Harry’s Horses

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Life Guards at Horse Guards Parade, London by Harry Payne.

When painting 1/72 scale cavalry, I always enjoy adding white markings to my horses’ faces as this provides them with a little individuality and personality. Indeed, these markings are used in real life to identify individual horses in a herd. On the face, they are variously identified as blazes, snips, stars and stripes, depending on where on the face it appears and how extensive it is. Likewise markings on their lower legs are unique to each horses, these can be stockings, socks or boots, depending on their length up the leg.

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A Prussian cuirassier horse in progress…

Putting the finishing touches to the Prussian Cuirassier horses, I was looking around for a little inspiration and was drawn to my collection of Harry Payne postcards.

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The 21st Lancers by Harry Payne

Born in 1858, Harry Payne was a Londoner, a son of a clerk. He went on to produce an enormous number of paintings on military subjects, many being sold as postcards produced by firms such as Gale and Polden, or Raphael Tuck and Sons.

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The 17th Lancers: ‘Telling off for road duty’

After attending art school, he worked for a time for a firm of military contractors. By the 1880s, he had developed into a talented military artist and was enormously prolific. Furthermore, he even sold his work to members of the royal family including several commissions during Queen Victoria’s 1887 Jubilee.

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Band and drums of the 7th Queen’s Own Hussars

Much of his work was produced with assistance from his older brother Arthur, although in exactly what capacity, I am unsure. No doubt, his assistance was invaluable in being able to produce such a high number of artworks to order. The two brothers produced a book together for the Queen’s Jubilee year with the original illustrations being presented to Queen Victoria herself.

Aside from the postcards, Harry and Arthur worked on illustrated material for The Strand Magazine, The Navy and Army Illustrated, The Graphic, and various books for, amongst others, Cassell, Virtue and Routledge. In 1903, a set of 50 images were painted for a Players set of cigarette cards, entitled “Riders of the World”.

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The Hampshire Regiment

Harry Payne was noted for his attention to detail in reproducing the military dress of the British army in his paintings. He research could be extensive and his 23 years spent in the West Kent Yeomanry further assisted his knowledge. Working in oil on canvas or watercolours, he was to prove a popular artist for decades.

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The Irish Guards

Although he also painted a range of other topics (cowboys, rural scenes, etc), Payne’s speciality was in depicting the military uniforms of the British army during the late Victorian / Edwardian period. The army was in transition during this time, adopting khaki for its campaigns but still retaining their brightly coloured uniforms for other ceremonial duties. His artworks captured the full range of different orders of dress.

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Officer, Coldstream Guards

Aside from accurate and detailed uniforms, Harry Payne was a painter who prided himself in his depiction of horses. The cavalryman was still considered to be a highly effective force at the turn of the century. Whether armed with a rifle, sabre or lance, a cavalryman’s military equestrian skills were highly prized.

Flicking through his depictions of horses, I copied some of their markings to be reproduced on my Prussian cuirassier horses. I’m not an artist like Harry Payne; but aside from our shared enthusiasm for depicting military uniforms, I like to think we might also have in common an ability to derive a certain satisfaction from painting military horses too.

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Band of the 6th Dragoon Guards (Carabineers)

More on those Prussian Cuirassiers soon.

Marvin.

Yellow Fellows

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I’m about 80-90% finished on the 16 riders for Italeri’s Prussian Cuirassiers kit. They are certainly nice figures and look splendid in yellow. On the debit side however, the heads are a trifle oversized and the hats always seem to face the front of the body regardless as to whichever way the head is facing – which is a bit weird! To bypass this, I’ve chosen exclusively those figures whose hats are worn on the head at roughly the same angle.

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However, I resorted to a drastic head-swap operation for the officer figure. I cut off a trooper’s head and used a tiny section of pin to hold it all in place. I got a bit carried away with a hot pin resulting in – ahem – some slight melting! But I think he looks okay, nonetheless.

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Painting my chosen regiment, Von Beeren’s 2nd Cuirassiers, has been an unexpected challenge so far. Firstly, getting the yellow to look bright yet still vaguely akin to a natural fabric colour has been a learning curve. Secondly, some depictions of the regiment show a white crossbelt with red edges; my reproduction of this feature tested my painting skills considerably!

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The trumpeter had some variation in details requiring a red crest on his bicorne, a red tip to his plume and some shoulder detailing.

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I’ll be turning my attention to the horses soon. Curiously, I’ve painted these Prussian Cuirassier horses before in this project, having used them as modified replacements for the lamentable horses which came with Italeri’s Prussian Dragoons set (5th Prussian (Brandenburg) Dragoons (Nappy Cavalry Project Set #6)).

In addition to working on these figures, I confess I’ve been musing on other diversions and topics to explore. Heaven knows, I’ve got enough kits to turn my attention to, should I want to take a short breather from Napoleonic cavalry. More on this perhaps in a future post as my ideas start to take shape…

Bye for now,

Marvin

British Cavalry Uniforms of the 19th Century: The 11th Hussars

THE FINAL POST from a series of regular blog posts displaying images from “British Cavalry Uniforms of the 19th Century”; a set of trade cards issued by Badshah Tea Co. of London in 1963. 


#25: The 11th Hussars

“Raised as Dragoons in 1715, this regiment became Light Dragoons in 1783 and Hussars in 1840. On forming Prince Albert’s escort from Dover to Canterbury on his arrival in England, the regiment received the title of ‘Prince Albert’s Own’. This is an officer of 1865.”

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Officer, 11th Hussars, c.1865.

Sites of interest about the 11th Hussars:

Horsepower: The museum of the King’s Royal Hussars which is the successor regiment to the 11th Hussars. I can vouch for this museum as being well worth a visit.

The National Army Museum’s page on the 11th Hussars (Prince Albert’s Own).

The 11th Hussars commemorating its 250th anniversary and being awarded its guidon by Elizabeth, the Queen Mother in this fascinating video from 1967 on YouTube. The great military artist Terence Cuneo can be seen painting the regiment in their traditional Hussar uniform with dark red breeches.

Yellow Fever

When I started the Napoleonic Cavalry Project back in the spring of 2015, eight of that year’s fifteen regiments were figures made by Italeri. Since then, some nine regiments and over 16 months later, Italeri have been entirely absent. Until now…

I’ve decided to return to Italeri after being tempted by their Prussian Cuirassier set. These cuirassiers depict the cavalry as they might appeared at the time of the destruction of the Prussian army at Jena-Auerstedt in 1806. This set is also the first Prussian regiment I’ve painted I’ve tackled in a while, since regiment #9 in fact, back in 2015.

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My ever-helpful assistant presents the latest box of figures. A cheap purchase courtesy of a model shop closure…

They are unique in the project so far in being the only regiment wearing a bicorne hat. British heavy cavalry would have also worn something similar around this time.

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Almost all the eleven Prussian Cuirassier regiments wore white uniforms in 1806, with the exception of only one – the 2nd regiment, known in 1806 as Von Beeren’s – and this is precisely the one I wish to paint simply because it wore very striking yellow coats (known as Kollets).

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I’ve never painted a yellow-coated soldier before, and have little idea how to go about shading a yellow. I’ve had a few dry runs with some spare figures and finally decided to paint over my usual black primer with some beige paint to make it easier to cover with the yellow. Then, after the application of some Vallejo Sun Yellow, I’ve shaded with a little Vallejo Desert Yellow (a light brown-yellow colour). The result is subtle, but I like it and think this has achieved about the best result I’ve managed so far, so I’m going to stick with it and press on.

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The main reason I had steered clear of this set until now was that I was unhappy with the way the sculptor had left the bicorne facing the same way regardless of whichever way the rider was looking, leaving the hat acting like some kind of compass needle! The understandable explanation was to accommodate the hat into the narrow mold, however it all looks quite absurd to have everybody’s hat always facing the same way and so I’ve simply used the figures whose heads (and hats) more or less face in the same direction.

One last thing; you may notice that these cavalrymen are missing something which might be considered an essential item for cuirassiers : namely a cuirass! This is because Prussian Cuirassiers abandoned the armour in 1790. The adoption or abandonment of the cuirass by cavalry was often subject to conflicting opinions. Some felt that cuirasses;

  • were too cumbersome in a melee;
  • or were so heavy for the horse and rider to wear that it slowed them down and made unhorsed men very vulnerable (Wellington described the sight of fallen French cuirassiers as looking like helpless turtles flipped on to their backs);
  • or placed a premium on finding enough large, strong horses to carry the extra weight;
  • or were not worth the extra expense;
  • or ultimately were useless as they didn’t stop musket balls. They most certainly didn’t stop cannonballs, either…
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A cuirass of the 2nd Carabiniers worn by the desperately unfortunate 23-year-old François-Antoine Fauveau.

Others felt however that;

  • the cuirass provided an enormous advantage against enemy cavalry sabres;
  • they made for an intimidating sight, creating the heaviest of heavy cavalry;
  • they reduced casualties and made the wearer feel safer, thereby boosting morale.

There were, perhaps inevitably, those who preferred to adopt a compromise solution of wearing only half of the full cuirass. In such cases, only the front half was worn as it was often felt that having protection on the back might encourage the practice of cowardly retreats!

Now to get back to my ‘yellow jackets’. I’ll be posting updates in due course.

Marvin

British Cavalry Uniforms of the 19th Century: The 4th Light Dragoons

A series of regular blog posts displaying images from “British Cavalry Uniforms of the 19th Century”; a set of trade cards issued by Badshah Tea Co. of London in 1963. 


#24: The 4th Light Dragoons

“The officer depicted on this card is of the 4th Light Dragoons as they were in 1822, shortly after regiment was converted from Heavy Dragoons. [A previous] card in this series shows the uniform worn during the Peninsular War.”

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Officer, 4th Light Dragoons, c.1812

Sites of interest about the 4th Light Dragoons:

The ‘previous card’ referred to above, The 4th Queen’s Own Dragoons, was posted back in March 2017. Another card depicting a later incarnation of the 4th Light Dragoons was posted back in October 2016, just prior to it’s conversion to Hussars in 1860.

National Army Museum page on the 4th Queen’s Own Hussars (Light Dragoons).

The old museum of the Queen’s Own Hussars is due for closure in 2017 but a project for the replacement (in a merger with the Queen’s Royal Irish Hussars museum) is underway. The new Warwick-based Queen’s Royal Hussars museum is currently fund-raising and donations are being accepted through this new website.

A good summary of the history of the regiment can be found here on a family history website, concentrating on the period 1824-1856 during which time an ancestor served.

Roger Fenton photograph of officers of the 4th Light Dragoons during the Crimean War.

Lifeguard Dragoons (Nappy Cavalry Project Set #23)

The Russian Lifeguard Dragoons are now finished and they can join their sister regiment the Lifeguard Cossacks which I completed back in 2015. These Zvezda figures are very elegantly sculpted and beautifully proportioned. The sculpting is so subtle, however, that painting them effectively has been a real challenge. I will admit to liking a little bit more crispness in my sculpting than I’ve found in this set. But with some effort, the end result is satisfying and the Lifeguard Dragoons can proudly take its place as the 23rd regiment in the project.

Let me state – I am not a fan of pegs and holes when it comes to assembling plastic 1/72 scale figures. Maybe I’m just ham-fisted when it comes to putting these things together, but I’m not feeling confident that they would survive any careless handling. To get the riders on the horses, I found it far simpler to cut off the pegs and just rely on glue instead. After coping with some traumas, I used glue and a little modelling clay on the base of the horses to better secure them to the stands which comes with the set.

Some horses (possibly down to my assembly mistakes) look like they are in the process stumbling head first into the ground!

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Woah! Do we have a faller, here?

Another horse pose I managed to get to stay in place solely thanks to glue alone, the two pegs proving insufficient to keep it upright.

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Glue defies gravity!

Aside from three boxes of standard troopers, I also bought a “Command” set of figures which supplied an officer, a flag bearer and a trumpeter.

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Officer, Lifeguard Dragoons.
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Trumpeter, Lifeguard Dragoons

I foolishly misplaced the sword, sabretache and scabbard for the flag bearer. Instead there’s a hole ready on his thigh to attach the scabbard should I a) locate it, or b) replace it with another substitute. Additionally, I should confess that I wasn’t able to source the correct flag for this regiment and so simply resorted to choosing my own design!

Much as I admire this set I’m pleased I’ve finally got this one under my belt.

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With this set now completed, I’ve painted three Russian regiments in a row; the Astrakhan Cuirassiers, Sumy Hussars and now the Lifeguard Dragoons, all of which were manufactured by Zvezda. As wonderful as Zvezda’s figures are, it is perhaps time for a change of country and manufacturer?

I’m hoping to attempt a set next with some really crisp details but I’m still prevaricating over the next regiment, so expect an announcement soon. Until then; it’s time for the usual pictures and regimental biography…

 


Biography: Lifeguard Dragoons [Russia]

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The Lifeguard Dragoons were established in 1809 from squadrons previously belonging to the Grand Duke Constantine’s Uhlans. Taking their inspiration from Napoleon’s Dragoons of the Imperial Guard, it took its place in the Tsar’s Lifeguard Cavalry Corps alongside regiments of hussars, cossacks, cuirassiers or ‘Lifeguard Horse’.

Whilst they might have lacked some of the prestige or dramatic uniforms of the Hussars or Cuirassiers, they were were undoubtedly well trained, disciplined and considered superior to other Dragoon regiments of the line.

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Present at the battle of Borodino, the Lifeguard Dragoons were under Uvarov’s 1st cavalry corps, together with other Lifeguard regiments (the Lifeguard Cossacks, Lifeguard Uhlans and Lifeguard Hussars). During this 1812 campaign, they would get the chance to meet their inspiration, Napoleon’s Dragoons of the Guard. In one incident, the Lifeguard Dragoons ambushed and destroyed two squadrons of French Guard Dragoons. A force under General Ivan Dorohov, which included Cossacks and two squadrons of Lifeguard Dragoons, attacked French convoys and transports capturing 1,500 prisoners. The French countered with a small force which included 150-250 French Old Guard Dragoons which were then subsequently ambushed and destroyed at Bezovka by two squadrons of the Lifeguard Dragoons. To French General Caulaincourt, this annihilation of 150 dragoons was greeted in Napoleon’s headquarters with more dismay than “the loss of 50 generals.”

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After Napoleon’s ejection from Russia, the long campaign began which would ultimately push the Napoleon all the way back to Paris. In Kulm in 1813 the Lifeguard Dragoons spearheaded the massive cavalry charge against Vandamne’s infantry. The dragoons attacked the front and ran down one regiment whilst other regiments concentrated on the enemy’s flanks. In April 1813 the dragoons were awarded with St. George standards.

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In the great battle of Leipzig in 1813, the French cuirassiers routed them in the cavalry battle fought near Gulden-Gossa’s ponds. The following year, the Lifeguard Dragoons fought in the massed cavalry battle of Fère Champenoise for which they achieved the Russian military awards of 22 St. George trumpets.

Notable Battles: Borodino, Bezovka, Kulm, Leipzig, Fere Champenoise.

 

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Girl Soldier

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A female hussar

Being interested in artistic depictions of military history and uniforms, I occasionally come across images of female soldiers. I’m not referring to genuine servicewomen but instead to a certain genre of illustrations which show women in traditional military uniforms. There can be found examples of real women serving in genuine combat roles in western armies during the 18th and 19th century, Private Hannah Snell of the 6th Regiment of Foot and Marines being a good example (see below), but the illustrations I’m referring to are something entirely different.

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Hannah Snell ‘in her regimentals’ demonstrating military drill in a contemporary print.

Military Maids

Awareness of this topic first came to my attention when I bought a cheap set of trade cards many years ago called ‘Military Maids‘. When she saw them, my wife suggested they looked a bit creepy! She has a point; the ‘maids’ in question seem to be an unsettling mixture of the historically accurate and the suspiciously erotic. In these illustrations, one can see such examples as a beautifully drawn and entirely accurate depiction of a British 4th Light Dragoon in 1854; or a French Empress Dragoon of the Guard; or a splendid grenadier of a Swiss Napoleonic regiment.

The attention to accuracy and detail in the drawings is impressive. Tarleton and Mirliton helmets; Bell Shakos and Uhlan Czapkas; Stovepipe and Waterloo Shakos; Tricornes and Bicornes are all carefully reproduced with an expert knowledge. Furthermore, the quality of the illustrations is very high and a natural pose has been created for each soldier.

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British Yeo(wo)manry… c. 1800?

Did I say entirely accurately depicted? Not quite. Look closer and one realises that they all seem to sport exuberant perms crushed underneath their Czapkas, Shakos and helmets! They also wear high heels (a code of military dress I strongly suspect to also be inaccurate)… The neat cut of their uniforms leaves us in no doubt as to their gender, as well.

This wonderful illustration below, for example, depicts a musician from a lancer regiment holding a ‘serpent’. The serpent is one of my favourite military musical instruments, being so utterly bizarre and exotic. There’s a fine example in my local regimental museum.

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Lancer musician playing a serpent.
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A serpent. Leicestershire Regiment collection.

However, once more I can’t quite shake the impression that it has been deliberately placed in the hands of this ‘military maid’ to ‘perform’ on entirely for its salacious connotations! I do like these cards, but the problem is that I’m not sure what the viewer is supposed to admire here. Are we admiring the fine depictions of historical military uniforms, the skilled illustrations, or the charming lasses who are wearing them? All of it?! It’s that combination of sexy pin-ups and historical military art that creates the unease that my wife quickly identified.

The Ellanbee Girl Soldier Series

I also have in my military art collection a few postcards from a series called “Girl Soldier”. So far as I have discovered, the “Ellanbee Girl Soldier Series” of postcards were produced around the early 1900s (pre-WWI) and depict women in various full-dress British army uniforms of that period. Delightfully illustrated by “Ellam”, they share with the Military Maids series a dedication to historical accuracy, as can be seen in this Gordon Highlander below:

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Corporal, Gordon Highlanders

What they don’t share is quite the same lewdness in presentation. These ladies seem altogether a little more natural and military in their bearing. No peering coquettishly over the shoulder. No high heels, heaving bosoms or tumbling perms here; the only concession to femininity appears to be a possible hint of lipstick and their slender waists – suggestive of an Edwardian-era corset perhaps?! There’s a sense that these are images of ‘girls’ who not only appreciate wearing a fine uniform but are also capable of acting with confidence and bravery in them too.

The woman depicted below is of the Royal Horse Guards and wears a fabulously haughty look, entirely suitable for one in such a prestigious regiment.

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Trooper. Royal Horse Guards

And this lady is from the 12th (Prince of Wales) Lancers, holding her bamboo lance with a natural ease.

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Trooper, 12th (Prince of Wales) Lancers

I’m always looking to add to my modest ‘Soldier Girls’ series collection, but they seem very rare and I can scarcely find anything whatsoever on the internet about the series. I’ve previously discovered two thumbnail views of a Life Guard and a Grenadier Guard, so I’m aware that there were at least those regiments also issued. The artist I believe to be a comic postcard illustrator called William Henry Ellam. Though I can find precious little about him, he seemed to also specialise in anthropomorphic humour (animals acting in a human manner).

Presumably, the idea of these being female and yet dressed like soldiers was intended to be ‘comic’ material for the Edwardian audience, in the same incongruous way that Ellam’s cats dressed in top hats might have been viewed – charming simply for being preposterous. But I find them artistically pleasing in their own right, and it must have been an unusual (if unintentionally) empowering view of womanhood at a time when even universal suffrage had yet to be achieved.

So, if Military Maids was titillating and Soldier Girls was patronising, what does that make me? I’ll dodge the question and simply call myself an incorrigible collector of all types of military artwork!

To end with; below are more images from the Military Maids series and also a card from the Army Careers Information Office circa 1992, featuring (at that time) a more up to date and realistic image of a “girl soldier” in uniform.

Finally, an appeal: any further information on the Soldier Girls series would be gratefully received!

 

British Cavalry Uniforms of the 19th Century: The 3rd Dragoon Guards

A series of regular blog posts displaying images from “British Cavalry Uniforms of the 19th Century”; a set of trade cards issued by Badshah Tea Co. of London in 1963. 


#23: The 3rd Dragoon Guards

“The Dragoon Guards originated in 1685 as Cuirassiers and in 1746 they were called the 3rd Regiment of Dragoon Guards. In 1922 they were amalgamated with the 6th Dragoon Guards to form the Prince of Wales’ Dragoon Guards. This is an officer in mid-Victorian times.”

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Officer, 3rd Dragoon Guards, c.1860.

Sites of interest about the 3rd Dragoon Guards:

The Royal Scots Dragoon Guards museum in Edinburgh Castle has exhibits on the 3rd Dragoons Guards (Prince of Wales’ Own).

The National Army Museum’s page on the 3rd Dragoon Guards.

The website of the Cheshire Military Museum covers the 3rd Carabiniers. This regiment was formed in 1922 following the amalgamation of the 3rd Dragoon Guards (Prince of Wales’s) and the 6th Dragoon Guards.

Quick March music of the 3rd Dragoon Guards on YouTube.

Lifeguards on Duty

Tackling painting Zvezda’s Russian Dragoons has certainly been a challenge. In some ways it’s been a simpler task; the uniforms are far less complex than the Hussars I’ve just finished and there’s less of them to paint too (12 rather than 18).

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However, painting them has been more difficult in other respects. The figures are beautifully sculpted but the detail is so very subtle (occasionally almost non-existent on the chest) that applying paint effectively to the right places to pick out the features proves tricky.

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But we like a challenge here at Suburban Militarism, and after some work I think these figures are rather impressive.

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As I mentioned in a previous post, I’ve chosen to paint the prestigious Lifeguard Dragoons, rather than one of the many other regiments of the line.

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This figure’s guidon and right arm are still to be glued into place.

There were as many as 36 different Russian dragoon regiments of the line, some having such exotic (to this Englishman at any rate) names as the Starodub, the Taganrog, the Arzamass, the Kazan and the Zhitomir Dragoons. They looked very similar to each other with their plain dark-green jackets but were distinguished by a wide array of different colour facings.

So far as I can tell, the Lifeguard Dragoons, being a part of the Tsar’s elite Guards cavalry, were the only Dragoon regiment to display a red plastron across the front of their jacket. I decided to paint this regiment so that I could make use of this little extra colour.

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Lifeguard Dragoons Officer
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Officer; rear view

The riders are nearly completed (being a much quicker task than those Soum Hussars!). Now for the horses which I have to report come with their own difficulties unique to this particular set; but more of that in my next update!

Shell Shock

As an Easter tradition, my family decorated hard-boiled eggs which we rolled down a nearby grassy hill. My wife and daughter carefully created their colourful egg decorations. No prizes for guessing my design, however…

Presenting the Duke of Omelette’s Own Yolkmanry! Dressed in eggstreamly fine yolk-coloured dolmans, they are commonly seen to parade with other ‘soldiers’.

Oh dear. That’s quite ‘un oeuf’ of all that…

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About to take part in the Charge of the Light Lunch Brigade; the Duke of Omelette’s Own Yolkmanry

“Believe me, nothing egg-cept a battle lost can be half so melancholy as a battle won.” – The Duke of Wellington.

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The aftermath…