by Kerrin Winter
photos by R.W. Tauskey

Hear the term "Silver Screen Star" and no doubt the images that come to mind will be dramatic, black and white shots of Marlene Dietrich, Greta Garbo, Clark Gable and many more. The photographer behind these images is the immortal Edward Steichen and although many Hollywood insiders remember the man well, the public best knows Steichen by his work. Such is the case with dogdom’s own photographer to the stars, the legendary Rudolph W. Tauskey. While a handful of professional dog men and women still burn his torch brightly, the majority of dog fanciers only know his art.

Best in Show winners such as famed Irish Setter "Milson’s O’Boy", "The Flyer", Cocker Spaniel "My Own Brucie", internationally acclaimed Standard Poodle "Nunsoe Duc de la Terrace of Blakeen" and the flawless English Springer Spaniel "Chinoe’s Adamant James" were each entrusted to Rudolph Tauskey for their immortalizing portraits. One could say that Tauskey did much to fan the fires of breed popularity by tantalizing fancier interest with his unforgettable portraits of these breed luminaries. Chances are the image that appears in your mind when these dogs are mentioned is a Tauskey. A classic is forever.

"He was an artist"

"He knew dogs better than anyone".

"He would have made a superb judge".

"I was awestruck".

"He could make you or break you in dogs".

"You didn’t want to get on the bad side of Rudy"

"A portrait session with Rudy was an Event."

"No one could touch him"

"When Rudy died, it was the end of an era".

Comments from an assortment of the best known (and oldest) names in dogs today.

Who was this man who could evoke such powerful observances from the dog show elite?

R. W. Tauskey was a born politician and a controversial man. He was loved, hated, feared yet always respected. A character of dualistic nature, he’s often described as having been both creative and practical; dogmatic while maintaining altruistic sentiment. Tauskey was an anomaly who admired Pierce Arrows but drove a Chrysler. He lived the beautiful life while enjoying the squeeze he put on every last penny. During his era, some would argue that a photographer, (especially an immigrant photographer) was nothing more than hired help yet Tauskey had the likes of Geraldine Rockefeller Dodge as one of his foremost admirers. Twenty years after his death, respected dog men and women still carefully measure the words they use to speak of Rudy. A few brave critics remind us that he was human, while others proudly share their experiences. Some speak volumes in their silence while a few more jealously guard their secrets. Rudolph W. Tauskey; the "stuff of legends".

The Beginnings

Rudolph William Tauskey was born in Vienna on June 19, 1888. He didn’t talk about his childhood and not much is known except that he was probably raised in a Masonic school in Budapest. The turn of the century was a time of great political unrest for central Europe. Minority groups in Austria-Hungary demanded the abolishment of the obsolete ways of aristocracy. For those who loved the old Empire this signaled the beginning of the end. It was at this time that seventeen year old Rudy emigrated from his homeland. He left for Canada in 1905, too early to witness the fall of the Hapsburg Empire or the bloody reign of terror that would ignite the first World War.

For young Rudy, Canada was but a stepping stone and he soon immigrated to New York where he may have begun an apprenticeship with equine photographers. In 1916, Rudy married a Bavarian-born woman named Ana and started a family. One year later, when the U.S. joined the War, Rudy enlisted in the United States Signal Corp. Family and friends agree that it was during his enlistment when he truly began to apply the craft that would become his life’s work.

The Horses

During the earliest part of the Twentieth Century the class of the "American elite" was quite smitten with horse breeding and showing. From New York to Kentucky, American Saddle Horses ruled the show ring circuit. A few talented photographers such as Rounds and Haas were making lasting names for themselves as they expertly photographed the important bloodstock of that era. This writer has no proof to verify whether Rudy worked for either of these photographers but a study of their style and technique and the fact that they were from the east coast, and dabbled in dog photography, make them worthy candidates as Tauskey’s early mentors. Regardless of whom was responsible for his entree, when Rudy began to take on his own commissions he quickly moved to the top of the horse photographer’s ladder.

After the War, another breed of horse began to gain prominence. Morgan Horses were the official breed of the United States Cavalry and by the time he came home, Tauskey was a photographer who understood his way around a horse. In short time, prominent horse breeders took notice of Tauskey. To this day, Morgan Horse historians still salute Charles Chauncey Stillman as one of the founding fathers of the modern Morgan show horse. He is most famous for his two prepotent sires, "Sir Ethan Allen" and "Sealect". When Morgan people hear these famous stallion’s names, the images that spring to their minds are pure Tauskey. Curiously, it may well be that this famous horse breeder is responsible for Tauskey’s segue into the upper crust of dog show society. C.C. Stillman was also a breeder and early importer of Irish Setters under the kennel prefix of Kenridge of Cornwall, New York. Tauskey’s name can be found on early Kenridge setter portraits, too. This then, might very well have been the birth of a legend.

The Early Days in Dogs

Cocker Spaniel historians will recall the name Ella Moffit as the author of the classic book "The Cocker Spaniel - Companion Shooting Dog and Show Dog". Under the kennel prefix Rowcliffe she was an early champion of the Cocker Spaniel breed as both a show dog and a capable dog afield. According to his family, the post-war Tauskey had an interest in pheasant work, keeping both Llwellyn Setters and Springers, cutting his teeth on early professional trainers such as pioneer Springer men, Sr. and Jr. Jasper Briggs and Alan Reid. Rudy spent a lot of camera time at Fisher Island recording the trials but interestingly, the aforementioned Cornwall was also the location of at least one English Springer trial in which Moffit’s famous Cocker, "Rowcliffe War Dance" stole the show from his larger cousins. This was likely where Rudy met and befriended Moffit who lived in the area and had prominent neighbors in the dog world, including the prolific outdoors writer Freeman Lloyd and legendary Cocker breeder, Herman Mellenthin. Many early Cocker Spaniels are remembered today by their classic Tauskey images. His style gained preeminence and as his images began to appear in the dog show journals of the day, more fanciers began to take notice.

Of course there were dog photographers before Tauskey but none could surpass his ambition, his desire to learn or his respect for the great dog men and women of his era. In people as well as dogs, Rudy recognized "Greatness" and he knew who was going to be of lasting influence. These are the people whose friendships he cultivated. Like a sponge he soaked up as much knowledge as he could. Breeders, handlers and magazine editors learned from him, too. Suddenly the profession of dog photography was taken more seriously. By 1924, the American Kennel Club had also recognized Rudy’s talent hiring him as their official staff photographer. For eighteen years Tauskey profiled the great kennels of the day, shooting champions for the AKC’s publishing efforts. Curiously, Tauskey was allowed to also take on private commissions. He solicited for his private portrait business through the Gazette, promoting himself as an "art photographer" of purebred dogs. It would seem that Rudolph Tauskey knew his own future as well.

Rudy The Politician

Many who knew Rudy, including his own grandchildren tell of how politically-minded Tauskey could be. He was a dyed-in-the-wool dog man and considered to be "The Best" in his profession. If you had an important show dog, you had its portrait made by Tauskey. He had polished his skills on some of the best breeders in the business. He studied breed standards as part of his profession and could talk dogs on an even playing field with the most esteemed judges of the day. Naturally, many of these judges became his good friends. A few of his best pals were renowned all-rounders such as F.Downing, William Kendrick and Henry Stoecker.

By all accounts, Tauskey was an honest but shrewd business man. He had his client’s best interest in mind and his own best interest at heart. Like many other immigrants, Rudy was very impressed by American opulence and it was natural for him to talk to his cronies about the fine and well respected clients that he served. He had done well and he was proud of himself and he liked to show off his clients through their dog’s portraits. This made good cocktail conversation and he would praise the good qualities of the dogs that had been brought to him.

When Tauskey began shooting dogs professionally, the show world consisted mainly of large kennels owned, or financially supported, by wealthy industrialists and other members of the leisure class. Even if his dogs were nice, it was difficult for the common man to compete against the tycoons of the era. This more "common" class of people whom Tauskey would work for from time to time, really added nothing to his cocktail conversation, so it is said that he would dismiss them, at their dog’s expense, in front of his cronies, the judges. This could be damaging to a small breeder who often would have to face an entry of fifteen or more dogs, all from the same esteemed kennel. This, of course, is the basis for the rumors that Tauskey was political and it may very well be the reason that there has never been another photographer on staff at the American Kennel Club.

For those in the know, Rudolph Tauskey is most famous for his retouch work. A legitimate master of pen and brush, he could magically fill out a beard on an Airedale, add feathers on a setter or create cat feet out of hare. Tauskey presented his clients’ dogs in their best light. As an artist he took artistic license. Rudy could see the potential in a young dog, adding depth to a chest that he knew would drop in time. He understood that within a year a youngster’s coat would fill out so he would painstakingly add coat to create the illusion of a mature dog. Knowing that road work would improve the topline of a dog he’d make adjustments accordingly. These were subtle changes that could greatly enhance the appearance of a dog.

The problems began when handlers who didn’t understand that Tauskey was just improving small details that would perfect an already excellent specimen, expected him to work miracles. Although Tauskey could work wonders for a dog, he was an artist, not a mechanic and didn’t perform complete "overhauls".

Beyond some handlers feeling left out of the loop, a few breeders had some legitimate concerns.

One tale tells the story of a famous English import who was magnificent in every way but for an East-West front. The story goes that Tauskey corrected this problem in the darkroom. A gorgeous, three quarter angle, Tauskey portrait soon began appearing in magazine ads, introducing this stunning import to the American fancy. Breeders on both coasts sent their bitches to this dog based largely on this photograph. A few bred to him specifically to improve the fronts in their bloodlines and then blamed their bitches for not being better producers.

The above story is the kind of tale that has people "up in arms" about Rudy’s ethics to this day. But it must be remembered that from the very beginning, Tauskey promoted himself as an artist. He never pretended to create anything less than perfection for his well groomed stable of clients. The question of ethics would be better served if placed squarely on the backs of those who would promote or reward a dog as correct when in fact its construction was faulty. Today, if one knew of an artist’s reputation for perfection in his imagery, he or she would certainly take into account that the image might not be telling the complete truth. But if a breeder, exhibitor or judge did bend the truth, who can blame Tauskey? He never claimed to produce mediocrity. For him, perfection was the name of the game.

The Man Behind The Camera - Rudolph W. Tauskey was first published in the August, 1999 Issue of The Canine Chronicle. For the conclusion to this story, Click Here