When I first saw the oil study of Proctor Knott winning the First Futurity stakes held at Sheepshead Bay on Long Island in 1888, I didn’t immediately realize that the painting’s title referred to the name of the horse, not the jockey. Shelby “Pike” Barnes was up, one of several leading African-Americans in the sport at the end of the 19th century and the first to win over 200 races in one season (Read more about Pike Barnes’ record-breaking career on the National Museum of Racing & Hall of Fame website). Following closely in second place was Salvator ridden by Tony Hamilton, another leading black jockey. The purse collected by the winning race horse’s owner was a whopping $40,900 (over $1,000,000 today), the highest race earnings at the time.

Louis Maurer (American, 1832 – 1932), Proctor Knott (The First Futurity, 1888, Jerome Park, Sheepshead Bay, a Close Finish), c. 1888, oil on canvas, 12 ½ x 18 ⅛ inches, Gift of The Margaret Kendrick Blodgett Foundation in memory of Peter Winants, Director Emeritus of the National Sporting  Library, 2001

The hunched figures in the oil study by Louis Maurer in the National Sporting Library & Museum’s permanent collection may be construed by viewers as caricatures, especially in light of the fact that the artist drew conservative political cartoons that are blatantly racist and denigrating by today’s standards. Currier and Ives published them leading up to Republican Abraham Lincoln’s presidential election in 1860. One of the most extreme examples is titled An Heir to the Throne, Or the Next Republican Candidate.

The Library of Congress’s description for the image: “The Republicans’ purported support of Negro rights is taken to an extreme here. Editor Horace Greeley (left) and candidate Abraham Lincoln (resting his elbow on a rail at right) stand on either side of a short black man holding a spear. The latter is the deformed African man recently featured at P.T. Barnum’s Museum on Broadway as the “What-is-it.” (A poster for this attraction appears on the wall behind.) Greeley says, “Gentlemen allow me to introduce to you, this illustrious individual in whom you will find combined, all the graces, and virtues of Black Republicanism, and whom we propose to run as our next Candidate for the Presidency.” Lincoln muses, “How fortunate! that this intellectual and noble creature should have been discovered just at this time, to prove to the world the superiority of the Colored over the Anglo Saxon race, he will be a worthy successor to carry out the policy which I shall inaugurate.” The black man wonders, “What, can dey be?” Source and image: https://www.loc.gov/resource/cph.3a05736/

Although this is difficult imagery to associate with Currier & Ives and Louis Maurer, the successful lithography firm’s company policy was business before politics. They produced satire expressing sentiments held across the political spectrum. For example, Maurer drew a pro-Lincoln cartoon, The Political Oyster House, also published by the firm in the same year.

Currier & Ives was much more widely known for creating a market for its broad variety of affordable art prints than for its caricatures. Among the last images Maurer contributed to the firm was the completed painting of the 1888 First Futurity race upon which the NSLM’s oil study was based. It was reproduced as a large chromolithograph titled The Futurity Race at Sheepshead Bay to appeal to middle-class collectors who could afford the image that commemorated an important moment in racing history.

inscribed: To the Coney Island Jockey Club this print of The Futurity Race at Sheepshead Bay. Sept 3, 1888. Value $50,000 Won by Proctor Knott is dedicated by the publishers. Painted by L. Maurer. Copyright 1889 By Currier & Ives, New York. Printed in oil colors and published by Currier & Ives, 115 Nassau St. N.Y.  Proctor Knott (Barnes) Salvator (Hamilton) Galen (Turner), Image and source: https://www.loc.gov/resource/pga.00720/

The large original oil on canvas is in the collection of the National Museum of Racing & Hall of Fame in Saratoga Springs, New York. The painting and print reveal a stylistic consistency between the depiction of the African-American and Caucasian jockeys portrayed in the composition with the crowd in the distance focused on the action of the race.

It’s hard to imagine now, but Sheepshead Bay was in the racing capitol of the United States. From 1879 and 1910, three venues were established in Brooklyn within miles of one another which were accessible by new rail lines. The Brighton Beach track opened in 1879; then the picturesque dirt and turf tracks at Sheepshead Bay were begun in 1880 and 1886 respectively (where the First Futurity took place). The Gravesend Track operated by the Brooklyn Jockey Club was started in 1886. These tracks attracted sportsmen and race-goers from across all walks of life to Coney Island.

Louis Maurer (American, 1832 – 1932) First Futurity (detail), 1888, oil on canvas, 36 x 60 inches, National Museum of Racing & Hall of Fame’s Permanent Collection, Gift of George D. Widener. Image Source: https://www.racingmuseum.org/sites/default/files/styles/front_page_rotator/public/1955.15-1140×500.jpg?itok=Lfxvfux4

At the height of their popularity, the races drew as many as 40,000 spectators to the region during the season of May through October. The booming flat racing industry was fueled by sportsmen and supported by jockeys, trainers, grooms, and stable hands who traveled there seasonally. A community of hospitality workers also arose.

Many of these working-class men and women were African-Americans facing the rising tide of racism that would soon culminate in the spread of segregation laws across the United States by the early twentieth century. While race relations were  complex, Louis Maurer’s painting, oil study, and print of the 1888 First Futurity as well as works by other artists of the era capture a slice of history to be embraced and honored for what they represent, a time when African Americans dominated the sport of racing as acclaimed  top athletes and were depicted in this historically significant role.

To read more about this topic, please see They Rode to WinClarice & Robert H. Smith Educator Anne Marie Barnes’s blog and the upcoming public program on June 13, 2017, Race Forms: African-American Jockeys in Eadweard Muybridge’s Animal Locomotion and Gilded Age Philadelphia by Dr. John Ott, a part of the Heroes & Underdogs lecture series.

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

This coming Saturday is a big day in the horse racing world! You don’t need us to tell you that May 6 is the 143rd running of the Kentucky Derby at Churchill Downs in Louisville. The Virginia Gold Cup is also this Saturday, just down the road from us at Great Meadow in The Plains.

There are so many amazing horses, talented people, spectacular stories, and fun facts associated with both of these big events – we could never share them all. Here are just a few stories about some of the four-legged stars connected with the collections here at the NSLM.

Sea Hero
This long-shot bay colt won the Derby in 1993. Today, Sea Hero is the oldest living Kentucky Derby winner and is enjoying a life of retirement standing at stud in Turkey.

Sea Hero
Tessa Pullan (English, b. 1953), Sea Hero, 1995, bronze, on stone base, 88 x 29 ½ x 96 inches, including base, Bequest of Paul Mellon, 1999, Acquired 2014 [(c) Tessa Pullan]
One of the very few grey horses to win the Derby (only eight have ever done so), Determine won in 1954 – the same year the National Sporting Library was founded.

Man O’War
One of the most famous names in American horse racing never actually ran in the Kentucky Derby, but his progeny went on to win quite a few. The chestnut stallion’s offspring included 1937 Triple Crown winner War Admiral, and he is found in the bloodlines of most top thoroughbreds, all the way up to American Pharaoh (2015) and Nyquist (2016). Another son was steeplechaser Battleship, the first American horse to win the English Grand National Steeplechase in 1938.

Marilyn Newmark (American, 1928-2013), Man O’War, 1977, bronze, 10 ½ x 14 ¾ x 3 ½ inches, Gift of Jacqueline B. Mars, 2016.  Newmark, who is known primarily for her equestrian sculpture, created this posthumous portrait after referencing the many photographs documenting the champion thoroughbred.

Gallant Fox
Gallant Fox was the second horse to ever win the Derby, Preakness, and Belmont races (1930), and the first to be referred to as a “Triple Crown” winner by the press. Gallant Fox: A Memoir, written in 1931 by the horse’s owner, William Woodward, Sr., is one of the scarcest books ever printed by the Derrydale Press. The copy in the F. Ambrose Clark Rare Book Room here at the NSLM is numbered one of fifty (but the whereabouts of only five copies are currently recorded).

The Celebrated Horse Lexington, by Boston, out of Alice Carneal, and Churchill Downs, Derby Day, c. 1946, Published by Currier & Ives, Gift of Mrs. Parker Poe, 1978

Lexington never ran in the Derby either. In fact, he died in 1875, the first year the Kentucky Derby was run. But Lexington was the leading sire in America for decades. This print in the NSLM collection features a portrait of Lexington after Louis Maurer (German/American, 1832-1932). The portrait is surrounded by images of the first 71 Derby winners – from Aristides (1875), up through Hoop Jr. (1945).

You can see a portrait of the 1973 Triple Crown winner Secretariat, along with Derby winners Smarty Jones (2004), Barbaro (2006), and many other gorgeous thoroughbreds in our newest exhibition Andre Pater: In a Sporting Light.

Andre Pater (Polish/American, b. 1953), Secretariat, 2004, pastel on board, 20 x 24 inches, Private Collection [(c) Andre Pater]

Happy Race Day!

This year, the NSLM is fortunate to have received numerous gifts of art from several generous donors. One such gift is a rare set of 22 hand-colored aquatints from 1807 and 1808, Orme’s Collection of British Field Sports: Illustrated in Twenty Beautifully Coloured Engravings from Designs by S. Howitt – an impressively long name for an impressive set of works on paper. Published by Edward Orme of London (who proudly labeled himself as “Printseller to the King”)  the series features scenes of hunting, shooting, and racing. The works were recently donated to the NSLM by George and Susan Matelich and Family.

2016.04.01_Title Page
(after) W. M. Craig (English, c. 1765-c.1834), Engraved by James Godby (English, active 1790-1820) and Henri Merke (Swiss, active c.1800 – c.1820), Orme’s Collection of British Field Sports: Illustrated in Twenty Beautifully coloured Engravings from Designs by S. Howitt (Title Page), Published by Edward Orme, January 1, 1807 hand-colored aquatint, image: 13 ¼ x 17 ⅜ inches, National Sporting Library & Museum, Gift of George & Susan Matelich and Family, 2016 (2016.04.01)

Originally housed in a large folio case, the prints are now framed individually. Yet all 20 plates, plus the title page, list of plates, and the original illustrated folio cover are still together. Oftentimes, these types of works are broken up and sold separately, never to be reunited. Full sets are rare.  Another complete set that is still bound as a folio can be found in the collection of the Yale Center for British Art.

(after) Samuel Howitt (English, 1765-1822) Engraved by James Godby (English, active 1790-1820) and Henri Merke (Swiss, active c.1800 – c.1820) Horse Racing Published by Edward Orme, January 1, 1807 hand-colored aquatint, 13 ¼ x 17 ⅜ inches National Sporting Library & Museum, Gift of George and Susan Matelich and Family, 2016 (2016.04.04)
(after) Samuel Howitt (English, 1765-1822), Engraved by James Godby (English, active 1790-1820) and Henri Merke (Swiss, active c.1800 – c.1820), Horse Racing, Published by Edward Orme, January 1, 1807, hand-colored aquatint, 13 ¼ x 17 ⅜ inches, National Sporting Library & Museum, Gift of George & Susan Matelich and Family, 2016 (2016.04.04)

Samuel Howitt was an artist known for his images of hunting, animals, and equestrian scenes. This set includes some of his best works and was a prized collection piece. Often described as a highly important set of English sporting images, these prints are excellent examples of the popular sporting art being produced at the beginning of the 19th century.

(after) Samuel Howitt (English, 1765-1822) Engraved by James Godby (English, active 1790-1820) and Henri Merke (Swiss, active c.1800-c.1820) Stag Hunting 1 Published by Edward Orme, March 1, 1807 hand-colored aquatint, 13 ¼ x 17 ⅜ inches National Sporting Library & Museum, Gift of George and Susan Matelich and Family, 2016 (2016.04.07)
(after) Samuel Howitt (English, 1765-1822), Engraved by James Godby (English, active 1790-1820) and Henri Merke (Swiss, active c.1800-c.1820), Stag Hunting 1, Published by Edward Orme, March 1, 1807, hand-colored aquatint, 13 ¼ x 17 ⅜ inches, National Sporting Library & Museum, Gift of George & Susan Matelich and Family, 2016 (2016.04.07)

The engravings are titled in both English and French. They are in excellent condition, with colors that are still vibrant – no small feat for fragile works on paper that are 210 years old. Deep reds and blues are usually the first to fade.

Detail of Stag Hunting 1
Detail of Stag Hunting 1, showing the fine condition of the blue and red colors

Each are numbered and feature the name of the artist, printmaker, and engraver in small script along the bottom edge.

“Sam’l Howitt del.”

For those of you who have prints hanging on your walls at home and have wondered what the abbreviations stand for, here is a quick Latin lesson:
del. is short for delineavit, meaning  “Drawn By”
excudit means “Printed by” or “Published by”
sculp. or sculpt. is short for sculpsit, which means “Engraved by”

(after) Samuel Howitt (English, 1765-1822), Engraved by John Clark (English, active 1775-1825) and Henri Merke (Swiss, active c.1800 – c.1820) Shooters Going Out in a Morning Published by Edward Orme, March 25, 1808 hand-colored aquatint, 13 ¼ x 17 ⅜ inches National Sporting Library & Museum, Gift of George and Susan Matelich and Family, 2016 (2016.04.03)
(after) Samuel Howitt (English, 1765-1822), Engraved by John Clark (English, active 1775-1825) and Henri Merke (Swiss, active c.1800 – c.1820), Shooters Going Out in a Morning, Published by Edward Orme, March 25, 1808, hand-colored aquatint, 13 ¼ x 17 ⅜ inches, National Sporting Library & Museum, Gift of George & Susan Matelich and Family, 2016 (2016.04.03)

The List of Plates includes a charming image of a hare. The same hare can be found in the collection of the British Museum in London.

(after) Samuel Howitt (English, 1765-1822), Engraved by J. Swaine (English, 1775-1860), Hare, Published by Edward Orme, March 9, 1808, 24 x 32 cm, British Museum, Donated by Nan Ino Cooper, Baroness Lucas of Crudwell and Lady Dingwall, In Memory of Auberon Thomas Herbert, 9th Baron Lucas of Crudwell and 5th Lord Dingwall, 1917 (1917,1208.3170)
(after) Samuel Howitt (English, 1765-1822), Engraved by John Clark (English, active 1775-1825) and Henri Merke (Swiss, active c.1800 – c.1820) Pheasant Shooting 1 Published by Edward Orme, June 1, 1807 hand-colored aquatint, 13 ¼ x 17 ⅜ inches National Sporting Library & Museum, Gift of George and Susan Matelich and Family, 2016 (2016.04.13)
(after) Samuel Howitt (English, 1765-1822), Engraved by John Clark (English, active 1775-1825) and Henri Merke (Swiss, active c.1800 – c.1820), Pheasant Shooting 1, Published by Edward Orme, June 1, 1807, hand-colored aquatint, 13 ¼ x 17 ⅜ inches, National Sporting Library & Museum, Gift of George & Susan Matelich and Family, 2016 (2016.04.13)

These works are now part of the growing collection of prints and drawings in the NSLM art collection and we look forward to putting them on view soon. You can see other works on paper from the permanent collection in the special exhibition Picturing English Pastimes: Sporting Prints at the NSLM, currently on view in the Museum. Curated by visiting John H. Daniels Fellow Jennifer Strotz, this installation of late 18th and early 19th century prints focuses on the British print market and equestrian subjects.

Nicole Stribling is CuNicole Stribling is Curator of Permanent Collections at the NSLM. She has worked at the NSLM since December 2012. As Curator of Permanent Collections, she catalogs and cares for the fine art collections and manages the registrar duties for the collection and loans, coordinating packing, shipping, and insurance arrangements. Prior to the NSLM, Nicole worked at the National Gallery of Art, Washington, DC, in the American and British Paintings Department and in the Exhibitions Department. She earned her BA in Art History from the University of Mary Washington in Fredericksburg, Virginia and is currently pursuing her MA in Museum Studies at Johns Hopkins University.rator of Permanent Collections at the National Sporting Library & Museum (NSLM). She catalogs and cares for the art collection, which includes paintings, sculpture, works on paper, and decorative arts ranging from the 17th through 21st centuries. Have a question about the NSLM collections? Contact Nicole by email.

This is the third in a series of four guest posts by 2016 Daniels Fellow Martha Wolfe. Martha’s 2016 Fellowship focused on studying The Life of an American Sportsman: Being Reminiscences by Harry Worcerster Smith, an unpublished autobiography. 

I’m not sure that many people would have characterized Harry Worcester Smith as a good-for-nothing “cad;” on the other hand, neither might they have called him a gentleman. He was highly opinionated and he had a temper; he had a wicked sense of humor and he suffered no fool. He was a scalawag, a bit of a braggart, maybe a knave, possibly a scoundrel. It’s perhaps divine providence or poetic justice that his favorite horse, his horse-of-a-lifetime, was named “The Cad.”

Harry Worcester Smith at his writing desk. Possibly in Aiken, SC or Grafton, MA.

The Cad’s given name was The Cid, “but on account of a misspelling in the Stud book entry,” Harry writes in the “Steeplechasing” chapter of his unpublished autobiography, “the gamest thoroughbred I ever threw a leg over went through life carrying the name which means good-for-nothing.” The Cad’s breeding certainly wasn’t good-for-nothing. His equine ancestors included shining stars in America’s Thoroughbred foundation stock: his sire, Uncas, was descended from Lexington, Glencoe, and Tranby. His dam, Parasol, was descended from Mortimer, Virginia, and Nottingham. The extraordinary Tranby is the horse that carried Squire Osbaldeston in early November, 1831, in his outrageous wager to complete a two-hundred mile ride around England’s Newmarket race course in under ten hours. Osbaldeston was allowed an unlimited number of horses to do the job: he brought twenty. Changing mounts fifty times during the Squire’s race against the clock, Tranby was the only horse to complete four of the four-mile laps at racing speed. It’s clear that The Cad’s ancestors had “staying power.”

“The Cad was very high-mettled,” Harry writes of his favorite’s temperament. “When they were trying to break him at the track to start from the barrier, like a gentleman he resisted the whip in the jockey’s hands, the spur on his heels and the bull-whip with which the assistant starter cut him, and it did not take more than two or three mornings for him to get so bad that they decided that they could do nothing with him; so he was shipped back to Genesee and stabled with ‘Jim Sam’s’ string down near the horse show grounds.” Jim Sam was a Wadsworth, of the well-known hunting family in upstate New York’s Genesee Valley where Harry hunted regularly behind Colonel Wadsworth’s hounds. Here, in the broadly gorged valley, is where Harry first laid eyes on The Cad.

The Cad
The Cad

“He was perfectly balanced, with an intelligent head and eyes that spoke and followed you as he looked through the upper door as you walked around…I was so taken with him that when at the end of the hunting season I had a chance to buy him at $150 I jumped at the opportunity.”

Along with his trusted trainer Dolph Wheeler, Harry rode and trained his own string of steeplechasers: “King T.,” “Sacket,” “George Keene” and “The Cad.” “Living in snowy, frost-bound New England,” he writes, “there was only now and then a day through the winter when one could school his hunters or steeplechasers over the walls about Grafton…Many is the day I would push through business, telephone to Wheeler and, if the going was soft, out we’d go no matter how deep the snow was, and so my horses got their schooling.”

“Upon the turf and beneath the turf all men are equal.” This drawing is found in a sample collection of illustrations for Smith’s unpublished autobiography. Smith’s lavender and white silks are depicted in the center.

Harry had his eye on the Championship Meadow Brook Cup Hunter’s race at Brookline in the spring of 1900. His confidence got a big boost while training over the course’s water jump. The Cad was four strides out when his hoof beats startled two workmen who had been cementing the basin on the far side of the jump. The men stood, “and as the jump was quite shallow they were fully three feet higher than the hedge itself, but this was nothing to The Cad. He stood off, cleared the hedge, sailed over the top of one man and landed way into the grass far beyond the edge of the cement.” Later, Harry went back with a measuring tape and found that The Cad had cleared twenty-eight feet.

The race itself started well, but ended badly for Harry. At the fourth hedge The Cad “took the bit in his teeth and literally tore at the next jump. I knew he was going too fast but there was no chance to take a pull and in a second he was too close to the jump and so caught it under his knees,” resulting in a bad fall.

Harry hovered “between life and death” for nearly a week. “The concussion was so bad,” he writes, “that [a few months later] a spot two or three inches square” on the crown of his head turned white. “In addition, on both sides, the tops of my back teeth were cracked off.” His convalescence was long and shook his confidence, but The Cad was uninjured and Wheeler kept him fit through the summer and fall. The upside of his accident was that Boston’s provocative socialite Isabella Stewart Gardner “sent me flowers every day.”

That August Harry entered the Hunter’s Steeplechase at Saratoga. Through no fault of The Cad’s or Harry’s, he fell again and the horse’s reputation grew rank.

Martha_webMartha Wolfe is an independent scholar, author, and three-time John H. Daniels Fellow at the National Sporting Library & Museum. Her most recent book is The Great Hound Match of 1905, chronicling the hunting competition between A. Henry Higginson and Harry Worcester Smith. Read more about Martha and her research at www.marthawolfe.net.

Of the many treasures here in the collections of the NSLM, some objects tell more stories than others.  The four-paneled Sporting Screen is a rare and special piece that seems to always be remembered by our visitors. The free-standing screen features the work of many different artists, includes imagery of 18th century horsemanship and racing, and connects directly with books and manuscripts found in the Library’s F. Ambrose Clark Rare Books Room. It’s a perfect fit for the NSLM collection, and was generously donated in 2006 through the bequest of Sonia Phipps Seherr-Thoss (1919-2006).

Four-Panel Sporting Screen (recto), mid-18th/19th century, hand-colored engravings, and oil on canvas mounted on wooden screen, each panel: 81 ½ x 27 inches, Bequest of Sonia Phipps Seherr-Thoss, 2006

The front of the screen (the “recto” side) features 32 individual, hand-painted prints of 18th-century British race horses and four oil paintings. The prints, which include pedigree, ownership, and the winning records for each horse, were first published in 1741 by the painter and printmaker Thomas Butler (British, active 1750-1759). Portraits of the same horses also appear in the beautifully illustrated book The Sportsman’s Companion: or Portraitures, Pedigrees, and Performances of the Most Eminent Race Horses and Stallions (Published in 1820). A copy is held in the Library collection.

Portraiture of Cato, Drawn and engraved by James and Henry Roberts, in The Sportsman’s Companion . . . (London: 1820). Note the decorative  illustration at the bottom of the page which features the same style horse blankets depicted above.

The back of the screen (or the “verso”) features completely different types of scenes showing early 18th century equitation and training.

Four-Panel Sporting Screen (verso), mid-18th/19th century, hand-colored engravings, and oil on canvas mounted on wooden screen, each panel: 81 ½ x 27 inches, Bequest of Sonia Phipps Seherr-Thoss, 2006

Painted after original drawings by the artist John Vanderbank (British, 1694-1739), the scenes illustrate a variety of advanced dressage movements. The same Vanderbank illustrations appear in the 1729 horsemanship manual Twenty-five Actions of the Manage Horse. An unbound copy of this book can also be found in the F. Ambrose Clark Rare Books Room.

The Volte Reversed to the left, drawn by James Vanderbank and engraved by Josephus Sympson, in Twenty-five Actions of the Manage Horse (London: J. Sympson, 1729). “Manage” (also spelled “Manege”) refers to the art of training riding horses, like today’s dressage. The “Volte” is an exercise for flexibility, completed on a small circle. The authors describe it as the “best lesson to make a horse’s shoulders pliable.”

Caring for an object like this presents unique challenges. The screen is made of wood, oil paint on canvas, prints on paper, leather borders, and metal hardware. These materials are all very sensitive to climate conditions (meaning temperature and humidity), as well as light. Those of you who have been to see the screen in person may have noticed the light levels in the gallery are kept rather low, to protect the fragile materials from overexposure and fading. In order to allow the screen some time to rest out of the light, we will soon be moving it into the Museum’s art storage room. We will use that time to have it carefully evaluated – and eventually conserved – by expert art conservators, in order to preserve and protect it.

Screen_detail-1 We look forward to having this great object cleaned up and put back on view soon! To learn more about the art collections and the library collections, visit NationalSporting.org

Today we have five great artists to highlight, as they’re all connected in one way: they each have works available for purchase through this year’s NSLM Annual Auction. The Auction is an annual fundraiser for NSLM, and proceeds go to the support of our collections. Thanks to a generous donor, this year’s Auction has some significant selections from great artists, and they make perfect holiday gifts for the sporting enthusiasts in your life! The Auction continues to November 8, so be sure to contact us soon to get involved.

Frank W. Benson

The Alarm” 1917, by Frank W. Benson. Etching on paper.

Frank W. Benson (1862-1951) was a fantastic sporting artist and American impressionist from Massachusetts. He is credited as the founder of the school of the American sporting print and one of the most accomplished artists to work within that genre. Benson studied at the School of the Museum of Fine Arts in Boston and in 1883 the Académie Julien in Paris. He produced oil and watercolor paintings as well as etchings of wildfowl. The influence of impressionism on his work is often apparent in his sporting etchings.

William Schaldach

Pheasant,” by William Schaldach. Etching on paper.

Born in Elkhart, Indiana, William J. Schaldach (1896-1982) was an avid angler and wildfowl hunter from a very young age. In his 20s, Schaldach moved to New York to study art. He established himself as a talented watercolorist, but he continued to take lessons for years, learning etching and drypoint. By the 1930s he was a regular contributor to magazines such as Field and StreamAmerican Forests, and Outdoor Life. He wrote and edited several books on art, including a 1945 biography of sporting artist Carl Rungius.

Roland Clark

The Last Round” 1928, by Roland Clark. Etching on paper.

Roland Clark (1874-1957) was known primarily for his etchings of game birds, and he gained great familiarity with those species through a life of waterfowl hunting. Though waterfowl hunting around was his great passion, Clark was also an enthusiastic angler, rider, and sailor. His work draws mainly on sketches from life in the field, and collections of his many etchings were used in his books recounting his experiences hunting.

Aiden Lassell Ripley

Grouse Shooting” 1937, by Aiden Lassell Ripley. Etching on paper.

Aiden Lassell Ripley (1896-1969) was born in Boston; his father was a member of the Boston Symphony Orchestra. Though Ripley showed promise as a musician (playing piano and tuba), he chose art instead. He joined the army during World War I, and after his discharge he studied with Frank Benson at the Boston Museum of Fine Arts to specialize in landscapes. Ripley adapted his art to incorporate sporting scenes during the Great Depression, as sales of sporting art remained relatively strong throughout the period. The adaptation stayed with him, and Ripley continued to portray game birds and sporting scenes throughout his career.

Robin Hill

Baltimore Oriole” 1974, by Robin Hill. Lithograph on Paper.

Robin Hill (b. 1932) was born in Australia before his family moved to England. Throughout his childhood, Hill spent many hours outdoors finding freedom from the restrictions of school. He trained in art at Wimbledon School of Art and the National Gallery of Art School, as well as the Royal Melbourne College. His love of nature and passion for the outdoors led him to focus exclusively on painting and writing about natural history. That passion is reflected in his meticulous attention to detail in his portrayal of wildfowl. Although Hill is best known for his paintings of birds, he has also expanded his repertoire to include paintings of dogs, farm animals, and other wildlife. He continues to produce wonderful artwork from his studio in Washington, D.C.

Works by all five of these artists are available for purchase through the NSLM Annual Auction. The Annual Auction, composed of duplicates from the Library collections, will continue until November 8. Contact John Connolly, the George L. Ohrstrom, Jr. Librarian for more information.