Where The Mining Art Gallery – the only venue in the UK dedicated to miners’ art – is housed in the Old Bank Chambers, which was designed in mid-19th century gothic revival style and is thought to have been one of the first banks in Bishop Auckland. “We have retained original features such as the night safe and spiral staircase, and an immersive film plays in the bank’s old vault,” says the curator Angela Thomas.
Opened The gallery was opened in October 2017 by Robert McManners and Gillian Wales, the founders of the Gemini Collection of mining art. They donated their collection to the Auckland Project – a grand redevelopment of Auckland Castle and the surrounding town due to complete in 2019 – so the works could be conserved and displayed. The venue is the first of a number of projects that aim to reinvigorate the area.
Collection The Gemini Collection contains more than 400 artworks, many originating from the Great North Coalfield. “It reveals the remarkable creative energy of the mining community in County Durham and beyond,” Thomas says.
Its focus is on painters associated with the Spennymoor Settlement group, notably Norman Cornish (1919-2014), Tom McGuinness (1926-2006), and Bob Olley (b.1940). “These artists lived and worked within five miles of Bishop Auckland, and created exceptional works that document the lives of coal miners – from scenes of social life to atmospheric portrayals of working underground,” says Thomas.
Highlights Thomas says the building lends itself perfectly to the subject matter – the downstairs rooms are dark with low ceilings. “They evoke the claustrophobic environment the miners knew,” she says. “Upstairs, where the focus is on ‘life above ground’ there is an airy feel. We display artworks from national lenders too, such as the Science Museum Group, Amgueddfa Cymru (National Museum Wales) and the National Coal Mining Museum of England in Wakefield.”
Help at hand About 50 volunteers and five full-time visitor services staff, two of whom are apprentices.
Budget The gallery is funded by the Auckland Project, with donations from institutions such as Durham County Council, Catherine Cookson Charitable Trust, Sir James Knott Trust and Banks Community Fund.
Sticky moment “The tight timescale was a challenge,” Thomas says. “The Grade-II listed building had stood empty for years when it was bought by the Auckland Project. The building has thrown up surprises along the way and we sometimes felt we would never open on time.”
Survival tips “When things get down to the wire, a great team and caffeine are all you need,” says Thomas. “We worked all hours and everyone mucked in. Registrars were applying art labels to walls, administration staff were lifting temporary flooring and curators were touching up paint.”
Visitors In the first months, an average of 900 people visited a week. “The gallery has been well received by locals, who queued in their droves to visit on opening day,” Thomas says.
Future plans The gallery aims to have a new temporary exhibition every six months. “There is a wealth of mining art out there,” says Thomas.
Louise Gray is a freelance writer
Opened The gallery was opened in October 2017 by Robert McManners and Gillian Wales, the founders of the Gemini Collection of mining art. They donated their collection to the Auckland Project – a grand redevelopment of Auckland Castle and the surrounding town due to complete in 2019 – so the works could be conserved and displayed. The venue is the first of a number of projects that aim to reinvigorate the area.
Collection The Gemini Collection contains more than 400 artworks, many originating from the Great North Coalfield. “It reveals the remarkable creative energy of the mining community in County Durham and beyond,” Thomas says.
Its focus is on painters associated with the Spennymoor Settlement group, notably Norman Cornish (1919-2014), Tom McGuinness (1926-2006), and Bob Olley (b.1940). “These artists lived and worked within five miles of Bishop Auckland, and created exceptional works that document the lives of coal miners – from scenes of social life to atmospheric portrayals of working underground,” says Thomas.
Highlights Thomas says the building lends itself perfectly to the subject matter – the downstairs rooms are dark with low ceilings. “They evoke the claustrophobic environment the miners knew,” she says. “Upstairs, where the focus is on ‘life above ground’ there is an airy feel. We display artworks from national lenders too, such as the Science Museum Group, Amgueddfa Cymru (National Museum Wales) and the National Coal Mining Museum of England in Wakefield.”
Help at hand About 50 volunteers and five full-time visitor services staff, two of whom are apprentices.
Budget The gallery is funded by the Auckland Project, with donations from institutions such as Durham County Council, Catherine Cookson Charitable Trust, Sir James Knott Trust and Banks Community Fund.
Sticky moment “The tight timescale was a challenge,” Thomas says. “The Grade-II listed building had stood empty for years when it was bought by the Auckland Project. The building has thrown up surprises along the way and we sometimes felt we would never open on time.”
Survival tips “When things get down to the wire, a great team and caffeine are all you need,” says Thomas. “We worked all hours and everyone mucked in. Registrars were applying art labels to walls, administration staff were lifting temporary flooring and curators were touching up paint.”
Visitors In the first months, an average of 900 people visited a week. “The gallery has been well received by locals, who queued in their droves to visit on opening day,” Thomas says.
Future plans The gallery aims to have a new temporary exhibition every six months. “There is a wealth of mining art out there,” says Thomas.
Louise Gray is a freelance writer