The changing exhibitions displayed in the Museum give us the opportunity to see works of art in a new light. We can reunite works that have long been separated in different collections, or juxtapose objects which are not normally displayed with each other, or gather together multiple works by the same artist.

In the case of our current exhibition, A Sporting Vision: The Paul Mellon Collection of British Sporting Art from the Virginia Museum of Fine Arts, on view through July 22, 2018, we have the opportunity to view works of art by British sporting artists Benjamin Marshall, John Ferneley, Sr., and Sir Francis Grant, and compare them with works by the same artists in the NSLM’s permanent collection.

Benjamin Marshall (English, 1768-1835), Mr. Thomas Willan of Marylebone Park and Twyford Abbey, 1818, oil on canvas, 34 x 40 inches, National Sporting Library & Museum, Gift of Kathryn James Clark in memory of Stephen C. Clark, Jr., 2013

The more time you spend looking at works of art by the same artist, the more you begin to recognize that artist’s style, or “hand,” as art historians often like to say. This portrait by Benjamin Marshall, which is part of the NSLM permanent collection, shows a gentleman named Thomas Willan on his hunt horse. Willan owned a large farm in Marylebone Park, which is located in the present day area of Regent’s Park, London. His gothic-style manor house and gardens were known as Twyford Abbey. While the man and his horse are painted in glossy detail, the thinly-painted background is hazy and indistinct. There is a glimpse of fence line and gate on the viewer’s right and the hint of a waterway on the left. If the manor house is there, it is lost in the muted tones of the loosely painted landscape.

Benjamin Marshall (English, 1768-1835), Noble, a Hunter Well Known in Kent, c. 1805-1810, oil on canvas, 40 ⅛ x 50 inches, Virginia Museum of Fine Arts, Richmond. Paul Mellon Collection, 99.80. (c)Virginia Museum of Fine Arts

Other works by Marshall now on view in A Sporting Vision show a similar treatment of background and subject. In the portrait of Noble, a Hunter Well Known in Kent (where the horse is actually the “sitter”), the landscape is made up of loose brush strokes, with lots of sky and indistinct features. Hounds and huntstaff are shown faintly in the background.

Benjamin Marshall (English, 1768-1835), Colonel Henry Campbell Shooting on a Moor, ca. 1806, oil on canvas, 33⅞ x 40⅛ inches, Virginia Museum of Fine Arts, Richmond. Paul Mellon Collection, 99.81. Photo: Travis Fullerton © Virginia Museum of Fine Arts

We see it again in Colonel Henry Campbell Shooting on a Moor. The more you look at Marshall’s works, the more you can recognize similarities in the way he paints his figures as well.

John Ferneley, Sr. (English, 1781-1860), and Sir Francis Grant (Scottish, 1803-1878), The Hunt in Belvoir Vale, c. 1835, oil on canvas, 48 x 133 inches, National Sporting Library & Museum, Gift of Kathryn James Clark in memory of Stephen C. Clark, Jr., 2013

Works on view by John Ferneley, Sr., and Francis Grant are connected as well. Ferneley briefly tutored the younger artist and the two collaborated on The Hunt in Belvoir Vale, which is part of the NSLM permanent collection. This mural-sized group portrait from the mid-1830s shows gentlemen foxhunting near the town of Melton Mowbray, highly popular foxhunting territory outside of London. Thirteen of the riders in the foreground are identified portraits, including Grant at the far left side. The painting was commissioned by the Earl of Wilton (1799-1882), who is pictured leading the group.

Detail of The Hunt at Belvoir Vale showing the Earl of Wilton, who commissioned the painting, leading on the chestnut horse.
Detail of The Hunt at Belvoir Vale, with self-portrait of artist Francis Grant at left.

The Sporting Vision exhibition includes several works by Ferneley and one by Grant.

Sir Francis Grant (Scottish, 1803–1878), The Melton Hunt Going to Draw the Ram’s Head Cover, 1839, oil on canvas, 35 15/16 x 60 inches, Virginia Museum of Fine Arts, Richmond. Paul Mellon Collection, 85.494.1. Photo: Katherine Wetzel © Virginia Museum of Fine Arts

The Melton Hunt Going to Draw the Ram’s Head Cover was painted by Grant a few years after the NSLM painting. This group portrait features 36 identified figures riding with the Quorn Hunt, also in the Melton Mowbray area. The Earl of Wilton appears here as well, at center in the long grey coat, along with members of his family. The Countess of Wilton and her son Lord Grey de Wilton ride in the phaeton (a light-weight, four wheeled carriage) pulled by two palomino colored ponies. The painting was exhibited at the Royal Academy in 1839.  Grant went on to a successful painting career and was President of the Royal Academy from 1866 to 1878.

When you are here at the Museum next, I hope you enjoy taking time to compare and contrast the wonderful highlights of British sporting art that are currently on view.

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One hundred years ago, the rural Virginia community in western Loudoun and northern Fauquier counties was undergoing a transformation. The interwar period was a period of renaissance for foxhunting and equestrian sport, both in the United Kingdom and the United States. From Leesburg to Warrenton and anchored in Middleburg, a new community was evolving: Virginia’s Hunt Country.

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“Leesburg, 1922.” National Sporting Library & Museum, Archives Collection, MC0033, “Middleburg-Leesburg Photograph Album.”

The NSLM mission lists three functions: to preserve, promote, and share the contents of our collections and the subjects contained in them. None of these functions is truly independent of one another, but a great deal of emphasis is placed on preservation when it comes to the Library’s collections. A fantastic example of why we emphasize the importance of preservation is a photograph album in the Library’s archival collections.

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“Middleburg Hunt Cup, 1923 — Dr. Burke won.” National Sporting Library & Museum, Archives Collection, MC0033, “Middleburg-Leesburg Photograph Album.”

Almost every photo in the album is unidentified. Most of them are fading away. Aside from balancing contrast to enhance visibility, the images in this blog post are unaltered snapshots of the album’s contents.

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Unidentified Photo. National Sporting Library & Museum, Archives Collection, MC0033, “Middleburg-Leesburg Photograph Album.”

Photos are decidedly horsey, and show an enthusiastic sporting community, and snapshots of everyday life. We have no idea who took or collected the photos, but most images are in or around Middleburg in the 1920s.

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“Springfield, 1911.” National Sporting Library & Museum, Archives Collection, MC0033, “Middleburg-Leesburg Photograph Album.”

Identification for albums like this can be tricky. Most all of the images are pasted directly to the album paper, and it’s impossible to remove the prints without destroying them.

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Unidentified Photo. National Sporting Library & Museum, Archives Collection, MC0033, “Middleburg-Leesburg Photograph Album.”

On close inspection, it appears the rider is wearing jodhpurs, a short-sleeved shirt, and a necktie. Competition attendees drove out in their Model T Fords, lined up in the background.

The pressure to preserve is immense with a collection like the NSLM’s. As objects deteriorate, unique glimpses at history could be lost.

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Unidentified Photo. National Sporting Library & Museum, Archives Collection, MC0033, “Middleburg-Leesburg Photograph Album.”

An image with advanced fading: an unidentified rider wearing a dapper straw hat.

The photographs in this album are only a fraction of the total photographic images in the NSLM collection. The best hope to preserve these images would be scanning or high-resolution photography before the originals deteriorate. This album is one of hundreds of objects in the NSLM collection awaiting digital preservation. We’re already making plans for securing the resources and equipment to preserve these kinds of objects so they can be enjoyed online.

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Unidentified Photo. National Sporting Library & Museum, Archives Collection, MC0033, “Middleburg-Leesburg Photograph Album.”

A pony race? Mostly boys, but there appear to be two young girls lined up as well. Photo discoloration has crept into the edges of the photo.

Overall, this mysterious album contains dozens of unidentified photographs. Of the few with identification, the oldest photo dates to 1911, with most images likely from the 1920s. This was a period of growth for Middleburg and its surrounding community, as the town developed into a hub of sporting activity. Both the Middleburg Hunt and Orange County Hunt worked to develop their foxhunting territories, building up relationships with landowners and replacing barbed wire fencing with stone walls and chicken coop jumps.

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Unidentified Photo. National Sporting Library & Museum, Archives Collection, MC0033, “Middleburg-Leesburg Photograph Album.”

Eager sportsmen from urban centers in the northeast began migrating to Middleburg to enjoy sports that were being crowded out by expanded development. Seasonal visitors took the Southern Railway train line from the nation’s capital to The Plains before trekking on horses or on wagons to Middleburg.

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Unidentified Photo. National Sporting Library & Museum, Archives Collection, MC0033, “Middleburg-Leesburg Photograph Album.”

Another image with advanced fading, this one of an unidentified woman wearing the unmistakable fashion of the 1920s.

The sporting tradition of Hunt Country lives on, and thousands of visitors still come to Middleburg in the hopes of experiencing the excitement of the world of equestrian sport. As these new audiences encounter these sports, the preservation element of NSLM’s mission makes it possible to promote and share these pieces of history.


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

On a lovely spring day in 1885, two gentlemen sat on their horses near the statue of Achilles by Richard Westmacott in London’s Hyde Park. The gentlemen were well acquainted: Hugh Cecil Lowther, the Fifth Earl of Lonsdale (1857-1944) and Sir George Chetwynd, (1849-1917) were both sportsmen and moved in similar circles. Both men were waiting to meet someone: Lillie Langtry, a famous actress, had accidentally agreed to ride with both Hugh and George on the same morning. And in the absence of a graceful way of escaping the predicament, Lillie had simply stayed home. Continue reading

Once upon a time, the tiny Virginia town of Middleburg experienced a golden age of enthusiasm for riding and equestrian sport. After The Great Hound Match of 1905 put Virginia on the map as prime foxhunting country, several hunts began operating in the region and the countryside transformed into an optimal landscape for riding.

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“Children and Ponies,” Undated photograph by Dove Hayes. In the Gerald B. Webb, Jr. Archive, National Sporting Library & Museum. Caption reads: “Left to Right: Polly Baldwin and ‘Merry’; Bobby Baldwin and ‘Star’; Barry Hamilton and ‘Jock’; Jimmy Hamilton and ‘Mountain Music’; Eve Prime and ‘Spoogie Woogie’; Christie Thompson and ‘Dummie.'”

Middleburg became a close-knit community in the heart of Hunt Country in the 1920s and 1930s. An excellent first-hand account of Middleburg in this era can be found in The Way It Was: Middleburg in the 1920s and 1930s by Catherine Hulbert Harts (a copy is in the NSLM collection). There really was no age barrier to participation in horse sports: children rode on ponies as soon as they were able to sit up in the saddle.

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The Hunting Diary and Guide, 1930-31. National Sporting Library & Museum, gift of Christopher McClary, 2016. Foxhunting directories often included hunt diary sections for riders to record daily activities. This copy belonged to Jane Stevenson McClary, who was eleven years old in 1931.

A recent donation to the NSLM collection is a British-printed copy of The Hunting Diary and Guide, 1930-31. The entries were made by a young lady named Jane Walker Stevenson, who rode in and around Middleburg. Jane was eleven years old in 1931, and was quite the accomplished rider, foxhunting with the Orange County Hounds and riding with friends from Foxcroft School.

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An afternoon of hide-and-seek, misadventures, and apples. In 1931, children played with their ponies in and around Middleburg.

Jane’s entries are both charming and opinionated. “Nancy and Barbara Iselin, Louise Dillworth came over on ponies,” she notes in her entry on Friday, March 6, 1931. “Played hide & seek on ponies. Barby fell off and I was going to lead Atoka over a jump and he pulled away from me twice. Jumped the four ft. post & sail. Atoka knocked the top rail off. Gave horses apples.”

The following day, Jane was out with Orange County, starting from the No. 18 School House in Marshall, and cutting across country to Rectortown, some five miles away.

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“Number 18 School in Marshall,” 2011. Accessed via Wikimedia Commons. The Orange County meet began at this one-room school house, which still stands in Marshall, VA today.

“I was so mad at Nancy Smith,” writes Jane, “she said she was such a great rider and nonsence [sic] and she fell off on a chicken coop about 3 ft. My! She can boast.”

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A “Collossal Run with Orange County,” March 7, 1931.

The episode didn’t ruin the day, though. “Lovely Mrs. Filly was out and she *is* lovely. GREAT Day and nice,” she writes.

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An impressive roster! Jane lists all her hunting outings, and every horse she rode during the year. She terms it “a truly grand season.”

As for Jane Stevenson, her practice at writing evidently paid off. After attending The Hill School in Middleburg, she went on to marry Robinson McIlvane and write for The Washington Times-Herald and Fortune.

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Jane grew up to be an accomplished journalist and author. Her book To Win the Hunt was illustrated by her husband, Nelson McClary.

After her first marriage ended in divorce, she returned to Middleburg, eventually marrying Nelson McClary and she rode again with the Orange County Hounds. She wrote regularly for Middleburg Life and published over a dozen books during her lifetime. After Nelson passed, his son Christopher donated the family’s books to NSLM. Jane’s childhood diary was included in the donation, and we’re pleased to preserve the stories she recorded from the days where children kept pace with some of the best riders in the country.


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 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.

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(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.

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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.

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“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.

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(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.

I find it hard to indefinitely ignore the things that catch my eye. Passing a shelf and seeing something day after day compels me to take a look, sooner or later. A pleasant-looking blue cloth binding had been beckoning to me from the F. Ambrose Clark Rare Book Room for some weeks. Looking for something to blog about, I fished it out: A Leicestershire Sketch Book by Lionel Edwards.

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“A red ribbon in the tail denotes a kicker. Judging by the proportion of horses one sees so adorned, when one is going through a crowded gate, it is marvellous we come through alive.”

I’m a huge fan of Edwards’ work. He was a noteworthy sporting illustrator of the early 20th Century, and many of his sporting travels were memorialized in sketches compiled into published volumes.

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“All the same a voluntary is usually quite involuntary on our part. That depicted took place owing to my deciding to jump the fence, and the horse deciding to go through the gate. ‘In medio,’ etc. is not always a sound proverb!

Leicestershire is at the very heart of the English tradition of foxhunting. Reputedly the home to the first pack of foxhunting hounds. Edwards brings humor, realism, and thoughtful analysis to his sketch book.

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“The day after hunting I went back to sketch what I took to be the remains of [Thomas Boothby’s] kennels and yards, but there seems to be considerable doubt if what is left was not originally the walls of his kitchen garden, not the kennels.”
In sporting art, depictions of people, landscapes, and animals meet and combine. Edwards excels at sketch work that is both sharp and picturesque. My librarian side also appreciates that his art serves the communication of his own story.

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The Fernie Hunt. “[T]aken from the hillside below Carlton clump — in the distance Tur Langton Church.”
I’m glad I took the time to open this one! There are plenty more like it that I hope to browse 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

In between the World Wars, foxhunting enjoyed a renaissance of prosperity and popularity, both in England and the United States. A good deal of the literature of the time has a very British flavor, but sometimes books stand out as distinctly American. One is Let’s Ride to Hounds by “Anole Hunter” (pseudonym of Everett Lake Crawford, 1879-1960) and illustrated by Edward King.

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Picturesque illustrations and practical advice.

The book falls into the familiar (and sometimes lampooned) genre of practical advice for entry-level enthusiasts of the sport. Hunter lays out his intent of writing to the concerns and issues surrounding American foxhunting during his time period (the book was published in 1929). The book was printed by The Derrydale Press, itself an enterprise dedicated to raising the profile and quality of American sporting literature.

The book contains good advice for participating in a growing sport, including basics of riding, finding a good horse, starting and developing a pack of hounds, and of course, hunting the fox. Hunter suggests eschewing pure Thoroughbreds for entry-level or casual hunters, as they are easier to manage.

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Good form and bad form are depicted side by side for reference.

I find the emphasis on American hunting to be fascinating, especially unexpected turns in its history:

One of the best things for American Hunting was the World War. Packs were of course depleted, but it has brought about a comradeship between various parts of our land that was sorely lacking in foxhunters. The East was prone to think that they had a monopoly of foxhunting and did not feel that the cowboys from Cleveland, Lake Forest and points West belonged. A big change has come, and the East has been met on even terms too often by Western Foxhunters not to appreciate a fine sportsman when they see one.

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Hunter covers schooling, the basics of riding, and the management of a pack of hounds through anecdotes and reflections tied to the state of foxhunting in the United States.

Hunter also relates a phenomenon that happened near us here in Virginia following World War II: the import of foxes to replenish a depleted population. Foxhunters have a vested interest in keeping foxes around: no fox, no sport. But the import of new foxes means that the familiar haunts and coverts have a tendency to change.

Masters import wild foxes and set them out. These new animals are not acquainted with the points of their neighbors, and they make new points for themselves.

Let’s Ride to Hounds is available for sale in our Annual Auction. The Annual Auction is our main Library fundraiser each year. You can read more about participation in the Annual Auction by viewing the catalog.


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