Showing posts with label medical. Show all posts
Showing posts with label medical. Show all posts

Friday, 20 May 2011

Sepia Saturday 75: Hospital Blues

Alan Burnett’s photo prompt for this week’s edition of Sepia Saturday is a most atmospheric postcard view of the interior of a building in Oxford, taken from the collection of the Woodrow Wilson Presidential Library Archives. Forgive me if I reproduce a portion of it here, but it is particularly germane to my own submission.


Although the precise location is not immediately evident, it seems to be an orchestra room in the Town Hall, with a large pipe organ forming a grand backdrop. There are eighteen men seated and standing around the room, apparently watching the final play in a game of snooker or billiards. Apart from the postcard’s caption, which refers to the 3rd Southern General Hospital, the main clue to who these men are lies in their clothing. Six of the men are wearing ordinary suits, the remaining twelve are garbed in what are generally termed “hospital blues.”


An image of this postcard view is included within the Oxfordshire County Council’s Photographic Archive, the location described as St Aldate’s, Oxford, and a further view which includes the billiards table on the stage in the background demonstrates that the entire Town Hall was converted, even the stalls. The Woodrow Wilson Archive has a similar view with somewhat better definition. A post on the Great War Forum suggests that the Town Hall Section had 205 beds reserved for malaria cases amongst the Other Ranks. The single stripe on the arm of the man about to strike the ball with his cue confirms that he was a Lance Corporal, and indeed an “other rank.”


"I look pretty thin, Eh!"
Paper print, Collection of Barbara Ellison, Coloured by Andre Hallam

My grandfather Charles Leslie Lionel Payne (1892-1975) and his younger brother Harold Victor Payne (1898-1921) both spent time wearing hospital blues. My grandfather served in the Canadian Expeditionary Force (CEF), having immigrated to Canada in 1912, initially with the Canadian Army Service Corps (CASC) and then with the Canadian Machine Gun Corps (CMGC). Harold joined the British Army in England towards the end of the war and served with the Tank Corps. The photograph above, accurately coloured by Andre Hallam with the expert historical assistance of various members of the Great War Forum, shows Harold (sitting at centre) and friends wearing hospital blues at an unknown location. “I look pretty thin, Eh!” is handwritten in pencil on the reverse.


"Wounded Soldiers - I've met 'em. Yes sir."
Paper print, Collection of Barbara Ellison

Unfortunately his British Army service documents did not survive the Blitz - some 60% of the British Army’s Great War service records were destroyed by German bombs in 1940, and the remainder badly damaged – so it is difficult to be sure of his movements. A postcard sent to his family in Derby in November 1919 shows that he was then "in Cologne awaiting demob[ilization]" from the British Army on the Rhine (BAOR), was “quite well” and recorded hopefully, “guess I shan’t be long now.” I suspect that he took ill shortly after, before he could be demobilised. He died on 1 May 1921 at Derby. His mother was devastated, and although she would outlive him by a decade, I get the impression that she never really recovered from the shock. I have yet to order his death certificate, which may provide clues to his illness, and state whether or not he was still in the Army at that time.


Sgt. Leslie Payne, Winter 1918/1919
Paper print, Collection of Barbara Ellison
Sgt. Leslie Payne, CMGC, Winter 1918/19, in England or Canada

My grandfather’s CEF service records, on the other hand, have survived more or less intact although, sadly, I have no photographs of him wearing hospital blues. The portrait above, in which he wears his army greatcoat adorned with sergeant’s stripes, was probably taken in the Winter of 1918/19, after his recuperation had ended. I obtained a copy of his records from the Library & Archives of Canada some years ago. From this treasure trove of shorthand scribblings, indecipherable abbreviations and obtuse acronyms, and together with transcripts of the CMG Corps history and the War Diaries for his unit, I was eventually able to piece together a detailed itinerary of his movements.


Constance May Hogg, Christmas 1913
Postcard, Collection of Barbara Ellison

By the spring of 1918, my grandfather had been in the Canadian Army for almost three and a half years, two and a half years of this on the Western Front, and two years as a machine gunner. He had fought at the Battles of St. Eloi Craters (April 1916), Mount Sorrel (June 1916), Flers-Courcelette (September 1916), Vimy Ridge (April 1917), Lens (June 1917) and Passchendaele (November 1917) and appears to have survived unscathed – at least physically - with not a single day of sickness or other misadventure recorded. During a period of rest and recuperation Leslie was granted two weeks of leave on 26th November, and he lost no time in heading home. Four days later, having been granted permission to do so by his Commanding Officer, he married his sweetheart “Con” at Chester, and was back with his unit by 14th December.


Canon de 380 m/m capturé par les Australiens près de Chuignes et destiné au bombardement d'Amiens
Postcard with 1930 postmark, Collection of Barbara Ellison

On 20th April 1918, as part of the overall reorganization of the CMGC being undertaken at that time, Leslie was promoted to the rank of Sergeant, and thus put in charge of a machine gun section, comprising two Vickers machine guns with crews. On 9 July he was sent to the Canadian Corps School on a four week long training course. He probably returned to his unit just in time to participate in the very successful Battle of Amiens, on 8th, 9th and 10th August.


AMIENS - AUG 11 1918 - STATION PLATFORM BUFFET
Paper doily, Collection of Barbara Ellison

No. 2 Company of the 2nd Battalion CMGC was relieved and withdrawn from the line into reserve at Caix, allowing Leslie and his crew to enjoy the luxury of real food in Amiens on the evening of 11th August. After a week of rest, during which time the ranks were brought back up to strength by very welcome, but green, reinforcements, the entire Canadian Corps was moved back to the Arras Front. Leslie’s company arrived at their billets in the village of Monts-en-Ternois at noon on the 21st, and was bussed to the front lines the following day.


According to the corps history, the massive task of the Canadian Corps was to drive in south of the Scarpe towards Cambrai, to break the Quéant-Drocourt Line and, once the Canal du Nord was reached, to swing southward behind the Hindenburg Line.  No. 2 Company was, as usual, to be in support of the 6th Canadian Infantry Brigade on the right front, the attack scheduled for the 26th.

The machine gun crews were assigned positions on high ground near Telegraph Hill, from where they would form part of a series of 16 batteries putting up a creeping barrage of indirect fire to cover the infantry’s advance.  One machine gun was all0tted to every 35 yards of front. Zero hour was at 3 a.m., when the barrage commenced. By 6 a.m. reports of casualties and guns put out of action - by the German counter-barrage - were coming in from crews hampered by thick mist and smoke from the artillery barrage.


Testing a Vickers machinegun, September 1916
Image © and courtesy of Library & Archives of Canada

Some time during the day Leslie was hit in the left shoulder, probably by a machine gun bullet, although it could have been a piece of shrapnel. He was not the only one, the 2nd Battalion CMGC suffering its greatest number of casualties of any single attack in the war up to that point, with a total of 27 men killed and 183 wounded between 26th and 28th August. The CO’s report stated:
Lack of stretchers was very pronounced. In some cases our wounded lay out for over 12 hours and in all cases it was most difficult to evacuate our casualties or to attend to them in the absence of stretchers or bearers.


Hospital Ship Princess Elizabeth
Image © and courtesy of Ian Boyle/Simplon Postcards

He was stretchered first to the nearest first aid post or dressing station, then to No 42 Casualty Clearing Station, where it was ascertained that the "foreign body" was still lodged in his shoulder. Later that day he was evacuated to No 4 General Hospital in Camiers, on the coast. As soon as space could be found in the transports, he was shipped across the Channel aboard the Hospital Ship Princess Elizabeth, a converted Isle of Wight paddle steamer, arriving at the County of Middlesex War Hospital, Napsbury St Albans on 30th August.

An examination at Napsbury the following day is reported on his Medical Case Sheet, in the usual almost indecipherable handwriting:

Entry 2" internal to point of acromion. F.B. (Foreign Body] palpable mid way between this + axilliary fold on post surface. Clean.
An X-ray examination report described a "Bullet present subcutaneous," and a notation makes it clear that he was a "walking," rather than "stretcher" or "chair," patient. Although no X-ray image appears to have survived in his records, the image of a skiagraphic above, extracted from a fellow soldier’s service record, shows a similar lodged bullet. On 6th September an operation was conducted and the doctors successfully removed the offending piece of lead.


Patients and nurses at Napsbury St Albans, 1917
Image © Rohan Price and courtesy of Hertfordshire Genealogy

The subsequent entries on his medical records indicate that he "returned from auxilliary, healed" on 4th October, and was discharged to the Canadian Military Convalescent Hospital at Woodcote Park, Epsom three days later. He was given a final medical examination on 8th October which pronounced him fit “Di” and, after recuperating for another week, he was discharged on Monday 14th and sent on furlough for ten days.


154 Almond Street, Normanton, Derby
Image © & courtesy of Google Maps Street View

Of course Leslie headed straight home to Derby but when he arrived he found Con very ill. She succumbed to influenza at 154 Almond Street, Normanton, Derby on Sunday 20th October. It was the second major wave of the “Spanish” flu epidemic in the United Kingdom, with hundreds of thousands dying, and Leslie’s distress during the journey back to the Canadian Machine Gun Depot at Seaford, Sussex on the 24th must have been acute. The regulation requirement to report to the Paymaster that his wife was deceased, and therefore he was no longer entitled to separation pay, would no doubt have added insult to injury, the loss of $25 a month being the least of his concerns.

At 11 a.m. on 11th November 1918, the day that Leslie received his final TAB inoculation, the armistice between the German and Allied Forces came into effect, and the war was suddenly over. Without Con, Les must have looked at peace time with mixed emotions. Who knows what their plans had been? Would they have gone back to Winnipeg together, where Leslie had a decent clerk’s job at Eaton’s department store waiting for him? It seems likely. He was eventually demobilised in Canada in February 1919, after a prolonged stay at Kinmel Park in Wales and a trip across the Atlantic on the S.S. Olympic, but that’s a story for another time.


Leslie Payne, Summer 1915 (left) and Winter 1918/19 (right)
Paper prints, Collection of Barbara Ellison

I find it telling how much he changed in that short space of time. He was a fresh-faced 22 year-old when he enlisted in the CEF in November 1914, and a haggard 26 on discharge. He looks at least a decade older in the later photo, not just three or four years, and I’m sure it was not just his appearance that was different. I've been told that Grandpa hardly ever talked about the war, at least not to anyone who ever felt comfortable to share such confidences with others, and from what I can tell this was not uncommon amongst Great War veterans.

How should he communicate and explain such a kaleidoscope mish-mash of contradictory emotions and experiences in which they had been suddenly immersed on the Western Front, in Leslie’s case, for 2 years, 11 months and 14 days? Their subjection, after rudimentary initial training, to a totally unfamiliar environment, the exhausting slog of marching and carrying supplies to the front, the tedium and discomfort of life in the trenches, the camaraderie eventually engendered between members of a machine gun crew who lived every moment of every day together, often within inches of each other, for months on end, and the anticipation of death at any moment, from any quarter, in the trenches, eventually replaced with mind-numbing resignation – all these would have been incomprehensible to their families and friends back home.

I hope that he was eventually able to dispel at least some of the dark thoughts, but I am sure there were many others that he could never forget. And nor should we.

Wednesday, 13 April 2011

Somebody's grandfather, by E.I. Baker of Hailsham

Image © and courtesy of Diana Burns

In response to the carte de visite that I posted yesterday, Diana Burns sent me this most appropriate rejoinder, which she secretly hopes is her 3x-great-grandfather Daniel Talbot (1797-1871).

The things I have noticed are his thread-bare right trouser knee (apparently on one side only - why?); the photographer's use of the head support, which surprised me as he is seated, and his ferocious expression (grandmothers are not the only ones who can be forbidding!) The lower part of his walking stick is oddly serrated ... I believe the sitter's style of beard and frock-coat date also to the 1860s, but he does not strike me as a style icon!
Diana is right that this is a typical 1860s photograph. The full length seated portait with a studio setting consisting of patterned carpet, painted backdrop, curtain, plain wall, moulded skirting board, side table with tablecloth and basket of flowers, and chair with turned legs are what one would see in most studios in the larger English towns by the mid-1860s.

This man looks to me to be at least in his sixties, perhaps even early seventies. He is dressed, I think, in a frock coat with matching waistcoat and trousers, and possibly a bow tie, although his white chin beard is in the way. A watch chain is visible, and he is holding a walking stick, apparently carved with something twined around it, at least on the lower section.

Regarding the damaged right trouser knee, it's difficult to be sure without a more detailed scan whether this is on the original, or if the print has suffered some abrasion. It is tempting to think that he might have fallen over on the way to the studio - hence his grumpy countenance. His left arm is resting on the side table in a slightly uncomfortable looking, perhaps to steady it!

The base of the neck support (also known as a head clamp) which is just visible between the legs of the chair, together with the rather uncomfortable-looking angle at which he's holding his head, suggests that his head needed steadying too. While a head support is perhaps less frequently observed in portrais taken in the late 1860s than in the early 1860s, it would not be too unusual to have one available in the studio. I note, too, that both of his hands are clenched fairly tightly. One could theorise, therefore, that the subject might have been suffering from a nervous system ailment, perhaps just due to old age, resulting in tremors which were difficult to control.

Image © and courtesy of Diana Burns

Edwin Isaac Baker started work in the 1860s and I suspect the glued-on label on the reverse shows that this was an early photo.

According to David Simkin's detailed biography of Edwin Isaac Baker, he started operating a photographic studio from the premises of his booksellers and stationery business in Hailsham's High Street around 1868. David includes an example of an early carte de visite by Baker from c.1869, using a pre-printed mount rather than a plain mount with an affixed label. This portrait has an almost identical studio setting as Diana's CDV - all that is missing are the side table, tablecloth and flower basket.

Image © and courtesy of Diana Burns Image © and courtesy of Diana Burns

The use of the printed label pasted on plain white card may indeed suggest an early example of his work, before he had built up enough of a reputation and clientele to warrant the slightly higher prices of printed card stock. The misprint of his second initial as "J" instead of "I" also suggests it may have been done on the cheap. Indeed the label is almost reminiscent of a book plate. Another example of a pasted label can be seen in my profile of the early Bradwell (Derbyshire) photographer Joshua Evans. Diana has more cartes de visite by E.I. Baker in her family collection, including the portrait of a different, but also unidentified, man - shown above - in the same studio setting, but now using printed card stock.

So if the portrait of the older man was taken in 1868 or 1869, and I estimate that he was perhaps between 63 and 73 years old, this would imply a birth date of c.1795-1806. Diana's ancestor Daniel Talbot was born in 1797 and the portrait could therefore well depict him. However, I would be looking for further information to corroborate this theory. For example, where was he living at the time this photograph was taken? If he wasn't living in Hailsham, what could have been a plausible reason for his visiting the town? Are there other photographs in the family collection depicting Daniel Talbot, and do they show the same man? Can any of other E.I. Baker CDVs in the collection be identified, and can they be related in some way to this one? As with all good genealogical enquiries, approaching the problem from as many different angles as you can think of gives you a much greater chance of success.

As an aside, I wonder if the scene depicted in the backdrop might be recognisable to those familiar with the geography of the country around Hailsham. Painted backdrops did sometimes portray real scenes, and this one could well be of a local view. It appears to show a river crossed by a high bridge or viaduct. A search on Geograph for bridges within 10 kilometres of Hailsham produced a wealth of photographs, but a quick browse failed to turn up any showing suitable candidates. It would be nice to hear from anyone who can identify the bridge or scene.

Tuesday, 12 April 2011

Somebody's grandmother, by Fred Smith of Chesterfield

Image © and collection of Brett Payne

This carte de visite portrait of an unidentified elderly woman (with a look that you want to hide from) was taken by Fred Smith in his studio on the corner of Brewery Street and Tapton Lane, Chesterfield, Derbyshire. Smith was operating from those premises from c.1869 till c.1879, and judging from the square corners and design on the reverse of the mount, the studio setting and style of portrait, I estimate a date of no later than 1873.

Image © and collection of Brett Payne


Fred was actually Alfred Edward Smith, born in Coventry in 1846, who moved to Chesterfield in the 1860s, and married Scottish schoolteacher Martha Hughes in 1872. By 1881 they had left Derbyshire and were in Holdenhurst near Bournemouth (Hampshire).

It is possible that his studio was then taken over by the celebrated Chesterfield photographer Alfred Seaman, who operated from premises at that ocation from the late 1870s.

Image © and collection of Brett Payne

Post Script
I was indeed being a little unkind, but then I'm allowed to be a little provocative, occasionally, if it gets people commenting? An enlargement shows quite different left and right sides to her face. If you cover the right hand side, the baleful stare has almost disappeared and she looks substantially younger. I wonder if she'd had a stroke?
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