A Lifetime of Drawing: Paul Brown and the Searles Collection

As a Visitor Services Associate at the National Sporting Library & Museum, I often talk to guests about two artworks: an oil, Over the Brush Fence, 1930 and a watercolor, Portrait of a ‘Chaser, 1935. Both were painted by Paul Brown (American, 1893-1958).  Visitors enjoy reminiscing about Paul Brown drawings, prints, and illustrations that they have seen over the years.

Paul Brown (American, 1893-1958) Over the Brush Fence, 1930, oil on canvas,
26 x 32 7/8 x 1 7/8 inches, National Sporting Library & Museum, Gift of Nancy Searles, the artist’s daughter, 2011

Throughout the first half of the 20^th century, Brown was a well-known equestrian artist and illustrator. He captured the excitement of polo matches, horse shows, and steeplechase events in whimsical, yet accurate detail. He also illustrated over 100 children’s books. NSLM is lucky to be the repository of the largest Paul Brown archive of first edition books and artwork in the world.  An especially intimate part of this collection came to us in 2011 from his daughter, Nancy Brown Searles.  Part of the Searles Collection is an archival box filled with drawings in pencil, pen and ink, and watercolor. Many are charming sketches drawn on nothing more than a torn piece of newsprint or remnant of an art board. 

[untitled], 1935, illustration, pen and ink, Paul Brown Archive, Box 11,
Searles Collection, 2011

The oldest drawing is of a lion, signed “Paul Brown, age 6.”

[untitled], 1899, pencil on paper, Paul Brown Archive, Box 11, Searles Collection, 2011

There are also endearing sketches and drawings that include handwritten notes to family and friends.

[untitled], early 20th century, watercolor, Paul Brown Archive, Box 11,
Searles Collection, 2011

In addition to my position at the museum, I am working, part-time, on a Master of Museum and Gallery Studies at St Andrews University in Scotland.  As part of my collection-based project, I am cataloguing the Searles Collection. I write condition reports and confirm dates so that relationships between drawings in the museum and books in the library can fill out a narrative of the artist’s career.  Paul Brown’s joie de vivre and consummate draftsmanship shines through in all his work from early sketches to mature drawings.

A few works from this treasure box, as well as some of his books from the NSLM’s F. Ambrose Clark Rare Book Room, will be on display in the Library’s Mars Gallery beginning in late September.  Artwork from the archive will be seen, publicly, for the first time ever!  This small exhibit may make you think twice before you throw away a box of childhood drawings.  You never know where the pen, pencil, or paint brush may take you. Check our website soon for exhibition details.

Grace Pierce is a part-time Visitor Services Associate at the National Sporting Library & Museum.  She is also pursuing a Master of Museum and Gallery Studies at St Andrews University in Scotland. When not greeting visitors at the museum or cataloguing in art storage, Grace can be found on the links in St Andrews. 

John H. Daniels Fellowships at NSLM

One of the most significant collections held by the Library is the John H. Daniels Collection.  It comprises 5,000 volumes collected over thirty years by John Hancock “Jack” Daniels and was donated to the Library by him and his wife between 1995 and 1999.  The magnitude of the gift required more room for housing than that which was available in the Vine Hill house and spurred the construction of the Library’s current building, including its climate-controlled F. Ambrose Clark Rare Book Room.

Books in the F. Ambrose Clark Rare Book Room.

The collection includes books, periodicals, manuscripts, and ephemera, and covers a variety of sporting topics including sporting art, horsemanship, foxhunting, equestrian sports, shooting, fly fishing, veterinary medicine, and more.  Anyone who has been on a tour of the Rare Book Room will be familiar with items from the Daniels collection such as the handwritten manuscript on fox hunting by Teddy Roosevelt or one of many books featuring a fore-edge painting.

John H. Daniels.

Daniels was a life-long sportsman himself.  He played polo and was MFH of the Camden Hunt in South Carolina.  He co-founded and served as Joint-MFH of the Long Lake Hounds in Minnesota, and the Old Stonington Hunt in Illinois. He also served on the boards of the Carolina and Colonial Cup Steeplechases, and the National Steeplechase Museum.  He was a member of the board of directors here at the National Sporting Library from 1987 to 2004.

John H. Daniels and family with the Long Lake Hounds.

By donating his impressive collection of sporting books to the NSLM, John Daniels preserved the books themselves and shared the knowledge contained within them.  He was adamant that his books should be used.  He envisioned scholars developing new research from and about these books and sharing it with the larger world.  In 2007 the NSLM realized that vision though the creation of a fellowship program named in his honor, The John H. Daniels Fellowship.  This September we will welcome our 80^th Daniels Fellow.

The program is open to university faculty, graduate students, museum professionals, librarians, independent researchers, writers, and interested others.  Recipients of a Daniels Fellowship have come to the NSLM from across the country and around the world.  They are supported during their research through stipends, and out of town researchers are frequently housed in a cottage on the NSLM campus.  Research conducted through the program has resulted in the publication of books and articles, and scholars frequently share their research with the public through the NSLM’s lecture series.  Their research topics have been as varied as the Collection, including horsemanship and equestrian sport, art, fly fishing, shooting, and literature, just to name a few.

Dr. David Gerleman, Professor at George Mason University and one of NSLM’s 2019 John H. Daniels Fellows discusses his research during a lecture in June 2019.

The application period for the 2020 John H. Daniels Fellowship program closes on August 15^th.  I would like to encourage researchers whose projects touch on field sports or sporting art to look at our collections, and if they can identify useful resources, to apply for a John H. Daniels Fellowship.

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Erica Libhart has served as the Mars Technical Services Librarian at the National Sporting Library & Museum (NSLM) since early 2016. The focus of her position is collection services, working to increase accessibility to NSLM’s collection of books, periodicals, and archival materials. The NSLM collections span over 350 years of the history of equestrian sport, as well as fly fishing, wing shooting, and other field sports. Have a question? Contact Erica by e-mail

Sea Hero Passes Away

This past week Sea Hero, the oldest living winner of the Kentucky Derby died of old age in Turkey.  He was 29 years old.

Sea Hero.  Sketch by Lloyd Kelly in his book, Sea Hero 1993.  The gift of Lloyd Kelly, NSLM Rare Books Collection.

Sea Hero was bred in Virginia by Paul Mellon who had a long and successful career in horse racing on both sides of the Atlantic, but had so far been denied a win in the Kentucky Derby.  Sea Hero’s trainer, Mack Miller, was a member of the hall of fame but he too had yet to have a Kentucky Derby winner.  That would change for both men in May 1993.

Jockey Jerry Bailey hoisted the trophy with trainer MacKenzie “Mack” Miller, left, and owner Paul Mellon after Sea Hero won the Kentucky Derby on May 1, 1993. ASSOCIATED PRESS.  From the Lexington Herald Leader

Although Sea Hero had put up some excellent performances, his record did not make him a favorite in the run for the roses.  He was 9th in a field of 19 with odds of 12.90-1.  Watch video of the race here.  Late in the race jockey Jerry Bailey makes an exciting move and Sea Hero dashes through a gap on the inside and charges down the rail for the win.  Sea Hero did not manage to repeat his performance in the Preakness or the Belmont Stakes but he had one last flash of glory later that summer, winning the Travers Stakes.  It had been 51 years since a Kentucky Derby winner had done so.  After the 1994 season he was retired to stud with a career record of 6-3-4 in 24 starts and earnings of $2,929,869.

Mack Miller, Paul Mellon, and Sea Hero winning the 1993 Travers Stakes.  Image from the Blood-Horse article on the race in the August 28, 1993 issue.  NSLM periodicals collection.

His stud career began in 1995 at Lane’s End in Versailles, Kentucky, but didn’t fully develop until after he was purchased by the Turkey Jockey Club and relocated to Karacabey Pension Stud in 2000 where he stood at stud until being pensioned out in 2015.  According to Blood-Horse his lifetime progeny earnings worldwide total $19,165,928.

Sea Hero statue in the boxwood garden at NSLM.

Sea Hero has been immortalized in two statues.  One at the Saratoga Race Course, and one right here at the National Sporting Library and Museum, just down the road from Paul Mellon’s Rokeby Stables.  Our Sea Hero resides in the boxwood garden between the Museum and Library and is sometimes called upon to assist with educational programming.

Children’s workshop at NSLM.

Here he is surrounded by children learning about proportion.  If you’d like to view our statue or learn more about the Kentucky Derby and the horses and personalities that make it the most glamorous of American horse races, come and visit the Library.

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Erica Libhart has served as the Mars Technical Services Librarian at the National Sporting Library & Museum (NSLM) since early 2016. The focus of her position is collection services, working to increase accessibility to NSLM’s collection of books, periodicals, and archival materials. The NSLM collections span over 350 years of the history of equestrian sport, as well as fly fishing, wing shooting, and other field sports. Have a question? Contact Erica by e-mail

Study the chemistry of art. Study the art of chemistry.

Principles for the Development of a Complete Mind: Study the science of art. Study the art of science. Develop your senses—especially learn how to see. Realize that everything connects to everything else.
– Leonardo da Vinci

In popular culture, hard science and art are often perceived as opposites. In reality, however, there is an intimate link between the physical sciences and the creation and perception of an artistic work. An understanding of chemistry, specifically, is able to provide a fascinating twist to artistic appreciation. As an example, the patina of the 19^th-century cow weathervane in the National Sporting Library & Museum’s permanent collection is complex and beautiful. A reflection of its age, verdigris is visible where the applied gilt surface has worn away.  One of several weathervanes bequeathed by Paul Mellon, it is currently on view in the exhibition, NSLMology: The Science Sporting Art. The decorative object provides a springboard for discussions about chemistry and art.

American School, 19^th century, A Cow, molded copper with cast iron and cast zinc horns, 14 1/4 x 23 inches, Bequest of Paul Mellon, 1999

Chemistry as a science deals with the material properties of elements and compounds, and how these things work together. It is sometimes referred to as the “central science” because it bridges and connects the natural sciences. In art, everything from the mixing of paint to casting of sculpture can be described with chemical reactions and terminology.

The molded body of the weathervane was made from a copper alloy which turns greenish-blue when exposed to the elements. Note also that the patina of the metal exposed in the head of the cow is gray. This is because it is made of cast iron with cast-zinc horns. Welded onto the body, the heavier materials create balance for smoother spinning on the weathervane’s axis. Traditionally, gold leaf was not only applied as an aesthetic choice but also as a practical one. Gold is one of the least reactive elements and the most malleable of metals. It can be hammered into extremely thin sheets and retain its ability to be an effective barrier against moisture and exposure to oxygen.

Ferdinand Pautrot (French, 1832–1874), Rooster, Snails, and Pumpkin, after 1860, bronze
6 1/2 x 3 3/4 inches, Gift of the Estate of Milton Ritzenberg, 2018

Metal casting is integral to the NSLM’s bronze collection. From a scientific perspective, this technique provides fodder for an examination of chemical theory. For example, casting encompasses the three states of matter—liquid (molten bronze), gas (released as the bronze is poured and cools), and a solid (resulting sculpture). Also, the cooling of the bronze is an exothermic reaction, involving the release of heat.

Diagram of classic lost wax casting of a bronze, graphic by Jody West

Pigments are another natural platform for discussing chemical principles. Before paint was mass produced, artists often mixed their own paints from naturally occurring elements and minerals. For example, white paint could be made using lead (lead carbonate), white lime (calcium carbonate), or gypsum (calcium sulfate dihydrate). In 1921, American and Norwegian companies began to develop titanium dioxide, or titanium white, for painting in mass quantities. Knowing this brings a completely different perspective to looking at NSLM’s 17^th to 21^st century art collection. It begs analysis of how whites compare from one work to another and invites observations about the differences and similarities between them.

Left to right:  Abraham van Calraet (Dutch, 1642–1722), Portrait of a Horse in a Landscape (detail), c. 1690, oil on panel, 19 x 23 1/4 inches, Gift of Mrs. Henry H. Weldon, 2008; Follower of James Ross (British, fl. 1729–1738), A Hare Hunting Scene  (detail), 18^th century, oil on canvas, 34 ½  x 54 ½  inches, Gift of Gerald Parsky, 2008; John Bucknell Russell (Scottish, 1820–1893), The Day’s Catch (detail), 1865; oil on canvas, 21 1/4 x 29 1/4 inches, Gift of Dr. and Mrs. Timothy J. Greenan, 2011; Phoebe Phipps (English/American, ?–1993), The Quail Hunter (detail), 1986, acrylic on canvas, 18 x 24 1/2 inches, Gift of Mrs. Mimi Abel Smith, 2012

With a clinical eye, scientific principles are easily observed in art. An understanding these ideas can enhance one’s appreciation of a work. Chemistry is just one section in NSLMology on view though September 15, 2019. Weather, Ecology, Motion, and Color Theory are also presented in the same way in the interdisciplinary exhibition to shed a universal light on the understanding and appreciation of sporting art. Please join us in the galleries to explore this new perspective on the collection!

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Claudia Pfeiffer has been the George L. Ohrstrom, Jr. Curator at the National Sporting Library & Museum since the position was underwritten by the George L. Ohrstrom, Jr. Foundation in 2012. Her primary focus is the research, design, interpretation, writing, and installation of exhibitions. E-mail Claudia at cpfeiffer@nationalsporting.org

Falconry in art

As I was researching the sport of falconry for our recent event and demonstration a few weeks ago, I found myself going down a “falconry in art” rabbit hole.  Our Library really is a wonderful repository. We have several shelves of books with titles like The Art of Falconry (1943), American Falconry in the Twentieth Century (1999), Practical Falconry; to which is added, How I Became a Falconer (1972), Falconry for You (1960), and Falconry and Art (1987).  Grabbing the last title, I sat on the floor of the Library and dug in. I never noticed how much falconry is portrayed throughout art and really, how early it is shown: 4^th-century Etruscan tomb decorations, an 8^th-century Mesopotamian stele, and a 13^th-century bas-relief in Turkey (pictured below). 

Bas-relief of falconers from the Ruins of Bogazkab (Asiatic Turkey), 13th century. The falconer on the right holds the leash of the bird.

Of course, one of the most familiar images of a falcon is in Egyptian iconography, the god Horus, who was depicted with the body of a man and head of a falcon. Interestingly, no images of a falcon in captivity exist nor is there a hieroglyphic symbol for falconry, which suggests that the sport was not practiced in Egypt. Likewise, there are no images in early Greek or Roman art, possibly for the same reason.

Image of the Egyptian god Horus.

Coinciding with the rise of falconry in the Western Middle Ages was the rise of its depiction in art.  The 11^th-century Bayeux Tapestry shows several instances of King Harold with a hawk on his arm. In one, he is presenting it as a gift to William of Normandy.

This scene is after Harold has brought the falcon to William who is shown holding the hawk.

One of the most well-known works in art history is Les Tres Riches Heures du Duc de Berry (1413-1416), a devotional book, known as a Book of Hours. Amongst the psalms and prayers are calendars, each month alternating between depictions of agricultural and courtly life.  The month of August shows a scene of men on horseback and women seated aside with them, along with a groom in front, carrying raptors on their arms. 

A century or so later, birds of prey were included in The Lady with a Unicorn tapestry series. Dating from the late 15th to early 16th centuries, the six tapestries are thought to be allusions to the five senses with a sixth tapestry whose subject is unknown. Depictions of animals, both real and mythical, are interwoven throughout.

A falcon gently lands on the hand of the woman in the center.

On the other side of the world, falconry was a frequent presence in Eastern culture and, therefore, art. Terracotta figures found in Japanese burial mounds, known as haniwa, include figures of falconers. The one depicted below is from the Kofun Period (c. 250–c. 600 CE). These were life size and placed on top of graves.

A 16^th-century drawing, Mirza Ali Haft Awrang of Jami, from a Persian Royal Manuscript shows a falconer with his hawk on the left-gloved hand and an injured duck in his right. The glove he uses looks detailed and contains some of the only remaining color.

From 18^th-century India is a Portrait of a rajah, goshawk on fist, currently housed in the Louvre in Paris.  It shows a strong profile view of a man with a falcon perched on his glove, looking back at him.

We continue to see falconry throughout the Western Renaissance and into the 18^th and 19^th centuries.  As the popularity of the sport ebbs and flows so does its prominence within artistic tradition. So what, then, do we have in the 21^st century to represent this ancient sport?  Photographs. Copyright laws prevent me from producing them here, but I invite you to Google “21^st-century falconry photography.” Beautiful contemporary images appear of men and women continuing in the tradition of the medieval lords and ladies in Les Tres Riches Heures and the Indian Rajah holding a goshawk.

Falconry has, literally, withstood the test of time, remaining relevant in a modern world. The art produced throughout the centuries proves this. I’m eager to see what will be created next.

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Image citations:

Falconers from Ruins of Bogazkab : Christian Antoine de Chamerlat, Falconry and Art, London, Philip Wilson Publishers Ltd, 1987.

Egyptian god Horus: By Jeff Dahl – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=3280569Image of the Egyptian god Horus.

Bayeux Tapestry: Britain’s Bayeux Tapestry in Reading. The website has the entire story broken down by scene – certainly worth a click! http://www.bayeuxtapestry.org.uk/bayeux7.htm

Tres Riche Heures: By Limbourg brotheres – R.M.N. / R.-G. Ojedachateaudechantilly.com, Public Domain https://commons.wikimedia.org/w/index.php?curid=108570 . The Book of Hours is currently housed at the Musee Conde outside of Paris, France http://www.domainedechantilly.com/en/accueil/chateau/reading-room/selected-works/

Lady with the Unicorn: Taste: http://tchevalier.com/unicorn/tapestries/taste.html, Public Domain https://commons.wikimedia.org/w/index.php?curid=2724262
Currently housed at the Museum of the Middle Ages, Paris, France
https://www.musee-moyenage.fr/collection/oeuvre/la-dame-a-la-licorne.html

Haniwa falconer: https://jref.com/articles/japanese-falconry.217/ . A wonderful resource on Japanese falconry.

Mirza Ali Haft Awrang of Jami: Christian Antoine de Chamerlat, Falconry and Art, London, Philip Wilson Publishers Ltd, 1987.

Portrait of a Rajah, goshawk on fist: Christian Antoine de Chamerlat, Falconry and Art, London, Philip Wilson Publishers Ltd, 1987.

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Citations:

Resource on the Bayeux Tapestry: Robin S. Oggins, The Kings and Their Hawks: Falconry in Medieval England. Yale University Press, 2004.

Resource on haniwa: https://www.khanacademy.org/humanities/art-asia/art-japan/kofun-period/a/haniwa-warrior

Lauren Kraut is the Collections Manager at the National Sporting Library & Museum. Her primary focus is to maintain and preserve the works of art in the collection and on loan. Email her at lkraut@NationalSporting.org

How does inventory work?

It’s that time of year when things slow down, ever so slightly.  The spring exhibitions are open and there’s a little breathing room before we need to start devoting all of our energy to the fall exhibition.  This is a great time to catch up on the tasks that have accumulated on my desk.  One of the most important responsibilities in Collections is inventorying: to verify locations and assess the condition of all the works of art in all of our collections.  It sounds daunting, doesn’t it? 

The tools: measuring tape, condition report, flashlight, pencil (always a pencil!), dusting cloth, and the ever-present nitrile gloves. (after) Samuel Howitt (English, 1756-1822), Fox Hunting No. 3, hand-colored aquatint, 18 x 22 3/4 inches, National Sporting Library & Museum, Gift of George and Susan Matelich and Family, 2016

There are two different types of inventory that we utilize: comprehensive and location.  A comprehensive inventory is just that, an inventory of the permanent, study, and loan collections, complete with thorough condition reports and photographs.  Depending on the size of the museum or gallery and staff resources, this should (ideally) be completed annually.  A location inventory has a smaller scope; it verifies that the accession number on the object matches the record, is in the correct location, and if the condition has changed. This is not as time intensive as a comprehensive inventory and should be completed if a comprehensive inventory isn’t possible.  Because of our staff size, we like to alternate annually between the two.

Recall the condition reports from my February 19, 2019 blog entry on the installation of the Sidesaddle exhibition. The inventory process requires that a condition report is filled out for each object and retained in the object folder. Along with the basic information, like title, artist, medium, and date, I also record a brief description of the object, including any defects, like warping of a canvas or scratches on a frame.  Visuals are always helpful when documenting changes.  I try to take as thorough a reference as possible, highlighting any potential issues that should be tracked.

The oldest work of art in our art collection is A Horse in a Landscape, an oil on panel by Abraham van Calreat (c. 1690).  That’s over three centuries of exposure and changing hands and an expansive time frame for it to be dropped, hung above a fireplace, or placed in direct sunlight.  Part of an inventory is to make note of chipped frames and discoloration which are just two possibilities of the previous three scenarios. Despite its age, A Horse in a Landscape is in very good condition.

Works on paper have other potential concerns such as being susceptible to foxing.  Those are the small brownish spots you might see speckled about in old books or prints. The print below has evidence of foxing on the right border. 

Foxing can be seen most noticeably on the right-side border. Edward Troye (American, 1808-1874), Kentucky, 1867, colored engraving, 24 1/2 x 32 inches, National Sporting Library & Museum, Gift of Peter Winants, 2004

Another example of a noteable paper condition issue is seen in the image on the left below of the 1923 wedding invitation of the artist Paul Desmond Brown (American, 1893-1958) to his wife, Harriet.  The discoloration is easily noticed.  What would have caused this?  Perhaps it was displayed in a frame where, over time, the light caused it to change. 

Invitation to the wedding of Paul Desmond Brown to Harriet Smith, November 12, 1923, National Sporting Library & Museum, Gift of Nancy Searles, the artist’s daughter, 2011

The backside of the paper below has several issues including discoloration, missing elements, accretions, tears, buckling, and flaking.

Verso of paper with envelope affixed to the front, addressed to Harriet Smith, National Sporting Library & Museum, Gift of Nancy Searles, the artist’s daughter, 2011

A comprehensive inventory also serves another purpose. Do the works of art under scrutiny still meet the mission of the organization?  As museums and galleries evolve, their mission statements and policies may need to evolve too.  This could include adjusting the scope of the collection plan, meaning that objects in the collection may be better suited for interpretation at a different institution.  If that is the case, further evaluation is warranted.

An inventory can be a long process, but it serves an important purpose; it is one of the principal aspects of Collections Management.  For now, if you need me, I’ll be in storage, listening to big band music, and plugging away at this year’s inventory.

Lauren Kraut is the Collections Manager at the National Sporting Library & Museum. Her primary focus is to maintain and preserve the works of art in the collection and on loan. Email her at lkraut@NationalSporting.org

A Fond Farewell

All good things must come to an end. When we first posted to this blog in December of 2014, I had relatively little experience with the NSLM collection. We had a collection of fantastic sporting materials, but much of it wasn’t in usable condition. Books were shelved in a disorganized fashion, it was easy to lose track of things in the Rare Book Room, and we had a huge backlog of archival materials waiting to be processed into the collection.

As the work of improving the organization of the collection proceeded, I was afforded the opportunity to really dig into the books, manuscripts, photographs, and archival materials in the collection. Every book came off the shelves to be recataloged, and that meant a chance to learn more about the collection. This blog has been a wonderful opportunity to share those materials with the outside world.

We’ve reached over 55,000 readers on this blog since we first began. Our posts have made the NSLM’s presence truly international, receiving views from countries across the globe. We’ve received comments, questions, and visits based on the content of our blog. I have accounted for 119 out of Drawing Covert’s 243 posts. I’ve learned a lot and have enjoyed my blogging greatly.

Drawing Covert will continue in the months ahead, but I will no longer be a contributor to it. I have taken a new position and will be leaving the National Sporting Library & Museum in the next few weeks. I’m grateful to our readers for their support and interest; you have made this blog a tremendous success by sharing it with friends and family. We’ve come a long way, and I’m excited to know that Drawing Covert will continue to provide fascinating sporting content in the future. Thank you for allowing me to be a part of it.

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John Connolly served as the George L. Ohrstrom, Jr. Head Librarian at the National Sporting Library & Museum (NSLM) from 2014 to 2019. The NSLM collections span over 350 years of the history of equestrian sport, as well as fly fishing, wing shooting, and other field sports.