Steph Burch has some wonderful images from several English foxhunts this season. They show both the highs and lows of our sport or shall I say the dry and wet?
It was the first hunt of the 2016 – 2017 season for the Tennessee Valley Hunt in East Tennessee. I never saw this coyote come out of the corn. I had been listening to the hounds just ROAR around in that corn for an hour, when I saw this beautiful tweed coat against that landscape. I wanted to get photos of the coat with the Cumberland Mountains behind it, so I took a burst of about 5 photos. I never saw the coyote through the lens as I took the photographs of the coat. Unbeknownst to me, the coyote had photo bombed the shot.
No, this is not a professional bridge-building crew on a typical workday. They’re Belle Meade foxhunters and family members, and they build, repair, and replace bridges in the Belle Meade hunting country on evenings and weekends.
Admittedly, they could be pros. After all, there are fifteen hunt-built bridges in the country. Each bridge has a name―they’re landmarks, after all―and staff members know the location of each and how to get there from wherever they happen to be.
This painting by Linda Volrath is part of an exhibition now hanging at Long Branch, a historic house and farm venue in Boyce, Virginia. Volrath’s sporting art and her husband Steven Parrish’s polished and light-hearted still life compositions will hang until the end of October.
Pure exuberance is captured by Linda Volrath in this joyous oil painting of the beagle. Voodoo is a two-time stallion winner at the Bryn Mawr Hound Show (MD). Volrath is a highly respected animalist working from her studio in White Post, Virginia.
“This new painting portrays a veteran pack member of the Nantucket-Treweryn Beagles,” said Volrath. “He was fixated upon huntsman Russ Wagner, preparing to kennel up after an action-packed day in the field. Little did he know he was being my perfect model. Good boy!”
This painting of foxhounds in kennel, almost monumental in scale, caught our eye. Offered by William Secord Gallery in New York City, the composition by a contemporary artist is reminiscent of many we’ve seen by traditionalists such as John Emms (1843−1912) in particular, but the execution veers dramatically from the style of the traditional Masters. We are also reminded of Emms’s work in the very scale of the framed painting: 49-1/2 x 67-1/2 inches; Emms often worked in this large format.
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