It’s been a sad weekend for me. Receiving the news that my beloved 1-year-old cat Morris had been sadly hit and killed by a car, was a real blow. We shared a close bond, he and I, and I’ll sorely miss the little chap. I loved his comical ways, even when as a kitten he mounted a surprise sortie and captured and ran off with some of my plastic soldiers!
At such times, I find my hobby can be a welcome distraction and a consolation. Indeed, through these sad circumstances, I’ve nonetheless managed to carry on and progress with my 19th Hussars. I also managed to find some more depictions of the regiment rooting about my cigarette card collection, including (left) this fine illustration of the regiment’s Kettle Drummer issued by Gallaher in 1898 and (right) a corporal of the 19th Hussars from a collection called “Soldiers of the King” issued by Ogden’s in 1909.
On the 1898 card it can be seen that the 19th were known as Princess of Wales’s Own, yet by the time of the Ogden’s cigarette card issues they had become the Queen Alexandra’s Own Royal Hussars, following her husband King Edward VII’s accession to the throne after the death of Queen Victoria.
Back to the figures – below are a few photos to show the results of my progress. It’s difficult to see clearly on my photographs but I’ve tried to recreate the key dress features particular to this regiment, such as the yellow lines on the white bag on each busby. There are no plumes on these fellows who appear sculpted more ready for battle than parade!
The horses are now primed and awaiting the first lick of paint. An update of their development to follow…
Some weeks ago, I posted about the depiction of women in historical military uniforms showcasing some of my modest collection of trade cards and postcards on the subject. Through my letter box has come another of my ‘Girl Soldier’ series of pre-WW1 postcards; a Life Guard!
This is most appropriate given that this Saturday was the day when lines of brightly coloured soldiers aren’t just seen on my painting table here at Suburban Militarism; they’re also seen on television parading for the Queen’s birthday – The Trooping of the Colour. Essential viewing for this military uniforms enthusiast!
Beats watching Game of Thrones any day, in my (eccentric) opinion.
Anyway; any viewer of the Trooping of the Colour ceremony might note that it’s not just men appearing in the parade.
The Trooping the Colour ceremony at Horse Guards Parade, central London, as the Queen celebrates her official birthday.
The King’s Troop Royal Horse Artillery which is made up of nearly equal numbers of males and females. Being a ceremonial artillery unit that is mounted on horses, women undertake tasks of a mounted regiment becoming farriers, saddlers or tailors, in addition to riding the horses and operating the six 13 pounder WWI-era guns.
Certainly, the women of the King’s Troop RHA have proved themselves more than capable of performing their duties during The Trooping of the Colour. How long before we see women riding in the parade wearing the full cuirass of the Lifeguards or Blues & Royals, I wonder? Possibly in the not-too-distant future.
I imagine that comic postcard illustrator Ellam would have scarcely believed it possible when he penned his “Girl Soldier” series for postcard manufacturer Ellanbee in the early years of the 20th century. It’s possible that the Girl Soldier series was intended to be absurd; ludicrous. Yet over 100 years later, women are an increasing presence in the British army latterly in combat roles and, therefore, in its ceremonial duties as well.
For now, then, the vision of a female Life Guard such as Ellam’s still remains an illustration. Or does it? Though there are no women in the Household Cavalry at present, for some time now there have been female musicians in both the Band of The Life Guards and the Band of The Blues and Royals, which come together from time to time, mounted or dismounted, as the Massed Band of The Household Cavalry and take part in the Trooping of the Colour. So the reality of the female Life Guard comes inexorably closer.
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.
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.
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.
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.
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”.
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.
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.
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.
14th King’s Hussars
16th The Queen’s Lancers
6th Dragoon Guards
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.
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.
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.
4th Light Dragoons, c.1854
Empress Dragoons, c.1815
Swiss Regiment, c.1812
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.
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.
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:
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.
And this lady is from the 12th (Prince of Wales) Lancers, holding her bamboo lance with a natural ease.
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!
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…
“Believe me, nothing egg-cept a battle lost can be half so melancholy as a battle won.” –The Duke of Wellington.
As work continues steadily on the horses and men of theSoum Hussars, my 22nd regiment in the Nappy Cavalry Project, I’ve been thinking about possible future regiments to tackle also. There are plenty of other 1/72 scale plastic Napoleonic cavalry kits still out there, but they are of varying quality and style.
HaT are wonderfully prolific in their coverage of Napoleonic subjects, and their excellent range of figures are of a consistent standard. Whilst decent sculpting, I confess that they seldom excite me enough to include them in the project. I certainly can’t disparage them – they’re fine – but neither can I say they demand inclusion. They are somewhat lacking for me in some manner and are more suited to creating an overall wargaming spectacle, rather than my emphasis on detail painting.
Strelets are another manufacturer who are prolific in their Napoleonic range. Now, I do love Strelets figures, indeed I have ‘far too many’ of their sets in their Crimean War and Russo-Turkish 1877 War ranges. Yet, I’ve not included any of their Napoleonic cavalry in my project and neither am I likely to.
The reason is that first of all, Strelets’ style is perhaps just a little too unique to fit easily into the project. Secondly, and perhaps most importantly, while their riding figures can be good, their horses are relatively disappointing. I’m not sure I could comfortably ‘stable’ their stocky equines with some of the more finely sculpted horses as provided by the likes of Zvezda, Revell, Italeri or Waterloo 1815.
Yet despite a number of other cavalry sets in my possession awaiting attention, one new set came through the post only yesterday:
Mars is a manufacturer that I’ve never painted before, so this should be interesting. Furthermore, Austria is a nation not yet included in the project either. It’s a little eccentric this set; there are three figures standing and holding a rearing horse which has not been specifically provided (presumably the other horses might suffice if one were to ditch some mounted riders instead).
Despite being lancers, there’s only one figure shown holding a lance while the lances themselves are swamped in flash and lack any pennants. Indeed, flash is something of a problem with this set. It seems that the quality of Mars output is a little varied, but this one slipped under my radar a little and on close analysis I still like the sculpting and think they are worthy of inclusion.
Like their riders, the horses are certainly in dramatic poses. They are also afflicted by some flash which I will have to carefully remove, but anatomically I think they look pretty good.
Despite some reservations then, I think there are still enough good sets out there to provide me with possibly another 6 or 7 regiments. There are also a number of figures that I’ve previously tackled which I’d love to revisit and paint up as an alternative regiment (more Prussian Hussars or some Polish Lancers, anyone?). All of which means that there could be up to a dozen more regiments in the project to come in the future.
The men that fought at Minden, they ‘ad buttons up an’ down, Two-an’-twenty dozen of ’em told; But they didn’t grouse an’ shirk at an hour’s extry work, They kept ’em bright as gold.
Rudyard Kipling, Barrack Room Ballads, 1895
Now my Russian Cuirassiers have joined their mounted colleagues in the Nappy Cavalry Project, I can now at last turn my attention to my figures intended for the BFFGMFP.
These marching figures are from RedBox’s British Infantry of the 1745 Culloden campaign. The box information suggests that these figures are suitable for campaigns stretching from the 1745 Jacobite Rebellion right through to the 7 Years War (1756-63). A fellow figure painter on Benno’s Figures Forum indicated he was interested in the battle of Minden in particular and it got me thinking of the Kipling poem at the top of this post. (No chart hits for me going through my mind of a morning as I take the bus to work – it’s Rudyard Kipling!)
But this post isn’t about Minden, or even Rudyard Kipling either. It’s not even about Richard Simkin, late-19th century military artist and painter of the Battle of Minden depicted at the top of this post. Instead it’s about David Morier, an Anglo-Swiss painter of the 18th century. My painting guide below for the BFFGMFP comes from Morier’s own illustration of the 17th Regiment of Foot, circa 1750:
The regiment that I’m painting will be based on this contemporary image of the 17th Regiment of Foot. In 1751, the British army regiments became numbered in order of seniority. Prior to that date, it was the custom for regiments to be simply named after its colonel. At the time of the 1751 change, the 17th was known as ‘Wynyard’s Regiment of Foot’. The 17th Foot later became known as The Leicestershire Regiment (after my home county).
Morier’s paintings were made under the patronage of the then Commander-in-Chief of the British army; The Duke of Cumberland (aka ‘Butcher’ to his opponents). David Morier carefully depicted many regiments in Cumberland’s army at the time, as well as some landscape paintings including perhaps his most well-known work; “An Incident in the Rebellion of 1745” (presumably catchy titles weren’t his strong point). This painting happens to be the box art used on the cover of the RedBox figures I’m painting for BFFGMFP!
The Duke of Cumberland was the son of King George II. Despite his victory at Culloden, he rarely showed any great skill at generalship and his general incompetence in the 7 Years War led to his removal from command, notwithstanding his regal position. With Cumberland’s demise, David Morier had lost his patron. He nonetheless exhibited equestrian portraits throughout the 1760s. Like myself, it seems that Morier was a prolific painter of cavalry! Here are some examples of his regimental cavalry paintings:
Tragically, he later fared rather badly – possibly as a consequence of the decline in royal patronage, ending up in London’s notoriously foul Fleet prison for debtors where he died in 1770, aged 65.
By 1760, the year of the Battle of Minden, the Duke of Cumberland had already been removed from command and David Morier was embarking on his (presumably unprofitable) equestrian exhibitions for the Society of Artists. However, ‘the men that fought at Minden’ would have still looked much as Morier had carefully depicted them some years before.
The Queens Regiment
The Royal Regiment
Hopefully, I can do his paintings some justice with my own figures. With all that scary detail on the figures though, I’m feeling none too confident at the moment!
For Part 2: Base-coating, shading and highlighting – click here
For Part 3: Snips, spots, stars and stripes! – click here
Painting 1/72 Scale Horses – Part 4
Tack, tails, manes and hooves!
With the horse hide and markings done, there are still a few final touches to apply to the animals; the tails, manes and hooves. Tails and manes are fairly easy to do. Mostly, I simply paint the black and dry brush with a neutral grey. The grey is a useful and important highlight, bringing texture and detail to the flowing hair. There are some different colour manes to try; I sometimes dry brush red leather on to black for chestnut horses. For greys, I add a pale grey wash, wait for it to dry and dry-brush off-white for highlights. Sometimes, I may experiment with beige for a more cream-coloured mane for a grey horse.
Hooves are straight-forward too. A dark grey seems to be a good hoof colour. The only important thing to remember is that where a leg ends if a white marking (a sock, stocking, etc), then the hoof must be a lighter colour instead. I think that a cream or beige colour does the trick. I maintain an almost-dry brush to apply the paint for a little more texture. I know, I know…I need to get out more…
Now for the tedious and onerous part. The tack (the reins, bridles, breastplates, bits, etc) is the equipment required to control the horse and mount the rider. At this stage the tack on your figures are probably covered in lots of colour from all the dry-brushing. Care and a fine brush tip are needed to pick out the leather lines. It’s worth spending the extra time making sure it’s picked out neatly against the horse skin you’ve taken so much time to look good. Add in the small metal parts of the tack with a metal colour, I use silver to make it stand out clearly. It’s all a little bit tedious, yes, but necessary.
But the good news is that your horse painting is now virtually done! Just the horse furniture to do, some basing (if you want that), and not forgetting gluing your riders on.
Spend as much, or as little, time as you want in painting your horses – it’s your hobby to enjoy in your way. However, I like to think that a carefully painted horse can transform the look of your cavalry. I don’t claim to be an expert (far from it!), but this has been the technique that I use which achieves a result that I’m happy with, and hopefully it will prove useful to you too.
Check out the Nappy Cavalry Project page in a week or two to see how these horse figures turned out by clicking on the Russian Cuirassiers link, regiment #21.
For Part 2: Base-coating, shading and highlighting – click here
Painting 1/72 Scale Horses – Part 3
Snips, spots, stars and stripes!
Now the highlighting and shading of the horse flesh is done, we need to turn our attention to some more horse details. Aside from the colour of their coats, horses can be distinguished by white markings on their faces and white or dark shading on their legs. I tend to add the dark markings to the legs using a very dark black wash. I could paint them black but I find a dark wash just retains definition on the legs.
Then it’s quickly back to dry brushing the base coat colour into the top of the tide mark of those leg black washes. This just blends the dark markings into the coat more naturally rather than leaving a sharp black line. No need to be fussy, just a very quick dry-brush around the top of the black legs.
Once the legs are dry, I add my white leg markings. These are described (depending how much of the lower leg is covered in white) as being fetlocks, pasterns, socks or stockings (see here for an illustration). Anything from none to all four legs can feature some white. Again, my old friend dry-brushing comes in to play here. I retain a little more white paint on my brush for this – it’s somewhere between painting and dry-brushing – and wipe the brush wherever I feel a leg marking should be. No need to be too precise – be creative! Give the leg a stocking, a fetlock, or nothing at all; whatever takes your fancy.
Next, I add some white markings to the faces. For this I add a little paint with a small brush – no wash or dry-brushing – imagine that! The key thing here, I find, is to be delicate but not too regular. Marks and stripes can be any shape. Above all, be creative and make your horses into unique individuals. See this good description of face markings for more info. The markings I generally use are:
Blazes – a broad stripe down the middle of the face from forehead to mouth.
Snips – a small white marking between the horses’ nose.
Stars – a white marking on the forehead.
Stripes – a thin stripe down the middle of the face.
A mixture of the above; e.g. a snip and a star.
Now for the eyes. Horses eyes are generally just black. The problem is that I find that painting the eyes simply black isn’t very effective. Instead, I add a tiny white spot or line to the back of the eye. And I mean very tiny. This adds a little definition to the eyes, perhaps even a bit of life or character to the face. Furthermore, being horses in battle, I think a little white of the eyeball showing suggests something of the fear and effort experienced by a horse in a mass charge. See what you think, but I believe this tiny bit of white makes all the difference.
Muzzles. These things can vary in colour but generally they tend to be a mixture of patches of very dark grey with white and/or pink for the snip or the very end of a blaze. I add a very thick German Camouflage Grey (a dark grey) wash around the muzzle, occasionally adding a little light grey dry-brushing highlight for definition. I like to sometimes add a that very light pink too. These are small details admittedly, but again I say that like to think it makes a significant effect, creating a little more realism and character in the horse.
Still following his tutorial? Great! It shows the kind of patience that will serve you well in figure painting! In the next part of this tutorial, we’ll see the light at the end of the tunnel, tackling the final parts of the horse (tails, manes and hooves) and all that ‘tack’ (reins, bridle, etc).