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1926 GENERAL STRIKE CENTENARY - POSTCARDS
How To Vote
This is the postcard gallery. We have documented everything that was sent to us and created an online gallery that visitors to this site can view.
To vote, simply click on an artwork so it opens in its own page and then click on the heart icon. You can vote for as many artworks as you like. A tally will be counted on the last day of the exhibition (25 October 2026) and the winning entrants - one from each category - will be contacted and presented with £100 worth of Bookaclass vouchers to spend in our art supplies shop in Scarborough.
Alan Edwards
"The Movement" | Coloured pencil
The movement within the national flag symbolises the movement in the country caused by the general strike.
The movement within the national flag symbolises the movement in the country caused by the general strike.
Ali Hollingsworth
"Seam Allowance" | Old newsprint, dress-making pattern, pen
Collaged newsprint is from a newspaper dated 1926. The young boy protestor represents the suffering of children living in poverty as a result of the General Strike. The title of the piece is "Seam Allowance" — a reference to the collaged pattern paper and money paid to miners for working a coal seam.
Collaged newsprint is from a newspaper dated 1926. The young boy protestor represents the suffering of children living in poverty as a result of the General Strike. The title of the piece is "Seam Allowance" — a reference to the collaged pattern paper and money paid to miners for working a coal seam.
Alison Stewart
"One Print" | Wax crayon and biro
The deliberately imperfect, smudged marks reflect the grit and determination of the people at the heart of the 1926 General Strike. The fingerprint symbolises the individual workers whose collective action left an enduring mark on Britain. Every rose mattered and solidarity, rather than any single trade, was the strength of the movement. The piece honours the ordinary working people whose shared identity shaped an extraordinary moment in history.
The deliberately imperfect, smudged marks reflect the grit and determination of the people at the heart of the 1926 General Strike. The fingerprint symbolises the individual workers whose collective action left an enduring mark on Britain. Every rose mattered and solidarity, rather than any single trade, was the strength of the movement. The piece honours the ordinary working people whose shared identity shaped an extraordinary moment in history.
Andrada Micovschi (Finalist)
"The Silence Left Behind" | Gouache
Inspired by the 1926 General Strike, this artwork captures the silence left behind when workers collectively withdrew their labour. The empty mine, abandoned tools and the "strike" signs speak not about defeat, but a moment of pause and solidarity. The piece reflects an absence and reminds us that the nation's industries depended on the people who powered them every day.
Inspired by the 1926 General Strike, this artwork captures the silence left behind when workers collectively withdrew their labour. The empty mine, abandoned tools and the "strike" signs speak not about defeat, but a moment of pause and solidarity. The piece reflects an absence and reminds us that the nation's industries depended on the people who powered them every day.
Andrea Blood
"Stand Firm" | Textile and ink
For this piece I wanted to commemorate the 100th anniversary of the 1926 General Strike by focusing on the miners' wives, whose contribution is often overlooked. I created a protest banner using reclaimed fabrics, including old shirts, tablecloths, curtains and upholstery, reflecting how families would have made banners from whatever scraps they had available. Although none of the original banners survive, I included historical slogans 'Not a penny off the pay, not a minute on the day', to echo the rallying cry used during the strike and 'Stand Firm', referencing the grit and solidarity of the strikers. The lace trim, inspired by original miners' cottage décor, acknowledges the creativity of the women whose thrifty support helped sustain their communities throughout the dispute.
For this piece I wanted to commemorate the 100th anniversary of the 1926 General Strike by focusing on the miners' wives, whose contribution is often overlooked. I created a protest banner using reclaimed fabrics, including old shirts, tablecloths, curtains and upholstery, reflecting how families would have made banners from whatever scraps they had available. Although none of the original banners survive, I included historical slogans 'Not a penny off the pay, not a minute on the day', to echo the rallying cry used during the strike and 'Stand Firm', referencing the grit and solidarity of the strikers. The lace trim, inspired by original miners' cottage décor, acknowledges the creativity of the women whose thrifty support helped sustain their communities throughout the dispute.
Andrea Paget
"Help" | Pen and ink
My artwork depicts a desperate miner trying to be heard by the hand of authority.
My artwork depicts a desperate miner trying to be heard by the hand of authority.
Ann Hill
"War of Words" | Watercolour, pen and ink, printed paper, glue
Inspired by the rival perspectives asserted in the limited newsprint produced by the government and workers during the strike (held by the British Library) and my own ancestral mining roots in South Wales. Anonymous miners march from the pit with their banner held high, facing 'lower wages and longer hours'.
Inspired by the rival perspectives asserted in the limited newsprint produced by the government and workers during the strike (held by the British Library) and my own ancestral mining roots in South Wales. Anonymous miners march from the pit with their banner held high, facing 'lower wages and longer hours'.
Arthur Cartwright-Smith
"Wish You Were Here" | Pencil, ink pen, ruler
Drawing on the traditions of the postcard format, a twee holiday greeting is repurposed through reflecting on the courage of striking workers a hundred years ago. Their solidarity and knowledge of their worth would be welcome on picket-lines today.
Drawing on the traditions of the postcard format, a twee holiday greeting is repurposed through reflecting on the courage of striking workers a hundred years ago. Their solidarity and knowledge of their worth would be welcome on picket-lines today.
Baz Cantrill (Finalist)
"Strike" | Mixed Media
The General Strike started with the miners. So that's where I started with this piece of work.
The General Strike started with the miners. So that's where I started with this piece of work.
Brian James
"When Time Stood Still" | A Gallo, handmade watercolour pigments
This work focuses on the human cost of the General Strike through an empty chair, a discarded coat and a waiting enamel mug. The absent worker is never shown, but their presence is strongly felt in the objects left. The clock suggests time suspended, marking the moment ordinary routines were interrupted. Muted greys, browns and faded reds create an atmosphere of hardship, restraint and quiet endurance.
This work focuses on the human cost of the General Strike through an empty chair, a discarded coat and a waiting enamel mug. The absent worker is never shown, but their presence is strongly felt in the objects left. The clock suggests time suspended, marking the moment ordinary routines were interrupted. Muted greys, browns and faded reds create an atmosphere of hardship, restraint and quiet endurance.
Brian James
"The Red Thread" | A Gallo, handmade watercolour pigments
The red ribbon represents the strong bond joining ordinary workers together. The small figures show people standing side by side, while the smoky shapes suggest the hardship, uncertainty and pressure faced during the strike. The bright red stands as a symbol of courage, sacrifice and unity.
The red ribbon represents the strong bond joining ordinary workers together. The small figures show people standing side by side, while the smoky shapes suggest the hardship, uncertainty and pressure faced during the strike. The bright red stands as a symbol of courage, sacrifice and unity.
Bridget Jackson
"Legacy: Hetty Bower 2, 2026" | Oil on watercolour paper, prepared with coloured bole (cobalt + golden ochre)
Hetty Bower emerged as a key figure during my research on the General Strike of 1926. She went on to be a co-founder of CND as well as campaigning for women's rights and, as a centenarian, engaged in a Stop the War protest, 2011. Here she is imagined in her youth in the early decades of the 1900s supporting a picket aimed at improving the rights of women workers.
Hetty Bower emerged as a key figure during my research on the General Strike of 1926. She went on to be a co-founder of CND as well as campaigning for women's rights and, as a centenarian, engaged in a Stop the War protest, 2011. Here she is imagined in her youth in the early decades of the 1900s supporting a picket aimed at improving the rights of women workers.
Bridget Jackson
"Legacy: Hetty Bower 1, 2026" | Oil on watercolour paper, prepared with coloured bole (cobalt + golden ochre)
Hetty Bower emerged as a key figure during my research on the General Strike of 1926. She went on to be a co-founder of CND as well as campaigning for women's rights and, as a centenarian, engaged in a Stop the War protest, 2011. I decided to portray her in her later years, partly because the only photographs of her are from her later years, but also to pay tribute to the campaigning of her youth in the General Strike that endured throughout her life.
Hetty Bower emerged as a key figure during my research on the General Strike of 1926. She went on to be a co-founder of CND as well as campaigning for women's rights and, as a centenarian, engaged in a Stop the War protest, 2011. I decided to portray her in her later years, partly because the only photographs of her are from her later years, but also to pay tribute to the campaigning of her youth in the General Strike that endured throughout her life.
Brittany Paton
"Parkgate Miners Institute" | Watercolour and pencil
This painting depicts a derelict miners institute, once a vital centre of community. Though now abandoned, the building stands as a quiet reminder of the people who gathered there and the strength they found in collective action. I chose to paint it in its current state to reflect how easily these places, and the lives and struggles they represent, can fade from public memory. This is a tribute to these communities and a reminder that the resilience, sacrifice and unity that defined them, particularly during the General Strike of 1926, should not be forgotten.
This painting depicts a derelict miners institute, once a vital centre of community. Though now abandoned, the building stands as a quiet reminder of the people who gathered there and the strength they found in collective action. I chose to paint it in its current state to reflect how easily these places, and the lives and struggles they represent, can fade from public memory. This is a tribute to these communities and a reminder that the resilience, sacrifice and unity that defined them, particularly during the General Strike of 1926, should not be forgotten.
Carolyn Wilson
"Sabo Cat" | 100% wool (fibre art)
Sabo cat — an anarcho-syndicalist symbol created by Ralph Chaplin. It represents direct action, wildcat strikes utilised by Industrial Workers of the World.
Sabo cat — an anarcho-syndicalist symbol created by Ralph Chaplin. It represents direct action, wildcat strikes utilised by Industrial Workers of the World.
Catherine Nast
"Shock Absorbers" | Pencil and acrylic paint
Statistically women are some of the worst hit when an economic crisis occurs and yet time and time again there are those who rise to the occasion. Providing help, hope and fighting for their communities. I wanted to highlight a few of those women, who provided a lifeline for the everyday working people when those in power choose not to. A poem by Jim Aitken, 'One Hundred Years On', for the book Shoulder to Shoulder by Culture Matters. Back then they called it 'the depression', to be renamed 'the recession' in the 80s, to be termed 'austerity' after that, and now it is called 'the cost-of-living-crisis' — yet all these terms simply do not affect the rich.
Statistically women are some of the worst hit when an economic crisis occurs and yet time and time again there are those who rise to the occasion. Providing help, hope and fighting for their communities. I wanted to highlight a few of those women, who provided a lifeline for the everyday working people when those in power choose not to. A poem by Jim Aitken, 'One Hundred Years On', for the book Shoulder to Shoulder by Culture Matters. Back then they called it 'the depression', to be renamed 'the recession' in the 80s, to be termed 'austerity' after that, and now it is called 'the cost-of-living-crisis' — yet all these terms simply do not affect the rich.
Catherine Nast
"Shock Absorbers" | Pencil and acrylic paint
Statistically women are some of the worst hit when an economic crisis occurs and yet time and time again there are those who rise to the occasion. Providing help, hope and fighting for their communities. I wanted to highlight a few of those women, who provided a lifeline for the everyday working people when those in power choose not to. A poem by Jim Aitken, 'One Hundred Years On', for the book Shoulder to Shoulder by Culture Matters. Back then they called it 'the depression', to be renamed 'the recession' in the 80s, to be termed 'austerity' after that, and now it is called 'the cost-of-living-crisis' — yet all these terms simply do not affect the rich.
Statistically women are some of the worst hit when an economic crisis occurs and yet time and time again there are those who rise to the occasion. Providing help, hope and fighting for their communities. I wanted to highlight a few of those women, who provided a lifeline for the everyday working people when those in power choose not to. A poem by Jim Aitken, 'One Hundred Years On', for the book Shoulder to Shoulder by Culture Matters. Back then they called it 'the depression', to be renamed 'the recession' in the 80s, to be termed 'austerity' after that, and now it is called 'the cost-of-living-crisis' — yet all these terms simply do not affect the rich.
Catherine Nast
"Shock Absorbers" | Pencil and acrylic paint
Statistically women are some of the worst hit when an economic crisis occurs and yet time and time again there are those who rise to the occasion. Providing help, hope and fighting for their communities. I wanted to highlight a few of those women, who provided a lifeline for the everyday working people when those in power choose not to. A poem by Jim Aitken, 'One Hundred Years On', for the book Shoulder to Shoulder by Culture Matters. Back then they called it 'the depression', to be renamed 'the recession' in the 80s, to be termed 'austerity' after that, and now it is called 'the cost-of-living-crisis' — yet all these terms simply do not affect the rich.
Statistically women are some of the worst hit when an economic crisis occurs and yet time and time again there are those who rise to the occasion. Providing help, hope and fighting for their communities. I wanted to highlight a few of those women, who provided a lifeline for the everyday working people when those in power choose not to. A poem by Jim Aitken, 'One Hundred Years On', for the book Shoulder to Shoulder by Culture Matters. Back then they called it 'the depression', to be renamed 'the recession' in the 80s, to be termed 'austerity' after that, and now it is called 'the cost-of-living-crisis' — yet all these terms simply do not affect the rich.
Catriona McKell
"The Grim Reality of a Miner" | Ink, polymer block, linocut tools
Inspired by the photo 'Coal Miner in Wheelwright, Kentucky, 1946', this linocut print is meant to show how dirty the job of a miner could get, and how his thin appearance both show the grim conditions miners were expected to work under.
Inspired by the photo 'Coal Miner in Wheelwright, Kentucky, 1946', this linocut print is meant to show how dirty the job of a miner could get, and how his thin appearance both show the grim conditions miners were expected to work under.
Catriona McKell
"100 Years General Strike Centenary Badge" | Pencil, coloured pencils, ink
This badge design is based on the 1926 miner's lamp pin used as a symbol. I have also taken the colours from the logo used to mark the centenary in museums, libraries and archives across Britain.
This badge design is based on the 1926 miner's lamp pin used as a symbol. I have also taken the colours from the logo used to mark the centenary in museums, libraries and archives across Britain.
Chrissy Gilham
"Risky Business" | Fine liner, graphite, coloured pencils, acrylic paint/pens, freezer paper, cotton/linen
This is my representation of the 'General Strike' of 1926 in England. I was inspired by the enormous risk the mineworkers took in their job — roof collapses, flooding, dangerous gases and ladders used without any safety measures, often causing miners to fall to their deaths. My work shows the pulley system (sheave wheels) that delivered them into the darkness, the entrapped canary who would alert them to dangerous gases; and the lamps they used which were inadequate in the blackness. The 'ironwork' frames the then Prime Minister, Stanley Baldwin; his image as sketchy as his empathy for the working class, miners and their families. He betrayed them by enforcing pay cuts and longer working hours. I have used mixed media materials. The initial image was done in graphite, then I used fine liner to enhance the detail. Coloured pencils, acrylic pen/paint were used to highlight some items. The blue background, representative of the trust the miners had in their equipment, environment and even the mine owners. Yellow is to represent cowardice and deception from Stanley Baldwin. The gold is to represent the money taken from the poorest. I photographed my drawing, applied freezer paper to cotton then printed the design onto the fabric.
This is my representation of the 'General Strike' of 1926 in England. I was inspired by the enormous risk the mineworkers took in their job — roof collapses, flooding, dangerous gases and ladders used without any safety measures, often causing miners to fall to their deaths. My work shows the pulley system (sheave wheels) that delivered them into the darkness, the entrapped canary who would alert them to dangerous gases; and the lamps they used which were inadequate in the blackness. The 'ironwork' frames the then Prime Minister, Stanley Baldwin; his image as sketchy as his empathy for the working class, miners and their families. He betrayed them by enforcing pay cuts and longer working hours. I have used mixed media materials. The initial image was done in graphite, then I used fine liner to enhance the detail. Coloured pencils, acrylic pen/paint were used to highlight some items. The blue background, representative of the trust the miners had in their equipment, environment and even the mine owners. Yellow is to represent cowardice and deception from Stanley Baldwin. The gold is to represent the money taken from the poorest. I photographed my drawing, applied freezer paper to cotton then printed the design onto the fabric.
Christine Tierney (Finalist)
"We Won't Stop Till We Drop" | Watercolour and Ink
An exhausted young miner with his whippet, his workmates picketing the mine in the background.
An exhausted young miner with his whippet, his workmates picketing the mine in the background.
Christine Tierney
"We Stand United" | Watercolour, ink + collage pennies in teabag paper
A design of determined miners faces and pit lamps with symbolic 1926 pennies in collage.
A design of determined miners faces and pit lamps with symbolic 1926 pennies in collage.
Clare Macarthur
"Workers' Victory" | Watercolour and pencil
When you strike a match, remember "The Matchgirls' Strike", a notable victory that improved working conditions and pay in 1888. Part of a slow process that was attempted in 1926 and is ongoing across the world in defence of human rights.
When you strike a match, remember "The Matchgirls' Strike", a notable victory that improved working conditions and pay in 1888. Part of a slow process that was attempted in 1926 and is ongoing across the world in defence of human rights.
Craig Taylor
"As One" | Found papers, Sellotape and transfer lettering
A contemporary collage, using found imagery and materials, representing solidarity, and coming together to make a whole.
A contemporary collage, using found imagery and materials, representing solidarity, and coming together to make a whole.
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