Presentation of the Yeomanry Standard, Holkham Hall, October 1798.

“The two troops of Holkham volunteer cavalry, commanded by Major Coke, received their standard from the hands of Mrs. Coke…”

The Mercury Newspaper, Norfolk, 6th October 1798.

It is early October in the year 1798. Leaves have started to fall in the grounds of Holkham Hall in Norfolk and a mild autumnal day is ahead. If we gaze out of the windows of the majestic stately home, we shall see that the south lawn of the estate today presents an extraordinary scene; for drawn up before us are 100 horsemen of the newly raised Holkham Yeomanry Cavalry. From across the lawn comes the sound of jangling tack and the cries of horses, punctuated by occasional shouts of military instruction. From our vantage point by the window, we can clearly make out the elegant red dress of Mrs Coke. Suddenly, an officer rides up to her and dips his sabre in salute. In her hand she holds out to him what appears to be a richly decorated standard…

In recent weeks I finished painting my version of the Holkham Yeomanry Cavalry, a local troop of horsemen raised by Thomas Coke of Holkham Hall, Norfolk during the French Revolutionary wars. Further information on this topic, can be found in previous posts:

Interestingly, the provincial paper, the Norwich Mercury, recorded the moment that the Holkham Yeomanry Cavalry’s standard was first bestowed upon the new troop. The correspondent recorded that, on October 6th, 1798:

“The two troops of Holkham volunteer cavalry, commanded by Major Coke, received their standard from the hands of Mrs. Coke. At eleven in the morning the troops, proceeded to the chapel, where the standard was consecrated by the Rev Henry Crowe.”

The chapel, Holkham Hall.

The account continues:

At twelve o’clock the troops were drawn up on the South lawn, within a short distance of the house, when with some ceremony, the standard was given into the hands of Captain Edmund Rolfe. After the ceremony, the troops were entertained by their commanding officer, Major Coke, in Holkham House.” From Records of the NYC”.

Captain Edmund Rolfe rides up to Mrs Coke to take receipt of the Holkham Yeomanry’s newly consecrated standard. Thomas Coke looks on proudly…

Thanks to the keen eye of Mark at Man of Tin blog, I managed to source some metal 1:72-scale Georgian-era civilians from KAMAR, a German manufacturer of excellent military figures. These figures have helped me recreate the scene and you will note that my troop of Holkham Yeomanry have arrived in force also:


List of local dignitaries at Holkham Hall:

I’d like to introduce some of the local dignitaries attending the presentation, beginning with the host and Major Commandant of the Holkham Yeomanry Cavalry:

Mr Thomas William Coke of Holkham

In 1798, Thomas Coke had fallen significantly out of favour with His Majesty King George III. He had been a vocal supporter of both the rebelling American colonists and also the French Revolutionaries, eventually feeling forced to repudiate the allegation of being an outright republican. A man of the ploughshare and not the sword by nature, Coke even initially opposed the establishment of local yeomanry forces in 1793.

By 1798, he felt moved to raise his own yeomanry force in the district of Holkham; ‘ eager to show my zeal in defence of my King and Country at this alarming crisis… ‘ and was petitioning the Prince of Wales for permission to base its uniform upon the Prince’s own 10th Light Dragoons. Coke was appointed to the rank of Major-Commandant of the HYC on the 19th July 1798.

On the 6th day of October 1798, the newly formed and trained Holkham yeomanry were to receive their standard in the grounds of Holkham Hall. For the purposes of my scene, I have chosen to depict Coke acting in his role strictly as host at Holkham Hall and dressed in civilian attire. Perhaps there’s even a very vague passing resemblance? It is quite possible that he would have been dressed in his military uniform, I suppose, but on such an occasion but I wanted to reproduce something of the man, and the agriculturalist, I’ve seen in a number of portraits.

Thomas William Coke of Holkham by Thomas Lawrence, 1815. Photo credit: Walker Art Gallery

Mrs Jane Coke (neé Dutton)

Mrs Coke, far from being a passive wife was, like her husband, a committed abolitionist and keen supporter of social welfare. At the time of the presentation in October 1798, Jane had been married to Thomas Coke (apparently for love) for nearly 23 years. She had born him three daughters: the eldest, Jane (21), being already married; Anne Margaret (19) the middle daughter; and the youngest, Elizabeth, who was only 3 years old.

For Mrs Coke’s figure, I’ve dressed her in a dark red dress, hopefully referencing the dress seen in her portrait, below right. I’ve even reproduced the white flower and leaves pinned as a brooch that she wears.

Jane died tragically at 47 years old, just 18 months after performing her essential role in the presentation ceremony. Her portrait now appears up on the wall in the Manuscript library (seen above) alongside that of her husband. Jane’s face is now seemingly forever gazing across to the standard which she had bestowed upon the regiment just months before her untimely death. I confess that I appear to have made the replica standard a tad larger in proportion than in reality…


Lady Jane Elizabeth Howard (neé Coke)

The eldest daughter of Thomas Coke and “a renowned beauty” according to Wikipedia. By the time of the presentation of the Holkham Yeomanry’s standard, 21 year old Lady Jane had been married for two years to Charles Nevinson Howard, styled as Viscount Andover.

Only 15 months later, her husband Charles was to be killed in a tragic shooting accident, the consequence of an ‘accidental discharge of his fowling piece’. They had no children.

The Rt Hon. Jane Viscountess Andover. After John Hoppner – Philadelphia Museum of Art, Public Domain, https://commons.wikimedia.org/w/index.php?curid=17729616

Jane was to remarry 6 years later, having this time a more lasting union to Admiral Sir Henry Digby, a veteran of the battle of Trafalgar. This marriage gave rise to 3 children. Interestingly, their daughter, also called Jane, grew up to be a ‘scandalous adventuress” and her story is an astonishing one in its own right!

Viscount Andover and his wife, Jane.

Charles Nevinson Howard, Viscount Andover

Charles Nevinson Howard, in the peerage known as Viscount Andover, was 22 years old at the time of our presentation. The son of the 15th Earl of Suffolk, he had married Coke’s eldest daughter, Lady Jane Coke, on 21 June 1796.

The site of the Holkham Yeomanry presentation was to prove to be also the place where he was to die a mere 15 months later. The estate was designed explicitly for the hunting of game and on the 11 January 1800, aged just 24, Viscount Andover was killed by the accidental discharge of his gun whilst out shooting in the grounds of Holkham Hall.


A reporter from ‘The Mercury’

One of my remaining figures I’ve fancied to be the reporter from The Mercury, the provincial newspaper which happily covered the event in such detail.

Front page of the Norwich Mercury from 1823, the same provincial newspaper which reported on the events at Holkham Hall in 1798.

You will not that our correspondent’s top hat is cream coloured, the inspiration being a character I found in a satirical print on Thomas Coke dating from 1821.


Local landowner

Finally, one last local dignitary is included in my scene. In one hand, he holds a green bottle which we might imagine contains some port. In the other hand, he raises a glass, no doubt toasting to the future success of the newly-formed Holkham Yeomanry Cavalry! And to that we all give three hearty cheers!

And just to conclude this project, I’ve taken some more shots of men of the Holkham Yeomanry Cavalry drilling and manoeuvring with the entirely appropriate and glorious spectacle of Holkham Hall in the distance. Please note that any feint impression of tall obelisk in the distance that you may spot is a figment of your imagination, as clearly such an edifice would not have been built for another 50 years…

The Holkham Yeomanry Cavalry (Nap. Cavalry Regiment #34)

There’s a documentary TV series running on the BBC which features the work of the Household Cavalry. On a very recent episode, the cavalry (horses and soldiers both) were shown on their annual summer camp. Once a year, over 100 men and horses head off to Norfolk to undergo training including a ride over Holkham beach, plunging into and out of the surf.

This is all happening just a stone’s throw from Holkham Hall where, nearly 221 years ago, the Holkham Yeomanry Cavalry were first raised by Thomas Coke from amongst local volunteers. Surprisingly, it seems the mounted cavalry tradition continues in Holkham right up to this day!

Whereas the Household Cavalry are regulars, Coke’s Holkham Yeomanry were part-timers, local men to the area and were equipped by the wealthy Coke with some assistance from the government with its military supplies.

Research has led me to believe they would have looked similar to the 10th Light Dragoons, Coke having petitioned the Prince of Wales (the regiment’s honorary colonel) to adopt the same colours. Two sergeants of the 10th were ordered up by the Prince of Wales to train the troop in the standards of the British army’s light cavalry drill.

My Holkham Yeomanry’s uniform consists of:

  • blue jacket with white edging
  • white breeches
  • pale yellow facings
  • white braid (white-silver for officers)
  • tarleton helmet with a black turban and silver chains
  • brass chain wing shoulder scales
  • black boots

For added decoration, I painted on to the figures some brass chain wings on the shoulders rather than going with the sculpted straps. It’s a style I’ve seen on other yeomanry troops of this era, including the Sussex and Warwickshire cavalry.

I spent a little time on the helmets to include a brass rim around the peaks and also silver chains holding the turban in place, not included by the sculptor.

Pointing the way to Holkham beach… for this figure shown above I removed his weapon and left him gesturing with a finger.

In my previous post on the horses, I mentioned the pale yellow shabraques including a device in the corners with a black shape on a red background to indicate the ostrich device seen on the Holkham Yeomanry’s standard on display in Holkham Hall.

I’ve extended this theme for the officer’s sabretaches – being a yellow background, edged with red, with a central device in the centre and a gold crown above (not seen in these photographs but since corrected!). Three black dots to the side and below indicate the H, Y and C initials of the troop.

For the officers, they have a crimson sash around the waist and a little extra braiding which I added to create some ornate Austrian knot cuffs. To better differentiate the two figures, I’ve given one a twist of the head and arm. I’ve also provided him with greying hair thinking he could serve as the middle-aged Thomas Coke (the same age as yours truly – there’s time to raise my own regiment yet…). Instead, I have other plans for Coke and will perhaps instead nominate the figure to be his Troop’s 2nd-in-command, Captain Edmund Rolfe;

The other officer I propose to be Lieutenant George Hogg;

For the trumpeter figure, I’ve kept it simple. No fancy trumpet cords, just the brass instrument itself. Also, no expensive uniform in reverse colours or bandsman’s epaulettes; just the grey horse distinctive to all cavalry trumpeters.

With my men and horses now painted. There is one more element to my Holkham Yeomanry Cavalry project still to come: a recreation of a scene reported on by the local paper where the standard was presented to the troop by the lady of Holkham Hall, Mrs Jane Coke. I’ve now ordered my chosen figures for this scene and am awaiting delivery…

Just leaves me to conclude with a gallery of some more pics of the troop (click to ’embiggen’), followed by a brief regimental history.


Biography: The Holkham Yeomanry Cavalry [Great Britain]
  • Raised by Thomas Coke of Holkham Hall after petitioning the Prince of Wales in May 1798.
  • Coke appointed Commandant, 19th July 1798.
  • The HYC receive their standard on the south lawn of Holkham Hall, 6th October 1798.
  • Initially consisted of 2 troops numbering approx 50 men each.
  • Officers consist of Major Commandant Thomas William Coke; Captain Edmund Rolfe; Lieuts. George Hogg and Martin Folkes-Riston; Cornets Jason Gardner-Bloom and John Ward.
  • Briefly disbanded in 1802 (following the Peace of Amiens) but re-raised again the following year.
  • Attached to the 1st Regiment of the newly organised Norfolk Yeomanry together with the Norfolk Rangers, the Lynn & Freebridge, the Smithdon & Brothercross, and the Marshland Troops.
  • The whole regiment later adopts the Norfolk Rangers’ uniform (green jackets).
  • Disbanded for good, 1828.

The links below to my previous posts also provide further information: :


Cheshire Military Museum: Day Trip #19

I had the somewhat unexpected pleasure back in 2017 of being able to pay a visit to the city of Chester and I made sure to pay a visit the city’s military museum which is set in the grounds of Chester Castle.

Entry costs £4.00 at time of writing (£2.00 concession) and the museum is dedicated to:

  • The Cheshire Regiment (The 22nd Foot)
  • The Cheshire Yeomanry and other local volunteers
  • It also includes representative collections of the 3rd Carabiniers (formerly the 3rd and 6th Dragoon Guards) and the 5th Inniskilling Dragoon Guards (formerly the 5th Dragoon Guards and 6th Inniskilling Dragoons).

I can vouch that it was a magnificent museum with some very helpful and friendly staff, many of whom were officer cadets from the local school. One of the first exhibits to capture my attention on entry was the oldest uniform in the collection, that of a Napoleonic-era officer of the local militia, hopefully just visible in the photo below through the glare on the glass case. The officer wears a black bicorn hat. A metal gorget, a sign of his rank, hangs just below his neckstock.

cheshire museum (23)

For those, like myself, with a particular interest in headdress, yeomanry and drum banners, the next room had some very pleasing artefacts. From the regular cavalry, there were a number of metal dragoon helmets from across the four dragoon and dragoon guards regiments, sporting different styles of plate and colours of plumes.

These helmets shown above were:

  • Black plume – 1847-71 gilt brass Albert pattern helmet of the 6th DG (The Carabiniers). It has richly decorated peaks, a badge featuring a diamond cut silver star on a shield and a garter with “The Carabiniers” under a crown.
  • White over red plume – post-1871 pattern helmet of the 5th DG.
  • White plume – 6th DG, post-1871 pattern officer’s helmet.
  • Animal Crest, facing camera – 3rd DG. An officer’s helmet with a richly ornamented and detailed front plate including the regimental name. Undated but it appears to be the 1834-43 pattern brass helmet. The crest bears a detachable lion’s head which could be replaced by a black bearskin crest instead.
  • Black over red plume – 3rd DG. Labelled as being c.1834-1843, but seems clear that this officer’s helmet is more likely post 1871? Missing chinscales.
  • Animal crest, side view – 6th Inniskilling Dragoons, another c.1834-1843 helmet. A scroll reads “Waterloo”, their battle honour, across the front of the helmet.

The 6th DG helmet with the white plume above can be seen below in an illustration of an 1888 Carabinier officer from “Cavalry Uniforms of the 19th Century”, a trade card set issued by Badshah Tea in 1963.

Amongst the very many interesting items nestled around the museum was this decorative Crimean War bible taken from Sevastopol by men of the 5th Dragoon Guards, a regiment which took part in the Heavy Brigade’s charge at Balaclava. Coincidentally, I modelled something very similar recently, a bible carrying Russian soldier, as part of my Crimean War Russian personalities.

Turning my attention now to the infantry, a key battle in the history of the Cheshire Regiment was the Battle of Meeanee, fought during a campaign in which Maj-Gen Napier’s army controversially captured the province of Sindh from its Amirs. This gave rise to the apochryphal claim that Napier announced his conquest in a telegram with a glib Latin declaration – “Peccavi” (i.e. ‘I have sinned / Sindh’). During the key battle, the East India Company’s Bombay army of 2,500, with included The 22nd (Cheshire) Regiment, soundly defeated 30,000 Baluchis. The display related to this action was very impressive and included a really impressive diorama of the battle (below)…

The Cheshire Military Museum’s diorama of the Battle of Meeanee, 1843.

…and also a couple of imposing life-sized manikins placed mid-combat!

Part of Cheshire Military Museum’s imaginative display on the Battle of Meeanee.

As can be seen above, a large canvas depicting the height of the battle by artist George Jones was on display and an equally massive poster was available in the shop which I duly purchased (at less than half price) far, far more in hope than any expectation of ever being able to display it somewhere in the family home!

Jones, George, 1786-1869; The Battle of Meeanee, 17 February 1843
The Battle of Meeanee, 17 February 1843 by George Jones; Cheshire Military Museum.

For me, a bonus for any regimental museum visit is the inclusion of anything relating to military bands, so it was good to see a kind of separate alcove dedicated to it, as well as drum banners framed high up on the wall in another room. Sadly, I was unable to locate the Cheshire Yeomanry’s own drum banners:

I was on the lookout for the Cheshire Yeomanry’s drum banner, seen here in a 1924 Player’s Cigarettes card.

…but I believe these antique-looking ones on display below related to the 5th (Princess Charlotte’s) Dragoon Guards. If so, the scroll at the top, just below the crown, therefore reads Vestigia nulla restorsum (“we do not retreat”)!

High up on the wall – ancient Drum banners of the 5th DG.

The bands display case I mentioned further on in the museum held instruments and allowed visitors to listen to a recording of the ’22nd Regiment Slow March’,  a spirited tune written for the 22nd Regiment by its first bandmaster, a Captain R. Lindsay, performed below the 1st Battalion of the 22nd Cheshire Regiment.


The Rifle Volunteers:

Following my visit to Chester in 2017, I was inspired to create some figures of the 1st Cheshire Rifle Volunteer Corps aka The Cheshire Greys.

My Rifle Volunteer project owed a lot to my visit to the Cheshire Military Museum. Relevant exhibits included informational displays, grey cloth universal helmets, a sergeant’s tunic and an officer’s tunic. Other rifle volunteer corps (often wearing different colours) from across the same county also were represented in a great collection.

I’d like to mention a fascinating information board written by a Lance Corporal Hannan which related to the local Railway Volunteer Corps. The area was a crucial part of the 19th Century railway industry and it’s locomotive works provided many boilermen, steelmen, clerks and engineers to the newly developing Rifle Volunteer movement in 1859. Consequently, the 2nd Cheshire Royal Engineers (Railway) Volunteer Corps was born, suffering it seems at the time only from a surfeit of quality engineers applying! They served in the Anglo-Boer War, the British army making use of their great skills, but lost a number of men to disease and in action. They disbanded in 1912.


The Cheshire Yeomanry:

The painting below was displayed high up on a wall showing an officer of the Cheshire Yeomanry of the 1830s. The regiment appears to be wearing a dark blue hussar dolman with red facings and a pelisse lined with black fur. Grey overalls with a red stripe can be seen astride a black sheepskin / blue shabraque.

Unknown artist; A Captain of the Cheshire Yeomanry; Cheshire Military Museum; http://www.artuk.org/artworks/captain-of-the-cheshire-yeomanry-103105

On his head is a black shako with a prominent white Maltese cross and plume. W.Y. Carman’s ‘Yeomanry Headdress’ tells me; “The Stockport Troop became hussars in 1823 but continued to wear the broad-topped shako with a white metal Maltese Cross plate in front and a long white plume rising from a red base.

So, I guess from that description that this picture depicts the Stockport Troop. Lined up in the distance on the far right can be seen the rest of the regiment. In the distance to the left can be just made out a trumpeter on a skewbald grey with what appears to be a white sheepskin, red shako and red shabraque.

A troop guidon of the Cheshire Yeomanry Cavalry

Also secreted high up on the wall was this guidon of the King’s Cheshire Yeomanry Cavalry (K.C.Y.C.). The regiment’s origins go back to 1797 and after various name changes became known as The Earl of Chester’s Yeomanry in 1849. The guidon above doesn’t incorporate the Prince’s feathers so I suppose must pre-date the adoption of this association.

Other later artefacts however did include the three feathers, including sabretaches, pouch belts and a wonderful officer’s black Albert shako with black feather plume. The Maltese cross badge seen in the painting above has now been replaced by the Prince of Wales feathers with “an elaborate floral wreath with Victorian crown on top. Silver oak leaves encircling the top and the officer’s peak stitched with silver wire. A drooping cocktail plume was worn in front.” (Carman)

In the early part of the 19th century, the Cheshire Yeomanry was often called out to deal with industrial unrest in the manufacturing towns of the area. Alongside regular troops, and the Manchester and Salford Yeomanry, the Cheshire Yeomanry were directly involved in the most infamous incident in yeomanry history; the Peterloo Massacre. It was an incident which any yeomanry regiment would probably prefer to be distanced from and sees its bicentennial in August this year. The Manchester and Salford Yeomanry – more directly implicated in the shameful action – disbanded five years later, but the Cheshire Yeomanry endured.

The regiment’s uniforms in the museum appeared to be consistently a dark blue light dragoon or hussar pattern with red facings and by the end of the century hussar dress had been adopted with busbies. This headdress developed in an atypical manner according to the Uniformology website which says this:

There was little change until the late 1880s when an unusual pattern of hussar busby was adopted.  This was modelled on the German version taken into use after the Franco-Prussian War.  It was shorter than the British pattern with a white small bag on the right (the opposite side to the standard German one).

The busbies could be found around the museum, the difference in height can be seen below (notwithstanding the glass reflection) between the later trooper’s busby being taller with a white bag and the surprisingly squat officer’s version with feather plume. A clearer image of that officer’s busby can be seen taken from Carman’s Yeomanry Headdresses book.

The Cheshire Yeomanry was also represented in that previously mentioned display dedicated to regimental bands. I noticed a yeomanry marching bass drum, a trumpet banner and a bandsman’s uniform, but sadly no kettledrums or their banners.

Finally, some images of the now long gone bandsmen themselves, including this photo of the Cheshire Yeomanry’s band…

The Cheshire (Earl of Chester’s) Yeomanry Band.

…and a nice painting of a Cheshire ‘volunteers band’ marching past the Greyhound pub in Altrincham followed, it seems, by a whole troop of well-drilled marching schoolgirls!

Chester was a very nice town to visit, and not just for the Cheshire Military Museum. There was much more to see in the museum which I’ve not even remotely touched upon. It was a really worthwhile visit with plenty of unusual and interesting exhibits, even for those who are not eccentric military history nerds!

Nags of Norfolk: Modelling the Holkham Yeomanry

About a year ago, I reported on my visit to Holkham Hall in Norfolk and discussed the history of it’s own yeomanry cavalry troop which lasted from 1798 to 1828. After some investigation on the uniform of the Holkham Yeomanry Cavalry in a post earlier this year, I’ve decided to go for it and have a bash at reproducing a vision of this long-forgotten troop in 1/72 scale.

I’m using Strelets British Light Dragoons in Egypt set and have sourced a double 2nd-hand set for less than half the price on eBay. So far, I’ve concentrated on Strelets’ horses which I’ve been previously perhaps a little unfair in describing as over-fed. With some paint on them, they now look muscular rather than portly and I always appreciate the clear, crisp detail provided by these ‘old-style’ Strelets kits. Besides, I imagine that these steeds of Norfolk farmers and local men would have been substantially better fed than regular army horses on campaign.

Following evidence that Thomas Coke of Holkham Hall requested permission to dress his yeomanry troop in the ‘colours of the 10th’ (light dragoons), I’ve taken that to have extended also to the shabraques which the wealthy agriculuralist Coke has very generously supplied to all his troopers!

For it’s design, I’ve broadly followed the 10th’s colours as seen on this Britains model below. Instead of a white device on a red background in the corner of the cloth, I’ve gone for a black emblem, hoping to mimic the ostriches I saw on the Holkham Yeomanry standard in Holkham Hall.

Being Napoleonic cavalry, they could conceivably be included as the 34th regiment in my Napoleonic Cavalry Project when complete (be they yeomanry or the 10th Light Dragoons themselves). Additionally, I’ve had a vague idea to include the standard in a scene with these figures. I’d like to recreate the act of it being presented to them by Mrs Jane Coke of Holkham Hall, a moment reported on in some detail by the local newspaper in 1798. After being given some great ideas by Mark at Man of Tin blog, I’m considering my options…

For now, my yeomanry horses are now being put out to grass whilst I turn my attention to the Holkham men themselves next!

A South Notts Hussar

Earlier this year, I visited and posted about the Queen’s Royal Lancers and Nottinghamshire Yeomanry Museum in Thoresby Park, Nottinghamshire. The museum included within the collection exhibits related to one of Nottinghamshire’s two yeomanry regiments; the South Notts Hussars, including the mess dress uniform shown below.

This reminded me that I had a 54mm figure of the regiment which I had lying around unpainted and it seemed a perfect spur for me to dig it out and finally get some paint on it.

My figure is an officer of the South Notts Hussars Yeomanry from 1908. It’s from the 54mm “Squadron Range” sold by Tradition of London. As you can see, I’ve mounted my yeoman on the same style plinth as all my other 54mm yeomanry range figures. Also as usual, I’ve put the name of the regiment on the front and some details of the figure on the back.

Information on old yeomanry uniforms is not always clear-cut but I note that the Uniformology website disagreed with the sculptor about the number of caplines around the busby, insisting the line went around the headdress four times instead of the more usual two shown here.

The trickiest part of the figure for me was creating the Austrian knot details on the cuffs which were very indistinct on the figure. A check of the internet helped me gain an understanding before I quickly attempted some freehand work which, I like to fool myself, looks okay for a first attempt.

I’m quite pleased with the pouch belt which I gently brushed with a mix of gold and gold-yellow to reveal its very subtle pattern.

This figure arrived last year as part of a huge collection being sold on by the family of a collector who had passed away. I am mindful of being but the latest custodian and always aim to do them some justice. The other figures from this collection formed most of my “Marrion’s Men” series of yeomen.

The pouch is black with a silver cover and a gold emblem and other metalwork on the belt is gold. Headdress consists of a black fur busby, a gold-laced red bag, and a white over red plume.

I think it’s a really nice figure and a great example of a late 19th / early 20th Century hussar’s uniform. However, at nearly £50 a painted figure + P&P from the Tradition website, I think I’ll stick to the far more enjoyable activity of painting my own!


Some great images of the regiment can be found on The British Empire website including a photograph of the regiment on the march dated the same year as my figure; 1908. It’s a great scene of the regiment mounted in Full Dress with ladies and children walking on the path alongside.

Adding Colour to the Holkham Yeomanry Cavalry

I’ve been reading the Google-transcribed text of “Records of the Norfolk Yeomanry Cavalry“, wordily subtitled; “To which is added the Fencible and Provisional Cavalry of the same county, from 1780, to 1908”.

Holkham Hall, Norfolk, in the Summer of 2018.

I referenced this work last year in my post on the history of yeomanry cavalry on a north Norfolk estate; Horsemen of Holkham Hall, a stately home which I visited during the summer of 2018. In the post, I was unsure as to what colour uniform the local Holkham Yeomanry Cavalry actually wore and speculated they were likely to have adopted the popular choice in Norfolk of red coats with white or blue breeches.

Reinagle’s painting of Thomas Coke (1752-1842), 1st Earl of Leicester; National Trust, Shugborough. Holkham Hall visible in the distance.

The only real clue that I could find lay in the words of the Holkham troop’s commandant, Thomas Coke of Holkham Hall, who petitioned the Prince of Wales for permission to raise the troop. The letter, reproduced in Records of the Norfolk Yeomanry Cavalry, has Coke writing;

“I have to request your Royal Highness’s permission that we may wear the colours of ye loth for our uniform…”

Ye loth? I speculated in my post that it could even be a miss-scanned ‘yellow’. Judging from similar instances of typographical errors appearing  in the document, it now becomes clear to me to be “the” (written as ‘ye’ in those days) and “10th (i.e. that numbered regiment of Light Dragoons). Reading on, makes it blindingly, and embarrassingly, obvious;

“I have to request your Royal Highnesses permission that we may wear the colours of the 10th for our uniform, and that your Royal Highness would have the condescension to order two soldiers from that Regiment to drill us;…”

Furthermore, the Prince Regent was in fact Colonel of that Regiment, the 10th Light Dragoons, an office he held from 1796-1819, so it would make perfect sense for Coke to petition the Prince of Wales in this manner, newly raised yeomanry troops otherwise having permission to wear whatever style uniform they (or their benefactor, in this instance Coke) preferred.

Standard of the Holkham Yeomanry Cavalry which I photographed during my visit. The base colour matches their facings.

So, if the Holkham Yeomanry Cavalry apparently wore a uniform which imitated the 10th Light Dragoons then we might reasonably assume they would have worn a jacket and Tarleton helmet looking something like the Prince of Wales’ own officer’s uniform seen below:

Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019

Being Colonel of the 10th (‘The Prince of Wales’s Own’), the Prince took great pride in his regiment. Barred from active service, he ‘…channelled his interest into collecting and into the design of military dress and accoutrements. As Colonel Commandant, and later Colonel, of the 10th Light Dragoons, patterns of uniforms and equipment were submitted to the Prince for approval, many of which he retained at Carlton House‘ (Royal Collection Trust). It is known that he wore the Tarleton above at a review in 1798, which is around the time that Coke was raising his Holkham Yeomanry.

A vision of Thomas Coke in his Holkham Yeomanry uniform? George IV (1762-1830) when Prince of Wales 1803 by Sir W. Beechey. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.

It’s a dark blue jacket with a pale yellow, almost buff, facings, with twenty one lines of silver lacing across the chest. The Tarleton helmet has a black silk turban with silver chains surmounted by a crest of black fur and a white feather plume. I wonder how closely the Holkham Yeomanry troop imitated this arrangement.

The Prince had a number of portraits created depicting him in an earlier version of the uniform around the time of his first appointment to the 10th Light Dragoons in 1793. The turban on the Tarleton is different, a leopardskin, and the braiding can be seen to be a more sparse arrangement.

It has been my intention for a while to create some Holkham Yeomanry in some form or other, preferably in my favourite 1/72 scale as an unusual addition to the Napoleonic Cavalry Project. HaT have been crowdfunding some Peninsular War-era British Light Dragoons which should be issued at some point, so these might well do the trick but progress to production has been slow (a couple of years in the making so far, I think), so I might have to be patient for those for a while longer yet.

Due sometime, ah, hopefully soon… HaT’s Peninsular British Light Dragoons artwork looking distinctly Holkham-esque.

For a more immediate fix, there’s always the Strelets issue of British Light Dragoons in Egypt. Their heavyweight horses look like they’ve been out in the fresh springtime pasture for far too long. Also, unavoidably I suppose, some of the riders appear to be in less than ideal poses – either involved in either some wildly vigorous sabre drill or perhaps in the midst of putting down an insanely violent bread riot in Wells-Next-The-Sea!

Strelets Light Dragoon horses as seen on Plastic Soldier Review. More like sturdy Suffolk Punches than nimble Norfolk chargers!

Well, this is all food for thought in my attempt to bring the Holkham horsemen back to life, in some half-assed way or other! Time to get back to those other cavalry figures that I’m painting.


Even though his Holkham Troop had disbanded 14 years prior to Coke’s death, it seems the yeomanry of Norfolk had not forgotten him. Above is the dedication on the imposing Holkham monument made in memory of Thomas Coke, which reads; “Erected by subscription originating with the YEOMANRY…” The column’s architecture mostly commemorates his substantial agricultural rather martial achievements, and the corners of the column’s plinth support sculptures of an ox, a sheep, a plough and a seed-drill – so no swords here, just ploughshares.

The Queen’s Royal Lancers & Nottinghamshire Yeomanry Museum: Day Trip #18

This trip was actually a revisit to a museum which I’d last visited some 5 or 6 years ago, prior to this blog’s current incarnation and its series of museum reports. The Queen’s Royal Lancers & Nottinghamshire Yeomanry Museum is situated in Thoresby Park, deep in the picturesque Nottinghamshire countryside. Entry is completely free and its displays include the combined collections of:

  • The Queen’s Royal Lancers and their antecedents, namely;
    • 5th (Royal Irish) Lancers
    • 16th (The Queen’s) Lancers
    • 17th (Duke of Cambridge’s Own) Lancers
    • 21st (Empress of India’s) Lancers
  • The Sherwood Rangers Yeomanry
  • The South Notts Hussars
Entrance to the museum in Thoresby Courtyard – with free entry!

On this visit, I was particularly keen to take a closer look at displays connected to the two local yeomanry regiments; the Sherwood Rangers and the South Nottinghamshire Hussars.


Nottinghamshire’s Yeomanry Regiments:

One of the first things that I encountered on entry was a cabinet which included two ancient yeomanry tunics. The first had white facings and was dark blue in colour with tightly packed rows of silver braiding covering the front of the tunic from base to shoulder – 26 rows of loops and buttons (count ’em). The garment was described as belonging to the Worksop Independent Troop, Nottinghamshire Yeomanry, c. 1820.

Worksop Troop, Independent Yeomanry Cavalry tunic, c.1820.

All that silver braiding continues elsewhere on the tunic too, with some Austrian knot detailing on the cuffs and trefoils on the back and even around the sides.

Worksop Troop, Independent Yeomanry Cavalry tunic, c.1820.

The other tunic in the cabinet dated from 1815 and belonged to the Newark Troop, Nottinghamshire Yeomanry. This coat was red with white facings, having three rows of 18 white metal buttons but without all the lace seen on the Worksop cavalry tunic above.

The shoulder scales were made of metal links, in contrast to the Worksop example’s cord braid on the shoulders.

An illustration of the 1798 uniform of this troop was available for purchase in the shop both as a postcard and notebook cover. It shows men of the Newark Troop in front of their home town’s castle ruin and the River Trent. Although the style of the coat (17 years older than the one displayed) is very different, the scarlet colour remains the same. Facings and turban appear to be a shade of orange or gold.


The above image also shows the guidon which remarkably is still in existence and appeared high up on the wall of the museum. The Royal Standard (below) was “presented on the 14th July 1795 to the Nottinghamshire Yeomanry in the name of Thomas Webb Edge and Mrs Lumley Saville. The needlework was her own. The guidon was re-presented to the Sherwood Rangers Yeomanry on the 4th May 1840…[and was] always carried by the Newark Troop”.

Some fine needlework there, Mrs Saville!

Tucked away in an alcove elsewhere in the museum, and partially covered by another display propped up against it, appeared to be a Victorian print of a cavalryman. It reminded me of my own collection of Henry Martens series of Yeomanry illustrations, so I took a closer look.

Frustratingly, my close up photos of the title and artist/engraver didn’t come out at all, so I’m left guessing on those details now but I know it wasn’t a Martens. What I do know is that the artwork was a local production, “Printed for the compilers by Stevenson and Co., Middle Pavement in Nottingham” in 1848. This was just a few years after the Fores’ Yeomanry Costumes by Henry Martens were published. The compositional style is very reminiscent of Martens.

Interestingly, the red shako shown in the print was said to be an exact copy of that worn by the Chasseurs d’Afrique. What makes Yeomanry uniforms particularly interesting to me is this freedom that individual regiments could enjoy to mimic and reference other styles, even colourful and ‘exotic’ foreign ones such as this.

Not on display, but the website https://www.britishempire.co.uk has this shako as matching that in the illustration, minus absent cord lines and plume. The missing cord lines have left their mark.

As with my Fores’ prints, this one comes with a dedication; “To Lieut. Colonel Holden, the officers, non comm’nd officers & privates of the Nottinghamshire Cavalry.” A little research informs me that the scarlet shako was adopted in 1847, just one year before the painting was published. The falling plume was black and there are yellow lines of cord on the shako depicted. The hussar uniform is blue, although it appears as a kind of light grey in the faded print. The pouch belt is black and the scabbard suggests a heavy cavalryman’s straight sword rather than a hussar’s curved sabre.

In the same display case as the tunics was this above helmet described as a “Notts Yeomanry Cavalry helmet c. 1837, probably manufactured for the regiment.” This regiment eventually became the Sherwood Rangers. It’s in terrific condition and appears to be made of ‘japanned’ (heavy black lacquered) leather. The horsehair plume is red and there are ventilation bars in the sides of the crest. Under the royal coat of arms gilt badge there is brass bar engraved with the title “Notts Yeomanry Cavalry”. A beautiful object!

The above 1845 shako badge displays the name of the South Notts Yeomanry Cavalry, forerunner to the South Notts Hussars. The hugely informative British Empire blog also has an image of the regiment’s shako with this sunburst design badge in place.

The uniforms shown above were unlabelled. Clearly not lancers, they look to be from the local yeomanry of the late 18th century and being navy must belong to the South Notts Hussars (the Sherwood Rangers wore a striking green hussar uniform). The five braiding loops tunic appears to be Mess Dress with a gold and red waistcoat underneath.

Richard Simkin’s illustration of Nottinghamshire’s two yeomanry regiments grouped together in 1908 as the 17th Yeomanry Brigade.

Incidentally, I have lying around a 54mm metal figure of the South Notts Hussars awaiting some paint, although a different order of dress, it’s five braiding loops closely matching the Simkin illustration seen above. Perhaps sometime soon might be a good time to make a start on it?


The 17th (Duke of Cambridge’s Own) Lancers:

The regular lancer regiments in the museum had a varied and dramatic history. The 17th Lancers being particularly well-known for their part in the Charge of the Light Brigade at Balaclava. I think that they possibly have the most recognisable cap badge in the British Army; the macabre skull and crossbones, sometimes seen with the legend “Or Glory”. Seen on their 1815 Light Dragoon shako, it reminds me much of the headgear of the famous Prussian ‘Death’s Head’ Hussars, although they would have looked at the time more like my 13th Light Dragoon figures from 2015.

Their motto ‘Death or Glory’ was a reference to General Wolfe who fell mortally wounded at Quebec, 1759. I still have a “Death or Glory Boys” coaster taken from a visit I must have made to the 17th Lancers museum as a small child when it was still based in Belvoir Castle – looking pretty good after all these years!

More headdress of the 17th was on display, including one which saw use during the famous charge itself:

There is some controversy surrounding which bugle actually sounded the Charge of the Light Brigade, but the one on display in this museum has a very strong claim. The hole smashed through the end was caused by a Cossack piercing it with a lance, attempting (and failing) to pick it up off the ground and to take away as a trophy. An astonishing object in many ways.

An audio recording of a surviving trumpeter who was present in the charge was played on loop in the museum and you can hear it online, Trumpeter
Kenneth Landfried blowing on a Waterloo bugle recorded on wax cylinder in 1890:-

Below: uniforms of the 17th through the ages on display:

  • a replica of the attractive light blue uniform worn in the American War of Independence;
  • an officer’s service uniform from the Zulu War (other ranks had white crossbelts without the silver pickers and plate);
  • a scarlet uniform from the time of George IV, a monarch determined to see all of his cavalry regiments wear red!

The 21st (Empress of India’s) Lancers:

A neat display dedicated to the 21st Lancers concentrated mostly on their famous charge at the battle of Omdurman. This is unsurprising given their relative newness, being formed in 1858 for the East India Company and not brought within the British army until 1862. Three regiments had previously been designated the 21st Regiment.

Being dogged by its lack of battle honours and experience (“thou shalt not kill” was unkindly suggested as the regimental motto), its reckless charge at the Dervish tribesman in 1898 seemed to some to be motivated by a need to restore some honour. Notably attaching himself to this wild charge was a young Winston Churchill of the 4th Hussars.

The Charge of the 21st Lancers at Omdurman by Richard Caton Woodville, Jr. Photograph: National Museums Liverpool, Public Domain, https://commons.wikimedia.org/w/index.php?curid=24851971

As a reference to its Indian origins when it was part of the EIC’s Bengal cavalry, the 21st Lancers wore French Grey facings, an example of which could be seen clearly in this late 19th Century Full Dress uniform.


The 16th (The Queen’s) Lancers:

The 16th Lancers were known as ‘The Scarlet Lancers” after successfully petitioning to retain the existing scarlet coatee when in 1840 it was ordered that all the Light Cavalry should revert back to the blue uniforms. An example of their unique scarlet lancer coat can be seen below.

The 16th Lancers famous action at the Battle of Aliwal in the Anglo-Sikh Wars was given due prominence. At this action, the regiment charged a Sikh force many times its own size, dispersed their cavalry and then broke the Sikh infantry squares, taking many casualties in the process but doing much to secure outright victory.


The 5th (Royal Irish) Lancers:

Concluding this report, this magnificent copper kettle drum below was described as being ‘used by the 5th Royal Irish Lancers’. Being that it appeared in a cabinet dedicated to the 18th century, I presume that this instrument is an antique belonging to the original regiment’s guise as the 5th Dragoons.

Notably, the 5th Regiment of Dragoons was disgraced after being infiltrated by Irish rebels during 1798. It was erased from the army list, with nothing existing for many years between the 4th and 6th cavalry regiments. This mark of disgrace lasted until it was reformed as lancers in 1858. An excellent example of the regiment’s pre-1798 uniform was on display; this lovely c.1745 mitre cap and c.1770 jacket of the 5th Royal Dragoons (note the links on the shoulders very similar to the Newark Troop’s example earlier).

The interesting display included a garment of their adversaries, Sudanese jibbahs, coats made of white cotton with additional patches sewn on.


With the exception of a thriving cafe, Thorseby courtyard seemed largely deserted of shops when I visited, so I wonder if the museum would do better in a much more accessible location, particularly so for those without a car. For those who are able to visit, with free entry and a rich collection of history to be found in nicely presented premises, the Queen’s Royal Lancers & Nottinghamshire Yeomanry museum is highly recommended!

17th Light Dragoons in England c.1800. From a series of drawings by George Salisbury (1795-1848), a former musician serving for 20 years in the regiments. This and a number of other of Salisbury’s paintings of the 17th were available as postcards from the museum shop.

Marrion’s Men #5: Officer, Yorkshire Hussars

Last year, I complained in a post about my inability to source another R.J. Marrion-inspired yeomanry figure after being comprehensively outbid on an auction site for one. The bidder fortuitously – or perhaps graciously – withdrew their winning bid and the figure came into my possession.

After making such a terrible fuss back in September over acquiring it in the first place, I thought it about time to finally commit some paint to the figure. So here he is, mounted on a plinth in the same manner as the rest of my Marrion Men.

About the uniform:

The figure is based on an R.J. Marrion illustration on the front cover of “The Yorkshire Hussars” by L. Barlow and R.J. Smith. This was the third edition of the Ogilby Trust series, “Uniforms of the British Yeomanry Force 1794-1914”. This man is described in the footnotes as being an ‘Officer, Undress, 1852’.

I have a 1846 print of an officer of this regiment displayed in the house. It displays the officer in his Full Dress finery, quite a contrast to the plainer Undress version that I’ve painted.

Detail from my 1848 print of an officer of the Yorkshire Hussars by Henry Martens.

The Undress uniform worn by my figure was first adopted in 1834. Barlow and Smith describe it in these terms;

Officers adopted a new Undress frock coat in 1834 (shown on the front cover). It had a roll collar and 6 black olivets down the front, two at the waist behind and two cloth-covered buttons at each wrist. It was worn with a crimson waistcoat showing at the neck…and, after 1850, with a scarlet, silver braided waistcoat.

In quarters, and when the men were in stable orders, only the crimson and gold Hussar sash was worn with this garment; when on duty, the Full Dress pouch, sword belt (worn under the sash) and the black sabretache were worn.

Barlow and Smith also describe the overalls being adopted at the same time;

In 1832 new cloth overalls of a dark grey mixture — the shade being practically black — were issued, with a single broken bias lace stripe for the officers, and white for the men.

Some further changes occurred around 1850. Although “the same Undress frock coat and overalls were worn as in 1834”, the cap was now as seen on my figure. Barlow and Smith;

A scarlet cloth forage cap with 1 and half inch silver Granby lace band and the York Rose in outline in triple silver braid on the crown.

I think my cap looks more crimson, than scarlet… but never mind!

Barlow and Smith again;

The dress pouch-belt was worn with a black patent leather pouch, the flap edge of which was bound with silver, with a silver York Rose in the centre;

Originally, not paying close enough attention to the text, I painted my ‘black patent leather pouch’ in red blindly following the inaccurate example of another painted version of this figure which I found on the internet. I’ve now corrected it using “glossy black” for the patent leather, which is maybe a tad too shiny?

…the sabretache was plain black, with a silver Rose; slings and sword knot of black leather.

So here’s how the figure compares to Bob Marrion’s illustration:

These ‘Marrion Men’ are as rare as hen’s teeth, it seems, though I try to keep scouring the auction sites for examples. Until and if any more appear, this Yorkshireman remains the last of my Bob Marrion tributes. Other figures in the series can found here;

The Last Charge of the ‘Yolkshire’ Hussars

An Easter Sunday tradition at Suburban Militarism demands that a hard-boiled egg is painted by each member of the household and then rolled down a steep hill. I previously posted on this family tradition in 2017 in a post painfully entitled “Shell Shock”.

My Easter Eggs

Here below are this year’s family submissions. You can probably guess which is mine and I believe that I was convincingly outpainted!

My own egg design was based on an actual 54mm yolkmanry – sorry, I mean yeomanry – figure that I’m currently painting. It represents the undress uniform of an officer of the Yorkshire Hussars in 1852. Overall, a predictable choice of topic for me, I know, but how could we have eggs without ‘soldiers’?

The inspiration for my design.

I can state that on the day my, err, Yolkshire Hussar performed admirably, taking part in three wild downhill charges before finally breaking apart…

Casualties of shot and shell…

‘Une oeuf’ of that – I should stick to the model soldiers. Best wishes to all for the Easter holidays,

Marvin

A little more on the Derbyshire Yeomanry Mounted Band

Last year, I posted on my discovery of a painting hung on the wall of the ‘unstately home’ Calke Abbey. I realised that the scene depicted the band of the Derbyshire Yeomanry whose existence my guide to mounted bands suggested was unproven. At the time, I wondered what the parade could possibly have been for. Thankfully, some enquiries I made with the Melbourne Historical Research Group bore fruit thanks to the informative reply by a Mr Philip Heath.

Entrance of the Procession into Melbourne on the 10th May 1876 by John Gelder (1816 – 1885) ©National Trust Images

Mr Heath informed me that;

“The location of this scene is Derby Road, Melbourne. The house on the right is Conery House , formerly known as the Poplars (as seen in the painting), built in the 1830s. The people in the windows may well be the Robinson family who lived there at the time. The house is still there, on the corner of Queensway opposite Sainsbury’s.”

The scene of the parade today, the house then known as “The Poplars” just visible through the trees to the right.

Mr Heath continues:

“I first saw this painting when it was reproduced in Howard Colvin’s “Calke Abbey; A Hidden House Revealed” (1985), page 97. The caption in the book suggests that it shows the recent wedding of Sir Vauncey and Isabel Adderley being feted at Melbourne. As they were married on 20/4/1876, I’ve never doubted that interpretation. Although the Calke estate had few tenants in the parish of Melbourne, there was a connection with Calke and Melbourne through all the Melbourne tradesmen that found work at Calke, and there are framed “loyal addresses” from the people at Melbourne, given to the family on landmark occasions.”

So there you have it. The Derbyshire Yeomanry’s mounted band was leading a procession which was celebrating the marriage of Sir Vauncey Harpur Crewe of Calke Abbey and Isabel Adderley. A natural consequence given the regiment’s close association with the Harpur family and the Derbyshire Yeomanry.

A 1794 musical score that I found in Calke of “Two marches composed by Joseph Haydn for Henry Harpur Bart. and presented by him to the Volunteer Cavalry of Derbyshire”.

However, it seems any excessive pride I may have had in my sleuthing is somewhat misplaced. I now realise that other conclusive evidence of the mounted band must have since come to light since R.G. Harris’ wrote his words on the Derbyshire Yeomanry band. The DYC’s own website actually includes photographic evidence (although no reference is made to the
painting of the procession). Furthermore, the image also shows kettledrums and drum banners included, which I’ve circled below. All this information must have been unavailable to Ronald G. Harris at the time.

Blurred and indistinct; a ghostly image of the Mounted Derbyshire Yeomanry at Aston Camp in 1890. Photo: The Derbyshire Yeomanry Association.

The DYC Drum banners were crimson with a rose in gold under a crown and is shown in the Players cigarette card series with a wreath and a scroll.

I want to thank Mr Heath and the Melbourne Historical Research Group and also end with a few words about the now sadly deceased Ronald G. Harris, who authored that yeomanry mounted band book in the 1980s. Currently up for sale on eBay are some of his extensive research material and archive (most being well out of my modest budget unfortunately). Much of his archive material is completely unique and remarkable, a throwback to an era when research had to be carried out without easy reference to the internet by committed military history enthusiasts like Mr Harris.

Calke Abbey © National Trust / Ian Buxton, David Midgelow, Brian Birch