Mr. Paul Mellon (1907-1999), a revered philanthropist and sportsman, was a lifelong incurable collector. He and his first wife Mary famously purchased their first George Stubbs painting  in 1936 – Pumpkin with a Stable-Lad, 1774, now in the Yale Center for British Art collection.

Pumpkin with a Stable-lad
George Stubbs (British, 1724–1806), Pumpkin with a Stable-lad, 1774, oil on panel, 32 3/8 x 39 7/8 inches, Yale Center for British Art, Paul Mellon Collection [ image source: http://collections.britishart.yale.edu/vufind/Record/1667168 ]
At the height of his collecting, Mr. Mellon was acquiring in the neighborhood of 200 works a year. By 1955 he and his second wife Rachel “Bunny” Mellon converted the Brick House, a former residence on their Rokeby Farm property in Upperville, Virginia into a library and art gallery to house their growing British sporting art collection.

Another collecting interest that Mr. Mellon developed was in vintage and antique weathervanes. He loaned one of his early acquisitions, a 19th century stamped copper cow, to the Popular Art in America exhibition held at the Brooklyn Museum in 1939. “Mr. Mellon loved the sculptural form of the weathervanes,” noted Beverly Carter, his former administrative assistant in 2002. “He used most of these pieces in the same way that he used the sculpture from his collection, displaying them on tabletops or on freestanding pedestals throughout the Brick House.”

A Horse, with Left Front Leg Raised
A.L. Jewell and Co., Waltham, Mass., c. 1860, A Horse, with Left Front Leg Raised, copper, 18 x 20 inches, Bequest of Paul Mellon, 1999

In 1998 Mr. Mellon generously donated the first of several weathervanes to the National Sporting Library & Museum to adorn the main cupola of the current Library building, then under construction. Carter made arrangements to have the piece transferred from  the basement of the Brick House so that it could be installed while a construction crane was on site.

A Horse Jumping a Post and Rail Gate
A.L. Jewell and Co., Waltham, Mass., third quarter, 19th century, A Horse Jumping a Post and Rail Gate with directionals, molded and gilded copper with ridged sheet copper mane and tail, 30 x 36 inches, Donated by Paul Mellon, 1998

When Mr. Mellon passed away in 1999, he bequeathed an additional eleven weathervanes that he had collected between 1973 and 1991, one of which was a life estate bequest. The latter and another weathervane bequeathed by Mrs. Mellon came to NSLM when she passed away in 2014, bringing the collection to a total of thirteen objects.  Hound Chasing a Fox adorned the Hunter Barn at Rokeby Farm, and is a little worse for wear. Remnants of gold leaf are still visible, however it is oxidized and has several holes that seem to have been the result of target practice!

A Hound Chasing a Fox
L.W. Cushing & Sons, Waltham, Mass., third quarter, 19th century, Hound Chasing a Fox with directionals (detail), copper with gold leaf, 22 x 52 inches, Bequest of Paul Mellon, 2014

Several of the weathervanes are on display in the Library and Museum, and the collection as a whole provides a significant overview of desirable forms, subject matter,  finishes, and sizes produced in the 19th century by a variety of manufacturers, some unknown. Not surprisingly there are five weathervanes that are equine-related, including the two previously mentioned, a mid-19th century trotter and rider, a full-body figure horse and jockey, and a highly-detailed child and pony cart manufactured by J. L. Mott Ironworks, NY, c. 1893. The three latter ones adorn the Library’s Paul Mellon Foyer.

Child and Pony Cart
J.L. Mott Ironworks, New York, c. 1893, Child and Pony Cart, sheet-copper and zinc, 16 x 24 inches, Bequest of Paul Mellon, 1999

Farm animals and wildlife subjects that Mr. Mellon added to the collection include a running fox, a small ram, a large ram, a bull, and the massive pig that adorns the stacks in the Main Reading Room. Mr. Mellon was particularly fond of the pig which he displayed on a table in the Abbey Room, the main library at the Brick House.

Main Reading Room
The Library’s Main Reading Room (prior to the recently completed book re-cataloging project)
A Pig
E.G. Washburne and Company, N.Y., late 19th century, A Pig, copper, 24 x 46 inches, Bequest of Paul Mellon, 1999

Another fine example is the 26-inch long copper and gold-leaf grasshopper that is on view opposite the NSLM Executive Director’s office. Mr. Mellon originally had it installed outdoors at his private airstrip for several years before having it regilt and placed on display at the Brick House as well.

A Grasshopper
American, 19th Century, A Grasshopper, copper with gold leaf, 11 x 26 inches, Bequest of Paul Mellon, 1999

In an interview “Paul Mellon on Collecting Art,” before his passing, Mr. Mellon was seated in the Brick House surrounded by the iconic collection he had amassed over several decades and planned to gift to several public institutions. Behind his left shoulder was his famed first Stubbs painting of Pumpkin and over his right – a horse weathervane with left front leg raised, most likely the one now in the National Sporting Library & Museum’s collection. When asked to give advice on collecting, Mr. Mellon said about his lifelong passion, “Immerse yourself in whatever you are interested in,” jokingly adding, “but if you’re very lucky, you won’t do it at all.”

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Newly designed sticker to be given to NSLM members as they join or renew and will be available for purchase in the Museum gift shop.

I will be adding this little gem to my sticker collection. The image is based on the outline of the weathervane which sits atop the NSLM’s Library building.  Since it has the distinction of being the only weathervane that Mr. Mellon gifted to NSLM during his lifetime, it is fitting that we introduce this graphic while we are the opening venue for  the exhibition of the Paul Mellon British Sporting Art collection traveling from Virginia Museum of Fine Arts, Sporting Vision: The Paul Mellon Collection of British Sporting Art from the Virginia Museum of Fine Arts.


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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Renaissance figure Leonardo da Vinci is famous for many things, from designing the first helicopter to painting the Mona Lisa. One of his most notable achievements was to capture human anatomy on paper, board, and canvas. From the Renaissance onward, science and art went hand in hand, especially in rendering the human form. Horses and other animals, on the other hand, were not always studied in so much detail.

George Stubbs (English, 1724 – 1806) was one of the first artists to use extensive equine anatomical study in his body of work. Stubbs was mostly self-taught, and he studied human dissection at York Hospital to inform his art. His fascination with anatomy then led Stubbs to published Anatomy of a Horse in 1766.

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George Stubbs (British, 1724–1806). Three plates from The Anatomy of the Horse, 1766. Plates: etching; 18 1/4 x 23 in. (46.4 x 58.4 cm). The Metropolitan Museum of Art, New York, Gift of Lincoln Kirstein, 1953 (53.599.1bis)

The ability to convincingly capture individual horse conformation and motion on canvas eluded most artists of this time. Stubbs, in contract, was not only able to render a horse with paint, but to place the horse within the composition naturally and effectively.

 

George Stubbs, English, 1724 - 1806 (Artist); Hyena with a Groom
George Stubbs (English, 1724–1806), Hyaena at Newmarket with One of Jenison Shafto’s Stablelads, ca. 1765–7, oil on canvas, 40 1/8 x 50 1/8 inches, Virginia Museum of Fine Arts, Paul Mellon Collection (image source: https://www.vmfa.museum/piction/6027262-132161010/)

Stubbs was made President of the Society of Artists in 1772 and elected an Associate of the Royal Academy in 1780; he exhibited for both groups.  Stubbs’ recognition, however, seemed to stall even though his skill was recognized far and wide. Animal subjects were relegated to a lower order than historic, figurative, and landscape art in a hierarchy long established by fine art academies and art critics. Stubbs continued to study and paint, but passed away with little fanfare in 1806.

George Stubbs - Whistlejacket, 1762 at the National Gallery London England
George Stubbs (1724–1806)
c. 1762,
Oil-on-canvas
292 cm × 246.4 cm (115 in × 97 in)
National Gallery, London

George Stubbs’ contributions to art do not rest solely in the “animal painter” genre. Though known for his sporting scenes, Stubbs’ dedication to realism and anatomy place him in the category of artists who, like Leonardo da Vinci and Michaelangelo, seek the truth in art through science.

Want to know more about George Stubbs and British sporting art? Visit the National Sporting Library & Museum this Spring to see A Sporting Vision: The Paul Mellon Collection of British Sporting Art from the from the Virginia Museum of Fine Arts,  a traveling exhibition organized by VMFA, on view April 13 – July 22, 2018.


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Anne Marie Barnes is the Clarice & Robert H. Smith Educator at the National Sporting Library & Museum (NSLM). Her passion for museum work began shortly after graduation with a Bachelor’s degree in History from James Madison University. Between her experience working at the Fredericksburg Area Museum & Cultural Center and the Washington Heritage Museums, she has done everything from designing summer camps to formulating major fundraisers. Have a question? Contact Anne Marie by e-mail

It’s hard to believe the Thanksgiving holiday is here already and our exhibition The Horse in Ancient Greek Art will be with us for just 2 more months. This hit show has brought in lots of visitation, field trips of all ages, and group tours from all over. We are thrilled with the great response! If you haven’t seen it yet, you have until January 14th! If you have seen it, and you can’t get enough of ancient horses and fantastic Greek art, here are some fun facts. With so many tours coming through, we get a lot of great questions and get to share some fascinating behind-the-scenes tidbits.

Entrance to The Horse in Ancient Greek Art exhibition at the NSLM. On view until January 14th.

Here are just a few of the top FAQs.

Are these things really that old? Some look brand new!
Yes! The objects on view in this show really are 2,800 – 2,300 years old. It’s hard to imagine an object (especially a ceramic vase) lasting that long, but it’s true. All have undergone some sort of conservation treatment during their lifetime. Some feature a burnished, shiny surface, which gives the illusion of looking “new” (especially when under museum display lights).

How in the world do they survive that long?
Fired pottery is surprisingly durable. Sometimes vessels are discovered by archaeologists in one piece, for example if they are found in tombs. But usually they are found in fragments and are carefully reassembled by restorers.  In Black-figure and Red-figure vase-painting, the artwork is actually created with thin layers of watered down clay called “slip”  that was baked in during the firing process. Some areas turn black in the kiln, while other areas keep the rich red and orange colors of the terracotta clay. Pigment was sometimes added afterwards, but it often doesn’t survive as well as the fired clay decoration.

Attributed to the Malibu Painter/C Painter, Black-figure Siana Cup, ca. 570-565 BCE, Private Collection, Virginia.

Some vessels show their history more than others. The base of this Siana Cup has holes from repairs that were made during ancient times. The Greeks used metal staples to hold together broken pieces of valuable pottery. Modern restorations use special glues.

Why are there Satyrs here? I thought they were goats?
Many people are familiar with the Roman form of Satyrs, which were part human and part goat. But for the Greeks, whose culture and mythology came earlier, Satyrs were human-horse hybrids. They had a horse tail, horse ears, and sometimes hooves. Both versions were companions of Dionysos, the God of Wine, and were generally crude, lewd, and trouble-making.

Black-figure Shoulder Lekythos, ca. 540-530 BCE, Private Collection, Virginia. The procession on this vase shows Dionysos on a mule, with satyrs raising their hands and singing.

Where are the saddles?
The Greeks rode bareback or sometimes with saddle cloths. Saddles with a solid frame, called a tree, did not appear until the 2nd or 1st century BCE. Solid stirrups, made of bronze or iron, were developed later in China around the 3rd century CE. Until then, various types of saddle pads or tree-less saddles were used, sometimes with cloth or leather toe loops.

So, how did the Greeks mount their horses with no saddles or stirrups? The author Xenophon suggested getting a leg up or using a spear to vault on.

Attributed to the Wraith Painter, Black-figure Droop Cup, ca. 530 BCE, Private Collection, Virginia. This scene shows a mounted jockey, flanked by judges, athletes, and spectators. The red line on the white horse may indicate a saddle cloth.

Does the NSLM own any of these ancient objects?
Sometimes people are surprised to learn that the answer to this question is actually no. This exhibition is made up of loans from other museums (Virginia Museum of Fine Arts, Tampa Museum of Art, Princeton University, University of Pennsylvania, and Indiana University) and private collections. Ancient art is a new and exciting topic for us here! Exhibiting these objects gives us an opportunity to expand the context of our mission and look at a much bigger timeline for the history of horses in art and culture.

All art is informed by the art that has come before it. Part of what we do with our programming is help make connections between early works and modern examples. For instance, did you know that Nic Fiddian-Green, the creator of Still Water, was inspired by the classical sculptures of horses on the Parthenon Frieze?

Nic Fiddian-Green (English, b. 1963), Still Water, 2011, hammered lead with copper rivets, 9 feet high, NSLM, Museum Purchase, 2013. (c) Nic Fiddian Green.
Marble relief, Slab XXXVII from the North Frieze of the Parthenon: procession of horse-drawn chariots, 438-432 BCE © The Trustees of the British Museum

After it closes here in Middleburg, The Horse in Ancient Greek Art will travel on to the Virginia Museum of Fine Arts, our co-organizers of the exhibition, where it will be on view February 17 – July 8, 2018.

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Many studies and papers have been written about how arts education helps students become more successful. In fact, The President’s Committee on the Arts and the Humanities suggests that child arts education can result in better academic performance and social engagement over a long term period, perhaps with life-long benefits. As the Clarice & Robert H. Smith Educator, one of my main duties this fall is to make sure that all public, private, home school and post-secondary students have an opportunity to experience art, especially in our feature exhibition, The Horse in Ancient Greek Art.

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Attributed to the Sappho Painter [Cahn], Greek (Attic), Black-Figure White Ground Lekythos, ca. 510 BCE, Quadriga chariot horses being harnessed, terracotta, Private Collection.
It can be difficult for students to relate an ancient vase to their every day lives. Some of these objects spent hundreds of years underground, and the people who made them aren’t on SnapChat. But I have discovered some human connections between modern Americans and ancient Greeks that the students have really enjoyed.

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Attributed to the Workshop of Hermogenes [Heesen], Greek (Attic) Band Cup, ca. 540 BCE, Achilles, Troilus on horseback, and Polyxena, terracotta, Private Collection.
1. They drank out of bowls. The variety of vase shapes used in ancient times can be overwhelming at first. How could each be used differently? And why didn’t Ancient Greeks drink out of cups like normal people? They actually drank out of shallow bowls called kylikes. Drinking out of a kylix sounds strange at first, but just about every kid eats breakfast cereal and then slurps the leftover milk straight from the bowl.

2. They spruced up on the go. Ancient Greeks did not have silky bubble baths and showers like we think of today, instead they used oil to clean off a sweaty body after exercising at the gymnasium. Not many middle school students roam the halls with an arybollos of perfume or oil tied to their belt, but they understand needing deodorant or body spray after gym class. At least, we hope they do.

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Greek (Corinth), Stater, ca. 340 BCE, Obv: Pegasos, silver, Virginia Museum of Fine Arts, Adolph D. and Wilkins C. Fund (63.13.3)

3. They are inspired by impossible, magical things. Some of the most engaging pieces of art in the exhibition are those that show mythological creatures. There’s something inherently heroic about a gleaming silver pegasos, something curious and powerful about a centaur crouched, ready to leap across the lip of a bowl. Amid historic recounts of Greco-Prussian wars or horse races, the mythological figures hold a child’s gaze the longest. Children understand the draw of fantastic dishware. ‘I have Power Rangers spoons’ says one student, ‘I have a Minions cup’, ‘I have a whole Frozen tea-party set’, they can relate to these characters.

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Students practice making connections across history.

What is so special about their character dishes at home? On the last tour, one little girl recounted a story about how her favorite fictional character came to be. She paused, struggling to convey what it is about the supernatural, mythical, magical world that pulls her in so.

“I just love it”, she sighed. She was telling me about her favorite cup at home, but her eyes are still glued to the pegasos. 


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Anne Marie Barnes is the Clarice & Robert H. Smith Educator at the National Sporting Library & Museum (NSLM). Her passion for museum work began shortly after graduation with a Bachelor’s degree in History from James Madison University. Between her expeience working at the Fredericksburg Area Museum & Cultural Center and the Washington Heritage Museums, she has done everything from designing summer camps to formulating major fundraisers. Have a question? Contact Anne Marie by e-mail

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 be 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 1856, 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.

Gentleman and Lady in Carriage
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.

Muybridge
Eadweard Muybridge (English, 1830-1904), Horse and Rider, c. 1890, 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…

Harness Racing
Harness Race Finish, Roosevelt Raceway, 1945, 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 implementation of the wirephoto service nationally by the 1920s made it possible to disseminate notable and newsworthy images across the country with ease…

Cossack Jump
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.

Horse-head_Amphora_standard
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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