Dear fellow “flats” enthusiasts, flat tin figure collectors are individualists, but..

“Here is a man who quietly collects,Here is another man who quietly collects,Here is yet another ......Each could tell, show and teach the other,Each could learn and gain knowledge from the other,And all together could save themselves a lot of bother and trouble,If: They would find another

from one street to the nextonly a couple of minutes drivingwell maybe a few hours driving away from each other."

All this is now possible, as they can now reach out and contact each other through The Journal.

I believe that, as an introduction, this says it all!

During the first month of our existence our membership has grown to 40, not a bad start, the more members themore benefits for all.

We have contacted continental societies and hope to establish a good relationship with them. We have alreadyreceived offers of help and information from many different sources.

Through such contacts our members can reach fellow collectors in other countries, for particular information orrare figures to buy or Swap.

Obviously any first publication runs the risk of not satisfying everybody. We should like to ask you therefore, tosend us your reactions, criticisms and suggestions. Even a word of praise maybe! Anybody who has specialknowledge on anything connected with flats or as something to say to other collectors, is kindly requested to writean article for our future publications.

Finally, we hope you enjoy our first issue and that there is something worthwhile in it for you, but please rememberthe B.F.F.S. is a non-profit making society and that the committee members work in their spare time, so we askfor your patience at times.

Jacques Vullinghs

Editor’s Comments

Well, here it is, Issue One of your journal. I hope you like it and that everyone finds something ofinterest in it. But please let us know what you want or can contribute yourselves.

With this issue you should also find your 1986 Membership Card: please sign it on receipt. Also a slidebinder, which will allow you to put your first year’s issues into one file. G.D.

Typesetting by Tasword on an Anstrad CPC464

Contents Issue One – April 1986Article Page

The Gottstein Dioramas - England’s Flat Heritage - Part 1 1Before Kadesh - Composing a diorama 3Stand Marks 5Beginners please 6Stop Press! 7Market View 8Forthcoming Events 9Heraldic Colour Guide 11Members’ Helpline 12Sell & Swap Column 13

The Gottstein Dioramas - England’s Flat Heritage

Part One by Jan Redley

The idea that Britain has a heritage of flats is at first glance a little difficult to accept. Doubtless many people,when visiting museums, will have seen displays of children’s toys from the Victorian or Edwardian era and,along with the expected Britain’s figures, there will be, tucked away, some examples of early flats. This,however, has not always been the case; until 1968 Britain could boast a large collection of large scaledioramas made solely from flats. This wonderful collection was housed in the Royal United Services InstituteMuseum, formerly the Banqueting House, in Whitehall. However, when the museum closed, the variousexhibits, including the dioramas, were distributed to smaller museums throughout England and some foundtheir way across the Atlantic to Canada.

The dioramas were the brainchild of Otto Gottstein, and they were his way of expressing his thanks to thenation for offering him a place of safety away from Hitler’s Germany. By trade, Gottstein was a furrier livingin Leipzig, but more importantly he was an avid collector and designer of flats. He used his wealth to furtherhis interests in his hobby and to improve the standard of figures by having figures made for him by his manyfriends and associates. It was an overriding aim of his to re-create the past, particularly the Ancient World,in model diorama form. In 1930, at the Leipzig International Exhibition, Gottstein’s influence is first seen.Here, along with Hahnemann of Kiel, Biebel of Berlin and Muller of Erfurt, we see how these men, primarilycollectors, display their own figures and those commissioned from the likes of Ludwig Frank in large dioramaform.

1

In 1933 Gottstein left Germany, coming to already established friends in England, with whom in 1935 hefounded the British Model Soldier Society. With flats still being available from the Continent, Gottsteinpersuaded a number of enthusiasts to help in the construction of dioramas depicting notable events in Englishhistory. He had maintained his contacts with designer and painter friends in both Germany and France andhe commissioned work from them. As time passed and the political situation on the continent worsened, manyof Gottstein’s friends were warned by the authorities about the consequences of working for a Jew. The resultwas that many of the figures arrived in England in a wide variety of stages of incompleteness. The task ofturning Gottstein’s ideas into reality fell to his English friends and those friends who had managed to escapefrom the Continent. Denny Stokes, a talented painter and diorama maker in his own right, was given theoverall supervision of the fourteen dioramas.

1. The Landing of the Romans under Julius Caesar in 55 B.C.2. The Battle of Hastings. 3. The Storming of Acre.4. The Battle of Crecy. 5. The Field of the Cloth of Gold.6. Queen Elizabeth reviewing her troops at Tilbury.7. The Battle of Marston Ploor. 8. The Battle of Blenheim.9. The Battle of Plassey. 10. The Battle of Quebec.11. The Old Guard at Waterloo. 12. The Charge of the Light Brigade.13. The Battle of Ulundi. 14. The Battle of Flers.

Unfortunately, little information remains about exactly who was responsible for what in the dioramas. Thelittle that is known is that the figures for The Storming of Acre and The Battle of Crecy were the work ofMuller. Those figures used for Ulundi, came from Ochel and Petrocochino; Krunert, Schirmer, Frank,Frauendorf, Maier, Franz Rieche and Oesterrich were also involved in the manufacture and design of figuresfor the various dioramas. The figures used in The Charge of the Liqht Brigade, Queen Elizabeth at Tilbury,The Battle of Hastings and The Field of the Cloth of Gold, were edited by Gottstein, but it is uncertainwhether any of these were designed before Gottstein came to England. Krunert (a Viennese), like Gottsteinan exile in London, was given the job of engraving for The Battle of Quebec. Unfortunately, the group offigures showing the death of Wolfe was found to be inaccurate and had to be re-designed.

The names of the vast majority of painters employed by Gottstein must remain unknown. Most of them livedand worked on the Continent, among them Gustave Kenmow, Leopold Rieche, L.Dunekate, M.Alexandre,A.Ochel, Honey Ray and, perhaps Gottstein’s top painter, Vladimir Douchkine (a Russian émigré who livedin Paris). Douchkine was responsible for painting two figures of Marlborough on horseback for The Blenheimdiorama, one of which was used, the other, Gottstein being the true collector, was never released.

Denny Stokes was responsible for the painting of the backgrounds of all the dioramas, so that a unity wasseen throughout the whole series. Help also came from Herbert Norris, the Historical Costume Designer,whom Dr. J.F. Lovel-Barnes introduced to Gottstein. Norris was responsible for the costume design of theAncient Britons, the Normans and Saxons, some of the figures of The Field of the Cloth of Gold and theElizabethan figures for Queen Elizabeth at Tilbury. Dr. J.F. Lovel-Barnes was himself responsible for theBattle of Blenheim diorama, selecting from the German painted figures those that were to be used, and thearrangement of the scene. (cont. page 11)

2

BEFORE KADESH – (Composing a Diorama)

by Michael C. Taylor

We all know how easy it is to want every figure we see. This is particularly so with flats, for there are so manybeautiful figures available.

When I began collecting, some four years ago, I decided to restrict myself to Ancient Egyptian figures. WithNeckel offering a vast selection covering Pharaonic activities from bathing to burial, and Hafer’s superblyengraved Nefertiti sets, I thought these would keep me going for a year or two. But, after a few weeks,painting only bare flesh and loincloths, I began to wish I had chosen Napoleonics!

For greater variety of costume and colour any civilisation connected with Ancient Egypt, i.e., Hittite,Assyrian and Persian, was soon added to my collection. Then, after my first mind-boggling trip to Kulmbach(the Mecca for flat collectors), Medieval Islamic figures were introduced. Now, having become a fully-fledged flat figure fanatic, even Snow White and the Seven Dwarfs have found their way into my showcase.Such is the power of the tin figure!

I am delighted there is now a flat figure society. As all flat-aholics will know, the more there is to read aboutflats, the better. We are a minority group but one that has already begun to share equal exposure and accoladeswith our round modelling cousins. The literature for flat figure enthusiasts is comparatively little and I amsure that this Society will bridge a few gaps. As a founder member and one who has been placed on theAdvisory Committee, it is my intention to contribute as much information and help as possible.

As a flat collector, I am well and truly hooked. I enjoy the spirit of competition but am a very slow painter.To date I have only produced five small dioramas and a few single figures. Sadly for my many beautiful civilianfigures - all crying out to be painted - these dioramas are necessarily of a military nature. Gladly however,(and please forgive this moment’s immodesty) each has won several major awards. It is for this reason, soI am told I have been asked to write articles about my collection and interests in general, and the creationof these dioramas in particular. So, for this first issue, I shall talk about the composition of Before Kadesh.

The initial idea for this competition piece was to create a small diorama, or vignette, using some of my Haferand Neckel Egyptians. As the model would have to be ‘military’, this limited me to depicting a processionalor combat scene. I rather fancied showing a group of Egyptians fighting the Hittites, so I contacted DickJenkins of Western Miniatures. Dick is always very helpful to collectors and quickly sent a few sheets ofGottstein’s Hittite figures. Upon seeing these, I changed my mind and decided to use only the Hittites.Gottstein’s figures inspired a theme of anticipation and the title came to mind immediately. The scene wouldshow a group of warriors waiting to go into battle.

As with all my dioramas the work begins on paper. I sketched several different scenes using the Gottsteinfigures, before buying the actual flats. When satisfied with my choice I ordered the figures. Time now toresearch Hittite costume and history.

3

Briefly during the course of a fifty years war between the Hittites and Egyptians, Rameses II met KingMuwatallis at Kadesh in I298 B.C. The three hour battle involving two of the largest armies in Ancienthistory, was a strategic draw and led to a peace treaty.

The Gottstein figures arrived and were grouped accordingly in my showcase. For several days I would returnto them, change their positions slightly and carefully consider their relationships to each other.

The focal point was to be a stationary chariot carrying three warriors. One of these had his head turned andwas obviously looking at something (Fig.A). I placed a further three foot figures in his sight, one givinginstructions to the others. This immediately told a story but placed all the weight of the model on the left.To compensate this I placed two other figures by the horses. This practically obscured the horses from viewand would no doubt confuse any detail in the painting, i.e. costume colour against horse-trappings. The twofigures were removed.

As with any good model, its weight and height should always be on the right; this is to stop the viewer’s eyewhen moving from the left. As my figures were nearly all facing to the right, I placed a tall palm tree in frontof them. The reason for this was threefold: (1) To prevent the eye from leaving the model; (2) to balance withthe group of figures; (3) to give the model height. The tree was then bent slightly to the left in order to framethe diorama. This to my mind created an aesthetically pleasing shape and lent itself to the rigidity and anglesof the warriors’ spears.

4

It now appeared that the chariot was ready for battle and last minute instructons were being given to the infantry.With the tree on the edge of the base, however, the scene finished rather abruptly. Also the feeling of anticipationwas not quite captured. One thing remained to be done. By placing another figure to the right of the tree (Fig.B),it would help balance the group even more and bring the tree further into the setting. If, in addition, this last figurefaced out of the diorama (instead of the reverse as expected), emphasis would be given to the Hittite’s readinessfor attack.

During the course of all this rearranging several other figures were introduced and abandoned. I have always hadthe motto, “when in doubt, leave it out”. I think one should attach a lot of importance to the positioning of figureswithin a diorama; after all it is intended to tell a story and the story should be immediate.

For me the composition of Kadesh worked, so I left it for a while. Every day I looked at it to see if improvementscould be made. Maybe so, but after a week I was still satisfied with my efforts. The joy of painting could now begin.I will not go into this process here, except to say that certain colours were spread throughout the group to createfurther unity. It took about two months to paint these six flats (I said I was slow) and another to lay and paint thegroundwork, but it all paid off.

Should anyone be interested in seeing this diorama, it will be on show at Euro Militaire in Folkestone on September27th/29th. Photographs of Before Kadesh can be found in the B.M.S.S. Bulletin No.4, 1985 and in the SouvenirGuide to the I986 Model Engineer Exhibition.

Hittite Sources: Military Modelling Magazine Vol.13, Nos. 5, 6 and 7Warfare in the Ancient World by Richard HumbleAncient Armies of the Middle East, Osprey Men-at-Arms Series, No. 109.

5

Beginners Please……..

Not in this case a stage call but a welcome to those members who are new to the fascinating and addictiveart of painting flats. We do not intend to forget that all who join us will not necessarily be experts; indeedcomments received so far show the truth of that. Consequently, every issue of the Journal will containsomething for the less experienced. In this issue we get right down to basics with .......

First Approaches to PaintingI have met flats painters who use other than oils. I’ve seen enamels and I’ve seen water-based paints used,but rarely with success. I’ve tried acrylics myself, but it was really an experiment. I’m sure it can be done butso far the secret has remained hidden.

For me the natural choice is artists’ oils. If you’re so new that your first purchases lie before you, then youmay appreciate some guidance. The range available is rather confusing and it’s quite easy to get carried awayby colours you don’t really need. I know I did. It’s a good discipline to work with a restricted palette (artist’sjargon for range of colours) at first. You’ll learn something about colour mixing that way and a lot about thehabits of various pigments. For a first choice I’d recommend as a minimum the following:

Titanium White; Yellow Ochre; Burnt Umber; Light Red; Scarlet Lake; Cadmium Yellow; FrenchUltramarine; Prussian Blue; Cobalt Blue; Alizarin Crimson; Ivory Black.

That makes eleven tubes to fork out for, quite enough at today’s prices, especially if you buy artist’s quality,which are a better buy, rather than student’s quality. Notice that there’s not a single green, nor orange, norpurple. Actually, there are a whole range of greens there! THREE different blues plus TWO different yellowsgives SIX different green hues, each of which gives a range of tints, by adding white, or a range of shades,by adding black. What more could you ask? Actually that’s not the end, since any landscape painter will tellyou that black plus yellow also equals green. If you don’t believe me, try it! OK, so it’s not exactly ‘chasseurgreen’, but don’t forget that at some time you’ll want to paint groundwork or trees or bushes, and the greens,browns and reds of nature are often quite low key. What you want then are colours that whisper to you, notshout at you.

The opposite ends of the above range are essential for producing tints and shades, in conjunction with variouscolours, and also in their own right of course. There are other choices of white or black, but Titanium Whitewon’t yellow with age and Ivory Black is more subtle than Lamp Black. Yellow Ochre, Burnt Umber andLight Red are ‘earth colours’ and are indispensable; just these three colours, in mixtures, plus black or whitecan produce a wide range of effects. It’s very easy to get hooked on bright colours but they need experthandling, otherwise the result may just be rather garish and unconvincing. The other colours listed fall intothis latter category but are, of course, essential especially for military figures in parade uniform. However,many painters, myself included, do not just paint soldiers but are interested in civilian costumes of various

6

ages. Often the colours are quite subdued but still attractive. Look at the work of the painter Brueghel to seethis. An effective trick is to include a bright uniform or two as a contrast with the less colourful civilian garb.

While we’re writing out our cheque in the art shop we may as well add brushes and mediums (media?) to thelist. Good quality small sables are the obvious choice but it’s also worth considering some of the synthetic/sable mixtures on the market. A product of the indefatigable Japanese is the excellent Inscribe 2000 series,which go down to the incredibly small size of 00000!

The choice of medium is quite wide but can be easily narrowed down. For a start, don’t buy either linseedoil or pure turpentine; most tubes of paint have more than enough already. If the paint comes at the rightcreamy consistency straight from the tube, it doesn’t necessarily need anything added to it. The general ideaof a medium is to act as a vehicle for the paint so as to make handling that much easier but it has otherproperties as well. For example, Liquin speeds up drying, as does Opal Medium, which also produces a mattfinish; Copal Oil Medium No.2 is a good general purpose painting medium. These are all by Winsor &Newton, but other makers have their own, of course.

Well, as you can see, there’s plenty to talk about; we’ve hardly scratched the surface yet. Till next time trysome colour mixtures. For more information on what is actually a fascinating topic, it’s worth trying yourart shop for the following Winsor & Newton publications, if they’re still around.

1) Notes on Colour Mixing by Hesketh Hubbard2) Colour Mixing Chart (very useful.)

G.D.

STOP PRESS.

B.F.F.S. makes its first public showing!

On Sunday, March 16, the British Flat Figure Society took a stand at the North Kent Model Show, held inthe United Reformed Church Hall in Herne Bay in that fair county. Thanks are due to Dave Elliott, who notonly built the stand himself but constructed the centre piece, the largest diorama I’ve seen outside thePlassenburg! The subject was the Trojan Wars, which was actually a series of complete boxed dioramaswithin one large frame. This mammoth creation (which will be at Wandsworth next month) was flanked bya display of Jim Woodley’s boxed flats. I may be prejudiced but I thought it was the best stand in the hall;it certainly attracted a lot of attention.

Kulmbach 1987

Ok, so it’s not exactly a news item, but it is important. If you haven’t yet made the pilgrimage to the holiestof holies in the flat world, now’s the time to start filling up the piggy bank. The trip has been a great successon the last two occasions. Why not join us on the next one? About the third week in August is the time toearmark.

7

Market View - A quarterly review of what’s new in the World of Zinnfiguren

1. ‘When Judah saw her, he thought her to be a harlot;because she had covered her face’.Genesis Chapter 38, verse 15.

The above quotation probably inspired the artist, Emil Jean Horace Vernet, 1789-1863, to paint “Judah andTamar”, which was completed in 1840. The painting was subsequently acquired by the Wallace Collection,London, where it is an permanent display.

Now, Western Miniatures, 127, Merlin Way, Chipping Sodbury, Bristol, have issued a four piece set basedon it, which heralds the beginning of an interesting and attractive series of 30mm interpretations of paintingsby the Orientalists school of artists. I have long been an admirer of this particular branch of 19th century art,so it was with surprise and delight that I received an advance copy of the designs which Dick Jenkins hadcommissioned from the noted designer Karl Heinrichs. Daniel Lepeltier was chosen for the engraving, whichhe executed with his usual superb skill, and the result is a joy to examine and paint.

As is usual in these cases the designer has slightly altered the poses and Judah appears to be presenting Tamarwith an orange or pomegranate instead of the ring shown in the original. If you wish to pursue the significanceof the ring, I suggest you do as I did, dust off the family Bible and read for yourself.Jim Woodley

2. Something else with an oriental flavour, 90mm Samurai to be precise, soon to be available from HistorexAgents, 3, Castle Street, Dover, Kent. The origin of these rather unusual flats is Belgium and the maker isHenry Irving Reisch. The designs are rather attractive and should look well when painted. I have the first twosamples in this country at the present time and I can tell you that the castings are very clean. They are notproduced by the traditional method of a hand-engraved slate at all. A mould (probably silicone rubber) is

8

Forthcoming Events

First in chronological order are the B.M.S.S. Annuals, to be held on Saturday April 19 at their usual venue,the Civic Suite of Wandsworth Town Hall, LONDON, S.W.18. For the flats enthusiast, there is theBlytheswood Trophy, which attracts some of the best flats painters in this country and Europe. Apart fromwhich, it’s an excellent day out anyway. We’ll be pleased to meet and chat with any B.F.F.S. members whocan make it.

The next event will involve catching the boat at Harwich or hopping a plane, for your destination will beWürtzburg in West Germany where, during the period August 15- 17 inclusive will be held the InternationalModel Figures Exchange. It will be held in Würtzburg Castle and is likely to attract a lot of dealers, up to220. The event will open with a tattoo of military bands and a parade of re-enactment groups in the courtof the “Würtzburg Residenz”.

taken off a

photo etched master. Nonetheless, the end product is attractive.I have no price yet, but understand it will be reasonable. As youmay see from the montage set up, there is a variety of characters,including lords and lower orders; the overloaded warrior with theyoungster has an appeal of its own. Whether Samurai are a particularinterest of yours or you like the idea of something a bit different,these are recommended. G.D.

3. This is a very quick flash indeed - news of an impending release from Western Miniatures for all you loversof mythology. Shortly to be released is a three-piece set, The Rescue of Andromeda. The three pieces are,the lady herself, chained to a classical pillar, Perseus wielding a sword and shield, and a fearsome lookingKraken. Price of the set will be £2.25 plus 40p p&p. G.D.

9

The Gottstein Dioramas (contd,)

When World War II came and flat figures became unavailable, Gottstein had to complete his idea by usingGreenwood and Ball’s 20mm figures. In time a fifteenth diorama was added, using these figures, this dioramarepresenting the D-Day landings. When all the dioramas were completed, they were displayed along one wallin the Royal United Services Museum.

When the Museum was closed the fifteen dioramas were distributed to various museums and institutions. Thegreatest number are to be found at the Glenbow Museum, (130-9th Avenue, S. E. Calgary, Alberta, Canada):The Landing of the Romans under Julius Caesar in 55 BC, The Battle Of Crecy, The Battle of Blenheim,The Old Guard at Waterloo (a strange choice of diorama when one considers that the original concept wasa celebration of great events in English history!), and The Charge of the Light Brigade at Balaclava. Thestate of these dioramas is one of debate; John Garratt (The World of Model Soldiers) claims through DonRay that the dioramas “appear to have been partially broken up and individual figures have been sold tocollectors”. According to the Glenbow Institute (Barry Agnew, Curator) “the figures are still in reasonablecondition, but the plaster groundwork has suffered considerable deterioration”. Apparently, they haveconsidered having major restoration work done but found the cost prohibitive. Unfortunately, there are nophotographs available of the dioramas.

The Battle of Hastings diorama is to be found in the Old Town Museum Hastings and is still in reasonablecondition. It shows the Norman cavalry charging up Senlac Hill towards the Saxon lines. The Storming ofAcre is in the possession of the Museum of Artilllery at the Rotunda Woolwich. This diorama is not on publicdisplay but arrangements can be made with the curator (Mr. S.C. Walter).

John Garratt, in The Encyclopaedia of Model Soldiers, states that The Field of the Cloth of Gold is in thepossession of the Royal Military School of Music, Kneller Hall; however, this does not seem to be the casenow. According to the present Curator, the diorama has not been in his possession since he took charge eightyears ago, nor is it listed in their Accession Book, so at present the whereabouts of this diorama is unknown.(to be continued)

Back to England and to a two-day event that most people will probably haveheard of by now. I refer to what promises to be one of the most excitingshows ever in the military modelling calendar, namely Euro Militaire. Thedates to book are September 27 and 28 and the place to head for at that timeis Folkestone, in fair Kent; to be more precise, the Leas Cliff Hall. Therewards for successful competitors will be great, including a weekend inParis for two for the Best of Show. There will be very strong trade support,participation by both modelling and wargames clubs and displays by re-enactment groups, to name just some of the diversions. We shall be havinga stand there ourselves and will look forward to meeting any B.F.F.S.members who can make it.

10

Heraldic Colour Guide

by Jim Woodley

Here by overwhelming demand (Jacques Vullinghs to be precise!) is the information required to paint the fourfigures commissioned by myself and sold through Western Miniatures.

JW1. The King of England, Henry V.

Arms, shield, coat and trapper. Quarterly, 1st & 4th azure semi-de-lys or(for France modern) 2nd & 3rd, gules three lions passant guardant or (forEngland). Translation: blue field, yellow (gold) fleur~de-lys. Red field,yellow lions.Crest. On a chapeau gules, turned up ermine, a lion statant crowned orlangued gules.i.e. Red hat, crown gold, turned up brim, ermine, yellow lion with redtongue, crown gold.Mantling. Gules, red. (not shown on this figure).Horse trapper. Lined ermine. Saddle & bridle dark blue trimmed withsilver, silver circles the length of the bridle. Horse white.

JW2. The King of Scotland, Robert the Bruce

Arms, shield, coat and trapper. Or a lion rampant gules armed andlangued azure, within a double tressure flory, counter flory gules.i.e. Yellow field, red lion with claws and tongue blue, double line andfleur-de-lys red.(Comment: one small slip that got past me - the lions on the arms arecrowned, which they shouldn’t be. This can be corrected either bypainting in the kind of punk hair-do that the Scottish lion had at the timeor by careful removal with a graver).Crest. On a mount vert semi of flowers gules, a lion sejent gules withina crown and crowned or, holding a sword argent hilt and pomel vert. i.e.Gold crown, interior green with small red flowers. red lion crownedgold holding a silver sword, hilt and pommel green. Mantling (for theuninitiated, the cloth at the back of the helmet). A choice here, onesource shows it red, another yellow with a red St.Andrews cross.Trapper liner. Vert, green. Would also suggest that this would apply tothe surcoat lining.Horse furniture, sword belt and scabbard blue. Horse grey.

11

JW3 The Prince of Wales, The Black Prince

Arms, shield, coat and trapper. Quarterly 1st and 4th azure semee offleur-de-lys or (France Ancient) 2nd and 4th gules three lions passantguardant or (England). Overall a labcl of three points argent (white).i.e colours the same as JW1.On a chapeau gules, turned up ermine a lion statant or gorged with a labelof three points argent. i.e. hat also the same as JW1. no crown, lionyellow crowned gold, collar white.Mantling. Gules, red lined ermine.Trapper liner white. Horse black.Sword belt. Gold, decorated with blue discs centred gold.Scabbard. Red decorated with gold. Armour could also be gold.

JW4. The Prince of Wales, Owen Glendower

Arms, shield, coat and trapper. Quarterly or and gules, four lionsrampant armed and langued azure counterchanged. i.e. 1st and 4thstarting from top left, yellow field, red lions, claws and tongue blue. The2nd and 3rd, red field yellow lions, claws and tongue blue.Crest. A dragon, or wyvern, gules. i.e. gold crown, red dragon.Mantling. Red lined white.Trapper liner, white. Horse brown.Sword belt and scabbard. Black decorated with gold. Horse furniturecrimson.

Sources: A European Armourial; Historic Heraldry of Britain;Heraldry, Sources, Symbols and Meanings; Military Modelling; Knights in Armour.

Members Helpline

One of the perennial problems with painting flats is getting the information to do it and have some confidencein the authenticity of the result. Some areas are well documented, some are not. Here is one on which theinformation is rather elusive. If any reader knows the answer, perhaps they could write in and we will passthe glad message

Geoffrey Blackburn has a set of about fifteen flats comprising the Colours taken at Austerlitz; the set includesNapoleon and Rapp. (I think it may be the Neckel set, engraved by Sixtus Maier; I have it too and I don’tknow the answer either - G. D.!).The question is, which Russian colours were taken at Austerlitz No prizesfor the correct answer, just a heartfelt thanks.

12

The B.F.F.S. Swap and Sell Column

We will not disclose members’ addresses. Instead we will act as a letter box, in the following manner.

For each member you wish to contact, write him a letter and enclose it in a stamped envelope with his name onthe front and send it to us. We will complete the address and post it. He will then contact you. Once you’re in contactthat’s it; it’s up to you. This may seem cumbersome, but we don’t wish to provide a burglar’s directory! We havehad a number of kind offers for Area Reps. and later, when we appoint them, they can help put members in contactwith each other.

Please check the columns after your name and inform us of any changes.Members name 1 2 3 4 5 6 7 8 9 10 11 12 Sell/swap? Special InterestsA.Bantock * * * * * * * * * * * * *S.Armstrong * * * * Crucif. PassioC.Robinson * * ArtilleryM.Jones * 19th CenturyK.Fuller *M. Squire * * * * * * * * * * * * *A.Jenkins * *C.Baines * Civil/heraldicJ.Burrows Military PoliceA.Clarke * * * * * * *G.Mills * * * * * * * * * * * *M.Taylor * Egypt/IslamP.McWilliams * * French Nap.A. Solomon * * *P.Haywood * * * *H.Taylor * * *D.Crook * * * * * * * * * * * * *G.Blackburn * * (swap only)J.Redley * * * * * * * * * * * * * Gottstein infoM.Humphreys * * * * * * * * * * * *J.Vullinghs * * * * * * * * * * * * * East GermanG.Dixey * * * * * * * * * * * * * 18/19th C.J.Woodley * * * * * *J.Lovell-Barnes *M.Creese * 19th C.D.O’Neill *A.Saunders * * * * Indian MutinyM.McDonald * * * * * * Boer War, WW1M.Bower * * * * * * * * *C.Blaydon *K.Bastian * * * * * * * * * * * *T.Morgan Painting only1. Ancients 3. Greeks 5. Burgundian 7. Thirty Years War 9. Napoleonic 11. Civilians2. Romans 4. Medieval 6. Seven Years War 8. Renaissance 10. U.S. Civil War 12. 1870-71

We hope the above is clear enough for general use. It should show you who it’s worth writing to. In addition,G.Blackburn has a lot of Napoleonic flats pre-1970, which he wishes to exchange for new post-1970 flats of thesame historical period, and Lt.Col.Clarke is also interested in the Napoleonic period, has needs for such things asBritish and French cannon, British staff, etc. His other interests include the Marlburian period and he has sets ofFranco-Prussian and World War 1 for sale or swap.

13