In just two weeks the Chincoteague Volunteer Fire Department’s annual carnival will culminate in the world famous swimming of the horses.  Firemen will become “saltwater cowboys” and drive a herd of wild horses across a narrow channel from Assateague Island to Chincoteague Island and auction off the foals to raise money to support the fire department.  This event was made famous by Marguerite Henry whose 1947 book, Misty of Chincoteague, describes the pony swim and remains a favorite of children today.

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Marguerite Henry and Misty.  From Wikipedia.

I’ve seen the swim covered on the news and I’ve visited the horses at Assateague Island but I’ve never been to see the pony swim.  I wanted to find out more about this interesting event and the herd of horses that lives at the beach.  The Library yielded up several books on the topic.  Most helpful were, Wild Horses of the Dunes by Rich Pomerantz (2004), and Hoofprints in the Sand: Wild Horses of the Atlantic Coast by Bonnie S. Urquhart (2002).  For this week’s blog I thought I’d share some of what I learned.

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Postcard depicting one legend of how horses arrived on the barrier islands.  From The Chincoteague Ponies

Assateague and Chincoteague Islands are part of a long chain of barrier islands that stretches along most of the eastern shore of the United States.  These narrow islands have sandy beaches on their ocean side, and piney forest and marshlands on the side facing the mainland.  Although horses are not native to Assateague Island, they have been there since at least the 17th century.  How they got there is a bit of a mystery.  There are several romantic tales involving herds of pirate’s horses, or horses that survived shipwrecks just off shore and swam to the island, but the more likely solution has to do with tax evasion.  In Colonial times the English levied a tax on fences.  In order to avoid this tax, people moved their herds of horses, cattle, sheep, and even chickens, over to barrier islands like Assateague.  Here the animals had natural “fences,” and were free from both predators and the tax man.  Today there are feral descendants of these hidden herds on many of the barrier islands off the Atlantic coast.

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Horses on Assateague.  From Wild Horses of the Dunes by Rich Pomerantz (2004).  National Sporting Library & Museum, the gift of The Chronicle of the Horse.

Assateague Island is divided in half by the state line between Maryland and Virginia.  A fence marks the border and separates the horses into two herds.  The northern Maryland half is a National Seashore and State Park and is maintained by the National Park Service.  The horses here are generally left to their own devices, aside from a birth control system administered by dart.  It is easy to visit and see the horses here and one can even camp among the dunes.

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Map of Assateague Island.  Chincoteague Island is the island between the Chincoteague National Wildlife Refuge and the mainland of Virginia.  The horses swim across the narrow channel at the southern end.  From Pryor Wild.

The southern half in Virginia forms The Chincoteague National Wildlife Refuge, and is run by the United States Fish & Wildlife Service.  It is a frequent stop for migrating birds and to protect the habitat necessary for the birds, the horse herds are restricted to certain areas.  This makes them somewhat more difficult to view than those on the Maryland side.  The Virginia horses are owned by The Chincoteague Volunteer Fire Department, Pony Committee, which actively cares for the herd.

Although animal penning and swimming has been going on at Assateague as long as people have kept animals there, it wasn’t until 1925 that the people of Chincoteague, searching for a way to raise money for their new volunteer fire department, hit upon the idea of adding a pony penning and auction to their annual fund raising carnival.  Today this event is world famous and thousands of spectators attend, hoping to get a good view of the horses as they make the swim across from Assateague Island to Chincoteague Island.

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Rounding up the horses.  From Wild Horses of the Dunes by Rich Pomerantz (2004).  National Sporting Library & Museum, the gift of The Chronicle of the Horse.

The process begins several days before the swim.  Members of the Chincoteague Volunteer Fire Department trade in their fireman’s helmets and hoses, for cowboy hats and bull whips.  They begin at the northern edge of the refuge and slowly drive the horses south where they are penned together in a large corral.  Each horse is checked by a vet and on Wednesday, after a day or two of rest, the entire herd, excepting pregnant mares, the very old or very young, and any sick animals, is swum across the channel to Chincoteague.  It has become quite the media circus and the horses’ route must be carefully protected from fascinated tourists.

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The horses swimming to Chincoteague.  From Chincoteague Ponies.

Once across the channel the horses rest and then are herded down the street to the auction pen at the carnival grounds.  The auction of the year’s foals takes place on Thursday.  Each year between 50 and 70 foals are auctioned off both to raise money for the fire department, and to keep the population of the herd under control.  In recent years, the average price of an Assateague pony has been about $2500.  In addition to bidding for purchase, visitors can also bid on “buyback” ponies.  These are auctioned with the stipulation that they will be donated back to the Fire Company and returned to Assateague Island to join the herd.  People that win a buyback pony also win the right to name the pony.

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Horses after the swim, parading through town on the way to the carnival grounds.  From Chincoteague Ponies.

The day following the auction the remaining horses are swum back across the channel and are released for another year.  They quickly form up in their family bands and disappear into the dunes, marshes, and piney forests.

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Horses on Assateague.  From Wild Horses of the Dunes by Rich Pomerantz (2004).  National Sporting Library & Museum, the gift of The Chronicle of the Horse.

If you’re interested in getting more detailed information I encourage you to stop by the Library and take a look at our books on the topic.  We have information not only on the Assateague horses but on a variety of feral horse populations.  If you’re in the area and would like information about attending the carnival, the swim, or the auction, you can view the guide to the 2018 event here.


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

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The first Saturday in May sees the annual running of the Virginia Gold Cup steeplechase race. This Saturday upwards of 50,000 people with attend the event held at Great Meadow in The Plains, Virginia.

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Spectators at the race. From the Virginia Gold Cup website

This year the day features seven races, both steeplechases and flat races, in addition to the Gold Cup race. Besides the main attraction of the horse races, visitors can enjoy tailgating, witness the terrier race, and participate in a variety of hat contests, or the tailgate contest. The day closes with a live broadcast of the Kentucky Derby on Jumbo-trons.

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Jack Russell Terriers soar. From Photowalkpro blog

The Virginia Gold Cup was first run in 1922. The single race event was run on the Oakwood estate near Warrenton. The course covered four miles and included the fences and walls already existing in the countryside.

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The original Gold Cup course. From History and Origins of the Virginia Gold Cup by William Myzk, edited by Raymond Woolfe (1987)

The organizers contributed $1000 each to purchase a trophy to be given to the owner of the winning horse. The trophy would be retired and become the property of any owner that won the race three times. The wins did not need to be consecutive nor accomplished by the same horse.

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The first Virginia Gold Cup. From History and Origins of the Virginia Gold Cup by William Myzk, edited by Raymond Woolfe (1987)

In 1924 the race would be moved to Broadview Farm where it would be run through the mid-1980s. Even in the beginning the race was a big draw. Along with the Maryland Hunt Cup, it would become known as one of the two most challenging timber races in the United States.

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Race day crowd at Broadview in 1927. From From History and Origins of the Virginia Gold Cup by William Myzk, edited by Raymond Woolfe (1987)

Eventually development of the land surrounding Broadview necessitated a move for the race. In 1982 Nick Arundel located a 500 acre site near The Plains. To be known as Great Meadow, he purchased it as both a preserved green space and a permanent location for the Gold Cup. At the same time, he founded the Meadows Outdoor Foundation, later renamed Great Meadow Foundation, which organized the support of others that believed it was critical to preserve park land for the community.

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Great Meadow. From Weddingspot.com

Unlike the prior Gold Cup racecourses which utilized the existing countryside, Great Meadow was designed as a racecourse. It provides challenging but ideal conditions for the horses and excellent conditions for spectators.

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Virginia Gold Cup at Great Meadow. From Our Community Now

The horses that succeeded on this new course were of such quality that in 1993 the British Jockey Club automatically qualified the winner of the Virginia Gold Cup for entry in the world famous Aintree Grand National. This is a distinction previously granted only to the annual winner of The Pardubice in Czechoslovakia and the Maryland Hunt Cup.

Although the race has evolved over the years into a more elaborate event, at its core it remains true to the traditions of the past. It celebrates hunt riding, hunt country, and the equine history of Northern Virginia, and carries those traditions into the future.


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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

Spring has come, along with steeplechasing and flat racing throughout the Virginia Piedmont. The same springtime spirit can be felt across the racing community, and across the world. Few towns are held in as high sporting regard as Newmarket in Suffolk, England. First settled as a market town after the Norman invasion, Newmarket became a hub of horse racing culture in the reign of Charles II (1630 – 1685). Though James I built the first royal residence at Newmarket c. 1610 to pursue sport, it is only with the restoration of the Crown after 1660 that the town grew to become the international center of horse racing, a reputation that it still holds today.

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James Pollard (English, 1792-1867) Newmarket Races, 1909. Engraving from an earlier painting by James Pollard. Copyright Getty Images.

Among the earliest races established at Newmarket is the three-mile Newmarket Town Plate. Charles II founded the race in 1666 with the direction that it should be run in perpetuity. True to this charge, the race has been run for over 350 years. At first there were only two race meets, one in April, the other in October. By 1840 there were seven race meets: The Craven Meeting, the 1st and 2nd Spring Meetings, the July Meeting, the 1st and 2nd October Meetings, and finally the Houghton Meeting. Traditionally the first races of the year took place the week following Easter Sunday. Today the Rowley Mile and the July Course boast races and events every weekend from the Craven Meeting in mid-April to the final meet at the beginning of November.

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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/)

The long history and distinctive style of Newmarket made it a popular subject for the burgeoning market of sporting artwork in the 18th and 19th centuries, and beyond. Many famous equine portraits are set at the stables in Newmarket, meant to commemorate distinguished careers at the capitol of English racing. This subject allowed artists like George Stubbs (1724-1806) and Benjamin Marshall (1768-1835) to demonstrate their skillful mastery of equine anatomy. Other images of Newmarket show frenetic energy and passion before race meets. This time of year it is easy to imagine oneself pressed in a crowd of spectators as jockeys in brightly colored silks line up for the race.

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Sir Alfred Munnings, P.R.A. (British, 1878–1959), Linin’ ’em Up, Newmarket, ca. 1940–53, oil on panel, 19 ¾ x 23 ½ inches, Virginia Museum of Fine Arts, Richmond. Paul Mellon Collection.  (image source: https://www.vmfa.museum/piction/7898216-110496899/)
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Henry Koehler (American, b. 1927), Jockeys Between Races, Newmarket, 2009, oil on canvas, 12 x 16 in. Gift of the artist, 2012.

Springtime races, whether at Newmarket or in the foothills of Loudoun County, marry the traditions of country life with the perennial newness and passion of changing seasons. The brisk air and thundering hooves can be felt across times as old and new are blended together in our cultural landscapes and in the paintings of sporting artists throughout time.

Not able to make it to Newmarket this spring? You’re in luck! Some of these works and other stunning examples of sporting masterpieces are on view at NSLM both in the permanent collection and in Spring’s feature exhibition, A Sporting Vision: the Paul Mellon Collection of British Sporting Art from the Virginia Museum of Fine Arts, opening April 13, 2018.

 

 

 

 

I recently spent some time in Berlin visiting several amazing museums. The collections in the Staatliche Museen zu Berlin (State Museums of Berlin) are incredible – from major examples of ancient art to fabulous modern and contemporary pieces. During my travels, I encountered quite a few works that reminded me of Middleburg and the NSLM. Here are just a few:

The Old National Gallery in Berlin primarily features German artists – some familiar and some lesser known.

Wilhelm Trubner (German, 1851-1917), Equestrian Portrait of Ida Gorz, 1900/1902, Staatliche Museen zu Berlin (Old National Gallery), Acquired 1921

My poor quality photo doesn’t do this painting justice – it is quite a striking portrait.

Adolph Menzel (German, 1815-1905), Horse study, 1848, Staatliche Museen zu Berlin (Old National Gallery), Acquired 1906

 

Carl Steffeck (German, 1818-1890), Fox in its Burrow, 1842, oil on canvas, mounted on cardboard, Staatliche Museen zu Berlin (Old National Gallery), Purchase of Ernst Zaeslein, Grunewald, 1911

With the upcoming show The Horse in Ancient Greek Art on my mind, mythological horses keep popping up everywhere.

Hippocamp (half-horse, half-sea serpent creatures) details on the Friedrichstrausse bridge, over the Spree River, Berlin.

 

Attic (Athens), Greece, Votive Relief for a Chariot Victory, 400–390 BCE, marble, Staatliche Museen zu Berlin (Altes Museum), Acquired 1884. Caption reads: “The nude warrior wearing a helmet next to the bearded charioteer is about to jump off the speeding chariot to continue the race on foot.”

 

The German History Museum has a massive collection of almost 1 million objects, spanning the history of Germany from the Middle Ages to the late-20th century.

Gothic Field Armour, c. 1470, iron, German History Museum

 

This 15th century set of battle armor is made of iron. The caption explained that it was so heavy – for both horse and rider – that the knights and their steeds could only fight for a very short amount of time before being overcome by exhaustion. (At least this rider has his heels down).

Sidesaddle, c. 1700, leather, silk, velvet, German History Museum

This early-18th century ladies sidesaddle with velvet cushioning looked like it would be very comfortable.

Hare Hunting und Bird Hunting, 2nd half of the 18th century, oil on canvas, German History Museum

This pair of 18th century sporting scenes show hare hunting and bird hunting with hounds. I thought it was interesting that the hunter in the second scene is mounted on a paint (it almost looks like an appaloosa) horse. Hunting was a large part of social life for royal and noble families of German speaking territories throughout the 16th to 19th centuries. Coursing was adopted by German princes (from the French) around the end of the 17th century.

On a day trip to Hamburg, I discovered the Museum of Arts and Crafts. This fabulous suit is an “Original/Interpretation” piece in the exhibition Sports/No Sports, which explores the correlation between fashion and sportswear.

Foxhunting Ensemble, Museum of Arts and Crafts, Hamburg

The Museum of Fine Arts in Hamburg also has an impressive collection, including this Renoir (with it’s very Renoir-esque figures).

Pierre-Auguste Renoir (French, 1841-1919), Riding in the Bois de Boulogne, 1873, oil on canvas, Hamburger Kunsthalle, Acquired 1913

 

This is just a tiny selection of all the wonderful art there is to see in Germany. It was fun to explore new museums and collections and discover pieces that remind me of the art here at home.

In 1933, a stunning new art exhibition opened at The Field Museum in Chicago. Brought together by none other than Marshall Field, the exhibition was an exclusive selection of 19 sculptures by Herbert Haseltine from his series British Champion Animals.

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“Portrait of Herbert Haseltine by Sir William Orpen, R. A.” frontispiece of Herbert Haseltine: An Exhibition of Sculpture of British Champion Animals, 1933. National Sporting Library & Museum.

Haseltine (1877-1962) was the son of a painter, and was born in Rome (then in the independent state of Lazio). He reputedly took an interest in horses at 12 years old when Buffalo Bill‘s “Wild West” show visited Italy to perform. Haseltine studied in various parts of Europe before settling in Paris (where he lived a great deal of his life).

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Herbert Haseltine (American, 1877 – 1962) Polo Pony: Perfection, 1930 bronze, 10 x 12 ½ x 4 inches, National Sporting Library & Museum, Gift of Jacqueline B. Mars. A selection of Haseltine’s series, British Champion Animals was exhibited at the Field Museum in 1933. Haseltine sent a copy of the exhibition catalog to artist Paul Brown.

The 1933 exhibition presented an opportunity for American artist Paul Brown to reach out to Haseltine. Because of careful retention of the paper record, a view of the relationship between both artists is in the NSLM collection.

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Brown forwarded Haseltine a book of his artwork, and Haseltine returned the favor. The exhibition catalog for British Champion Animals is inscribed “To Paul Brown from his admirer, Herbert Haseltine.” National Sporting Library & Museum.

Brown (1893-1958) was a hugely popular equestrian artist in his own right. He took advantage of Haseltine’s visit to the United States to forward a book featuring his artwork, and received back an exhibition catalog for British Champion Animals, and a letter. The letter shows that Haseltine was eager to “talk shop.”

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“I enjoyed looking at the horses. They are beautifully drawn and terribly alive.”
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“There is also a certain sameness about the mens [sic] faces.”
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“But you have a wonderful foundation for sculpture or painting. I saw your portrait of a horse of Scribners — a little too much detail — if you don’t mind my saying so. Also some of the horses’ ears a little rabbityfied at the points.”

Haseltine can’t keep himself from technical critique, but he tries to lighten the mood, too.

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“Please forgive all this HOT AIR.”

Below is a full transcription:

19th February, 1933

Dear Paul Brown,

Thank you a thousand times for the book – I enjoyed looking at the horses. They are beautifully drawn and terribly alive. Do you mind if I say something?

In the grouping – I would think of the composition in such a way that you couldn’t take anything out of it – without it’s being ruined. If it isn’t ruined, well it would be just as well without it. It all ought to hang together and make one. There is also a certain sameness about the mens faces.

But you have a wonderful foundation for sculpture or painting. I saw your portrait of a horse of Scribners — a little too much detail — if you don’t mind my saying so. Also some of the horses’ ears a little rabbityfied at the points. Look at a horse’s ears, especially a well bred one and you will see what I mean.

Please forgive all this HOT AIR. I hope we shall meet soon again.

Yours,

Herbert Haseltine

We don’t know what Brown thought about the letter, but he prized it enough to keep it, and the exhibition catalog. Both were donated to NSLM by Brown’s daughter, Nancy Brown Searles in 2011 and are now part of our manuscripts collection.

Long after the Field Museum exhibition, three smaller casts of Haseltine’s sculptures are in the permanent collection at NSLM. They’re often on view in the Permanent Collection exhibition, so plan your visit to see them in person soon!


Wedding Photography by Spiering Photography

John Connolly has served as the George L. Ohrstrom, Jr. 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

A gunshot rang out on the shores of the River Blythe, shattering the silence of the idyllic English countryside. Some minutes later, the shotgun blast was soon followed by another, from the second barrel. Three gentlemen were busy at their craft, but this was no wing shooting party. Passersby would have been startled to see two gentlemen (one, a man of the cloth) in an eccentric-looking octagonal hut built over the waters of the river, staring through the windows at their quarry as the gunshots went off.

The beast being tracked was a trout, some six inches beneath the surface of the water. The gentlemen in the hut were Rev. Brown and the ringleader who built the hut, Alfred Ronalds.

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Blythe Valley. Looking north along the River Blythe. Accessed via Wikipedia.

Ronalds (1802-1860) was conducting comprehensive studies on the habits of trout and grayling, and the shotgun blasts were part of an experiment to determine if fish could hear conversational noises above the water. The experimenters were careful not to be seen by the fish, and many loud noises were tried before finding that the fish showed no signs of distress from the noise.

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The location of Ronalds’ fishing hut. From The Fly-fisher’s Entomology, by Alfred Ronalds. Fifth edition, London: Longman, Brown, Green and Longmans, 1856. National Sporting Library & Museum.

Ronalds was not a scientist by trade, instead making his living as an etcher and lithographer in 1830s England. His primary source of leisure was in fly fishing, and in his quest to unlock the secrets of the successful catch, he’d gone as far as the construction of a special shack from which to observe the fishes of the Blythe. From this headquarters, he carefully noted fish habits and diets, studied their vision, hearing, and even taste (offering foods to fish coated in cayenne pepper and mustard, he found the fish enjoyed the spicy food).

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Findings on the vision of the trout, detailing differences in vision through water and air. From The Fly-fisher’s Entomology, by Alfred Ronalds. Fifth edition, London: Longman, Brown, Green and Longmans, 1856. National Sporting Library & Museum.

The result of Ronalds’ experimentation was his 1836 book, The Fly-fisher’s Entomology. Drawing on his talents as an engraver and his scientific observations, Ronalds developed an illustrated list of artificial flies and the times of year they should be used.

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Flies for April: Golden Dun Midge, Sand Fly, Stone Fly. From The Fly-fisher’s Entomology, by Alfred Ronalds. Fifth edition, London: Longman, Brown, Green and Longmans, 1856. National Sporting Library & Museum.

The real key to Ronalds’ book was combining awareness of the insect life-cycle to a clearer understanding of the feeding habits of fish. If you want to catch a fish, imitate the bugs they eat at the correct time of season. Though this maxim might seem simple today, the book was a wildly-successful turning point in the literature of fly fishing, and Ronald is widely credited with launching modern fly-fishing writing. The Fly-fisher’s Entomology would go through 11 editions between 1836 and 1913 and be extensively reprinted in the 20th Century.

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Flies for April: Iron Blue Dun, Jenny Spinner, Hawthorn Fly. From The Fly-fisher’s Entomology, by Alfred Ronalds. Fifth edition, London: Longman, Brown, Green and Longmans, 1856. National Sporting Library & Museum.

Ronalds went on to relocate to Wales in 1844, and after his first wife died in 1847 he moved his family to Australia. He set up his own engraving business in Melbourne, then in Ballarat after the Australian gold rushes in the 1850s. He died of a stroke in 1860. The Fly-fisher’s Entomology was the only book he ever produced. But considering its massive influence on the sport Ronalds loved, we can safely say that it was a great one.


Wedding Photography by Spiering Photography

John Connolly has served as the George L. Ohrstrom, Jr. 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 week I’d like to highlight a section of the Library collection that really surprised me.  Recently, I’ve been working with the big game hunting books.  I’m not a hunter and I don’t come from a hunting family.  While I have no problem with the sport in general, the idea of trophy hunting is disagreeable to me.  As such I began work on the big game books with trepidation.  I expected to encounter long lists of trophies taken or photos of white men posing with their foot on the corpse of a lion or elephant.  While there is a fair bit of this sort of thing, there is also a great deal more to be discovered if one takes the time to read more closely.

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The Dark Continent. Edouard Foa, After Big Game in Central Africa (1899).  The gift of John and Martha Daniels.

The books that caught my attention were originally published between 1850 and 1950 and are accounts of expeditions, not simply butcher’s bills of the local fauna.  First things first, these books can in no way be considered politically correct.  In addition to the sometimes graphic descriptions of hunting scenes, there are also some comments and attitudes about anyone non-white or non-Christian that many modern day readers would find objectionable.  However, if you try to view the writing through the lens of what was considered acceptable behavior in the late 19th or early 20th century, an extremely interesting account of travel and exploration emerges.

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Dwarfed by the environment.  Edouard Foa, After Big Game in Central Africa (1899).  The gift of John and Martha Daniels.

In addition to being skilled hunters, these men, and sometimes women, were also geographers, naturalists, anthropologists, and writers.  They journeyed throughout Africa, India, Asia, and North America in a time when travel was still a challenge in and of itself.  And as they trekked, they analyzed and described the behavior of the local animals, sometimes collecting specimens for museums.  They recorded the topography of their routes, and they interacted with the indigenous populations.

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Local shopping. P. H. G. Powell-Cotton, A Sporting Trip through Abyssinia (1902).  The gift of John and Martha Daniels.

Returning home, they published their experiences, recounting not only the hunting, but also the traveling, and their impressions of the lands and people that they encountered.  These accounts allowed the armchair adventurer of the time to experience exotic locales without risking the dangers of injury or disease, and they allow modern day readers to experience a world that in a very real sense no longer exists.

In Two Dianas in Alaska (1909), Agnes Herbert recounts her shooting trip to Alaska with her cousin Cecily.  The account begins with a description of their trip from New York City to Butte City, Montana.

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Agnes Herbert in native parka.  Agnes Herbert, Two Dianas in Alaska (1909).  The gift of John and Martha Daniels.

While it is interesting to read about the traveling conditions in the United States at that time, what is even more entertaining is her charming and engaging tone.  It reads like a letter from a good friend, with comical remarks, and candid comments.

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Edouard Foa. Edouard Foa, After Big Game in Central Africa (1899).  The gift of John and Martha Daniels.

 

Edouard Foa’s book, After Big Game in Central Africa (1899), describes his experiences during a three year expedition in Africa from 1894 to 1897.  In it he carefully describes the behavior of many African game animals and includes frank advice for operating in that environment.  For example, when encountering rainy conditions while hunting or marching in the bush, he removes his clothing, places it in a waterproof bag, and walks about in a loincloth, shoes, and hat.  “Not that I can say I have a very elegant appearance in this dress, but I have found it is the most practicable during the rainy season.  Immediately the rain stops the skin dries, and you have not the inconvenience of keeping on your wet clothes, which brings on fever and rheumatism” (p. 51).

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P. H. G. Powell-Cotton.  P. H. G. Powell-Cotton, A Sporting Trip through Abyssinia (1902).  The gift of John and Martha Daniels.

A Sporting Trip through Abyssinia (1902), by P. H. G. Powell-Cotton includes a wonderful appendix that meticulously lists the food, equipment, armaments and munitions, and personnel required for a successful journey.

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Don’t forget the egg cup and dessert spoons!  P. H. G. Powell-Cotton, A Sporting Trip through Abyssinia (1902).  The gift of John and Martha Daniels.

Although a prolific hunter, he also furnishes a great deal of information on the local culture, politics, and sites of interest.  The subtitle of his books says it all, “A Narrative of a Nine Months’ Journey from the Plains of the Hawash to the Snows of Simien, with a Description of the Game, from Elephant to Ibex, and Notes on the Manners and Customs of the Natives.”  Here he gives us a photo of the resting place of the true Arc of the Covenant.

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P. H. G. Powell-Cotton, A Sporting Trip through Abyssinia (1902). The gift of John and Martha Daniels.

Many of the library’s big game volumes are reprints of much earlier works and include forewords that provide a useful historical and biographical context for the book.  By being mindful of this context, modern readers can still enjoy these intriguing books despite the fact that they have not aged particularly well.


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Erica Libhart has served as the Mars 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