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

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Now that we’ve completed reorganizing and re-cataloging the books in the Main Reading Room, I’ve begun work on the books housed in the F. Ambrose Clark Rare Book Room.

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The F. Ambrose Clark Rare Book Room in the lower level of the Library.

This room has a controlled climate that protects our delicate, rare, or unique items, including books, manuscripts, and ephemera.  Finding beautiful or interesting items within this collection is common but I thought I’d share a pair of items that really caught my eye recently.

The Library has many items housed in clamshell boxes.  Often these protective cases are used to save fragile antiquarian books from further damage and soiling, however, some books are issued in clamshells by their publishers.  These tend to be deluxe editions, usually with elaborate bindings and featuring signatures from the author and or artist.  One such volume is Trout & Bass: a diverse collection of angling literature, both prose and poetry, compiled by Stephen Bodio (1993).

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Trout & Bass: a diverse collection of angling literature, both prose and poetry, compiled by Stephen Bodio (1993).  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

This rather subdued green case does indeed contain a deluxe volume, one of only 50 produced.  The lid of this case hides a surprise.  Mounted inside are 18 hand tied fishing flies in pristine condition.  It was quite the surprise to pull open the lid and find these delicate works of art.

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Trout & Bass: a diverse collection of angling literature, both prose and poetry, compiled by Stephen Bodio (1993).  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

Here’s a closer look at a few of the flies.  They were all tied by Jack Gartside.

In addition to the book, and the flies, there is a folio containing unbound plates of all the black and white illustrations that appear in the book.  Each signed by the artist, Alan James Robinson.

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Illustration by Alan James Robinson, in Trout & Bass (1993).  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

The six watercolor images from the book are also included as unbound plates.  Each is individually cased and is signed by the artist, Alan James Robinson.

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Cutthroat Trout by Alan James Robinson, in Trout & Bass (1993).  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

The whole collection makes a very nice deluxe edition and housed safely in its clamshell case, and in the controlled climate of the Rare Book Room, it will continue to amaze visitors for many decades to come.

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Trout & Bass: a diverse collection of angling literature, both prose and poetry, compiled by Stephen Bodio (1993).  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

The second item of interest turned up in a container marked simply “ephemera.”  Among its contents we found a large wooden box with a colorful illustration on its lid.

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Six-sided puzzle with hunting scenes, images by John Sanderson-Wells.  Late 19th early 20th century.  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

Sliding the lid off we discovered the box contained a puzzle.

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Six-sided puzzle with hunting scenes, images by John Sanderson-Wells.  Late 19th early 20th century.  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

A cube puzzle to be precise.

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Six-sided puzzle with hunting scenes, images by John Sanderson-Wells.  Late 19th early 20th century.  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

This sort of puzzle features a different image on each side of its cube shaped pieces, so there are six puzzles in one box.  Very efficient!  The six in one feature isn’t the only advantage cube puzzles have over traditional jigsaw puzzles, their cubical pieces are also much harder to lose than the small flat pieces that make up a jigsaw.

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An individual cube from the puzzle.  Three of the six images/sides are visible.  Six-sided puzzle with hunting scenes, images by John Sanderson-Wells.  Late 19th early 20th century.  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

In addition to the image on the lid of the box, there are five posters showing the other five images that can be assembled from the cubes.  One is of fox hunting, two of wing shooting, and two of stag hunting.  All are by John Sanderson-Wells. 

The simple appearance of the cube puzzle is deceptive.  The user has to first figure out which of the six sides on each piece belongs to the design they are working on, and only after that can one determine where the piece belongs in the overall image.

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Six-sided puzzle with hunting scenes, images by John Sanderson-Wells.  Late 19th early 20th century.  The gift of John H. and Martha Daniels.  Housed in the F. Ambrose Clark Rare Book Room.

Both these items are behind the locked door in the Rare Book Room but that doesn’t mean you can’t see them.  You just need to contact us prior to your visit for an appointment.  You can also schedule a tour of the Rare Book Room during which you will see an assortment of the interesting and unique items housed there.  To make an appointment or to book a tour, contact us at info@nationalsporting.org


 

SONY DSCErica 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

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.

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

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

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

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

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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…

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

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

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

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

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


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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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


Wedding Photography by Spiering Photography

John Connolly has served as the George L. Ohrstrom, Jr. Head Librarian at the National Sporting Library & Museum (NSLM) since early 2014. He is responsible for the care of the Library collections, including books, magazines, photographs, diaries, letters, and much more. The NSLM collections span over 350 years of the history of equestrian sport, as well as fly fishing, wing shooting, and other field sports. Have a question? Contact John by e-mail

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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


Wedding Photography by Spiering Photography

John Connolly has served as the George L. Ohrstrom, Jr. Head Librarian at the National Sporting Library & Museum (NSLM) since early 2014. He is responsible for the care of the Library collections, including books, magazines, photographs, diaries, letters, and much more. The NSLM collections span over 350 years of the history of equestrian sport, as well as fly fishing, wing shooting, and other field sports. Have a question? Contact John by e-mail

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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