Theatre Royal Bilston, towards the end of the music hall era - the Royal itself would close in 1957.

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Boomps-A-Daisy, print by Harry Eccleston b 1923 d 2010 Boomps-A-Daisy, print by Harry Eccleston b 1923 d 2010

The print is dated 1949, the place is the Theatre Royal Bilston, towards the end of the music hall era - the Royal itself would close in 1957. Harry was given an entrée to the Royal by his wife's cousin, who worked there as chief cashier.

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Tip, print by Harry Eccleston b 1923 d 2010 Tip, print by Harry Eccleston b 1923 d 2010

The print is dated 1968. The embankment leads into the Bilston Steelworks.

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Bilston Flower Show, print by Harry Eccleston b 1923 d 2010 Bilston Flower Show, print by Harry Eccleston b 1923 d 2010

The print is dated 1950. Though he spent much of his career in Essex where he taught engraving and illustration, Harry returned regularly to the Black Country.

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Morning Shift, print by Harry Eccleston b 1923 d 2010 Morning Shift, print by Harry Eccleston b 1923 d 2010

The print is dated 1960.The railway embankment leads to Bilston steelworks. Harry grew up in Highfields, a nearby council estate, bounded by the steelworks, the canal and the railway embankment.

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Coseley Road Station, painting by Harry Eccleston b 1923 d 2010 Coseley Road Station, painting by Harry Eccleston b 1923 d 2010

The painting is dated 1968.

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Cupolas, painting by Harry Eccleston b 1923 d 2010 Cupolas, painting by Harry Eccleston b 1923 d 2010

Completed 1958, the painting shows a foundry cupola, used to melt cast iron.

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Photograph of Bilston steelworks taken by Harry Eccleston b 1923 d 2010 Photograph of Bilston steelworks taken by Harry Eccleston b 1923 d 2010

In preparation for his ""British Steel"" sequence of prints (1976) Harry joined the morning shift at Bilston steelworks and took a large number of interior photographs using a simple camera. The album of these photographs is now in the museum's collection.

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Photograph of 'ladle teeming' at Bilston steelworks, taken by Harry Eccleston, b 1923 d 2010 Photograph of 'ladle teeming' at Bilston steelworks, taken by Harry Eccleston, b 1923 d 2010

Another of the photographs taken in preparation for the ""British Steel"" prints. Molten steel is being poured into ingots from a huge ladle which empties from the bottom. One of the prints would show this process, called 'teeming'.

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Study for painting of Coseley Station drawn by Harry Eccleston, b 1923 d 2010 Study for painting of Coseley Station drawn by Harry Eccleston, b 1923 d 2010

The finished painting is also in the museum's collection and can be viewed on this website.

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Photograph of the blast furnace 'Elisabeth' taken in the 1970s by Harry Eccleston Photograph of the blast furnace 'Elisabeth' taken in the 1970s by Harry Eccleston

Photo taken in preparation for one of Harry Eccleston's ""British Steel"" prints issued in 1976.

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Slag, print by Harry Eccleston, b 1923 d 2010 Slag, print by Harry Eccleston, b 1923 d 2010

This print led William Church, a senior executive in British Steel to commission Harry Eccleston's 'British Steel' series of prints.

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Study for print of blast furnace by Harry Eccleston, b 1923 d 2010 Study for print of blast furnace by Harry Eccleston, b 1923 d 2010

The finished print is also in the museum's collection and can be viewed on this website. This preparatory drawing details colouring and texture showing Eccleston's close attention to detail.

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Study for the print 'Slag' by Harry Eccleston by Harry Eccleston, b 1923 d 2010 Study for the print 'Slag' by Harry Eccleston by Harry Eccleston, b 1923 d 2010

A copy of the finished print is also in the museum's collection and can be viewed on this website.

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