toy soldiers

Bearskin Cap worn by Sir Charles Russell, VC, Grenadier Guards, in the Crimea

The Grenadier Guards landed at Kalamita Bay in the Crimea in September 1854, as part of the Guards Brigade, 1^st Division, English Army of the East.  These were Her Majesty Queen Victoria’s elite personal guards.  In the Crimea the Guards Brigade consisted of the Grenadier Guards, Coldstream Guards, and Scots Fusilier Guards.  The Guards’ battle honours include Alma, Inkerman, and the Siege of Sevastopol.

Sir Charles Russell was awarded the Victoria Cross, Britain’s highest decoration for bravery, for his actions at the Battle of Inkerman, 5 November 1854, at age twenty-eight.  The then Brevet Major Russell offered to dislodge a significant group of Russians from the Sandbag Battery, asking if anyone would follow him.  A sergeant and two privates volunteered.  His assault party met much resistance, and seemed on several occasions to be close to annihilation.  Their skill, particularly with the bayonet, prevailed, and the enemy was sent on their way.  Russell fought with great distinction, at one point wrenching the rifle from the hands of a large, powerful Russian.  Sir Charles achieved the rank of Lieutenant Colonel before retiring from the Guards.

The 1846 Uniform Regulations describe the cap in the photograph as a “bear-skin, twelve inches deep, fastened under the chin by a plain gilt taper chain.”  Just prior to embarking for the Crimea, the Guards modified their bearskin caps by cutting them down a few inches.  Perhaps in keeping with this modification, the actual measurement for the cap in this photograph was ten inches deep.  It is also interesting that this bearskin is a soft leather collapsible cap, rather than the stiff Guards caps routinely seen, which have a bamboo-like cage beneath the skin itself.  The white goat’s hair plume on the left side indicates the bearskin is Grenadier Guards, who were on the right flank of the Guards Brigade.  A Coldstream Guards’ scarlet cut-feather plume was on the right side, as they were on the left flank.  The Scots Fusilier Guards had no plume and were in the center of the line.

This artifact was photographed courtesy of the Guards Museum, London, UK.

Highland Officer's Doublet - 42nd Royal Highland Regiment of Foot

As a result of publishing an image of the Scottish Feathered Bonnet, I received an email from someone with an interest in the Black Watch in the Crimean War. Thus I thought I would publish this excellent example of the traditional highland military dress.

The 42nd Regiment of Foot, more commonly known today as The Black Watch, landed at Kalamita Bay in the Crimea in September 1854, as part of the Highland Brigade, 1^st Division, English Army of the East.  Their battle honours include Alma, and the Siege of Sevastopol.

The coat in this photograph is the scarlet doublet, introduced in 1855, and worn by Black Watch officers during the later part of the Crimean War, at least through 1856.  Although the facings on collar and slash cuffs appear black, this is a regiment designated as ‘Royal’, therefore, the facings are a very dark blue.

The doublet has two rows of nine each regimental pattern diamond-shaped highland buttons down the front.  Each button bears a crown over the number ‘42’.  There are two ‘Inverness’ style skirts on the lower front with three buttons each, and loops of gold braid.  There were short skirts on the rear as well.

The single row of braid and the crescent badge on both sides of the collar indicate that an Ensign wore this particular doublet. Ensigns were not only Second Lieutenants in the Crimean period, but often carried the colour or colours – the Ensign of the regiment and the Queen’s colour.

Although the doublet shows campaign wear, and a roughly hand-stitched mend under the left arm, there is no specific evidence it saw action in the Crimea.

This artifact was photographed courtesy of The Black Watch Museum, Perth, Scotland.

Nearly Complete Marching Order - Other Ranks - 19th Regt of Foot

Please excuse my not having blogged in a bit.  Life, as it often does, got in the way.  Since my response to publishing photographic images and descriptions from “Crimean Memories: Artefacts of the Crimean War, has met with positive responses, I shall continue to do so for a time.

The 19^th Regiment of Foot, better known today as the Green Howards, landed at Kalamita Bay in the Crimea in September 1854, as part of the Light Division of the English Army of the East.  Their battle honours include Alma, Inkerman, and the Siege of Sevastopol.

The artifacts in this photograph represent the only known museum presentation of a nearly Complete Marching Order uniform, with shako (1844-1855), enlisted soldier’s coatee, and nearly full accoutrements and equipment, as worn in the Crimea in 1854.  Based upon the shoulder epaulettes, the white over red shako plume, and the plain number 19 in the shako badge (without a grenade for grenadier company or a hunting horn for light company) we know that this is the uniform of a member of a ”battalion company” of a line regiment.

The red serge coatee has two tails in the back, which have white turn-backs.  The coatee has grass-coloured regimental facings on collar and cuffs.  There are ten rows of doubled white tape with square end loops across the front.  The coatee is fastened by a single row of pewter buttons bearing the regimental number 19.

You can see on the back a black Trotter style knapsack with white leather shoulder straps across the front.  The black waterproof cloth-covered mess tin set is  just visible strapped to the knapsack top. The leather cartridge box can just be seen peeking out from where it is suspended on the cross belt on the right side, under the right arm.

The manikin is wearing one plain white cross belt, and the then newly issued waist belt with locket buckle.  The outer ring of the buckle bears the name of the county the regiment is from:  York North Riding Regiment, today the North Yorkshire Regiment.  Inside the ring is, again, the number 19.  No bayonet is on this manikin, but would have been worn with the scabbard affixed to a leather frog on the left side of the waist belt.  Note the small white pouch slid onto the shoulder belt to contain percussion caps for igniting the powder in the barrel when firing the soldier’s rifle musket.

Originally the bayonet in its scabbard was worn on a second cross belt across the opposite shoulder, which also contained a brass belt plate with the regiment’s number on it.  Just before departing for the Crimea, the second cross belt was eliminated in some line regiments, and replaced by the waist belt.  The locket buckle at the waist, bearing the regimental number, replaced the brass shoulder belt plate.

The soldier represented by the manikin is wearing the British standard issue round canteen on a leather strap, painted a bluish colour.  The soldier does not have a linen haversack over his shoulder, normally used to carry rations.

This artifact was photographed courtesy of The Green Howards Museum, Richmond, UK.

OK.  Call it outrageous self-promotion, but I don’t care this time.  What a great day. First I found out that my latest release in the Ian Carlyle Series, The Gettysburg Conspiracy, was accepted for sale in National Park bookstores.  This opens a whole new world of promotional opportunities.

Then late this afternoon I discovered that The Gettysburg Conspiracy was selected as a finalist in the ForeWord Magazine Book of the Year Awards for best historical fiction. I was surprised and pleased. It’s always good to know someone recognizes your work.  In fact, it’s good to know someone is actually reading it

Crimean Memories - Released by Schiffer Publishing

What would be the reaction of two ‘Yanks’ photographing and writing about surviving artefacts of a near forgotten British War – the Crimean War?  Well, it wasn’t at all what was expected.

Whether it was our dogged determination (focused on the work until it was done each day, then on to the pubs), our historical knowledge (certainly not reaching the level of theirs), the fact that the soldiers who fought it are under appreciated, our approach (professional – we hoped), or merely our bright Yank-like smiles, we were met with overwhelming enthusiasm and support from museum staffs and private collectors wherever we went.

At first, they were a bit reticent and cautious, wanting to bring each artefact into our photo set, then returning each delicately to its glass case home.  After a few museum visits, however, with both of us wearing white gloves, and Mike speaking curator-eez to them, things began to change.  I think phone calls were made among this small community of museums.  They saw and sensed how we cared for and about the artefacts.  Soon we were ourselves handling the artefacts, given the keys to the display cases, and found less and less supervision on our work.  We considered this the utmost compliment and were diligent in our efforts to honor their trust.

In all locations they made room.  In some instances they would close down a floor for our setup.  In others, they went so far as to close the museum for us to shoot. I can recall one occasion where they actually closed the museum, handed us the keys, and said please come get us if you need anything, then, in passing, “Oh, and lock the doors when you’re finished.  We’d like you to join us for a bite and a pint.”  Needless to say, we were a mite humbled by this treatment.

We were hosted all over by the most gracious folks.  Just to name a few of the many cherished memories:  As mentioned previously, guests at the homes of several curators and collectors; guests several times for lunch at the Honorable Artillery Company – London; guests at a Loyal Georgian Society meeting – Halifax; provided a private tour of Horse Guards (Sort of the British Pentagon) by the SgtMaj of the Welsh Guards; guests at Black Sunday, Scots Guards, Wellington Barracks; guests at the Sergeants’ Mess and Officers’ Mess, Wellington Barracks; and even a special guest at Windsor Castle for the Scots Guards Changing of the Colours by Her Royal Highness Queen Elizabeth.

Mike assisting with lighting on a typical shot - note his white gloves

Mike hard at work taking notes on artefacts

NCO Mess Wellington Barracks

Will and Commanding Officer, Scots Guards - Black Sunday, Wellington Barracks

With Brigadier Kim Ross - Black Sunday, Wellington Barracks

Will 'working' while seated at The Duke of Wellington's desk - Horse Guards

Windsor Castle - Five Bishops blessing the new Scots Guards Colour

HRH Queen Elizabeth at Scots Guards Changing of the Colours - Trooping the Line. She is really quite lovely and gracious.

Crimean Memories: Artefacts of the Crimean War - released by Schiffer Publishing 2009

The journey to publication of Crimean Memories: Artefacts of the Crimean War wasn’t merely about the technical or logistical side of the photography or the history of the artefacts.  It was, in fact, a people experience Mike Vice and I will never forget.

Six months before our first one-week “recce” visit to see if the project was even feasible we started sending letters to museums and collectors asking what their Crimean collection consisted of, and permission to photograph.  The response was much better than expected, and our subsequent first visit was a rousing success.  The project was, indeed, reasonable and achievable, but the budget was going to be tight.

We planned and coordinated our second 4-6 week visit with detailed appointments for shooting and a grueling itinerary.  Our major bases of operation were London (south of England), Halifax (middle and north of England), Edinburgh (Scotland), and a town whose name I can’t even pronounce in Wales.  We planned to take day trips from these places like the spokes in a wheel, and it worked, far above expectations.  To accomplish this, however, we had to find lodging, and that expense alone might have crippled us.  It did not.  Because we had so many kind friends who supported us, and the worthiness of the project.

In London, Sergeant Kevin Gorman, Archivist, Scots Guards, and the son I never had, found us more than reasonable accommodations. He was, as well, an invaluable help with various aspects of the project.

In Halifax, we stayed at the home of a dear friend, LtCol Wade Russell, Royal Tank Regiment (Ret), for weeks on end.  Whether we arose at 2 or 3 am, and in spite of our protests, Wade was always there, making us breakfast for the road.  Whatever time we returned, exhausted and bedraggled, he was waiting with a quiet smile and a fresh gin and tonic.

We felt one of the larger collections was at the Green Howards Museum in Richmond, and that it would take more than a day to shoot.  Roger Chapman, the then curator, insisted we remain overnight with him and his lovely wife.

In Scotland, Wade made arrangements for us to stay at a military officer’s mess in Edinburgh – delightful, and within budget.  We ate at the enlisted mess, and spent the evenings in good company at the officer’s mess.

In Wales, our hosts were Bill Curtis and his wife, while we photographed his definitive weapons collection.  We then went on from there to shoot artefacts at the 23rd Royal Welch Fusiliers Museum.

The kindness and unending hospitality of these folks and so many others made the project not only possible, but so very enjoyable.  The new friends we made and the old friendships we nourished will be with us always.

What I want to talk about in Part II, tomorrow, is the reception of the museum staffs and private collectors to two ‘Yanks’ on a mission to photograph surviving artefacts from a very British war.

The Team - A/Sgt Kev Gorman, Scots Guards, Will, and Michael, surrounded by our equipment

Will and Roger Chapman, of the Green Howards. Photograph taken at the Crimean War Research Society Annual Meeting

Bill Curtis smiling among his collection - a happy man, indeed

Will, Mike, and Wade Russell at the Maypole Pub near Wade's house, not far from Halifax

Mike & a friend, Peter Lockwood, who was a wonderful host and great help in the project's early stages.

British officer's roundabout jacket showing campaign use (Details in book)

British officer's forage cap worn by a Victoria Cross recipient (Details in book)

Officer's breast plate (All the details and history are in the book)

This beautiful cover was designed by Bob Biondi at Schiffer Publishing

This blog may seem a bit technical, but I believe there are enough shutterbugs out there to appreciate its content.  For the rest of you, I hope there’s enough humor to retain your interest.

“Crimean Memories: Artefacts of the Crimean War,” was recently published by Schiffer Publishing.  I, and my co-authors (Michael Vice and BJ Small) are most pleased with the final product, and we have been blessed with a kind reception from various readers, reviewers, photographers, and scholars.

The photographers who have contacted me often ask about the photographic journey to the final printed book.  This is for them.  First, the photographs were shot all over the United Kingdom, at various museums and private collections having Crimean War artefacts (No – It’s not spelled incorrectly, artefact is the UK spelling).  To accomplish this I used exclusively a Nikon D100, with an assortment of lenses.  These enable me to shoot from odd distances in the often cramped areas within museums.

We purchased a set of simple tungsten lights in the UK to accommodate the electricity differences.  All the other equipment – tripods, stands, backdrops, light tents, drop-clothes, tape measures, light meters, flash attachments, cables, etc. – we brought with us from the States.  At 3 or 4 am each day we stuffed it all in our tiny rented car and hauled it to locations hither and yon about the countryside of England, Scotland, and Wales.  (The Irish countryside was just too far away, with too few artefacts available,  and too expensive on our limited budget.)

Each location was a challenge, as was each and every individual photograph.  The museum hosts were marvelous to us, but we had to contend with open museums, and often small nooks and crannies for space to set up.  There were some very creative uses of lights and lenses.

Michael Vice handled the curators, the artefacts, and taking proper notes/measurements of each item.  I arranged the set, lights and equipment, and took the photographs of each item brought usually from their glass cases to be placed in the set. B J Small came into the writing picture after our return to the States with over 1500 exposures.

The photographs were shot in RAW format to gain as much data on each as possible to work with later. This meant the images were large, requiring a 2 GB memory card, which I downloaded to my Mac laptop each night after shooting all day.  This cleared the usually full memory stick for the next day’s shooting.  I did no work in Photoshop on the road, saving that for detail work at home and for the publisher.  One of the more difficult aspects of the project was downloading the photographs to the laptop late at night after the obligatory several pints of beer with the military staff, museum staff, and collectors after a day’s work at the local pub.

Michael and Will on the job!

All in all we went to the UK three times, the longest being about 4-6 weeks, traveled over 1200 miles in rented cars, and visited over twenty-five museums and private collections having noteworthy Crimean War artefacts.  From concept, through reconnaissance, to finding a publisher, and ultimately publishing the book was over five years, but I must say it was worth every minute !

Photo Shoot - Household Cavalry Museum

Photo Shoot - Black Watch Museum - One of our more spacious sets

British Officer's Sash

British Officer's Coatee

British Officer's Dragoon Helmet

British Rifle Brigade Shako

Will Hutchison

I have so much to talk about right now. In the last several months I’ve published two books, my first non-fiction history and photography book, ‘Crimean Memories: Artefacts of the Crimean War,’ and the sequel to my first historical fiction novel. My first novel was ‘Follow Me to Glory,’ about a young Scottish nobleman coming of age as a man and an officer in the Crimean War. The sequel, ‘The Gettysburg Conspiracy,’ takes this same officer, Ian Carlyle, into the American Civil War as a British observer, who then becomes involved against his will in a plot to assassinate Abraham Lincoln. I won’t bore you with details, but if you want to know more I invite you to visit my web site at www.willhutchison.com.

The book launch for The Gettysburg Conspiracy was on the evening of 20 November 2009, at the Majestic Theater in Gettysburg. It was part of Americas’ Arts “Hear, See, Now Event,” and was called “Cocktails, Conversation, and Conspiracy.” It was sold out, and I believe the folks attending had a grand time – I know I did.

Crimean Memories

Follow Me to Glory - 1st in the Ian Carlyle Series

The Gettysburg Conspiracy - 2nd in the Ian Carlyle Series