The Horse and the Camera from the Judith and Jo Tartt, Jr. Photography Collection
exhibition on view at the National Sporting Library & Museum through January 7, 2018

Whether you love or hate taking selfies, it is hard to imagine a time before photography and the easy access we now have to the news, sports, and images of them. From the first static images, human imagination has turned the camera towards everything from the epic to the mundane. A breakneck evolution of photography has continued to advance since the first grainy, permanent photographic image was produced circa 1827. Developments saw stiff portraits become sharp-as-a-tack studies of motion within 50 years, and the twentieth century brought the wide-spread distribution of them. The history of the development of equestrian sport photography may traced with photographs in The Horse and the Camera from the Judith and Jo Tartt, Jr. Photography Collection exhibition on view at the National Sporting Library & Museum through January 7, 2018.

Beginning with the patenting of the tintype, by American innovator Hamilton Smith in 1956, photographic portraiture was quickly popularized across the United States. The medium allowed for the production of an image within minutes and gave rise to itinerant photographers who traveled from town-to-town, capturing affordable portraits of people and their prized possessions such as the horse.

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Gentleman and Lady in Carriage, c. 1880, tintype, 6 1/2 x 8 1/2 inches, on loan from the Judith & Jo Tartt, Jr. Photography Collection

It was difficult to produce sharp images with early methods of photography, since they required the sitter to be motionless for extended periods of time. The very nature of the medium dictated that the results were stiff and posed compositions.

How then did we come to really understand what a horse looks like when it is jumping, trotting, or galloping? The immediate answer that might come to mind is the name, Eadweard Muybridge. His 1877-8 series of photographic studies revolutionized the way the world views the horse, other animals, and humans in motion.

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Eadweard Muybridge (English, 1830-1904), Horse and Rider, c. 1878, collotype, 19 x 24 1/8 inches, on loan from the Judith & Jo Tartt, Jr. Photography Collection

As the story goes, famed photographer Muybridge was hired by the entrepreneur and horse breeder Leland Stanford, auspiciously to settle a bet about whether or not all four hooves of a galloping horse were simultaneously off the ground at any time during the sequence of the gait. The question was a photographic paradox. In the 1870’s, the medium remained an inherently slow and precise process. How could one reliably capture motion with it?

In response, Muybridge devised an industrious and pioneering setup of twelve large-format glass plate cameras spaced apart (The example above is a later twenty-camera version). He outfitted the cameras with innovative and reliable shutters of his own design, tripwires, and plates coated with an extremely light-sensitive emulsion. The combination made a 1/500th second exposure possible.

The technological breakthrough led to a cascade of other camera and film innovations within the following decades, for both consumer-grade and professional equipment and film.

The first photo-finishes forever changed the way races were decided…

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Harness Race Finish, Roosevelt Raceway, 1930s, gelatin silver print, 10 x 8 inches, photo Milton Platnick, Hempstead, Long Island, NY, on loan from the Judith & Jo Tartt, Jr. Photography Collection

The development of the wirephoto service by 1913 made it possible to disseminate notable and newsworthy images across the globe with ease…

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Miss Barbara Worth Performs a Cossack Jump, 1933, gelatin silver print, 7 x 9 inches, photo wire caption: Spectacular Jumps This Girl’s Forte. Miss Barbara Worth not only is prominent in California society, but is known as the owner and trainer of some of the best jumping horses in the state. She does more than train, however– she rides them. This photo shows Miss Worth with shortened stirrups executing a difficult Cossack jump. 6-26-33, on loan from the Judith & Jo Tartt, Jr. Photography Collection

…and the result in the twentieth century was that sports photography overtook illustration.

Pimlico Steeplechase, “Mergler Takes a Spill Off Capital Torch Song,” 1941, gelatin silver print marked with pen, crop marks, and gouache, 9 x 12 5/8 inches, on loan from the Judith & Jo Tartt, Jr. Photography Collection

The history of the development of equestrian sport photography is just one of the many threads that runs through The Horse and the Camera from the Judith and Jo Tartt, Jr. Photography Collection exhibition. The intimate survey is comprised of almost 70 tintypes, photogravures, albumen prints, gelatin silver prints, and collotypes created from the 1870s to the 1960s. Works are on loan from the Judith and Jo Tartt, Jr. Photography Collection of over 150 vintage and antique photographic images. The exhibition is made possible through the generous support of Mr. & Mrs. Charles T. Akre.

To learn more about the exhibition, join us for an Evening with The Horse & the Camera on Friday, September 29, 2017 at 6:30 pm for a reception and exhibition talk. Photography expert Jo Tartt, Jr. and the NSLM’s George L. Ohrstrom, Jr. Curator of Art Claudia Pfeiffer will explore how advancements in cameras, black & white film, and stop-motion photography captured human imagination and the horse at rest and in motion. RSVP to ABarnes@NationalSporting.org or 540.687.6542 ext. 25


pfeifferClaudia Pfeiffer has been the George L. Ohrstrom, Jr. Curator of Art 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

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Xenophon Marmorbüste im Kgl. Museum, Berlin, 1905. Accessed via Wikimedia Commons.

Some things just never change. The visitors to our Museum who ride horses are often impressed how timeless is the wisdom in the equestrian literature of years past: advice given 200 years ago is usually as pertinent to handling horses today as it was when it was written. Equestrian literature is extremely traditional, and most are unaware how far back the chain runs. When it comes to the written word, what we know and practice today truly began with the Greek soldier, historian, and philosopher Xenophon.

Xenophon of Athens (c. 430-354 BCE) was born to a wealthy Athenian family and served as a mercenary cavalry officer under Cyrus the Younger during his campaign against the Persians. After a complicated series of military misadventures, Xenophon and his fellow mercenaries were recruited to fight for Sparta, the enemies of Athens.

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Plate 8-I, from Richard Berenger’s translation of Xenophon, The History and Art of Horsemanship (1771). National Sporting Library & Museum.

“The same care which is given to the horse’s food and exercise, to make his body grow strong, should also be devoted to keeping his feet in condition. Even naturally sound hoofs get spoiled in stalls with moist, smooth floors.”

 

For this (and possibly for his admiration of Socrates) Xenophon was exiled from Athens and settled into a life of writing in Scillus. It was here that Xenophon penned his treatise On Horsemanship, widely credited as one of the earliest works on the selection, care, and management of horses.

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Plate 4, from Richard Berenger’s translation of Xenophon, The History and Art of Horsemanship (1771). National Sporting Library & Museum.

The earliest printing of Xenophon appears to have been around 1516. On Horsemanship was widely re-popularized during the Renaissance with the explosion of equestrian literature from the mid-1500s forward.

“If you desire to handle a good war-horse so as to make his action the more magnificent and striking, you must refrain from pulling at his mouth with the bit as well as from spurring and whipping him.” — Xenophon, On Horsemanship Morris Morgan translation, 1893.

By the 1580s, authors were debating fine points of the precepts laid down by Xenophon. On Horsemanship was translated into English by Richard Berenger in 1771.

“[I]t is evident that by word of mouth you can teach a horse nothing. If, however, you reward him with kindness after he has done as you wish, and punish him when he disobeys, he will be most likely to learn to obey as he ought.” — Xenophon, On Horsemanship Morris Morgan translation, 1893.

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Left: Greek (Cretan), Fragment from Pithos or Relief Amphora, ca. 660-630 BCE, terracotta, Tampa Museum of Art, Gift of Mr. and Mrs. William Knight Zewadski in honor of Dr. J. Michael Padgett, Curator of Classical Art, 1990-1992. (1991.023.001). Photo Credit: Courtesy Tampa Museum of Art Right: Plate 5-I from Richard Berenger’s translation of Xenophon, The History and Art of Horsemanship (1771). National Sporting Library & Museum.

“When the horse bolts suddenly off, the rider should lean forward, for then the horse would be less likely to draw in under the rider and jolt him up; but he should bend back when the horse is being brought to a poise, as he would then be less jolted.”

On view in the Museum right now is The Horse in Ancient Greek Art, an exhibition of Greek pottery depicting horses from the time of Xenophon and beyond. Visitors to the Museum can experience the unbroken chain from the ancient world to today by visiting this great exhibition and our permanent collection works on view.


Wedding Photography by Spiering Photography

John Connolly has served as the George L. Ohrstrom, Jr. Head Librarian at the National Sporting Library & Museum (NSLM) since early 2014. He is responsible for the care of the Library collections, including books, magazines, photographs, diaries, letters, and much more. 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 John by e-mail

This Saturday, September 9, our newest exhibition opens at the Museum, and visitors will get to come face-to-face with 2,500-year-old horses.

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Attributed to the Workshop of Gorgon Painter, (Greek, Attic), Horse-head Amphora, ca. 580-570 BCE, terracotta, 10 3/8 inches high, Private Collection. Each side of this amphora features a portrait of a horse with halter and flowing mane.

The Horse in Ancient Greek Art is an exciting new show that features painted vases, small sculpture, and silver coins, all from the 8th thru 4th centuries BCE. These objects are beautiful treasures that, amazingly, have survived over two and a half millennia. Every art object has a story to tell and a history to share – but these objects have a particularly long history! In addition to being spectacular archaeological finds, these works of art tell us all about equestrian life of the ancient Greek world.

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Attributed to the Orestes Painter, Greek (Attic), Red-figure Column Krater, ca. 440 BCE, Side A: Jockeys racing around column, terracotta,16 1/4 inches high, 14 3/8 inches wide, Private Collection. Ancient jockeys, who rode nude, raced their horses on long oval tracks with a sharp turn at each end.

In ancient Greece, horses represented nobility, strength, and beauty. Horses appear throughout Greek art and literature, play important roles in mythology and legend (some of the most popular examples include the Trojan Horse and Pegasos – spelled Pegasus in Latin), and were a key part of ancient society and culture. The Greeks loved athletics and competition, and equestrian sports became some of the most prestigious events at the Olympics and other types of games.

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Euainetos of Syracuse, Sicily, Dekadrachum, ca. 405-400 BCE, silver, 1 3/8 inches diameter, Private Collection, Washington, DC. This coin (equaling 10 drachmas) features an impressive relief of a quadriga, or four-horse chariot, with Nike, Goddess of Victory, flying overhead.

The Greek historian, author, and cavalry officer named Xenophon (ca. 430-354 BCE), wrote treatises on horse care and training. The concepts shared in his manuals on horsemanship and riding basically formed the foundation for modern equitation, and his writings have been referenced and translated over many centuries.

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Villanovan or Early Etruscan (Italy), Horse bit, ca. 800-700 BCE, bronze,3 3/4 x 6 x 5 inches, Sidney and Lois Eskenazi Museum of Art, Indiana University (Photo: Kevin Montague). This ancient bit is a simple snaffle (a single jointed, mild type of bit) with decorative cheek pieces in the shape of a mare and foal.

Many of the objects in the show are vases, or vessels, featuring beautifully detailed decoration and paintings. Most were originally meant to be functional – as drinking cups, pitchers, or storage containers for wine or oil. Now they are displayed so the artwork on all sides – top, bottom, inside, and outside – can be seen and enjoyed.

NSLM partnered with the Virginia Museum of Fine Arts (VMFA) in Richmond for this project. After the exhibition closes here in January, it will travel on to the second venue there. We are thrilled to be able to share so many works on loan from important collections for this show, including: the Virginia Museum of Fine Arts, the Tampa Museum of Art, Princeton University Art Museum, the Eskenazi Museum of Art at Indiana University, University of Pennsylvania Museum of Archaeology and Anthropology, and private collections. The Metropolitan Museum of Art,  Fordham University , and the American Numismatic Society are also lending works that will be shown at the VMFA venue.

We are also excited to present the catalog that goes with this exhibition. It features essays by major scholars of ancient art and archaeology and explores the significance of the horse in the ancient Greek world. To learn more about the exhibition, the catalog, or all the great programming we have lined up, visit here.

The Horse in Ancient Greek Art is organized by the National Sporting Library & Museum and the Virginia Museum of Fine Arts. It will be on view at NSLM, September 9, 2017 – January 14, 2018.

 

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One of the valuable research resources at NSLM is The Thoroughbred Record, a major periodical of record for the horse racing world. NSLM holds issues of The Thoroughbred Record dating back to 1895, and each issue tells some story from the history of racing.

In January of 1896, the American champion money winning racehorse retired. Domino, “The Black Whirlwind,” was being put out to stud by his owner, Foxhall Keene (1867-1941). Domino had been bred by Keene’s father, James R. Keene (1838-1913). Foxhall bought the yearling Domino from his father for $3,000 and the stallion went on a three-year tear through United States racing.

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Portrait of James Robert Keene, 1901, from The World’s Work. Accessed via Wikimedia Commons.

Domino was a sprinter, benefiting from the development away from timed heats in American racing. With less emphasis on stamina and more on outright speed, Domino won (among others) the Belmont Futurity, the Belmont Stakes, and the Great American Stakes.

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Foxhall P. Keene, 1909. Keene was a successful racehorse owner and breeder, and a World and Olympic Gold Medallist in polo. He purchased Domino from his father, James Keene, in 1892 for $3,000. Accessed via Wikimedia Commons.

During Domino’s two-year-old campaign in 1893, he split his hoof and never completely recovered, often racing in bandages. Consistent injuries to his feet interrupted his training following his 1895 campaign, and in early 1896, he was retired to Castleton Stud with career earnings of over $190,000.

It has also not been decided whether Domino will ever return to the turf; he probably will not, though “Billy” Lakeland, his trainer, during his visit here this week, stated that he was absolutely sound — that is, as sound as he has ever been since he split his hoof during his two-year-old campaign. This foot has always been under suspicion since, and to it more than to any other cause is attributed the comparative failure of his subsequent form compared with his wonderful two-year-old record.
–The Thoroughbred Record, January 25, 1896.

The following month, Domino arrived in Lexington to overwhelming acclaim. Huge crowds of onlookers, upon hearing about Domino’s arrival, swarmed the stable where he was being kept. So great was the demand to see “the great black” horse that Domino’s handlers spent an entire day parading him for onlookers. The Thoroughbred Record of February 8, 1896, describes the horse’s appearance for its national readership.

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Domino’s general appearance seems to have been a bit of a letdown. Apparently, eastern newspapers played up Domino as a dashing figure, a myth dispelled upon his arrival in Kentucky. Nevertheless, The Thoroughbred Record admits his many other anatomical advantages as a racer, and he is named “beautifully balanced” and “perfectly sound,” except for his nagging feet injuries.

Domino produced 20 foals before succumbing to spinal meningitis in July 1897. Of those 20 foals, eight became stakes winners and his most famous descendants include War Admiral, Secretariat, Seattle Slew, Affirmed, Gallant Fox, Omaha, Native Dancer and American Pharoah.

Domino was inducted into the National Museum of Racing and Hall of Fame in 1955.


Wedding Photography by Spiering Photography

John Connolly has served as the George L. Ohrstrom, Jr. Head Librarian at the National Sporting Library & Museum (NSLM) since early 2014. He is responsible for the care of the Library collections, including books, magazines, photographs, diaries, letters, and much more. 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 John by e-mail

I’ve recently been cataloging some of our Cecil Aldin books and I’ve been enjoying his work so I’m sharing it, and some of what I’ve learned about him, here with you.  Cecil Aldin (1870-1935) was a successful and prolific artist.  He is probably best known for his dog portraits and sporting scenes, but his illustrations filled books, magazines, and newspapers, and frequently appeared on posters.

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Full Cry, from The Fallowfield Hunt.  From The Sporting Art of Cecil Aldin (1990) by Roy Heron.

Aldin believed that it was critical to work from life.  In much the same way that writers are told to write what they know, he drew and painted things that he knew well.  He was a life long hunter and followed fox hounds, harriers, beagles, and bassets during his sporting career.  In fact he attained the office of Master twice.  First as Master of the Peppard Farmers’ Harriers, and later as Master of Foxhounds for the South Berks Hunt.

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Aldin, third from the left, as Master of the Peppard Farmers’ Harriers.  From The Sporting Art of Cecil Aldin (1990) by Roy Heron.

His long and intimate knowledge of hunt riding gives his hunt scenes authenticity.  He frequently sketched in the saddle and was able to capture the idiosyncrasies of individual riders to such a degree that people who knew them were able to identify them in paintings.

After his death his daughter published one of his sketchbooks and it provides interesting insight to his artistic process.  I love how the setting is so concrete while the riders, horses, and hounds drift through the scene like ghosts.

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The Aterstone.  From Hunting Scenes (1936) by Cecil Aldin.  The gift of Harry T. Peters, Jr.

Compare this sketch of the South Berks near Shinfield with a final painting of a similar scene.

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South Berks near Shinfield.  From Hunting Scenes (1936) by Cecil Aldin.  The gift of Harry T. Peters, Jr.
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The South Berks.  From The Sporting Art of Cecil Aldin (1990) by Roy Heron.

Aldin was surrounded by dogs and hounds of all sorts his entire life.  Here are a couple pictures of his “models” in the studio.

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From Cecil Aldin: the story of a sporting artist (1981) by Roy Heron.  The gift of John H. and Martha Daniels.
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From Cecil Aldin: the story of a sporting artist (1981) by Roy Heron.  The gift of John H. and Martha Daniels.

This photo and the following etching of Micky the wolfhound once again show Aldin working from life.

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Micky napping in the studio.  From Cecil Aldin: the story of a sporting artist (1981) by Roy Heron.  The gift of John H. and Martha Daniels.
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Micky the wolfhound.  From Cecil Aldin: the story of a sporting artist (1981) by Roy Heron.  The gift of John H. and Martha Daniels.

Aldin’s favorite model was the bull terrier, Cracker.

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Cracker on Sentry Duty.  From Cecil Aldin: the story of a sporting artist (1981) by Roy Heron.  The gift of John H. and Martha Daniels.

Cracker outlived his master by over two years.  He was so popular with the public that his own eventual death received coverage on the radio and in the newspapers.  Several papers printed obituaries.

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Cracker’s obituaries.  From Cecil Aldin: the story of a sporting artist (1981) by Roy Heron.  The gift of John H. and Martha Daniels.

Aldin’s life story is full of interesting episodes and people.  One story that really caught my eye has to do with the remount station that he ran during World War I.  Despite the doubts of the war office, he staffed his remount station entirely with women.

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A group of women remount workers at Purley Remount Depot.  From Cecil Aldin: the story of a sporting artist (1981) by Roy Heron.  The gift of John H. and Martha Daniels.

From his hunting experiences he knew many  women who were skilled horse handlers.  In the end there were over 100 women, from all social classes and of all ages, working in the remount station.  It was so successful that by the end of the war, women were employed in remount stations across England.

If you would like to read more about Cecil Aldin’s life, or to see some of his illustrations and paintings, stop by the Library and see me.  I’d love to share some more stories from his interesting life.


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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

Here in Virginia, we’re excited at the approach of a total solar eclipse which will occur in North America on August 21. While everybody is preparing to view this event, we were also reminded of another solar eclipse that left a major mark on the equestrian world.

On April 1, 1764, a solar eclipse occurred in Europe, with the maximum effect best seen in southeastern England and northern France. Viewing conditions were not ideal in London, leading observers to travel to Edinburgh to avoid cloud cover and get the best view. The eclipse began at 9:09 a.m., and continued until 11:53 a.m. Maximum obscuration was reported at 10:24 a.m. During the eclipse, the most valuable and influential horse in history was foaled.

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Daniel Quigley (Irish, 18th Century) The Godolphin Arabian, late 18th Century, oil on canvas, 38 x 48 inches, Yale Center for British Art, Paul Mellon Collection. This piece was view at NSLM as part of The Chronicle of the Horse in Art.

The horse, who was named Eclipse for his foaling day, was bred by Prince William, Duke of Cumberland (1721-1765) and son of George II. Eclipse’s dam, Spilletta, was a granddaughter of the Godolphin Arabian, a foundational sire of the Thoroughbred breed.

Eclipse was headstrong and temperamental, and the chestnut stallion was renowned for his temper. We was worked constantly to tire him out, and the exercise made him easier to handle. Eclipse was large (sometimes criticized for having a big, unattractive head), and had great endurance for an era where horse racing was done in heats of two and four miles.

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Eclipse At New Market With Groom, by George Stubbs (1724-1806). Accessed via Wikimedia Commons.

The racing career of Eclipse is remarkable, as the horse went undefeated in 18 races over two years. His jockey, Jack Oakley, habitually let Eclipse run as he pleased, and made few attempts to hold him back. After Eclipse’s second victory, he was purchased by Dennis O’Kelly (1725-1787), an adroit horse breeder and bettor who was renowned for winning a bet that placed “Eclipse first, the rest nowhere,” meaning no other horse would finish within 240 yards of Eclipse.

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Illustration of geometric measurements of Eclipse by Charles Vial de Sanibel. From Essai sur les proportions Geometrales de l’Eclipse, 1791, National Sporting Library & Museum.

After two unbeaten campaigns, Eclipse was retired in large part because of a lack of challengers. It was impossible to find better odds against him than 20 to 1, and his value now resided at stud. His stud fee began at 50 guineas, and he went on to become the most successful sire in history, siring 344 winners of more than 158,000 pounds. It’s far easier to list Thoroughbreds that don’t count Eclipse in their background than those that do. It’s estimated that over 95% of Thoroughbreds can trace their pedigrees to Eclipse in the male line.

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Skeleton of Eclipse. Photo number L0000443, Wellcome Library. Accessed via Wikimedia Commons.

Eclipse died on February 27, 1789 of a violent colic. Dennis O’Kelly’s nephew Andrew contracted famous veterinary surgeon Charles Vial de Sanibel (1753-1793) to dissect the body. Sanibel wrote a book on Eclipse from his anatomical findings, measuring the horse in geometric relation to the size of his head in order to establish ideal proportions for representation in artwork and selection of animals for breeding. His skeleton is now housed at the Royal Veterinary College in Hertfordshire.


Wedding Photography by Spiering Photography

John Connolly has served as the George L. Ohrstrom, Jr. Head Librarian at the National Sporting Library & Museum (NSLM) since early 2014. He is responsible for the care of the Library collections, including books, magazines, photographs, diaries, letters, and much more. 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 John by e-mail

Two of the NSLM’s John H. Daniels Fellows have completed new book projects, and they’re both available for purchase now. These books are exciting projects and we’re thrilled to see them completed.

CROPPEDIn Search of the Kerry Beagle
In Search of the Kerry Beagle

By Stanislaus Lynch, edited by Noel Mullins, 2008 John H. Daniels Fellow

Stanislaus Lynch (1907-1983) was a huntsman, journalist, author, broadcaster, poet and producer of Irish Draught Horses and Connemara Ponies. His works have been translated into 10 languages in 16 countries.

The book was written by Lynch but went unpublished after his death in 1983. While working on a feature article on Lynch, Mullins agreed to edit and publish the work. The book tells the story of Lynch’s travels from Dublin through the Irish Midlands to the Hills of Kerry and Limerick in his quest to discover the origins of the Kerry Beagle. The book sifts through historical and legendary accounts, blending them with Lynch’s own memories and observations. The book features a foreword by Chris Ryan, Master of the Scarteen Hounds.

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Six Centuries of Foxhunting: An Annotated Bibliography
By M. L. Biscotti, 2015 John H. Daniels Fellow

Matthew L. “Duke” Biscotti has undertaken the mammoth task of compiling, listing, and annotating 600 years of foxhunting literature. His 2015 fellowship included extensive research in the NSLM’s F. Ambrose Clark Rare Book Room with special focus on the materials in the John H. and Martha Daniels book collections.

The end result is a publication as useful as it is impressive. The 500 pages of annotated listings could just as easily serve as an introduction to the leading lights of hunting literature, and expansive title and author indexes make this work an immediate go-to reference for anybody interested in country sport. The book’s foreword is penned by Norman Fine.


Wedding Photography by Spiering Photography

John Connolly has served as the George L. Ohrstrom, Jr. Head Librarian at the National Sporting Library & Museum (NSLM) since early 2014. He is responsible for the care of the Library collections, including books, magazines, photographs, diaries, letters, and much more. 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 John by e-mail