(This post expanded November 2017)
Here’s another King’s German Legion uniform spin-off, and a good example of the sort of existential nightmare we have to tackle when available primary sources are few.
Among the newly raised Hanoverian units with Wallmoden’s Corps in the war in Northern Germany in 1813 was the Lüneburg Hussar regiment, also known as Estorff’s after its commander, also known, in a nod to HRH, as the Prince Regent’s. Among the von Röder paintings of Wallmoden’s forces in the Anne S K Brown collection is an officer of “Estorfsche Husaren” (below left); he wears a scarlet jacket with dark blue collar and cuffs, a scarlet pelisse, both with silver lace, grey overalls and a fur cap with a dark blue bag. The von Röder images are a bit quirky, and don’t always show quite what we might expect, but they do seem to be faithful attempts at an eyewitness record. [Click to enlarge images.]
Roughly compatible with this is an image dated to March 1814, from the Elberfeld Manuscript (“Darstellung … durch Elberfeld passierten Truppen”) in the Lipperheide collection at the Kunstbibliothek Berlin – or at least, from José Maria Bueno’s re-drawing of it, as I don’t have the original handy (above centre). Plus a third primary image of an Estorff, similar but with a dark blue jacket, by Antoine Charles Horace Vernet (Carle for short) from the Royal Collection (above right); the lace should be silver or white, but otherwise it’s a fit. (For a long time, this was catalogued as the King’s German Legion 3rd Hussars, which it certainly isn’t. We’ll revisit that particular confusion in a moment …) Yes, the red/blue jacket issue is a problem, but at least we have a measure of agreement between these three.
Added Nov 2107:
Since posting these three sources, I’ve come across a number of 20th century images by Winand Aerts, based on primary sources, that confirm this picture, showing the blue cap bag, blue jacket and red or scarlet pelisse, with reversed colours for a trumpeter. One image, in an album at the Bibliothèque Nationale in Paris, is a copy of a period sketch by J B Rubens in the Bibliothèque Royale in Brussels; the hussar wears overalls strapped, cuffed and patched. It’s a fair copy of the original (not reproducible here), though Aerts reduces the number of front loops for no reason other, I suppose, than carelessness. The remaining six are from Aerts’s album of Hanoverians at Paris; these are based on Rubens (supposedly), the Elberfeld Manuscript, a portrait of a veteran, and the recollections of an unnamed officer. Aerts’s work is not invariably watertight, and the second figure here, allegedly based on Rubens, shows inexplicable differences to the cap, collar, cuffs, sash and overalls. It’s also noticeable that one of his Elberfeld figures shows obvious differences (plume, pelisse trim) to the equivalent figure as re-drawn (above) by Bueno, though both have directly copied the same source. These are the sort of annoyances that plague research mediated by secondary sources …
So far, so good. Now let’s see what a more celebrated eyewitness source makes of the same regiment. Here (below left) is the Suhr brothers’ quite different take on the Estorffs (an officer, judging by the sash) – all dark blue with yellow facings and silver lace, including a light between the overall stripes; most surprising perhaps is the cap, maybe an unrolling mirliton type or, perhaps more likely, just peakless with cords. (I’ve borrowed this image from the very useful Napoleon Online site, from the copy at the Kunstbibliothek Berlin.) This startling difference requires modern commentators to posit two quite separate Estorff uniform styles – the “early” uniform as in Suhr and the “later” uniform as in von Röder, Elberfeld and Vernet. Or, as Achard and Bueno suggest in their edition of Suhr: “Possibly, we have here one of the first uniforms of the regiment, which had to wear garments and equipment from various regiments, before the regulation uniform was created.” Well, yes, possibly. And then again, possibly not.
Move on a century or so, and we have a plate on the Estorff/Lüneburg Hussars (above right) from the watercolours by Friedrich Neumann known as “Landwehr und Freiwillige Truppen”, also in the Lipperheide collection at Berlin. (Borrowed from Napoleon Online again.) Apparently a private, but broadly similar, despite the grey overalls and the very different headgear and horse furniture. In fact the pose of the figure, and even the background foliage and fencing, seem so similar to Suhr that the derivation is obvious. But wait a minute – haven’t we seen this figure somewhere else? Those overalls, the sheepskin with the yellow scalloped edge, other smaller details – yes, it’s Charles Hamilton Smith’s 3rd Hussar of the King’s German Legion (above centre)! Neumann has borrowed it directly, but curiously, has replaced Suhr’s peakless cap and Hamilton Smith’s dragoon cap with the peaked fur cap associated with the 2nd and 3rd KGL Hussars. What’s going on?
Though Neumann’s work is sometimes mentioned today with reverence, something has clearly gone adrift here. As a possible solution to the puzzle, I’d suggest that both Suhr’s and Neumann’s figures in fact portray, with more or less accuracy, the 3rd Hussars, who after all were brigaded with the Estorffs/Lüneburgs at the time; either Suhr’s original identification was mistaken, or else at some point along the centuries both attributions have slipped. In support of this, we can point to another figure in the Elberfeld book, labelled as a “Hanoverian hussar”, which, despite some obvious discrepancies of detail, is a close relative to Suhr’s image. Since Elberfeld already contains an identified Estorff Hussar, as seen above, this one can only be intended as the 3rd Hussars. (Again, the version here is that re-drawn by Bueno.) The date of the original sketch, January 1816, would have been a month before the Third was disbanded.
So, I think both blue “Estorffs” – Suhr and Neumann – should be properly understood as records of the 3rd Hussars of the KGL, like their Elberfeld cousin; and on that basis the trio will be added in due course to my page on that regiment, though Neumann’s version, as a much later synthesis from conflicting sources, has to be considered the most artificial and the least valuable of the three.
Incidentally, isn’t Bueno’s drawing admirably stylish? So economically crisp, so fluent and animated; I’ve always liked it, and have always envied his prolific energy. But in this game the devil is in the detail, and such economy of style by its nature tends to eclipse detail …