New Set - Hogarth's Strolling Players - Page 18

New Set - Hogarth's Strolling Players - Page 18

Contact The committee and Area Representatives of the Society Journal of The British Flat Figure Society Journal No 55 November 1999 Society Contacts Please send all information to be published in the Journal to Graham Dixey. All other correspondence with the Society should be addressed to Michael Creese. Society sales are handled by Simon Briggs. Orders or questions about the Bulk Ordering Service should be sent to Ed Humphreys and member-ship applications and renewals go to Ian Pay. Any inserts for the Journal should be sent to Joe Melvin. All addresses can be found on this page. The next Journal The copy deadline for the next Journal is December 21, 1999 and the publication date is February 9/10, 2000. Annual Subscriptions UK members: 10.00; European members: 12.00; Overseas members 15.00 (by air mail). Subscriptions are due for renewal in January of every year. Payment of Subscriptions Payment can be made by cheque, banker's draft, International Money Order, Postal Order, etc. These MUST be made out in Sterling, payable at a UK bank. Under no circumstances can we accept foreign currency cheques. We can, however, accept payment in paper currency e.g. Dollars, Marks, Francs, etc, but please add the equivalent of One Pound Sterling to cover the conversion costs. Cheques, etc, should be made payable to the British Flat Figure Society and sent to the Membership Secretary Hon. Secretary: Michael Creese, 'Nutwood., Great Glemham Road, Stafford St Andrew, Saxmundham, Suffolk IP17 ILL Tel: 01728 602746 Membership: Ian Pay, 31 Grimstone Road, Little Wymondley, Hitchin, Herts. SG4 7HH Tel: 01438 357224 Treasurer: Dr Bob Williams, Stable House, Hall Farm, Fakenham Magna, Thetford, Norfolk 1P24 2QX Editor: Graham Dixey, 3 College Close, Harrow, Middlesex HA3 7BZ Tel: 0181 954 3085 Fax/Tel: 0181 357 0159 (24hr ans.) email: gdixey@cwcom.net Bulk Orders: Ed Humphreys, 11 Oakeley Terrace, Talwaenydd, Blaenau Ffestiniog, Gwynedd LL41 3LY Tel: 01766 830031 Distribution & Printing: Mike Taylor, Stonechat House, 8 Ferndell Close. Cannock, Staffs WS11 1HR Joe Melvin, 21 Ridgeway, Aldridge, Walsall, WS9 OHL Malcolm MacDonald, 279 Blackberry Lane, Four Oaks, Sutton Coldfield, West Midlands B74 4JS Archivist: Richard Hyne, 23 Letchworth Road, Baldock, Herts. SG7 6AA Society Sales: Simon Briggs, 9 Douglas Place, Cove, Farnborough, Hants. GU14 8PE.. Tel: 01252 377726 Area Representatives: LONDON: Phil Redman, Georgian House, 50 Games Road, Cockfosters, Herts. EN4 9HW Tel: 0181 440 8475 SOUTH-EAST: Hugh Taylor, 39 Pleasant View Road, Crowborough, East Sussex TN6 2UU Tel: 01892 662376 HAMPSHIRE: Geoff Bradford, Allenstyle House, 24 Bereweeke Way, Winchester, Hants. S022 6BJ Tel: 01962 868096 SOUTH-WEST: Tony Du-Vail, 4 Pixie Dell, Braunton, North Devon EX33 1DP BRISTOL & AVON: Situation vacant. MIDLANDS: Jon Redley, 64 York Avenue. Finchfield, Wolverhampton, West Midlands WV3 9BU Tel: 01902 423732 NORTH-EAST: M.G.Wardle, 96 West End Drive, Horsforth, Leeds LS18 5JX Tel: 0113 258 1508 NORTH-WEST: Malcolm Collins, 16 Tithe Barn Street, Currock, Carlisle, Cumbria CA2 4EL Tel: 01228 46444 WALES: S.G.Rutherford, 5 Coleridge Road, Beechwood, Newport, Gwent NP9 8HY Tel: 01633 273014 EAST ANGLIA: Ken Bright, 28 St. Leonards Close, Scole, Diss, Norfolk IP21 4DW SCOTLAND: John Russell, 2 Marcus Crescent, Aberdeen AB21 OSZ Tel: 01224 790680 EUROPE & OVERSEAS: John Cox, 6 Anderson Close, Woodley, Romsey, Hants., UK NORTHERN IRELAND: C.W.Robinson, 25 Princetown Road, Bangor, Co. Down, Northern Ireland BT20 3TA CANADA & USA: Kevin W.Dunne, 1817 Queen St., Bellmore, NY 11710, USA Tel: (516) 679 9704 AUSTRALIA & NEW ZEALAND: John Brewer, 18 Selby Avenue, Dee Wh 2099, Australia. ITALY: Gianpaolo Bistulfi, Via Alberti 10, 20149 Milano, Italy Tel: 02 331 06690 2 BFFS Journal No 55 - November 1999

Editorial Only a short editorial this time (loud cheers all round!). This issue has been a particularly difficult one to put together because my request for articles produced an excellent response and I tried to include as much as I could within the constraints of 24 pages. As a result, the next part of Life in Nelson s Navy has been held over to the next issue, which will be the first to carry a Year 2000 date. Please make a point of reading the report of our committee meeting below and, especially, consider if you have the enthusiasm and expertise to take over the Journal editorship. For those who would like to have a go but are not sure whether they have the expertise, let me say that practical advice is at hand and a period as Assistant Editor (under Simon Hoggett) could be arranged. I hope to hear from anyone interested. Graham Dixey Report of the 1999 Annual Meeting of the BFFS Committee Contents: 4. F.K.Mohr and his cooperation with the collector and editor, Karl Heinz Winkelmüller. 6. The Royal Guard of Haiti (Part Three) 11. Odds & Ends 14. The Last Conqueror of the Ancient Classical World 15. Richard the Lionheart and the German king, Henry VI 16. You pays your money... 17. Flats at Auction Sales 18. The Strolling Players dressing in a Barn (after Hogarth) 19. Tin Figure Parade 23. The Flight of the Kalif 23. The NEW new catalogues 24. Society Sales & Bulk Orders Seven members of your committee met on Saturday September 11th 1999 - apologies were received from Simon Briggs, Graham Dixey, Ian Pay and Simon Rutherford. Ian Pay sent a written report which shows that our membership has fallen by about 20 since this time last year, the loss principally being from UK members.however, our finances remain extremely buoyant (see balance sheet published in the August 1999 Journal) and it was agreed that once again there should be no increase in subscriptions and rates for 2000 therefore remain unchanged. Please complete the proforma enclosed with this issue of the Journal and send it, with your subscription, to Ian Pay TODAY! Sending out reminders wastes money which could otherwise be spent for the benefit of members. A Welcome Pack has been prepared which is now sent out to all new members. We need to publicise the activities of the Society whenever possible and Simon Rutherford has looked into the possibility of a Society Website. We cannot lag behind the times and, following the success of the BMSS site, it was agreed that Simon should be asked to set up a site for us. Doubtless several members of the Society will be at the World Expo to be held in August next year in Glasgow and we are investigating the possibility of having a Society stand' We are still exploring the possibility of producing another set of figures and Jon Redley has produced some initial sketches of a World War One RHA battery in action (based upon L Battery at Nery) and these were circulated around the committee and much admired. It was agreed that Jon should be asked to develop these further. We need to find an engraver who can do full justice to Jon's work. Members will have noted that our Hon Editor intends to lay down the not inconsiderable burden involved in producing four Journals a year There was considerable discussion as to how best to maintain the high standard of the Journal which is the life-blood of the Society. In order to secure continuity, it was agreed unanimously to invite Simon Hoggett to act as caretaker editor until a new Editor is elected at the next AGM. The post calls for someone with knowledge, skills and experience and we very much hope that there is someone out there prepared to take this on or who might perhaps consider acting as Assistant Editor while he or she learns the ropes. Ultimately the success or failure of the Journal depends on you, the members; the editor can only publish the material which he is sent. It is said that everyone has one book in them so there must be at least one article in each of you! We continue to enjoy most favourable rates for printing and this also helps to keep subscription rates steady. I am sure that members appreciate the efforts of the team who edit, publish and distribute the Journal. The flat figure scene is constantly changing; it is understood that the Ochel moulds are for sale and that Herr Hafer also intends to retire and is looking for a buyer for his moulds. Several of the editors have updated their catalogues and members should ensure that they are in possession of the latest version before ordering (see the article by Ed Humphreys in this issue). Both Ed Humphrey (bulk orders) and Simon Briggs (sales officer for both catalogues and Society badges) continue their hard work on behalf of the Society. We are still looking at ways in which the back issues of magazines from other Societies which are held in our archives can be made accessible to members. It was agreed that the Year 2000 AGM of the Society should be held in the same venue as this year s and we hope that as many members as possible will attend. Further details will be announced in the Journal as soon as available. Under our constitution, committee members serve a two-year term and so elections will be held at that meeting. In particular, nominations are invited for the posts of Hon Sec and Hon Editor and should be sent to me. Michael Creese (Hon Sec) BFFS Journal No 55 - November 1999 3

F.K.Mohr and his co-operation with the collector and editor, Karl Heinz Winkelmüller By Ehrhard Finster I have the intention to translate the relevant chapters regarding the nine Wimor series and their backgrounds, rom the book Die Zinnwelt des Franz Karl Mohr by Krannich Brock. And here is the introduction. The history of the flat figure hardly knows another example of such a harmonious cooperation with the result that historical series of figures were created, which are almost unique in their preparation and execution, which are first class in their artistic appearance and which still find a large following of collectors, decades after their first issue. The Wimor series are well known to almost every collector. Even so, many establishments and private manufacturers do not name the designer and engraver, as it seems it is not of great importance for trading with flat figures. The real creators of flats are unfortunately not mentioned, which is to be bemoaned with all respect of the good ideas and also money, which is after all necessary to realise all those wonderful designs. As regards the series which were ordered by Winkelmüller and designed and engraved by Mohr, we find on the little stands the name Wimor as signature to show their cooperation. Regarding Winkelmüller, who ordered these wonderful series, and who died rather young in 1968, we can report the following details. From magazines of past years and recollections of old collectors we know already that the father of Karl Heinz Winkelmüller was active as a collector. Together with Hofrath, Klamroth, Dr Muller and Kreissman, he founded on 29th December, 1924 in Leipzig the first flat figure association in Germany. In an article by A.Klamroth dated 1925 about the first flat figure exhibition after WWI, which took place in Leipzig, we also find the name of Winkelmüller. One can read, We find a large collection of various figures of modern manufacture of figures of 1813 and the 30 Years War in the collection of Winkelmüller, which have been painted to great effect. This shows that collecting by Winkelmüller senior was more than just to amass a wealth of figures, which was well within his grasp as a wealthy manufacturer. K.H. Winkelmüller took over after the war to run the factory and also the vast collection, both important in order to realise his own plans regarding the flat figure, which he started from 1947 with the first Wimor set, The Gipsy Camp and finished in 1958 with The Robber Knights. There were 10 series planned and, from the beginning, it was anticipated that something completely new was to be created with the flat figure. Winkelmüller and Mohr were planning to create, not historical military sets but historical civilian series. The idea was not to create massed scenes but individually created figures. The manufacture of these figures was planned to be in one hand starting with the design, the drawing, the engraving and finally the casting. It was planned to issue one series per year and not more than that. These were demands that only an artist could satisfy - Mohr. The following ten years showed how valid those deliberations were when they were first made. Nine series were created with more than 200 figures, which were so unmistakably in the individual appearance and artistic design as Winkelmüller and Mohr had anticipated in their cooperation from the beginning. In a publication No.6/1958 of Die Zinnfigur Winkelmüller wrote an article which was a summing up of ten years work in order to honour the work of Mohr. K.H.W. writes, The high expectations of the author of this article which he expressed in his article original etching - original figure 1948 4 BFFS Journal No 55 - November 1999

in a collector s circular and his confidence in the private engraver Mohr and his future creations. At long last the flat figure had risen from the depths of the toy figure to an artistically renowned product for all to see and to acknowledge. Once more it is to be said that the cultured, serious collector is not interested in various new figures for new periods but only and foremost in a discerning and artistic figure. Not everybody might agree with this rather avantgardistic point of view, as it might discourage many young designers and engravers after Mohr but all agree and are of the same opinion that the Wimor series are something special for the flat figure. Perhaps there were ten series planned but only nine were executed. The last set, which was supposed to be Indians, was not realised. It has been said that there was a difference of opinion between the persons involved. Various reasons might have been responsible. But it can be taken for granted that there were differences about the creation of the tenth set. Some wanted a scene of military character (perhaps the battle of the Little Big Horn), others insisted on a peaceful scene depicting Indians going about their business. Who wanted what could never be established. According to Heise, Mohr wanted a battle scene, but this is doubtful, when one knows his opinion on this subject. Furthermore, we know that Mohr made a series of drawings relating to Indian life but not to battles, which could have been a start to a tenth Wimor set. For Hinsch he made drawings for two sets. However what might have been, for the collectors it is a shame that the set was not executed. There was a single group of figures which Mohr engraved for the collector Rackow and one can only guess what kind of interesting figures depicting Indian life we missed. However, the attentive reader will realise that the moose swimming in the water has the antlers of a deer and, therefore, is not quite anatomically correct - even Mohr was not perfect after all. There is also another reason concerning the argument because Winkelmüller had the intention of destroying the moulds after a certain period to increase the value of the castings. Heise quotes, I know that Winkelmüller had in mind to destroy the moulds after a maximum of 250 castings. Perhaps this was also a reason that the two parted company. And, finally, there is another reason because, according to the correspondence between H. Peterman and Mohr, one can establish something else: Mohr was worried about his independence because of a lot of orders, a worry which went like a thread throughout his working life. In letters around 1958 he writes that it is an ordeal to carry on with the work for Winkelmüller and that he has decided either not to work for anybody or only to work according to his own designs. Immediately after the creation of the Wimor series, Winkelmüller asked some of the most talented designers in Leipzig to create dioramas. About 1954/55 six dioramas were created with the existing sets and displayed in Winkelmüller's home. Winkelmüller sent out personal invitations to all the important collectors, manufacturers and designers who were well known in Leipzig, and from further afield. The dioramas which were on show were of a very high standard and the figures which Mohr created and the most beautiful dioramas ever built were showing off the so far created series. The figures created by Mohr were real works of art and gained from being displayed in dioramas. The builders of the dioramas were real masters in their field. The main share was contributed by the Leipzig collector Ballschmieder. As a former stage designer for the old opera in Leipzig he was responsible for the construction of the dioramas and for the background scenery. Müller, so called Waggon Müller, contributed the carriages, which were built true to their real counterparts and which could be found in the dioramas of the Burgundian Wedding and The Gipsy Camp. Also his son, who was a professional sculptor, BFFS Journal No 55 - November 1999 5

contributed to the dioramas. He created the famous model of the Sphinx of the diorama, Bonaparte at the Pyramids. Only who painted the figures is not clear. People in the know about painting techniques are of the opinion that the painting was most probably not executed by a collector but an artist. C. Miksch is of the opinion that the painting was done by Weder, who was formerly working at the Museum of Arts in Leipzig, Department of Old Masters. Other old collectors think that Junghanns of Leipzig did the painting. This also question belongs to the already mentioned secrets, which will never be solved. All the dioramas were again displayed to the public in 1962 in connection with an exhibition by the Collectors Association in Leipzig. After that they seem to have vanished. Only during preparations for this book, the son of K.H. Winkelmüller, who is again running his father s firm, said that the dioramas are still with the widow of K.H. Winkelmüller, who died in 1968 in Leipzig. At the present time, efforts are being made to show the dioramas to the public. The creators of the figures and the dioramas deserve that. The Wimor Set No.1 The Gipsy Camp History of the design and its historical background The most important part of this set is its place in Mohr s creations, and is probably Mohr s first step in engraving in slate. During only a few months towards the end of 1947 a rather larger set of 36 figures was created. This set shows the artistic side of Mohr; it is also of a civilian theme, a well designed and engraved set of figures, which impresses through the movement of the figures and the expressions of each single figure. The content is of no importance. The set depicts in a rather romantic way life in a camp of gipsies. The scenes are not really life-like or realistic. In reality, in a camp of the Sinti or Roma, commonly known as gipsies, so much whipping and knife fights would have hardly have taken place. Most probably, the set depicts the widespread opinion of the man in the street as regards life in a gipsy camp which, in reality, was less romantic and harder than shown here. In any case, it is a courageous attempt to carry on the tradition of the twenties to show civilian themes in an artistic way. It is also courageous in respect of a long and inglorious tradition in connection with gipsies in Germany. With this set we talk about well designed figures, especially when one considers that this is his first attempt. The history of the flat figure knows a lot of these first designs. In most cases, they are only good enough to show what great steps their designers have made since then. But with Mohr this was different. Quite out of the blue he developed an art as if he had worked for years or even ages designing flat figures. This also is one of the secrets which have been mentioned and will never be solved. BOOK REVIEW Happy 50th. Birthday to AIRFIX There cannot be many members of the Society who have not, at some time in their modeling lives, made or played with an Airfix product, whether it was a Mk1 Spitfire, a Crusader Tank, or, as in my case, a polystyrene army of British Infantry fighting gallantly against the Wehrmacht. A new book by Arthur Ward, collector and Airfix enthusiast details the history of the plastic model kit, and in particular the rise, fall and subsequent rebirth of this firm, whose name and product are known worldwide. This 190 page book deals with the personalities who contributed to the success of Airfix and their relationships with each other and the organisations on whose products the models were based. The book is lavishly illustrated with coloured photographs of the kits, their packaging and the artwork used in their marketing. Appendices list the kits and the dates of manufacture, and include a short list of the kits most prized by collectors, with an idea of their value. (Search your attic or loft - you never know what you might find!) AIRFIX - Celebrating 51 years of the World's Greatest Plastic kits is published by HarperCollins, ISBN 000 472327 9 and excellent value at 19.99. G.E.B 6 BFFS Journal No 55 - November 1999

BFFS Journal No 55 - November 1999 7

Words and Pictures by Nick Dore CHASSEURS DE LA GARDE Probably created c. 1816 or 1817. There were three companies of Chasseurs, the establishment as follows: A Colonel-General, a Colonel-Major, a commissaire, a quarter master treasurer (with the rank of lieutenant), three adjutant majors, with the equivalent ranks of captain, lieutenant and sous-lieutenant, an instructor (lieutenant), a surgeon major (lieutenant) and an aide-surgeon (lieutenant). Each company had a sous-lieutenanten-premier (with the rank of colonel in the regular army), a souslieutenant-endeuxieme (It. colonel), an aide-major-enpremier (captain), two aide-majors-endeuxieme (lieutenants) and three ensigns with the equivalent rank of sous-lieutenants. Full dress; red habit long, lapels, cuffs and collar green, piping and lining yellow, gilt buttons with the arms of the King, shako laced in green silk, a plate bearing the royal arms, cords of green silk, green pom-pom, epaulettes the same, white breeches, white stockings, half boots. Their standards were six in number, two to each company, those of the first company in royal blue silk, the second company in red silk and the third as the first. All had the Royal Arms embroidered on one side with the inscription Chasseurs de la Garde and the number of the company and on the other side, the first company had a sun in splendour with the inscription Je dissipe les Tenèbres. The second had an arrow placed horizontally with the inscription under it Aussi prompt que l Air. The third had a hunting horn and the inscription Je sonne la Terreur. HERALDRY OF HAITI The description of the uniforms and standards refer to the arms of the king, the queen and the prince-royal. Two armorials survive from the wreck of Henry Christophe s kingdom. One is in the Royal College of Arms collection in London and has been illustrated and described in part. The Arms of the King: Azure semee of estoiles (or stars) or, a phoenix crowned with the Royal Crown issuant from flames all of the second, in base on a ribbon (or?) the words Je Renais de mes cendres. The shield is surmounted by the Royal Crown of 8 arches and encircled by a collar of the Order of St. Henry. The supporters are two lions guardant ermine, each crowned with the Royal Crown. Motto: Dieu, ma cause et mon epee. The Arms of the Queen: Azure, semee of bees but otherwise like those of the king without the collar of the order. The supporters are the same. Motto: Dieu protege le roi. The Arms of the Prince Royal: As the King, but with a label of three points argent, encircled by a collar of the Order of St. Henry and surmounted by a royal crown. Supporters, as the king. Motto: Les jeux de l enfance annocent les grands hommes. For those not familiar with heraldic descriptions, semee means scattered, or is gold or yellow, argent silver or white, azure blue, a label is a narrow band across the upper part of the shield with three small tabs hanging down from it. The ermine lions are white with black trefoil markings over them. The cross of the Order of St. Henry was azure, edged gold. The flag of the kingdom was probably that established by Dessalines, black and red, divided vertically, with a trophy of arms and banners in the centre and a phrygian cap of liberty although it is possible that this central trophy was replaced by Christophe s arms. The later motto under the trophy was - and remains under the modern Republic - L Union fait la force but I have no idea when that was adopted. The officers of the kingdom included a Grand Admiral, 6 Grand Marshals, 9 lieutenant generals, 13 marechaux-decamp and 8 major-generals. The Grand Admiral, Prince Jean, was responsible for the Marine Royale which counted two contre-admiraux, two chefs de division, two captain of vessels, three captains of frigates, seven lieutenants of vessels, 12 ensigns and 10 aspirans. The Troupes Maritimes were commanded by two captains and three lieutenants, one of them of the artillery. Port captains etc. are also included in the list. No details are given of ships. Henry had a number of small warships in the early days of his rule, commanded by English mercenaries 8 BFFS Journal No 55 - November 1999

but they had all been sent away by 1816. The Corps Royal d Artillerie was composed of three regiments, the first of one battalion, the second of three battalions and the third regiment vacant. The Grand Master of the Artillery, Prince Eugène, the Duc du Môle, is mentioned in the 1817 Almanach, in charge of munitions. The Corps Royal de Genie was made up of a staff, two companies of miners of 50 men each including officers, and six companies of sappers also 50 strong including officers. There were 32 regiments of infantry listed in the almanach, but 13 were vacant and 3 were assigned to the Armée Royale du Sud, under the Comte de Jérémie. This impressive establishment conceals an important fact, however. The Comte de Jérémie was the brigand chief Jean- Baptiste Perrier, known as Goman, who had maintained his independence in the mountains of the Southern peninsula since the French had been expelled. A thorn in the side of the Republic of Haiti under Pétion, he was a unreliable ally of Henry at best and the title was intended to buy his support. The impressive command he was given on paper illustrates Henry s pretensions to rule in the South and the reality may have stopped well short of the paper strength and organisation. Goman was finally overthrown in 1820 by Boyer, Pétion s successor, with Henry failing to lift a finger to help his Comte de Jérémie. The titles of the vacant regiments are mostly all in the South, where Henry hoped one day to rule. As with his list of palaces and his list of heralds, all of them named after towns, he included towns and places that were under the control of the Republic. He maintained the fiction in his Almanach that he was the rightful ruler of all Haiti and that one day it would all be his. There should have been 6 companies in each battalion, one of them grenadiers and another chasseurs. There were three cavalry regiments of three squadrons each, du Roi, de la Reine, and du Prince Royale, the last being vacant. In addition there was the Company of Royal Bon-bons, selected young cadets from the Royal Dahomets, at Henry s palace of Sans-Souci, under a captain, lieutenant and sous-lieutenant. The Royal-Dahomets (sic) are mentioned throughout the part of the Almanach dealing with the structure of justice and administration in the towns and countryside. Each parish had its detachment and they also carried the post, which was administered by the Lieutenants du Roi, the royal officers attached to each administrative district. In wartime they served as light infantry. There were some 4,000 of them, recruited from Dahomey in Africa, and they had an excellent reputation. The only details of uniform for the line I have been able to find on the army is that it may have followed the French system laid down for the colonial troops in the earlier campaigns. There are a few engravings and drawings for the troops in Haiti during the wars for independence and in the fight against the British but they are of very doubtful value and there are few descriptions of uniforms. The Osprey booklet no. 211, Napoleon s Overseas Army, one of the better ones in the series, gives a useful summary of what little information there is. In Henry s regulations he laid down that regimental officers were to have their hair cut short and a queue tied up by a black ribbon, and were to be clean shaven. They were to wear shakos, no other headgear, their shakos distinguished by 2 lines of lace each 15 lignes wide around the two edges of the shako, with cords, the visor laced in gold of 5 lignes wide, from one side to the other, and of laced lines, 4 lignes wide, forming a chevron on the side of the shako, according to their rank. Sous-lieutenants wore one, lieutenants two, captains three, lt. colonels four and colonels five. Infantry wore gold lace, cavalry silver. Infantry officers had a pompom in the appropriate company colour. The colonel, lt. colonel and adjutants had grenadier pom- BFFS Journal No 55 - November 1999 9

poms, the cavalry red plumes. On occasions of ceremony white short breeches were worn with stockings and gaiters for the infantry, uniform pantaloons and boots for the cavalry. Officers in undress could wear black gaiters or boots but on service they wore white gaiters. They carried a sword on a shoulder belt, the sword knot according to rank. Senior officers wore a waist belt under the coat, with a gold plate, bearing the arms of Haiti. Adjutant majors wore the uniform of their company, with boots, adjutants sous-officiers, gaiters. The uniform colours were probably all blue faced red, the distinctions of grenadiers etc. much as the French army, probably following the system of the demi-brigades of the republic. The costume of the nobility was carefully prescribed by a law of 12th April 1811; princes and dukes were to wear knee-length white tunics, black cloaks descending to the calf of the leg, embroidered in gold three pousses broad, lined in red taffeta, attached at the neck by a gold tassel, stockings of white silk, gold buckles carrées, shoes of red morocco totally covering the instep, sword with gold hilt at the side, round hat turned up in front, laced in gold and with five flowing plumes of red and black. Counts were to wear a sky blue cloak, embroidered in gold two pousses wide, lined white, of the same length as that of the princes and dukes, the rest as the princes and dukes, but the hat with three red flowing plumes. Barons wore an ample red habit long, embroidered in gold lace of 18 lignes breadth, the turnbacks joining each other just below the knee ( dont les pans se joignent presqu au dessous du genou ), lined in white taffeta, waistcoat and breeches of blue taffeta, white stockings, gold buckles carrées (squared?), shoes of green morocco, style as before, sword with gold hilt by the side, green embroidered baldric, round hat, turned up in front, laced in gold, two white flowing plumes. Knights wore a blue ample (or full in cut) habit long, embroidered in gold lace of 12 lignes in breadth, the turnbacks meeting each other just below the knee, lined in white taffeta, waistcoat and breeches of red taffeta, white silk stockings, gold buckles carrées, shoes of green morocco, style as before, sword as before, green embroidered baldric, round hat turned up in front braided in gold with two green flowing plumes. This costume was to be worn for all major ceremonies. The style of the dress of the nobility is very reminiscent of that prescribed by Napoleon for his nobles and marshals of the Empire, the cut and embroidery of the various items probably following the Napoleonic examples very closely. THE ORDER OF ST. HENRY Henry created the Royal and Military Order of St. Henry on the 20th April 1811. There were to be two grand masters, the King and the Prince-Royal, 16 grand crosses, 32 commanders and as many knights as were to be judged appropriate. The cross of the Order was to be of gold enamelled in azure, with 6 double rays on which there was to be on one side the image of St. Henry with the words Henry Fondateur 1811 and on the other a crown of laurel with a star and the device Prix de la Valeur. Grand Crosses were to carry the cross attached to a large black watered silk ribbon worn as a sash and were to have a cross also embroidered in gold on their coat on the left side. Commanders had a red watered silk ribbon worn as a sash but without the cross embroidered on the coat. Knights were to have the cross attached to the button of the coat with a small ribbon of watered silk of 18 lignes wide in the colours of Haiti. Those who were members of the Order were permitted to bear the cross on their coats of arms as follows. Grand Crosses; the escutcheon to be placed on a cross of gold enamelled azure of 6 double rays and a large black watered silk ribbon around the said escutcheon with these words Prix de la Valeur written on the said ribbon, to which is attached a cross of the Order. Commanders the same but with a red ribbon on the escutcheon. Knights had under the escutcheon a cross of the order suspended from a bow tied in a small watered silk ribbon in the colours of Haiti. Grand crosses included the princes Noël, Jean, des Gonaives, de Fort Royal, de Plaissance, de l Artibonite and du Port- Margot. Amongst the commanders were the Duke of Marmelade and the Count of Limonade, both named after places in Haiti, and both old comrades in arms of Henry. General Richard, the Duke of Marmelade, was to betray Henry in 1820. DECLINE AND FALL As Henry grew older, so he became more obsessed with the possible return of the French and drove his country on yet further to develop and produce. A vast citadel, one of the largest fortifications in the Southern hemisphere and one of the greatest in the world, was built on his orders in the mountains to act as a last refuge in the event of invasion. Legend says that his treasure is buried somewhere in its huge walls, and that he laboured at night himself to lay more stones. Anyone who crossed him in any way was sent to labour on the walls, even his mulatto generals. 365 massive cannon were placed in casements, dragged at enormous cost up the steep mountain paths. The regular regiments were used as labourers and pay began to be delayed. In August 1820 Henry suffered a stroke that paralysed the right side of his body. No longer the fearful figure who dominated the kingdom, he was now crippled and helpless. The plots began, organised by Boyer, President of Republic in the South and by disgruntled generals in the North. Mutiny began in the 8th regiment based at St. Marc and the mulatto generals joined in. Henry s beloved guard failed him at the end 10 BFFS Journal No 55 - November 1999

and he shot himself. The palace was looted, the citadel abandoned and Haiti descended the long nightmare of corruption, coups and bloodshed that has marked much of her history ever since. There must be a question mark whether or not these magnificent costumes were ever worn or were just wishful thinking. There were a number British and American visitors to Henry s court. Several left written accounts and Henry comes over as a stickler for formality and correct etiquette. Enormously wealthy himself, he ruled the country with a rod of iron and it became very prosperous. His palace was certainly magnificent and finest carriages and regalia were ordered for his court from Britain, descriptions of them surviving. The probability is that these uniforms and costumes were indeed worn in all their splendour. Sources: Almanach Royal d Hayti for 1816, 1817, 1818 and 1820, Cap-Henry. British Library document 1196.i.35, Tracts on Haiti. Cole, Hubert, Henry Christophe, King of Haiti, London 1967 Dennis, Rodney: Heraldry and the Heralds, pp. 75-77, London, 1982. El Dorado, Vol II no. 6, April 1990, article by R. Forthoffer Edit Royal sur l establissement de la maison militaire de S. M. Illustrated London News: Strange Heraldry for a Negro Aristocracy G. Bellew, 16th June 1934, pp. 964-965. le Prevost, Julien, Comte de Limonade: Relation des glorieux Evenements qui ont Porte leurs majestes Royale sur le tone d Haiti, published in Cap-Henry and London, 1811. mine of information on the armies of South and Central America. To contact Terry and join the society, write to Terry Hooker, 27 Hallgate, Cottingham, East Yorkshire, HU16 4DN, United Kingdom. Membership is a measly 6.75 for 4 issues a year and worth every penny. Finally, an appeal: I am interested in finding more information on the army of the Kingdom, Republic and (for a short time in the mid-19th century, Empire) of Haiti. Unfortunately the Gazette Royale of the Kingdom and the Gazette and later Moniteur Haitienne of the Republic are, for a variety of reasons, not available in the British Library at present, and are in any case incomplete. If any member finds any information and he would like to share it with me I would be most grateful. Acknowledgements: Much of this article has appeared in one form or another in Notes on Haiti, a special booklet published by El Dorado Books. This is an off-shoot of the South and Central American Military Historians Society, run by the indefatigable Terry Hooker. Eldorado, the journal of the society, is a Book for Sale Member Roberto Scattolin has the following book for sale; if anyone is interested in it would they please write to him directly at the address given below. 'Bonaparte in Egypt', by Christopher Herold, published by Harper & Row 1962. It has 424 pages plus black and white illustrations. The asking price is 20.00 plus post and packing. Roberto Scattolin, via Colonnello Piccio 11, 35020 Ponte di Brenta (P.D.)., Italy Glorious Empires - change of address Would members please note that Jacques Vullinghs (aka Glorious Empires) has now moved a short but important distance. His new address is as follows: Jacques Vullinghs, 9 Chandler's Quay, Ray Mead Road, Maiden-head, Berks. SL6 8NJ. His telephone number remains unchanged at 01628 675769. Described as "A Brilliant Evocation of Napoleon's Guard Cavalry", the above book from Greenhill Books is based on the paintings of Lucien Rousselot with text by Edward Ryan. It contains, apparently, about 90 full colour plates and costs 40.00 plus 10% for p&p from: Greenhill Books, Lionel Leventhal Ltd., Park House, 1 Russell Gardens, London NW11 9NN. Tel: 0181 458 6314 or Fax: 0181 905 5245. BFFS Journal No 55 - November 1999 11

Flats for Sale 1. Wimor Series VIII August the Strong departing for the Hunt. 1-24 complete set. Engraved by F.K.Mohr. Edited by Tetzel. 20.00 2. Egyptian Tomb Robbers. 30mm set (12 pieces) Tylinski. 7.00 3. Selection of Costume Figures through the ages by Scholtz, plus several Kings and Queens of England by Gottstein/Krog. 57 figures in all 17.00 4. Mixed Ancients: Britons, Greeks, Egyptians, Romans, Persians, Assyrians, etc. Including four chariots and 36 foot figures. 48 pieces in all. 25.00 5. Mozart and Family. Three-piece set by Kovar. 2.50 6. Mounted Timbalier des Chasseurs a Cheval de la Garde. 70mm. Quadri-Concept (LB1). 9.00 Plus other large scale figures. All prices include postage. Please contact Mike Taylor on 01843 847627 An interesting development in the flats world comes from Zinnfiguren Rieger, who specialise in producing a small range of fantasy figures. These consist of mounted elves, dragons - including a skeletal dragon - (presumably for the un-dead) with riders and a selection of individual foot figures. Some of the foot figures were, in fact, double pieces, being designed with a range of fantastic animals. These P.I.G. Zinnfiguren fantasyfiguren von Uwe Peter are available from Melsdorferstrasse 77, D-24109 Kiel. There is also available an illustrated list of the range for DM 1.50 and, for those of us who worry about speaking German, the editor speaks excellent English and is only too willing to deal with British collectors. These are the sort of figures which will allow you to get away from the formalities of research and give you endless enjoyment. The figures are well engraved and full of detail. Love or loathe him Sharpe appears to have had an effect on a number of editors, with Rifle Brigade and King s German Legion figures being much in evidence. Wolfgang Friedrich has an excellent set of the King s German Legion in a wide variety of different action poses, including an outstanding piece with two figures running while dragging a wounded comrade. The figures can be purchased as a set of 13 individual figures plus the three-piece group or as individual figures. A catalogue can be obtained from Lossener Weg 2B, 04519 Rackwitz. This editor also produces other Napoleonic figures. Although the number of figures is small they are excellent and full of animation and life, with very well defined engraving. Another editor well known to members is Robert Kügl s Zinnfiguren (Kulturhistorische Zinnfiguren, Wasserfallstr. 30, D-74211 Leingarten). New for Kulmbach, literally hot for the event (since 12 BFFS Journal No 55 - November 1999

sets only became available during the show) were figures based on J.P.Beadle s painting The Rear- Guard The painting depicts Brigadier-General Robert Crawford with his rearguard on the retreat to Vigo in December 1808. The Rifle Brigade figures were made by Charles Stadden for Tradition many years ago and, as such, many collectors know the poses. Kügl s set, however, captures the spirit of the painting with Crawford and a mounted hussar, the Rifle Brigade and elements of the remainder of the Light Division (the 43rd and 52nd Light Infantry). Some alterations have been made to the poses of the original, but this does not affect in any way the composition of the work. Another gem found at Wolfgang Friedrich s stand was his series based on the battle of Crecy. Currently three of the four proposed sets are fully available but, as with all of his sets, figures can be purchased as individual items. One set has the Black Prince and a mix of knights and men-at-arms on foot defending themselves against three mounted knights. A second set has Herzog von Lothringen with three other mounted knights charging three dismounted English knights defending a standard. The third set has six dismounted crossbowmen advancing under the direction of two mounted knights. The fourth set, which is not yet complete, has seven mounted charging knights under the command of the Duke of Alencon. The editor speaks good English and, like Zinnfiguren Rieger, is keen to deal with British collectors. Jon Redley Mignot Figures Wanted Are there any members who have spare in their collections the following Mignot figures? 1099/b Aide de Camp de General de Brigade and 226 The Garde de Poniatowski from the series Etat-Major a Pied which depicts Napoleon's marshals dismounted whilst an aide holds their own horse plus the marshals'. If you do have these figures, either or both, and are willing to part with them, please contact Jon Redley at 64 York Avenue, Finchfield, Wolverhampton WV3 9BU, since a fruitless search at Kulmbach has left him minus these figures to complete the sets. For those collectors who do not use codes, please see the accompanying illustrations. Thanks. Jon Redley BFFS Journal No 55 - November 1999 13

By Roberto A.Scattolin Padova, Italy It gives me pleasure to remember that the very first publication I read on flat figure collecting, and its astonishing potentialities connected to the classical world of military history, dated from the late seventies, and more exactly the month of September of the year 1976. At that time, and almost by chance, I came across, while reading, an enthralling leading article with the prophetic title of Little Soldiers do not Wane. Entirely captured by this theme, I rapidly read its breathtaking contents many times and with the greatest possible attention. Rather honestly, it would be right to say that I was mentally sucked inside the paragraphs for long days at a time, and especially for the period of a month when every week-end I read and re-read the aforementioned article in order appreciate it better, due to a marvellous colour photograph showing hundreds of glittering, painted flat figures marching in close ranks. Maybe direct excerpts can be quoted for the common benefits and interests of new-born collectors, as well as old praetorians performing their duties in the ranks of the BFFS. Equally it is hoped it can have appeal to a more differentiated membership, devoted to the historical roots and reference data pertinent to the art of flat figures and its enchanted world. To read some passages of the original article: The fortune of lead soldiers, already started in the past centuries, does not show signs of diminishing its reputation if compared to modern shows that emphasise a prolific flourishing of initiatives. Originally conceived as mere entertainment games for childhood, these little figures have anyhow among adults their true culture and deep admirers. Now, numerous are the collectors around the world, and not only among the former members of the military forces, that dedicate to this hobby their spare time and economic resources. In England, since a little time, took special evidence the private collection of a theatre actor, Mr Deryck Guyler. So far, the passion of Mr Guyler was not recently born but, like many collectors, can be traced back to its roots in the steps of early childhood. I have always had a passionate love of history. I read and collected rare and ancient book editions. My collection started almost 16 years ago when a friend of mine made me discover the amusement for this game. The main feature of Mr Guyler s collection of little soldiers is that they are virtually limited to the ancient world. As a matter of fact, the miniaturised field army of this 61-year old gentleman of Liverpool only enlists Egyptian, Greek and Roman warriors in a scale of 33mm height. Moreover, not by chance, Julius Caesar and Alexander the Great are the favourite heroes in organising table-top, simulated, land battles. I have just more than 10,000 pieces of them and many I have hand-painted myself. I would like to underline that the khaki colour does not exist in my ranks, that boast instead an extraordinary polychromy of colours particularly referring to the distinctive mobile army corps and the costumes of the fighters. Rare and unusual pieces date from the first half of the 19th century, others are instead of modern pattern and directly obtained in Germany at cheap prices. It would also be worth mentioning that the number of persons that cultivate the hobby of collecting military figures is growing continuously. Mr Guyler, himself, was among the founders of a true institution, a prestigious club, the Society of the Ancients that, founded in the year 1964, counts so far a rich mess of nearly 2,000 associated fellows, scattered around the world. Many of them probably meet in the charming hamlet of Kulmbach, a little Bavarian town located near Coburg, where there is periodically staged the greatest show - exhibition of military figures, the Deutschezinnfiguren Messe. During that occasion, the sellers line up on their wooden tables thousands and thousands of marvellous and captivating figures of every historical period and nationality for a terrible horde of experienced customers becoming more and more fussy. It seems obvious that the times when toy-makers worked exclusively on commission for the sovereigns sons (let us think of the collection of little soldiers made of silver and created by the goldsmith, Claude Odiet, for Napoleon Bonaparte s first born, the King of Rome) have faded into the pages of history. Editor s Note By one of those curious coincidences a recent copy of the Daily Mail, dated October 9, 1999 carried the obituary notice of the late Deryck Guyler. I knew of him as an actor from many years ago but had never made the link with the model soldier world. Probably his most famous role was as Norman Potter in Weekend Television's Please Sir! Deryck Guyler was born in Wallasey, Merseyside in 1914. He worked briefly in the family jewellery business before going on the stage, joining the Liverpool Rep in 1935 to play alongside Michael Redgrave, Rex Harrison and Robert Donat. He made a much greater impact on radio, however, and older members may recall that he was in the wartime show ITMA with Tommy Handley. His hobbies developed later in life and varied from collecting thousands of model soldiers to listening to jazz records and self-taught washboard playing. His funeral took place in Australia where he had been living for the past seven years. He is survived by his wife, Paddy. 14 BFFS Journal No 55 - November 1999

By Wilhelm Hutterer, Vienna The following relates to the piece by Jon Redley in Journal 54 about the German king Henry VI and Richard Lionheart. The author wishes to add some historical notes about the links between Richard and Austria. There are two ways to bring the relations a little bit nearer - the realistic and the romantic one. Let me start with the realistic facts of history. During the third Crusade which leads to the conquest of Akkon (Acre), Leopold V, the Duke of Austria, also took part. In the course of this siege, especially the end, there was some dissent between Richard on one hand and Henry VI, Leopold V and Phillipe II of France on the other hand. On the way back to England, Richard was shipwrecked near Aquileja in the Adriatic Sea and had to continue on land via enemy-land - the countries of Duke Leopold. Disguised as a pilgrim, he came to Vienna, where he was recognised by a member of the Austrian contingent of Akkon, arrested and held in custody in the castle of Darnstein in the lovely Wadian valley of the Danube (well known for its superb wines, apricots and apricot brandy). At the request of Henry VI, Richard was handed over to him on March 28, 1193 and set free after payment of a ransom of 100,000 marks in silver. This ransom was given in equal parts to Henry and Leopold. The sum of 50,000 marks was used by Leopold for the construction of two strongholds: Wiener Neustadt, about 50km south of Vienna, at that time on the border with Hungary, which later became the domicile of the oldest Military Academy - founded 1756 by the Empress Maria Theresa, and Friedberg, now a nice, dreamy, small town in Styrie. And now for the romantic version: During the siege of Akkon, Duke Leopold conquered with his knights and men the highest tower of the city, and raised his standard. But King Richard, as commander-in-chief, claimed the victory as his, dragged the standard from the pole and through the mud. Enraged, Leopold took off his white cloak, which was bloodstained from the slaughter, and showed it to his knights as the new standard. But the part of the cloak where the belt with the sword was fastened remained white. And, from this time on, the colours of Austria are RED- WHITE-RED. As already told in the realistic part, Richard went home by sea, was shipwrecked near Aquileje, continued on land, was caught near Vienna and detained in a damp dungeon in Dürnstein Castle, a gloomy fortress high above the dark streams of the wild Danube River, far away from any settlement. Richard was lost; nobody knew his whereabouts. But Richard had a servant/friend/minnesinger named Blondel (Fairy Hair) who couldn't believe his master/ friend/king was lost and tried to find him. He went from castle to castle, town to town, fortress to fortress, offering his service as minnesinger (minstrel). For his last song he always sang the favourite song of Richard. After a long while he came to Dürnstein too, offered his skill and, at last, sang his master s favourite song and heard after the first verse, the second one from the deep dungeon. And so he found his king. I leave it to the reader s discretion which version they would prefer. BFFS Journal No 55 - November 1999 15

You pays your money... To qualify as a collection a group of objects must have something in common. So a group of flat figures is a collection by virtue of the fact that they are all flat figures I suppose. But is that enough? As a young teenager feeling my way in the whole new world of model soldiers I well remember trying to work out what my interest (singular) might be. You see, I was the proud owner of the Spur Book of Collecting Model Soldiers - a slim, paperback volume that, for all I know, is still available today - wherein it was made abundantly clear that a random gathering of subjects most definitely did not qualify as a collection in anything but the most minimal sense. The author - a military man I believe - was the proud possessor of a Collection (surely deserving of a capital C if ever one did) of model soldiers depicting the uniforms of the yeomanry of the county of Berkshire from 1796 to 1921 (or something like that). No impulse purchases there then... What, I agonised, might be my special interest, guiltily buying another completely unconnected Airfix kit... and sad to say, I still don t know. If, like me, your gathering of figures is shockingly eclectic, I wonder what drives you to make the choices that you do? I suspect you may have favourite periods of history. I lean towards ancient subjects myself, Assyria being a favourite, though I do enjoy the strict boundaries of, say, a Napoleonic uniform from time to time. (I think the author of the Spur book would have encouraged this tendency...) I also relish the challenge of complicated equipment - sword straps, buttons, epaulettes and the like - and ordered repetition too (though the perversity of this choice is really only apparent midway through a group of uniformly dressed figures). These qualities are not completely absent in the ancient period of course, but idiosyncrasy and individuality of dress were more the order of the day back then so I sometimes have to look further afield to satisfy these ill-disciplined urges. I m just beginning Krog s Charge of the Light Brigade group, so that should do the trick for a while. Some folk like groups that tell a very obvious story. Scholtz s catalogue contains examples of this genre, from the destruction of Pompeii to a group of Peeping Toms spying on a group of women bathers. To me these can look overblown - crudely melodramatic even - so I give them a wide berth. Fantasy and so-called exotic subjects fill me with the same antipathy: the real world is full of quite enough interest for me, thank you. Groups that contain tension or a strong focus work well. These qualities ensure a narrative element is inevitably present without the story being rammed down your throat. A cannon about to fire is good - a past is assumed with the preparations of the crew complete, and the future is implied with the shot itself imminent. Armed confrontations inevitably have this tension built in, whether both sides are depicted or not. A charging or defending group suggests the existence of an enemy even if the opponent is not visible: a sort of hidden focus if you will. In fact not showing the enemy can actually heighten the tension so my Charge of the Light Brigade will emphatically not be displayed with the Russian gunners in view. Good examples of more peaceful subjects that also contain this degree of focus might include Cortum s excellent Tribute to Pharaoh group with its central, throned king plus magnificent giraffe or Segom s Napoleon in Egypt set with Bonaparte standing in triumph on a sphinx. Groups or single figures that present a dazzling spectacle are attractive to many: bright colours, gold trimmings and intricate patterns need no justification and offer a chance just to show off painting skills. I m surprised military bands aren t more popular than they are. Perhaps the prospect of the repetitive painting involved is just too much for most? Finally, it may be that more personal reasons - links with places, regiments or specific people - are at work when you make your choices. One such group is my slowly growing herd of African animals. It has to be admitted that there s precious little focus, story, colour or tension in a group of large mammals milling about a few trees. However, I was once fortunate enough to see these remarkable creatures in the wild and it s seemed like a good idea ever since to try to paint the things I saw. Mind you, writing as one who s painted hundreds of spots and stripes I can say with some feeling that, whatever their other shortcomings, giraffe and zebra certainly don't lack patterns. I ve learned that if there s one thing more difficult to paint than intricate detail, it s randomness. Of course the truth is that the haphazard distribution of blotches and stripes is anything but random and each mark on the animals hides is part of a subtly ordered whole. This makes it possible, for example, to distinguish the different species (I bet you didn t know there are seven types of giraffe). My solution to this challenge was to gather numerous photographs (Radio Times is good for pictures of animals...) and base the painting of individual castings on individual photographs, imagining as 16 BFFS Journal No 55 - November 1999

little as possible. Only photographs will do. Second-hand images contain all sorts of simplifications and you may as well make it up yourself if you resort to them. To slow me down and make me look closely I did something that I ve not done before or since, but which might prove helpful in another setting: I photocopied the undercoated castings and sketched my first efforts on enlarged copies before even picking up a paint brush. After a while, when my technique was established and I felt I understood the patterns structures better, I bypassed this entirely but it served a useful purpose in the early stages. The Scholtz African Wild Animals series from which I have chosen my figures is simply vast: in excess of five hundred pieces if you count up all the figures in all the sets! It ranges from huge elephants to tiny birds, with lots of trees and bushes to accompany them. Some of the sets are quite big and I lament the fact that pieces aren t available individually. I can t justify buying one particular mixed set of 24 figures just to get my hands on three or four warthogs for example. But even with that proviso they are a very impressive lot, offering enormous choice. Given this fact might I one day acquire a Collection after all? Tim Heath Harold s Internet Site Our Aussie rep., John Brewer, writes to tell us that it might be worth visiting the late Harold Smart s internet site since his son Frank has been conducting a sale there. Well, here it is for those interested: Ozemail.com.au/~harolds Flats at Auction Sales By Ian Parkinson On a fine spring day in May, I ventured forth to Phillips Auctioneers at Knowle near Solihull in the west midlands to attend one of their collectors items sales. In the catalogue were two lots of flats, among a large number of lots such as dolls, teddy bears, model railways, die-cast toy cars, and railwayana (old station signs predominantly). The toy/model soldier arm of Phillips only recently moved out from Bayswater and the soldier auctions were included in the collectors items sales which for this year anyway are monthly, except August. I viewed the lots beforehand, which was just as well because the lots are not brought out or demonstrated during the sale itself. They comprised boxes each containing four self-seal plastic bags with the figures loose inside. The lots were listed as Napoleonic figures with one lot described as Heinrichsen and others and the other had no maker attribution given. One lot contained some Mignot lancers, a number of Ochel cavalry and some semiflat (or should it be semi-solid?) figures about which I know nothing. Several of the Mignots had lances broken off, although whether this was as a result of the figures being loose in a bag or because they were like this beforehand I don t know. The other lot contained some Schiebert/ Schiller Austrian infantry in raupenhelm marching, some Fechner/SHA Russian infantry marching together with some Ochel Prussian cavalry. The prices for these two lots seemed reasonable overall considering the numbers of figures. The sale started at 2pm and as this time arrived I made my way to the upstairs sale room where I found it absolutely packed, with all the seats taken. When the sale started I was rather confused. There were staff on the phone taking bids and bids on commission with the auctioneer himself as well as the personal bids in the sale room itself. My views on the process and advice to others who want to go and bid is to allow plenty of time and get used to the auction. The quantity of figures in the lots was large and the price per figure would be low, but the figures you want would be diluted with a large number of figures you don t want so be prepared for this. The staff were friendly and helpful to the novice. I was a bit disappointed that the figures were just loose in bags, because of the danger of damage, especially to brittle figures, which Mignots notoriously are. As a postscript, on the 22nd June was a sale of over 160 lots of flats indicated in the catalogue collected by a Belgian aristocrat between 1890 and 1942. As far as I can tell, the figures were almost all Heinrichsen. They were certainly in Heinrichsen labelled boxes. The figures were smaller than modern flats and had no base markings. Most of the cavalry figures were charging on what I would call rocking horse style with the front legs stretched forward and the back ones stretched backwards. The back legs only attached the figure to the base, which was basically rectangular but with the long sides concave. The back legs were made thicker for strength. Other cavalry figures were on a walking horse. The infantry figures were on rectangular or convex sided rectangular bases. The quality of the figures was reasonable, but not as good as the best new figures and the painting was mostly gloss in a factory style. I would say that they were very charming and attractive. The Napoleonic figures occurred as lots 1 to 25. That they occurred early in sale made it so I couldn t get a good feel for the prices which made it more difficult to work out my tactics than if the lots were later in the sale. There were several lots of interest to me, and two of particular interest but the bidding on one got too high and I had to drop out, but I did secure the other one. On reflection I should have carried on because opportunities like this occur so rarely. There were some interesting figures in a number of lots and it became a question of priorities. The usual feast or famine you get with flats. These excursions have stimulated an interest in old flats and I would like to hear from anyone else in the society who shares this interest. In particular any information on Heinrichsen figures would be appreciated, such as a catalogue. BFFS Journal No 55 - November 1999 17

By W.Unger, Leipzig; a series drawn and engraved by W.Otto, Leipzig The place is a barn belonging to an inn in some country town. The company is preparing to perform a farce, which is called The Devil to pay in Heaven, with entertainments of tumbling and rope dancing. Such is the poverty of the company that they have but one room for all purposes. The characters they are dressing for are Jupiter, Juno, Diana, Flora, Night Syren, Aurora, Eagle and Cupid. Jupiter is holding Cupid s bow, directing the little fellow to reach his stockings. Queen Juno is rehearsing her part, while the sable goddess Night, represented by a negro girl is mending a hole in her majesty s hose. Diana is raving in a rant of tragedy, while Flora is attentively pomatuming 1 her hair. At the back of this scene are two young devils contending for a draught of beer. Behind them is a female tumbler and the Ghost, employed in extracting blood from the tail of a cat, in order to assist them in some sanguinary representation. 1 pommading This set (Price 18.00 plus p&p) can be purchased through E.Finster, 5 Humber Road, Chelmsford, Essex CM1 7PE. Tel: 01245 263907. The set comprises: HO1 Juno with Night; HO2 Flora; HO3 Syren with Aurora; HO4 Woman in gent's costume; HO4a bed with trousers; H05 Diana; H06 Eagle feeding baby; HO7 Ghost with tumbler; HO8 Little devils; HO9a Jupiter with Cupid; HO9b Screen; HO10 Monkey; HO11 cats playing; HO12 Screen; HO13 Machine for making waves. 18 BFFS Journal No 55 - November 1999

and usable for the following wagons: (which can be used for Bavarians, Saxons, Württemburg 1850-1871.) Western Miniatures, 123 Henacre Road, Lawrence Weston, Bristol BS11 OHB Tin Figure Parade From the pages of Die Zinnfigur, compiled by Ehrhard Finster All figures are 30mm unless otherwise stated. Wolf Dieter Weirich, Goldene Au Strasse 34, 66280 Sulzbach/Saar Austrian Artillery 1748-63: Ammunition cart, waggon for bombs, waggon for shells. The following guns: 3 pounder, 6 pounder, 12 pounder and a 7 pounder howitzer. One limber. Reinhold E. Pfandzelter, Panoramaweg 3, 56317 Urbach Louis XIV of France watching a solar eclipse. Louis sitting on a chair with the astronomer Jacques Cassini holding the telescope and four ladies of the court watching with their telescopes. Drawing: Klaus Breyer; Engraving: Bettina Süssmeier. Group of a French grenadier and infantry soldier 1806 being escorted by three children to their quarters. The size is 45mm and the group is only engraved on one side. Drawing: Francis Quiquerez; Engraver: Daniel Lepeltier. Price: DM 20.00. Otto Muxfeldt, Fritz Schumacher Allee 138, 22417 Hamburg Württemburg 1870. A relay of three horses with riders in a resting position Waggon with pontoon; waggon with bridge supports; waggon for transporting bridge-building material. Field smithy. Brunswick artillery 1870. Two officers and 18 gun crew. Their poses make it possible to show all four phases of a gun being fired. Karl-Heinz Kochbeck, Schopenhauerweg 5, 45279 Essen The beginning of the whalers. A rowing boat of the whalers is turned over by a whale. The tail of a whale sticks out of the sea. Frontal view of a rowing boat with a whaler throwing a harpoon. Side view of rowing boat with whaler throwing a harpoon. Whale blowing a jet of water into the air. A sailing ship as background figure; only one side is engraved. E.Loustalot-Forest, 11 rue Docteur Mazet, 38000 Grenoble/France Commandant Berbergier s death, 18th August 1870, at the Battle of Saint Privat. Mortally wounded he rests on his fallen horse and blows a clarion to encourage his troops. The size is 4.5cm. Drawing: Daniel Lorday; Engraver: Daniel Lepeltier. Dr. Peter Dangschat, Schaferteich 4a, 38302 Wolfenbiittel-Salzdahlum "Vivat Bacchus, vivat Venus" 1780, or The gallant dinner party. One gentleman with belle sitting on his lap and another belle sitting on the table. Gentleman riding on a belle. Cook playing on a guitar. Gentleman opening a bottle of wine. Gentleman toasting. Gentleman and belle sitting on a divan. A rather juicy set! Drawing: Dangschat; Engraver: Grünewald. Western Miniatures have added the Walrus and the Carpenter to Mike Taylor s Alice range of figures. This is a five-piece set with various depictions of the two characters based on Tenniel s illustration. There are three single pieces, one of the carpenter and two of the walrus. The other pieces in the set depict group scenes, firstly of the carpenter talking to the oysters, and the second of both the walrus and carpenter sitting on the rocks with the oysters. As with previous pieces from this series, the work is excellent. The set is available from Western Miniatures for 7.00 plus postage and packing. On the subject of Alice, Dick also produces six individual Alice figures, again the work of Mike Taylor from Tenniel s drawings. These figures can be purchased as individual pieces and allow the diorama builder the opportunity to add Alice into their scenes. The figures are 11.00 each. Before leaving the subject of Alice, a slim volume has recently been brought to my attention The World of Alice published by Pitkin Guides, Healey House, Dewe Road, Andover, Hampshire SP10 2AA. The guide costs 2.50 and can often be found on bookstalls at tourist attractions throughout the country. The booklet tells the story of the writing of Alice plus an outline of Charles Dodgson s life and is filled with photographs and drawings connected to the Alice story. There are also a number BFFS Journal No 55 - November 1999 19

Designs by Mike Taylor of interesting facts about the author and some of Tenniel's illustrations, including the fact that the box-like head-dress worn by the carpenter was the same as that worn by Sunderland ships carpenters. The booklet is published in colour and contains many of the illustrations from the American issue of Alice in Wonderland, thought by Dodgson to be too bright for the British market. Here Alice is depicted in a yellow dress with a blue bow, white apron with blue edging, blue stockings and black shoes - very different from our normal perception of Alice as seen in the Tenniel illustrated British version. It might be worth considering using Western Miniatures individual Alice figures to portray the different colour schemes of Alice. The following is an interesting selection of new designs by Mike Taylor Two Brides of Darkness to complete the set Nosferatu (see Journal No 47, page 14). Edited by D.Belaschk. Designed by Mike Taylor (after Vallejo) 75mm. Engraved by R. Sonntag. One side only. Available from D.Belaschk, GardeschUtzenweg 28, D - 12203 Berlin. Also from D.Belaschk comes the first two (of a set of five) figures called The Sandman. These are based on a German children s story book illustrated by Rien Poortvliet. Designed by Mike Taylor (after Poortvliet) 45mm. Engraved by R. Sonntag. Edited by Detlef Belaschk. Death and Her Familiar Designed by Mike Taylor. Engraved (one side only) by Regina Sonntag. Edited by (and available from) D. Belaschk. Jon Redley Ceard-Staoine, Friedrich Frenzel, Liebigstr. 8, D-91052 Erlangen Two new sets seen at Kulmbach and continuing this editor s fascination with literature are scenes based on the works of Moliere and Shakespeare. The latter in particular may well appeal to British collectors. It shows Hamlet in the graveyard with Yoric s skull. Certainly a set which will allow for interesting light effects. Jon Redley 20 BFFS Journal No 55 - November 1999

Heroines of Myth Designed by Mike Taylor (after Vallejo). Engraved by R. Sonntag (one side only). Edited by F. Winkler (a new editor) and now available from F. Winkler, Anstaltstrasse 1, D-96157 Ebrach, Germany. Hina and Tinirau: The Polynesian Sun- Goddess, Hina, rides the terrifying god of the ocean and the fish, Tinirau. Ashtaroth: Phoenician goddess of the moon. The Suzle: Voluptuous creatures from Siberian mythology who were hatched from eggs and gave beauty and sensuality to the people of the earth. From Regina Sonntag come two new figures to complete the set The Iron Gustav (see Journal No 51, page 17). Designed by Mike Taylor (after Halbritter). Engraved and edited by Regina Sonntag - Eschenworther Weg 7, D-29690 Gilten, Germany. From Glorious Empires come several new figures from his 54mm range based on the designs of L.Madlener and re-worked by Mike Taylor. The Amazons (54mm mounted figures.) Designed by Mike Taylor (after Madlener). Engraved by D.Lepeltier. Edited by Glorious Empires. The Egyptians (54mm) Designed by Mike Taylor (after Madlener). Engraved by D.Lepeltier. Edited by Glorious Empires. BFFS Journal No 55 - November 1999 21

Readers may have noticed the appearance of a new name in the extract from Die Zinnfigur in the May edition of the Journal. Stefan Loewe was quoted as the producer of a set of 14 figures of Roman soldiers checking the loads of mules led by native Germans. Later on I was lucky enough to see the original article and a photograph of the figures in a copy of Die Zinnfigur on a side table at the meeting at Kenilworth. I immediately wrote to Herr Loewe asking for more information. Now I have often found that the direct approach to figure editors does not always produce results. So I was delighted to get a letter in impeccable English from Herr Loewe together with a well-produced catalogue. The catalogue gave full details of three ranges of figures, all of one unit of the Roman Army, together with a short history of the unit concerned and painting details. Stefan Loewe is editing a range of figures of a Roman auxililiary unit, the Ala II Flavia. These troops were stationed on the Limes, the Roman frontier between the Rivers Rhine and Danube between the years 70 to 233 AD. The Ala II Flavia was a mixed unit of cavalry and infantry. Two of the sets are of cavalry in action and at rest while the third is of infantry acting as a customs unit. There are officers, centurions, buglers and a standard bearer. Roman Auxiliary troops were originally men recruited in one part of the Roman Empire and sent to serve elsewhere. Thus the Limes was held in part by Britons while Hadrian s Wall was manned by Germans (and Spaniards, Swiss, Belgians and Syrians!). Generally these troops were less heavily armed than the legionaries of the same period. The figures from Herr Leowe reflect this - the OR s wear scale armour and carry oval shields, not the characteristic breastplates and rectangular shield of the Legions. To sum up, these are excellent figures which would fit very well into a diorama of Roman Britain. They were designed by Block, Sollner, Prill and Regina Sonntag and are cast with little or no flash. Finally, payment is in Sterling to a Building Society Branch in the UK. Well worth thinking about if you have an interest in Roman history and the Roman army! F.J.Rawlins Heinrichsen re-issues from 1880 Member Andreas Barz has sent me some interesting cuttings showing some re-issued caricatures, dating from 1880, which Heinrichsen has apparently re-issued. The following notes that Andreas has supplied may be of interest. The political caricature started in England and France as a means used by the opposition against the rulers. The magazine Punch was known for its caricatures and Cruikshank was one of the leading designers. In France Charivari was the most important of the media. In Germany the caricatures started with Napoleon s defeat. The most important journals publishing caricatures in Germany were, Die fliegenden Blätter (The Flying Pages) of Munich, the Kladderadatsch of Berlin and the weekly Simplicissimus of Munich. From these German magazines Heinrichsen took the ideas for his figures. Graham Dixey Some of these caricatures are shown below and on the front cover. 22 BFFS Journal No 55 - November 1999

The Flight of the Kalif The painting, The Flight of the Kalif, by R.Talbot-Kelly is reproduced in colour in the book Omdurman by Philip Ziegler, published by Collins in 1973 (ISBN 0 00 211612 10); searching the local library s catalogue might find it for you. The main figure is the Camel Rider carrying the black flag, which is shown with white script. The flag is held on a plain brown staffed spear. The rider has a plain white cap. The V-neck of the tunic is orange and a single patch on each sleeve, dark green; all other clothing is white. Around the waist is a brown belt and pouch. All the camel saddlery is light brown with red tassels. He carries a sword in the right hand and a rifle on the saddle. The wives are shown mounted on a camel and they are dressed entirely in black, with a dark plum colour for the saddlebag. The Kalif is shown mounted on a donkey with two attendants. He is dressed entirely in white with no patches visible. The donkey saddle cloth is red with light brown harness. On the right side of the Kalif the figure has a dark green yoke to the tunic, all round the collar and down the front of the tunic to below the hips, then two dark green patches, the lower of which touches the tunic bottom. A dark red edging runs around the bottom of the tunic. All other clothing is white but he has a brown belt in which is tucked a dagger. The figure on the left side has a plain white turban and to the tunic an orange collar going down to just below the hips with no patches below that. One orange patch on each sleeve with the same colour as edging to the bottom of the tunic and sleeves. To the right of the flag carrier is another foot figure with a plain white turban, with only the collar edged dark green and a single patch on each arm in the same colour. A dark brown or red waist-belt. All the clothing on the male figures is white except where marked. Bob Leighton Since the bulk buying system began in the early days of the Society, many editors have extended their ranges to such an extent that some catalogues are now hopelessly out of date. We have occasionally attempted to update some of them, but the time has now come to replace most of our catalogues with the latest editions. These will now be offered to our members, and following current political trends, will carry the adjective New. Somehow, The People's Catalogues just didn't sound right. Of course, some catalogues, where the editor is now deceased or retired, will never be extended, and the original version is still valid. Other catalogues will be updated as soon as possible. Even our long-established members may find figures of interest in the New editions, so a brief summary of their contents may be useful. New B & S In addition to the Egyptian, Mediaeval, and Thirty Years War sets, there is a rapidly increasing series of French Napoleonic vignettes, including the Death of Lasalle, a duel, French Cavalry with Austrian prisoners, and a field hospital. New Schmittdiel This catalogue, with its dinosaurs, 30mm Hannibal crossing the Rhone with his elephants, a wide range of large scale figures including Dr Dangschat s erotic figures, and many Christmas pieces, has been totally rearranged and code numbers changed. It is essential that this new version is used for ordering. New Christian Carl (Cortum) As well as the ever popular ancient series (Battle of Issos, Persian hunting scenes, Ethiopian tribute to the Pharoah, Romans, etc.), we now have a large piece of the death of Pompey, Caesar s assassination, infantry and cavalry 1500-1540, Thirty Years' War, and the Franco-Prussian War. New Historia Müller The vast range of 80mm figures continues to increase. New arrivals include Einstein, Heine, J.F.Kennedy, Lincoln, and a mounted Blucher. There is a wide range of couples in various historical costumes, by Dr.Söllner, as well as German Fairy Tales and the Commedia dell Arte. New Rieger Tartars, Moghuls (including princesses playing polo) elephants, a magnificent British gun drawn by elephants (1890), a bear hunt with Maximillian I, cavalry from the Thirty Years; War, Austrian Cavalry from the early Eighteenth Century, Prussian Napoleonics, wounded French Guardsmen, Schleswig Holstein and Danish,1848--51, large-scale clowns, jockeys at full gallop, and more sedate dressage riders, and much more. New Kügl The set of the French army in Egypt has been extended. There are French Marins de la Garde, British Infantry in Spain, a set with storming ladders at Badajoz, and The Rearguard inspired by the well-known painting of the rifles on the road to Corunna. New Mischko The series of KGL Light Battalion and French infantry in greatcoats in lively poses, suitable perhaps for La Haye Sainte, has been extended. There are new French Cantinieres, figures from the retreat from Moscow, and an extensive Nativity scene. New Dangschat One of the more prolific editors, Dr Dangschat continues to produce his distinctive figures. His Naval series continues to grow, there are Brunswickers from the Peninsula, British Infantry of 1815, Captain Cook, Carnival in Koln, and many, many more. Ed Humphreys BFFS Journal No 55 - November 1999 23

SOCIETY SALES & BULK ORDERS All catalogues should be obtained from Simon Briggs. All prices quoted here include postage. To use the Bulk Order System, make your selection of figures from the selected Bulk order catalogues only and send your order, giving as much detail as possible of page and figure number, and any title, to Ed Humphreys. Only include a SAE (1st class) if you think Ed will not already have one of yours in hand. Don t send any payment until requested. Above all, be patient, as some orders take several months to come through. Catalogue Band Belaschk A Braunschweiger Zinn. (NEW) H B & S Zinnfiguren (NEW) C Ceard Staoine (Frenzel) B Cortum (NEW) C De Tinnen Tafelronde E Gössling A Hafer (1995 Edition) E Heinrichsen B Helmut Braune B Historia Müller (NEW) G Hohrath A Rieger (NEW) E Jürgen Schmittdiel (NEW) H Catalogue Band Catalogue Koch C Dieter Schulz Krog G Schüssler/Wohlmann Kügl (NEW) D Segom (1992 Supplement) Lübecker Zinnfiguren A Segom (plus Supplement) Reiner Mischko (NEW) C Speyer Menz C Tobinnus Neckel Part 2 (1790-1945) D Unger Nonn (1994 Edition) C Vollrath (Golberg) Oldhafer (1993 Edition) E Wagner Pelta A Weirich (1994 Edition) Reh A Wiener Zinnfiguren Reibold A Wünsch Retter A Kässtner Figures of Ancient Egypt F Kovar Back Issues of the Journal (as available ) - Price Code A Band A A A E A E A D A B D B C D February 2000 Orders to: Ed Humphreys, 11 Oakeley Terrace, Talwaenydd, Blaenau Ffestiniog, Gwynedd LL41 3LY March 2000 April 2000 Peter Ewald Kovar Reiner Mischko Karl Werner Rieger 24 BFFS Journal No 55 - November 1999