Help preserve the Musée Somme 1916

Unidentified diggers of the 5th Division AIF having a smoke and resting by the side of the Montauban road, near Mametz approximately 7km east of Albert, while enroute to the trenches. December 1916. Photograph: Herbert Frederick Baldwin. Australian War Memorial Accession Number: E00019

 

ANZAC Day, the 25^th of April, is a day where Aussies and Kiwis remember the sacrifices made during times of war. Dawn service commemorations are held around the country and at memorials across the globe. This year, lock-downs due to the COVID-19 pandemic have had a huge impact on the way 2020’s commemorations and also on the places we visit to remember. Memorials, museums and local businesses have been forced to close their doors to the public and for some, who rely on the patronage of tourists making the pilgrimage to the sites where their forebears fought, the impact may be fatal.

This morning, whilst checking Facebook I stumbled across a cry for help from the non-profit Musée Somme 1916 in the French town of Albert, approximately 7km southwest of Pozieres, in the Somme region. Albert would be familiar to thousands of Australians who have made the pilgrimage to the battlefields of the Western Front and many may have visited the museum which is located in the tunnels under the Basilica of Note-Dame de Brebieres.

The Basilica was home to the famous leaning Golden Virgin statue of Mary and the infant Jesus which was hit by a German shell in 1915 and knocked to a near horizontal position. A number of legends developed among the thousands of soldiers who passed through Albert around the ‘Leaning Virgin’ including the myth that whichever side caused the statue to fall, would lose the war. It was eventually knocked down and destroyed by allied shells in April 1918 after the Germans recaptured the town during their Spring Offensive. After the war, the Basilica was faithfully rebuilt according to its original design, complete with a replica of the statue.

1916 postcard of the Basilica of Notre-Dame de Brebieres, France. The postcard is folded in half and opens up to twice the size of a regular postcard, with text ‘Guerre 1914-1916’, and featuring black and white photographs on the front, with the Basilica of Notre-Dame de Brebieres in Albert, France on the right, and on the left a photograph of the Basilica showing the destruction done to the building after 15 months of bombardment. The postcard was sent by No. 171 Private Philip George Pittaway of the 27th Battalion AIF to his sister back in Australia a few months after arriving in France. George Pittaway enlisted in South Australia on 14 January 1915 and served in Egypt and Gallipoli for three months before being sent to France in March 1916. He was killed in action on 5 November 1916 in France during the 27th Battalion’s attack on German positions in Flers, and has no known grave. State Library of South Australia Artifact Number: PRG 1675/6/4/R

 

The Musée Somme 1916’s entry, which is on the side of the Basilica, takes visitors down into tunnels that were first built in the 13^th century, before being converted to an air raid shelter in 1938 and then finally the current museum in 1992. Its tunnels and dozen alcoves stretch for 250m and provide visitors with an overview of what life was like for soldiers during the July 1916 offensive. The photographs of the museum that you see here were taken during a pilgrimage that I made to the battlefields of the Somme in 2015. The trip was a humbling and moving experience, made even more poignant by places such as the Musée Somme 1916 which contextualise the sacrifices that were made by all sides during that terrible period in history. If you are able, I encourage you to give the museum whatever support you can, to help preserve the history for future generations.

The museum’s crowd funding page can be found here and you can find them on Facebook here.

Lest We Forget!

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

Musée Somme 1916 – Albert, France. Photo: Julian Tennant

 

Musée Somme 1916
Rue Anicet Godin
80300 Albert
France

Phone: +33 (0)3 22751617
Email: musee@somme1916.org
Website: www.musee-somme-1916.eu

Open:                                                                                                                                                         The Musée Somme 1916 is usually open everyday 09:00 until 18:00 (last entry at 17:30). However due to the COVID-19 pandemic it is temporarily closed until further notice.

Entry Fees:
Adults –  7.00 €
Children 6 to 18 years old –  4.00 €
Children  under 6 years old –  Free
Veterans –  5.00 €
Disabled –  6.00 €
Adult groups (10 pax or more) –  6.00 €
Guided tour (25 pax maximum) –  50.00 €

 

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Frank McNamara: The first Australian aviator to win the Victoria Cross

Lt Frank H McNamara outside his tent at the Central Flying School (CFS) at Point Cook, Victoria, shortly after graduating as a pilot in October 1915

The first pattern Australian Military Forces (AMF) pilot’s wings of the type issued to Frank McNamara upon graduation and as seen in the photograph above. The later issue Australian Flying Corps (AFC) pilot wings are below.

On the 20th of March 1917, Lt. Frank H McNamara became the first Australian aviator to be awarded the Victoria Cross after landing his aircraft behind enemy lines to rescue a downed comrade, whilst serving with No. 1 Squadron Australian Flying Corps in Palestine. The citation for the Victoria Cross reads,

“most conspicuous bravery and devotion to duty during an aerial bomb attack upon a hostile construction train, when one of our pilots was forced to land behind the enemy’s lines. Lieutenant McNamara, observing the pilots predicament and the fact that hostile cavalry were approaching, descended to his rescue. He did this under heavy rifle fire and in spite of the fact that he himself had been severely wounded in the thigh. He landed about 200 yards from the damaged machine, the pilot of which climbed on to Lieutenant McNamara’s machine, and an attempt was made to rise. Owing, however, to his disabled leg, Lieutenant McNamara was unable to keep his machine straight, and it turned over. The two officers, having extricated themselves, immediately set fire to the machine and made their way across to the damaged machine, which they succeeded in starting. Finally, Lieutenant McNamara, although weak from loss of blood. flew this machine back to the aerodrome, a distance of seventy miles, and thus completed his comrade’s rescue.”

Frank Hubert McNamara was born at Rushworth, Victoria, on 4 April 1894. After completing secondary schooling in Shepparton, he studied teaching at the Teachers Training College and the University of Melbourne and went on to teach at a number of Victorian Schools where he joined the senior cadet units. In 1912 he transferred to the Brighton Rifles and was commissioned as a second lieutenant in July 1913. After the outbreak of the First World War he served at Queenscliff and then Point Nepean before attending the Officers Training School at Broadmeadows, then between February and May 1915, instructed at the AIF Training Depot at Broadmeadows.

In August 1915 McNamara was selected to attend the Point Cook Flying School, graduating as a pilot in October that year. In January 1916 he was posted as an adjutant to No. 1 Squadron, Australian Flying Corps and sailed for Egypt. In May 1916 he was seconded to No. 42 Squadron, Royal Flying Corps to attend the Central Flying School at Upavon, England. Following this he was attached as an instructor to No. 22 Squadron of the Royal Flying Corps in Egypt before returning to duty with No. 1 Squadron.

C flight No. 1 Squadron, Captain Richard (Dickie) Williams (later Air Marshal Sir Richard) the OC, is seen in the centre. From left the other officers are; Frank Hubert McNamara (the only AFC winner of the Victoria Cross (VC) in the first world war), L W Heathcote, S K Muir, E G Roberts and L J Wackett, in front of a Martinsyde aircraft. (Wing Commander E G Roberts collection).
Photograph courtesy of the Australian War Memorial. Image No. A05340

On 20 March 1917 McNamara, flying on a bombing mission in Gaza, saw a fellow squadron member, Captain D. W. Rutherford, shot down. Although having just suffered a serious leg wound, McNamara landed near the stricken Rutherford who climbed aboard, but his wound prevented McNamara from taking off and the aircraft crashed. The two men returned to Rutherford’s plane, which they succeeded in starting and, with McNamara at the controls, they took off just as enemy cavalry arrived. For this action McNamara was awarded the Victoria Cross.

Portrait, maternity jacket and items belonging to Douglas Wallace Rutherford, No. 1 Sqn AFC, who was rescued by Frank McNamara in the action for which he was awarded the VC. These items all comprise part of the collection held at the RAAF Museum at Point Cook in Victoria. Note that despite being an AFC pilot, Wallace’s jacket features the pilot wings of the Royal Flying Corps (RFC), whilst the portrait shows him with the Observers brevet for which he originally qualified.

Douglas Wallace Rutherford was born in Rockhampton, Queensland on 29 September 1890. He joined 5 Light Horse Regiment on 7 December 1914 and departed Australia later that month with the second contingent destined for Gallipoli. He went into action in May 1915 and was wounded on 28 June. After receiving medical attention in Alexandria, Egypt and London, UK, he returned to the 5th Light Horse in April 1916 and soon transferred to the Australian Flying Corps, qualifying as an Observer in August 1916. After promotion to Captain in November 1916, Rutherford commenced pilot training with the 5th School of Military Aeronautics at Aboukir, Egypt and by 1917 had returned to No. 1 Squadron AFC as a qualified pilot. Rutherford undertook operations against Turkish forces with No. 1 Squadron until being forced down in the Amman area and was captured by the Turks. He was imprisoned in Constantinople for six months before being returned to Australia in December 1918.

In April 1917McNamara was promoted to captain and appointed Flight Commander, but his wound prevented further flying and he was invalided to Australia in August. His appointment with the AFC ended in January 1918 but he was reappointed in September and became an aviation instructor. In 1921 he transferred to the newly established Royal Australian Air Force as a flight lieutenant and held a number of senior RAAF appointments between the wars, including two years on exchange to the RAF in the mid-1920s.

Cigarette card showing a portrait of Captain Frank Hubert McNamara VC. These cigarette cards were produced by the company Sniders and Abrahams  Pty Ltd and featured Australia’s Victoria Cross winners of the First World War.

At the outbreak of the World War Two, McNamara was promoted to air commodore and then an air vice marshal in 1942. From 1942 until 1945 he served as Air Officer Commanding British Forces in Aden before returning to London as the RAAF’s representative at Britain’s Ministry of Defence. In July 1946 he became Director of Education at the headquarters of the British Occupation Administration in Germany. He remained in the UK after retiring and died in London on 2^nd November 1961.

Images of War: The Lost Diggers of Vignacourt.

Portrait of two Australian soldiers on a despatch motorcycle and sidecar. Identified on the right, in the sidecar, is 750 Lieutenant Sydney Hubert Carroll MC, 4th Machine Gun Battalion; and left, on the motorcycle, is an unidentified 4th Brigade Headquarters staff officer, also wearing a Military Cross. Taken by Louis and Antoinette Thuillier in Vignacourt, France during the period 1916 to 1918.
Object Type Black & white – Glass original quarter-plate negative
Item ID P10550.049
Source: http://www.awm.gov.au/collection/p10550.049

The invention of photography in 1839 changed the world. It provided a more accessible means for society to record and over the course of time, define itself. For the collector, researcher and historian, photographic records are absolutely invaluable in providing important pieces of information about everything that has contributed to our past and our current identity. The camera has recorded everything, from the minutiae of detail on an item of clothing to a providing a document of events that shaped opinions and changed the course of history.

Like many soldiers, I also carried a camera and documented my life in the army and when I decided that it was time to head down ‘civvie’ street, I opted to take my photography to the next level opting to become a professional photographer. These days, in addition to taking photographs I also work as a Photography/Media lecturer at the Central Institute of Technology in Perth. My classes are varied and range from teaching digital capture, editorial photography to traditional darkroom and long obsolete 19^th century ‘alternative’ printing techniques. I have also been responsible for instructing the students on storing archiving and exhibiting their photographic collections. These are aspects that most people pay little attention to, with potentially disastrous consequences for the future, particularly in this digital era of built in obsolescence where technology becomes obsolete overnight and we are no longer limited by the shooting restrictions of a roll film.

Group portrait of a British artillery unit. From the Thuillier collection of glass plate negatives. Taken by Louis and Antoinette Thuillier in Vignacourt, France during the period 1916 to 1918.
Object Type Black & white – Glass original quarter-plate negative
Item ID P10550.144
Source: https://www.awm.gov.au/collection/p10550.144

So, in future blog posts, I’ll present a series of articles aimed at us collectors and military enthusiasts that will look at how to preserve, store and share the photos that are important to us, from a collectors perspective and also to ensure that our kids or grandchildren can enjoy the photographs that we take today. We will look at the various technologies from the birth of photography in 1839 through to the present day. For each of these we will cover considerations for preventive conservation, storage, handling and presentation. There’s a lot of ground to cover and I’ll break up the sessions with some battlefield reports (I’m heading back to Vietnam in a few weeks) or titbits from my collection.  But, before we start, here is something that should arouse your interest in the topic.

Group portrait of five unidentified American soldiers, with two local French civilian women, standing in front of a US Army Quarter Masters Corps truck. Taken by Louis and Antoinette Thuillier in Vignacourt, France during the period 1916 to 1918.
Object Type Black & white – Glass original quarter-plate negative.
Item ID P10550.143
Source: http://www.awm.gov.au/collection/p10550.143

Vignacourt is a small French town a little to the north of Amiens and during the First World War played an important role as a base and rest area for allied troops from the nearby fighting as it was just outside artillery range, but close enough to act as a staging area for the British sector. In late 1916 hundreds of Australians moved from the winter trenches of the Somme to the relative comfort of the town to rest and refit. Whilst many of the young Frenchmen had left to fight, the town it was still functioning and amongst those who remained were Louis and Antoinette Thuillier who turned their home into a photo studio and advertised for soldiers to have their photographs taken.

Portrait of possibly 3335 Private Joseph William Devlin, 2nd Pioneer Battalion with a gas respirator bag around his neck. Taken by Louis and Antoinette Thuillier in Vignacourt, France during the period 1916 to 1918.
Object Type Black & white – Glass original quarter-plate negative. Item ID P10550.050
Source: https://www.awm.gov.au/collection/p10550.050

These were taken using glass plate negatives and printed outdoors, using the sun to expose the image onto postcards which the diggers could keep as a souvenir or send home to their families as evidence that they were still alive and well. Thousands of soldiers passed through their studio and whilst many of the resulting images have been preserved in family albums and institutions, it was believed that the original glass negatives had been lost. Then, in 2011 over 3000 of the glass negatives were discovered in a barn, amongst them around 800 images of the Australian troops. Kerry Stokes, businessman, philanthropist and friend of the Australian War Memorial generously donated these to the Australian War Memorial. Of these, 74 images were selected and reprinted using the traditional darkroom techniques and featured as part of the Remember me: the lost diggers of Vignacourt exhibition which ran at the AWM until July 2013.

Click the image to see a video of the handover of the negatives to the Australian War Memorial

The exhibition combines the images along with it’s own records and collection to tell the story of the subjects in their own voices. Whilst the exhibition only features a small number of the photos, the full collection is available online at the AWM site (http://www.awm.gov.au/exhibitions/remember-me/collection/). To coincide with the exhibition, Ross Coulthart has produced a book, The Lost Diggers, which tells the story of the discovery of the negatives and the stories of many of the people in the photos. The AWM has also released a video showing the restoration and printing of the images, which is worth watching and provides an insight into the preservation of this type of photograph.

Click the image to see a video featuring some of the background preservation and production of the images.