Kapitein Christoffel was toen hij het KNIL verliet de meest gedecoreerde officier met een unieke combinatie aan onderscheidingen voor dapperheid, zeker voor zijn relatief lage rang. Al tijdens zijn actieve periode was er veel discussie over zijn handelen.
Een goed overzicht van zijn leven is op wikipedia te vinden.
In alle jaren heb ik buiten musea geen items gezien die aan hem toebehoord hebben, zelfs geen handtekening. Dat is totdat ik deze handtekening kreeg, een tweede handtekening ben ik ook nog niet tegengekomen.
Both the medal and the regulations are a copy of the Austro-Hungarian bravery medal in WW1 as I described in my earlier blog. The medal consists of 4 grades, Bronze, Small Silver (or second class silver), Large Silver (first class silver) and Gold.
The medal was aimed at ranks below officer but the Gold grade could also be awarded to officers who would receive a special device to the ribbon. Officers in training could be awarded all grades of the medal untill they would get commissioned.
The Bronze and Small Silver grade had the same size of 35mm and the Large Silver and Gold grade both measure 40mm. For the silver grades I have so far found three materials – real hallmarked silver, silvered bronze which also has the word BRONZ impressed on the rim and the war metal version without any markings.
It seems the silvered bronze version had a regular problem with the eyelet as I have two version where it came off and I have seen several more on the market. These all seem to be the version with BRONZ stamped in the rim.
So far I have not handled a gold one but as far as I understand both hallmarked gold and a gilded bronze versions exist.
The front bears the bust of Regent Horthy Miklós. The reverse shows the national symbol of Hungary with crossed swords behind and the word VITÉZSÉGÉRT – bravery.
The ribbon is the standard triangular form and could have tow types of devices. A bar for repeat awards (up to three bars!) and a golden device for officers.
The award paper is basically the same for all grades with the different grade being mentioned.
The large silver grade has become quite rare and is sought after. Copies do exist for all grades using the same mold. A comparison can be found here, the website is in Hungarian but has great content!
Compiled from the same website a quick overview of the amounts awarded per year. It seems many men who died in combat also received the bronze or silver 2nd class medal posthumously.
Before WW2 there unit badges did not exist in the Netherlands East Indies Army. In the period from the liberation in 1945 until the KNIL was dissolved in 1950 many badges for units (mainly batallions) and other distinctive badges came into use. First these were mainly embroidered but soon they were made of metal with enamel or regular paint. The metal versions were better resistant to the tropical conditions but the paint chipped quite easily. There were several local producers of badges but the most prolific maker was Cordesius en Zonen (and Sons) in Batavia. The regular Dutch (expeditionary) Forces in the Indies used the same type of badges for their units.
Above the badges of the 1st and 9th batallion of the KNIL Infantry. Both badges feature the typical Postal Horn which was the standard shoulder badge of the Infantry in the pre war period.
Badge of the 2nd infantry batallion in metal and a period (unworn, nos) cloth variation of the same badge.
KNIL Batallion 5 (V) – Andjing NICA. The name originally was negative, even a swear word against these soldiers that were mostly pre war KNIL soldiers who, immediately after their release as POW’s of the Japanese, returned into active service in 1945. NICA is the acronym for Netherlands Indies Civil Administation, the first people that returned to the Indies after the liberation. Andjing is the Malayan word for dog. The 5th batallion took it up as their battle name which is represented in the dog’s depiction in the badge.
Metal badge and the cloth version being worn on the picture right. The soldier is wearing the Batallion badge on the right arm and the Brigade (also V) on the left arm.
The head of the dog was also made in pairs for wear on both arms where the dog had to look to the front on both arms!
Badges of the 11th (XI) Infantry Batallion and the generic badge for all KNIL Cavalry units. Batallions X/XI/XII all have a similar badge with a red elephant (gadjah merah) with the Batallion number beneath.
These KNIL batallion badges are all rare today and are even being reproduced, both in metal and cloth. Originals in good condition are getting difficult to find. Some units are more difficult than others and there are many collectors who try to get all units complete. I am trying to complete the KNIL Infantry Batallions in addition to the KNIL Special Forces units.
A great overview of all badges of that period (text in Dutch) can be found here!
In April 1919 the Hungarian government established the Naval Forces (Hadihajós csapat, literally “warship group”) under the authority of the Defence Ministry for the purpose of patrolling the Danube. It was replaced on 1 March 1921 by the civilian Royal Hungarian River Guard (Magyar Királyi Folyamőrség) under the Interior Ministry. Between March 1927 and May 1930 it expanded to about 1700 men personnel, a number that remained until the end of World War II. On January 15th 1939 the River Guard was renamed the Royal Hungarian Army River Forces (Magyar Királyi Honvéd Folyami Erők) and placed under the Defence Ministry. It used naval ranks until July 1944, when it switched to army ranks. In April 1941 it took part in the annexation of Yugoslavia. From April 1944 onwards its minesweepers assisted the Kriegsmarine (German navy) in clearing the Danube of aerial mines.
Order of battle (1 April 1940):
Patrol Boat Regiment (Budapest)
River Security Regiment in Ujvidek/Novi Sad after April 1941)
Staff Captain Varga
The items shown here in photo’s come from the estate of Staff Captain (equivalent of Major in the army) Varga who emigrated to the US after WW2. Currently I have no photo’s or other info apart from what I will show below.
From the ranklist of officers of the Hungarian forces the above picture. It shows he participated in the (re)annexation of Transylvania and Yugoslavia with his ship.
And a copy (with thanks to the Hungarian Military Archives) of his basic information as stated in the Military Archives.
The generic Hungarian flag that was used on all boats of the River Guard. As there were few boats they are very rare today. Probably he took this from the last boat he was stationed on. I hope to find out which boat that was.
Next to his flag also his parade belt with hangers for the Navy dagger has survived and a set of shoulder boards with his final rank of Captain.
These items were part of the Otto Friedrich collection from Cleveland.
For a long time I have been very interested in Japanese applied arts, netsuke, inro and tsuba’s mainly. Although I stopped collecting such items actively I still bought these 4 items from a friend.
The provenance wat too interesting to let them pass by. The friends grandfather was Professor Dr. C.C. Krieger. He collected these items in the first half of the 20th century when he was the Conservator for the Department of Japan, China and mainland Asia in what today is the Ethnographical Museum (Rijksmuseum voor Volkenkunde) in Leiden. He held this position from 1927 up to his retirement in 1949.
In 1935 he promoted to PhD in the Japanese language and the same year he became professor in the same subject at the Utrecht University. In 1947 he was promoted to special professor (bijzonder hoogleraar) in the art and history of the Far East including the Japanese language, a position which he held upon his final retirement in 1954, aged 70.
Dunhill-Namiki fountain pen
About 20 years before I had already received his fountain pen as a gift for my collection. Being a specialist in the Japanese language and art he obviously wrote with a luxurious Japanese lacquer pen. It was a Dunhill-Namiki, a cooperation between the famous London retailer of smoking utensils Dunhill and the Japanese pen company of Namiki (the current Pilot). These Namiki pens are famous for the lacquer (maki-e) of high quality and also were made by famous artists. Dunhill retailed them in the Western world. In this case the pen was used intensively. It is a rare pen as a size 20 (the biggest they made apart from the jumbo size 50) in a period that watches and pens were still small in general. A very appreciated gift and still one of my favorites!
His extensive collection of Japanese art was divided between his 3 children, amongst which the mother of my friend. She held on to the inheritance and after her death her two daughters inherited the collection and I was happy to gain these 4 objects from his original collection.
Two netsuke, toggles for the inro. One a relatively crude depiction of a foreigner and the other a depiction of a famous Japanese tale.
The other two items are tsuba or handguards for the Japanese swords. In this case foreign imported items most probably and adapted for Japanese use. In Japan these are called nanban. If the professor had a special interest in Japanese items with a different origin or depiction of foreigners is not known. Below a short description I received regarding these tsuba.
Martial arts meet the decorative arts. The round guard looks Chinese, Ming in style, but possibly a later revival piece. Note the voal delinaeation of the washer-seat on one side, which on the opposite side is rectangular. More study is required to determine the date of manufacture.
The octagonal one may be Korean. In both cases, these guards have been adapted to Japanese use. Unfortunately, the addition of hitsu-ana has defaced the original design. The condition appears to be outstanding.
Damascened guards do no fare so well under heavy use. Neither of these guards seem to have been worn “in the field”. Both were well cared-for by previous owners. Their preservation today is thanks to the uniquely Japanese culture of appreciating sword-parts as works of art in their own right.
Dr.Krieger and the War against the Japanese
Even though the items are not military in essence there is a small link to a military history due to the person of the original owner!
In the 1930s Japanese influence in Asia was expanding and felt threatening for most Western powers in the region. The Dutch with their presence in the Dutch East Indies were part of this fear. The actual extend of the threat would finally become clear with the start of the war against the Japanese from Pearl Harbour onwards.
In these 1930s the Dutch Military Intelligence already worked on breaking the codes the Japanese used for their international communications. What I was not aware of when I started this blog is that Dr. Krieger actually was part of this effort!
A collecting friend has several items in his collection that relate to this subject and he brought this fact to my attention. It is even mentioned in the book by Robert Haslach about the subject. The dutch Naval officer Nuboer asked for the help of Krieger (also a former Naval officer!) in his effort in breaking the Japanese codes in 1934. Nuboer would eventually be successful in his efforts! You can read some more about him here.
The friend has in his private collection a Naval uniform of Nuboer and a tropical suit that belonged to Krieger. Here some pictures of the Nuboer uniform.
How Nuboer and Krieger came into contact is not yet clear and subject of further research I want to do. What is clear that the help of a former Naval officer with extensive knowledge of the Japanese and their language was valuable to the Dutch Forces.
This was formalized in 1937. Henri Koot, the head of military intelligence requested his official help. Krieger would become, next to his job as Curator of the Asian department of the Leiden Ethnographical Museum, member of the General Staff of the Army in The Hague. His work would only end after the German occupation in 1940. Due to the secrecy of the job and the subsequent war little is known about this period but it will also be subject of further research!
This group of photo’s in my collection originates from a Hungarian refugee in Canada. After he or she passed away the photo’s were sold but the seller was not willing to release the name of the original owner/photographer. So here I present a group of never published photo’s of the Hungarian revolution.
Please be aware some of the photo’s are shocking and not proper for children. Some of the photo’s have captions stating the location. As far as available I will add them too. Other than that I will let the photo’s speak for themselves.
The Revolution of 1956 should never be forgotten and the participants deserve to be remembered by the current and future generations, both Hungarian and internationally. Freedom is worth fighting for!
Kalvin square with broken down street cars
Soldiers, tanks and casualties on Tisza Kalman square
A communist statue taken down!
Broken down tank with Freedom fighter in front
Canon in the damaged streets of Budapest
A badly damaged streetcar
The canon of the first photo from the other side?
Barricades in the street with the text “Russians go home” in Hungarian and Russian…
In remembrance of all participants and victims of the 1956 revolution!
In my earlier blog I already described the status weapons of the Aceh and Gayo regions of Sumatra to some extend. Here I want to show some detailed photo’s of the quality of workmanship in these status weapons! Remember the golden crowns are rare, maybe only 1 in a 100 examples have these….
Aceh rencong with golden crowns
An overview of 4 rencong, probably all 19th century pieces with the original sheaths on three of them. Short description from left to right and top to bottom:
Handle is made of “white” buffalo horn as opposed to the more common dark horn. Enamel of the crowns is of very high quality.
Handle made of Akar Bahar, root of the sea, which is very brittle and probably the rarest handle material. The back part therefore also of gold with a diamond (inten) on top. A very high status item.
Handle of dark horn and smooth as opposed to the first and last handle. Top of the metal also has very nice gold inlays.
Dark buffalo handle and the biggest size rencong of these four with some old battle damage and likely the oldest of these.
Note that the bottom two crowns have a very high quality of enamel and the top two ones hardly have any enamel.
Gayo status rencong with silver and (marine) ivory
In the Gayo region the use of silver was more common on status pieces. Also the use of marine ivory (dandan) was quite common. Also the first metal part often has an overlay in copper or suassa.
The first has an unusual size, the longest of all seven rencong in this blog. Also the combination of ivory, silver crowns and suassa overlay is remarkable. Probably of ritual meaning or very high status.
The second is a more standard Gayo status rencong with brass overlay and only ivory on the handle. Both have the typical blood groove that is more or less standard on Gayo made pieces.
The third seems to be a Aceh made piece for the Gayo region. The use of a full silver handle with suassa details and the sheath hint at Gayo use but the quality of workmanship hint at Aceh. An interesting cross cultural rencong.
Input and help in determining age and details of these rencong is more than welcome, please contact me with additional info!
This portrait was made by Robert Fuchs (signed R Fuchs Im Felde 1917) I found it in Hungary some years back. So far I have not been able to establish who this officer is.
Robert Fuchs, “Kriegsmaler”
During the first worldwar the Austro-Hungarian empire used artist to make professional paintings of the war. Not only local but also foreign artists, even a quite famous Dutch artist acted as such, but that is a different story alltogether. These painters did not become part of the army but were paid by it for their services, they were called war painters or in German Kriegsmaler. Sometimes they were attached to a specific unit or a theatre of war.
See for pictures of a war painter at work my other blog!
Robert Fuchs, born in 1896 was such a painter. After the war he went on to become a fulltime professional artist after completing his studies on the Viennese Academy for the Arts. Despite specializing in portraits one of his most famous paintings became the official painting for the 1955 Austrian State treaty pictured below:
Austro-Hungarian officer – R. Fuchs 1917 Im Felde
This portait is of a still unkown officer. Based on the awards he was quite successful in the war with at least an Austro-Hungarian Iron Crown order 3rd class. (first and highest award of the row of ribbons) which is quite rare for a mere captain. The other ribbons are of generic issue for war related medals. Probably one Military Merit cross 3rd class and two Military Merit medals, both the bronze and the silver version. Next to this he has two ribbons in the button hole. One is clearly for the German Iron Cross second class. The second probably is for the Turkish War medal. Those Iron Crescents are most often seen being worn on the breast and very seldom as here with a ribbon in the buttonhole.
The single loop on his shoulder in combination with the combination of medals hint at the possibility that he was one of the few Austro-Hungarian artillery men sent to fight on the Ottoman front with the Turks and the Germans.
More input for the naming of this officer is more than welcome!
It is not so often that you find a still life with Dutch medals on it, let alone colonial medals. As it directly fits my Dutch East Indies medal collection I was quite happy when I was able to acquire this painting by the Dutch Artist P.C. Kramer.
Kramer is a relatively well known painter and his work is shown in several Dutch museums. . He lived between 1879 and 1940 in Delft. The painting discussed in the blog below also hints at a background related to the Dutch East indies, like the medals in my painting.
The Citadel Medal for the siege of Antwerp in the left corner is a bit unexpected next to the Expedition Cross.
It looks like the painter was not an expert in medals as they are shown in the wrong order in the top row, the Atjeh medal is upside down and the bottom row is a very unlikely combination. Combining this with his year of birth they were possibly family heirlooms.
Jan Hoynck van Papendrecht (1858-1933, HvP in short) was a well known Dutch artist who is remembered mostly for his works of art in relation to military themes. So his works have the interest of both art museums and collectors and military museums and collectors of military artifacts. More about his life and work can be found here: http://hoynck-van-papendrecht.nl/
I have two works of art from his hand in my collection. At first I was not able to get the story behind one of these picture here but fortunately Jacques Bartels of the website above and author of the biography of HvP was able to help.
The drawing is actually an illustration from the book “My lady nobody” by Maarten Maartens a Dutch writer who wrote in English so was actually not very well known in the Netherlands as a result of that. More about him and his works can be found here: http://maartenmaartens.nl/
The illustration is of the to main characters of the book Ursula and Gerard Baron van Helmont who is an officer in the Dutch East Indies and recently returned home after being wounded in Aceh. For his action he was knighted with the prestigious Military Order of William which can be seen on his chest.
Below the illustration as it appeared in the book.
“‘I AM COME TO MAKE CONFESSION AND THEN TO LEAVE YOU’”
And the actual drawing as it looks today:
Where HvP is known for his use of colour in his water colours in this case the use is minimal as it was to be printed in black and white. But his signature quality is there in abundance in this really nice work by him!