This artwork is one of the top 20 UK railway artworks voted for by the public as part of Railway 200.

Britain's railways, through their commissioning of artworks, have been responsible for creating one of the largest bodies of commercial art on the planet. The development of what has become an exceptional legacy began in the late nineteenth century, gathered pace in the early twentieth century and continues today in a variety of forms.

The commercial element is strong. Railway companies – like so many corporate entities – have recognised the power of strong graphic art or compelling imagery to fulfil a business objective. Whilst we might like to think of this as a delightful, kind way of giving the gift of artistic expression to a mass audience, one must always remember that someone, somewhere, usually in offices attached or adjacent to a major railway station, has had to justify to someone in Accounts why they should pay an artist or designer for creating something 'pretty'.

Some railway art is 'pretty' – some is striking, or even beautiful. It might be all those things and more to some or all audiences. But there will, usually, have been an intended reason for it to be so. A motive, a brief, an objective. So behind this enormous collection of commercial railway art in Britain is a long history of requirements to sell, or to convey a message – with an infinite range of subjects, a mind-bogglingly vast estate on which to display the output, and crucially, the resources to pay artists to produce it.

Some railway art is of the destinations they serve or the places through which they run. Some is of railway assets, like buildings, staff or rolling stock, and some depicts what happens on or around the railway itself.

The 'Coronation Scot' Ascending Shap Fell, Cumbria

Sometimes the commissioning of work can be from artists who have already been – or who later become – well-known in that sphere, like Norman Wilkinson or even household names, like Terence Cuneo. But others we know precious little about, like the tantalisingly enigmatic 'Barber'.

Barber undertook a number of commissions for British Railways in the 1950s and 1960s: a period of great change both on the railways and in culture and society more widely. All of his works speak not necessarily of high speed but of swiftness – sureness and modernity – promises of a new future, but a very acceptable British future sprung from the pages of a Ladybird book.

1960, poster designed by Barber (active c.1950–1961)

It is fascinating to see therefore a poster like this – pointedly of a diesel train – in a romantic, familiar landscape of the Lake District.

A Diesel Train on the Shore of Bassenthwaite Lake, near Keswick, Cumberland

The coming of the railways to this part of the world had been decried by Wordsworth ('Is there no nook of English ground secure from rash assault?') but it was not until after the line depicted in this painting – Penrith to Cockermouth via Keswick – had been completed that more widespread concern about the impact of railways on their destinations and environment really took off.

Indeed, the Lake District Defence Society's secretary objected to one line on the grounds that it would bring 'drink shops, whirligigs and donkeys'. Alfred Hunt of the Royal Society of Painters in Watercolours was concerned for the future abilities of artists to consume and reproduce the landscape in their preferred way, the railway being 'a very wicked thing to do, and would injure the course of English Art very deeply.'

Whilst new railways did arrive in the Lakeland valleys, it is interesting to see that at least two of those proposed were to use petrol-electric or electric traction, supposedly to minimise objections over smoke and noise (although, no doubt, the promoters had a keen eye on what was being done on tourist lines in Northern Ireland and on the Continent, where they were proving very cheap to run). In winter the trains were lightly loaded, but the hoards of tourists from cities so disliked by Wordsworth filled the trains in summer.

Steam was the motive power of choice from opening on all lines, however, and locomotives coupled to individual carriages of varying antiquity served passengers well. Post-war, freight traffic was tailing off and the nationalised railway was looking for economies: so, diesel railcars, railbuses or diesel multiple units (DMUs, so-called because several self-powered vehicles could be coupled together with matching carriages) found favour with both crews and passengers on many routes, particularly where services were infrequent.

Diesel Trains: Faster, Cleaner, More Comfortable

There were several benefits of using DMUs, aside from cost. Units like the one depicted here, a Derby 'Lightweight' unit, one of the thirteen sets designed and built for the West Cumberland (Cumbria) services, were based at Carlisle, and whilst there weren't any extra services resulting from them, journey times were quickened.

Here it is shown at Bassenthwaite Lake between Keswick and Cockermouth. The glass partition behind the driver (when he had the blinds left up) gave excellent visibility for passengers ahead – a novel experience – and large plate glass windows to the open saloons were the perfect tourist experience. All that was missing, perhaps, was a glass roof to see the majestic peaks above.

Incredibly, within a year, ticket receipts grew by up to 80% on some Cumbrian routes after the DMUs were introduced, and the trend was upward for several seasons – perhaps due to the 'Land Cruises' marketed as tourist experiences by British Railways, but perhaps in part due to this artwork itself. For it was created to be used on a widely distributed poster across the London and Midland regions, with the following text beneath the image:

'Diesel trains are now well established and extremely popular. Holidaymakers, shoppers and commuters all find them a great attraction. Their observation windows are excellent for sightseeing. Among the lovely holiday areas served by London Midland diesel trains are English Lakeland and North Wales, where reasonable priced Day Trips and Runabout Tickets (in the season) help you to 'get around and about'.'

Poster designed by Barber (active c.1950–1961)

Two years after this poster was produced, what became known as the Beeching Report was filed, which recommended the closure of thousands of miles of branch line railways across England, Scotland and Wales. As the railways now celebrate their 200th anniversary in 2025, we might look on those recommendations with a different mindset. Back then it was very much seen as a case of cutting off the limbs to keep the body alive, whereas today we understand the social value of a rail connection is much greater than the ticket receipts alone.

Unfortunately for the railway which ran alongside Bassenthwaite Lake, and for the people who might want to experience its romantic views (no matter what their mobility abilities) or use it to get between communities, the DMU services were not to last. Whilst traffic receipts were up, it wasn't enough to satisfy those who made the decisions and the line was soon to close further along the route.

Today, the twin strips of steel which once ran along this shore run along it no longer. The route is partly an A-road and partly a cyclepath, and people like me who do not own a car do not have Bassenthwaite Lake on our list of easily reachable places anymore.

Tim Dunn, writer

This content was funded by Railway 200

About Railway 200

Railway 200 is a cross-industry, UK Government-backed, partner-led celebration of the 200th anniversary of the birth of the modern railway, commemorating the opening by George Stephenson of the Stockton and Darlington Railway in the North East of England in 1825, a journey that changed the world forever. It explores the past, present and future of rail, and how it has shaped our lives and livelihoods. Numerous activities and events are planned throughout 2025, many of which are listed at www.railway200.co.uk