By Audrey Dewjee
It is a privilege and a pleasure for the Historycal Roots team to work with Audrey Dewjee, Audrey has forgotten more about black British history than we will ever know.
News that a bust of Mary Seacole by the sculptor Count Gleichen is to be auctioned on 30th July 2020, reminded Audrey of the story of how the bust came to be made. You can read Audrey’s article on the subject below. It is a story known to very few people and Audrey is the perfect person to tell it as, back in 1984, she co-edited (with Ziggi Alexander) the first modern re-issue of Mary Seacole’s autobiography[1].
As the bust has been in the hands of a private collector for many years, we fervently hope that the auction leads to it being purchased by an institution which will put it on public display. At a time when we are debating the importance of celebrating the contribution of black men and women to British history it would be a travesty if this important artefact were to fall into the hands of a private collector to be squirrelled away from public view or, worse, shipped overseas. There are all too few public images of Mary Seacole available for people to view and it is important that we maximise the visibility of those we have.
In the article that follows Audrey tells the story of the remarkable friendship between Mary Seacole and the man who sculpted the image.
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The sculptor, Count Gleichen, was a nephew of Queen Victoria. He was born Prince Victor of Hohenlohe-Langenburg, but he changed his name to the lesser title after his morganatic marriage in early 1861 to Laura Williamina Seymour, daughter of a British Admiral, as she was only permitted the title of Countess, not Princess.
As an officer of the Royal Navy, Prince Victor served in the Crimean War (1853-1856) and was one of the customers of Mary Seacole’s renowned British Hotel which acted as a sort of gentleman’s club to officers in the British forces. Here they could not only purchase alcoholic drinks and delicious meals but also essentials such as boots and shoes, socks and underwear, saddles, caps and handkerchiefs – in fact “everything from an anchor to a needle” – which the Commissariat (the government department responsible for the supply of food and equipment) was, for many months, unable to provide.
Mary’s friendship with the young prince, who was then in his early twenties, came in useful to him. In her autobiography she describes a couple of instances where her aid was of use:
“Of course the summer [of 1855] introduced its own plagues, and among the worst of these were the flies. I shall never forget those Crimean flies….There was no exterminating them – no thinning them – no escaping from them by night or by day….The officers in the front suffered terribly from them. One of my kindest customers, a lieutenant serving in the Royal Naval Brigade, who was a close relative of the Queen, whose uniform he wore, came to me in great perplexity. He evidently considered the fly nuisance the most trying portion of the campaign, and of far more consequence than the Russian shot and shell. ‘Mami’, he said (he had been in the West Indies, and so called me by the familiar term used by the Creole children), ‘Mami, these flies respect nothing. Not content with eating my prog [food] they set to at night and make a supper of me,’ and his face showed traces of their attacks. ‘Confound them, they’ll kill me, Mami; they’re everywhere, even in the trenches, and you’d suppose they wouldn’t go there from choice. What can you do for me, Mami?’
“Not much; but I rode down to Mr. B—–’s store, at Kadikoi, where I was lucky in being able to procure a piece of muslin, which I pinned up (time was too precious to allow me to use needle and thread) into a mosquito net, with which the prince was delighted. He fell ill later in the summer, when I went up to his quarters and did all I could for him.”
Here Mary Seacole was being rather modest: Prince Victor credited her with saving his life when he was stricken down with cholera.
At the British Hotel, Mary also provided a canteen for other ranks, where she carried out first aid for a variety of conditions including injuries, battle wounds and frostbite. She dispensed her medicines for the treatment of diseases such as dysentery, diarrhoea and cholera which were endemic in the camp and which killed six times more men than did wounds sustained in battle. For officers, Mary provided more individual care – she visited their tents and huts close to the battlefront where she administered her medicines as well as nutritious food to her patients.
Her successful treatment of Prince Victor resulted in even closer friendship which continued after the war, when they were both living in London. By 1871, and now known as Count Gleichen, Prince Victor had retired from the Royal Navy and was practising as a talented sculptor. His bust of Mary Seacole, created that year at the studio in his apartments at St. James’s Palace, was exhibited at the Summer Exhibition of the Royal Academy in 1872.
Of special interest is the fact that Gleichen portrayed Mary wearing her Crimean medals. There has been much controversy over claims by Seacole detractors that she had no right to wear these medals because no evidence has been found of her being officially awarded them. The evidence may not have been found, but I do not believe that an officer of the Royal Navy of Gleichen’s rank would have featured the medals so prominently in his sculpture if there was any doubt about her right to wear them.
Incidentally Mary wore her medals without challenge when she attended a high profile review of the army at Aldershot in September 1866. Sheldrake’s Aldershot and Sandhurst Military Gazette reported the presence of the “Crimean celebrity…decorated with her three war medals – the Crimean medal with three clasps, the Legion of Honour and the Turkish medal, that had been presented to her by the different governments for the valuable services rendered by this extraordinary lady to the allied army during this memorable campaign.” The report continued by describing her acknowledgement on the day by the army top brass: “As the troops were formed up to march past, she was recognised by the generals and Sir James [Lieut.-Gen. The Hon. Sir James Yorke Scarlett, K.C.B] rode up to her, and shook her warmly by the hand, remarking that the last time he saw her she was ‘totting’ out brandy to the soldiers in the Crimea…. Gen. Hodge also gave her a warm reception, and particularly requested her to visit the female hospital before she left Aldershot. Sir Wm. Codrington also rode to her and shook her by the hand, and, as well as the other generals, inquired where she had been since the Crimean War…. On her way homewards, Capt. Wolfe also accosted her…and expressed his pleasure at seeing her in Aldershot.”
In fact, Mary and Count Gleichen remained friends for the rest of their lives. The Fortnightly Review, of January, 1892, in an article entitled “The Late Prince Victor of Hohenlohe” [p.313] recorded that, “During the summer of that year [1855], Prince Victor for the second time nearly died of cholera. He was however, brought round by the devoted nursing of the well-known Mother Seacole, the West Indian black woman, who had become much attached to him. Up to the time of her death, not many years ago, the warm hearted old lady used to come and see him, and bring little presents for his children.”
In her will, Mary bequeathed to Count Gleichen “the diamond ring given to my late husband by his Godfather, Viscount Nelson”. She also left her best set of pearl ornaments to his eldest daughter, the Countess Feodora Gleichen, and nineteen guineas each to his other three children.
I trust the bust which illustrates their friendship will remain in this country, to be seen here by all who want to view it.
Details of the auction can be seen here: https://www.dominicwinter.co.uk/Auction/Lot/297-crimean-war-victorian-terracotta-bust-modelled-as-mary-seacole/?lot=357372&so=0&st=297&sto=0&au=748&ef=&et=&ic=False&sd=0&pp=48&pn=1&g=1
[1] The illustrations in this article come from Wonderful Adventures of Mrs. Seacole in Many Lands, edited by Ziggi Alexander and Audrey Dewjee, Falling Wall Press, 1984.
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