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”.
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’?
I can state that on the day my, err, Yolkshire Hussar performed admirably, taking part in three wild downhill charges before finally breaking apart…
‘Une oeuf’ of that – I should stick to the model soldiers. Best wishes to all for the Easter holidays,
I’ve some news of another Robert Marrion related figure which appeared on eBay recently. This was a superbly sculpted figure based upon Marrion’s illustration from the cover of “The Yorkshire Hussars”, the 3rd volume in the series “Uniforms of the British Yeomanry Force, 1794-1914”.
The man that it is based upon appears fourth from right on the cover below;
It represents an officer of the Yorkshire Hussars appearing in Undress from the year 1852. He wears a scarlet cloth forage cap and an Undress frock coat and overalls from the same period depicted in my recently purchased 1844 print of the regiment by Fores. There appears to be a little flash to be removed from between the legs.
The rear view is always interesting to see revealed on such figures because that’s the view of the illustration I never get to see from the cover of a book. The pouch on the back would have been black patent leather with a central silver York rose. This rose motif also can be just seen on the sabretache.
I would have dearly loved to let my brush loose on those luxurious whiskers and characterful face…
But I was outbid once again.
It is apparent that there is a particularly wealthy collector on eBay with a passionate interest in collecting lots of 54mm metal figures (apparently winning over 160 such figures every month)! Ah well, his win at least engenders a sigh of relief from my own sorry and beleaguered current account. Hopefully, the victor will find much pleasure in his purchase.
This well-heeled chap also comfortably outbid me for another Marrion figure a few months ago, this officer of the Sussex Yeomanry:
That other figure collector is saving me a lot of money, but I confess to being a trifle downcast at my inability to source any more Marrion’s Men. I’ll of course keep looking for more but I wonder whether I shall be painting any more in the foreseeable future with such a formidable rival bidder on the scene!
I’ve very recently become the proud owner of some large antique prints purchased at what was an absurdly low budget price (aka ‘my price range’). On coming through the post, they emitted that strong musty smell suggestive of great age and antiques.
The four prints depict the following yeomanry cavalry regiments from the 1840s:
The Yorkshire Hussars
The Buckinghamshire Hussars
The Suffolk Yeomanry, Long Melford Troop
The 2nd West York Yeomanry
They are in excellent condition considering their great age. Coming with their own generously sized mounts, they are 45cm x 55cm in dimensions, so they are really quite large for a suburban domestic property. My wife has generously agreed to their being displayed in the spare upstairs room as soon as I source some appropriate frames.
So what’s the story behind these prints?
They are from a series of prints titled “Fores’s Yeomanry Costumes“. Each print is dated to a specific day of issue, between 1844 and 1846, and state that they are published in London by “…Messrs Fores, at their sporting and fine print repository & frame manufactory, 41 Piccadilly, corner of Sackville Street.”
‘Messrs Fores’ were the sons of Samuel William Fores. He was an illustrator and publisher based in London. Fores Senior was the son of a cloth merchant and established his business as a print seller in 1783, specialising in popular satirical caricatures. Yeomanry had featured in Fores publications prior to the 1840s. the most infamous of which was by George Cruickshank who created a biting satire on the 1819 Peterloo Massacre. The sarcastically titled “Manchester Heroes” are the men of the ‘Manchester and Salford Yeomanry’ who are sabreing defenceless men, women and children, to the anguished cries of “Shame!”
After S.W. Fores’s death in 1838, his sons took over the business and moved their output from satire to sporting scenes and fine art. This series of yeomanry costumes, begun a few years after their father’s death, was probably a part of that intentional move away from the satirical publications that had made his fortune.
The prints are plates numbered 1, 3, 4 and 6 from a series of eight, so far as I can tell, in total. The drawings are by Henry Martens, a military artist whom I’ve mentioned before on Suburban Militarism after seeing copies of some of his paintings displayed at the Royal Norfolk Regiment Collection, The 2017 Anglo-Sikh Wars exhibition and also at the Staffordshire Yeomanry Museum last year. I also saw a print from this very series when I visited the Shropshire Yeomanry Museum earlier this year. The print (plate 5 in the series) featured the South Salopian Yeomanry and was reproduced on my report on the Shropshire Yeomanry earlier this year.
Martens painted a great deal of military scenes in the early 19th century, notably on the Sikh and Xhosa wars. He was, however, apparently also well known for his depiction of British army uniforms released between 1839 and 1843 under a different publisher (Ackermann). The Yeomanry Costumes drawings appears to have been a natural continuation of his successful uniforms series with Ackermann.
Martens’ works were often engraved and hand-coloured by a lithographer called John Harris, and this is indeed the case with my own prints. The ridges of carefully applied paint on the prints can still be felt on the fingertips!
I’m well used to seeing the beautiful and prodigious work by Richard Simkin in his depictions of the yeomanry during the 1880s and 1890s. Henry Martens, it seems, can be placed in a tradition of faithfully recording the exotic dress of Britain’s yeomanry regiments, a tradition which was carried on by Simkin.
As I’ve indicated, I believe, at least four more paintings were produced in this series. These depicted the West Essex Yeomanry, the Buckinghamshire Artillery Corps, another scene of the Long Melford Troop from Suffolk and, as previously mentioned, the South Salopian Yeomanry. It’s interesting that two were produced for the Long Melford Troop and two for troops from Buckinghamshire and Yorkshire. Some of the prints (notably not the Long Melford Troop) includes a dedication to a local dignitary and the ‘Gentlemen of the Corps’. It’s possible that sponsorship was received by the publisher for this series from those willing and able to pay for the privilege.
There may be more than 8 prints in the series. I’ll keep my eyes peeled for any other bargains, though wall space for any more will be limited! I doubt another in a similar and affordable price range will turn up any time soon, however!