Masterpiece of the Week: Sir Edwin Landseer’s “Princess Victoire of Saxe-Coburg-Gotha,” 1839

Princess Victoire of Saxe-Coburg-Gotha
Sir Edwin Landseer, 1839
The Royal Collection

This unusual portrait from the private collection of Queen Victoria is the work of the magnificent Edwin Landseer from whose skilled hand came some of the most beautiful portraits, landscapes and animal scenes produced by any British painter.


The sitter is Queen Victoria’s cousin, Princess Victoire of Saxe-Coburg-Gotha. Victoire was the daughter of Queen Victoria’s mother’s elder brother, Duke Ferdinand of Saxe-Gotha. She is painted from the back as she gazes out into the horizon. Landseer included Victoire’s black cocker spaniel in the piece. It’s hard to say if this was because of a particular attachment Victoire had to the dog or because Edwin Landseer really enjoyed painting dogs—something for which he is remembered to this day.

Landseer considered this highly detailed work to be “just a sketch” as indicated in the notation on the reverse of the canvas. It is thought that the “sketch” was drawn without Victoire’s knowledge. Viewers of the work found it odd and enchanting. The painting was given as a gift to Queen Victoria from one Baroness Lehzen on September 10, 1839. The Baroness described the work as “a lovely sketch in oils Landseer has done of Victoire’s back, as a surprise for me; it is so like, - such a treasure — just the figure of that Angel.”

Landseer shows us that a figure that is drawn properly is recognizable as a particular person even from behind. This strange pose at once reminds us of his talent as a painter and the quiet beauty of Princess Victoire of Saxe-Coburg-Gotha.

Masterpiece of the Week: Sir Edwin Landseer’s “Princess Victoire of Saxe-Coburg-Gotha,” 1839

Princess Victoire of Saxe-Coburg-Gotha
Sir Edwin Landseer, 1839
The Royal Collection

This unusual portrait from the private collection of Queen Victoria is the work of the magnificent Edwin Landseer from whose skilled hand came some of the most beautiful portraits, landscapes and animal scenes produced by any British painter.


The sitter is Queen Victoria’s cousin, Princess Victoire of Saxe-Coburg-Gotha. Victoire was the daughter of Queen Victoria’s mother’s elder brother, Duke Ferdinand of Saxe-Gotha. She is painted from the back as she gazes out into the horizon. Landseer included Victoire’s black cocker spaniel in the piece. It’s hard to say if this was because of a particular attachment Victoire had to the dog or because Edwin Landseer really enjoyed painting dogs—something for which he is remembered to this day.

Landseer considered this highly detailed work to be “just a sketch” as indicated in the notation on the reverse of the canvas. It is thought that the “sketch” was drawn without Victoire’s knowledge. Viewers of the work found it odd and enchanting. The painting was given as a gift to Queen Victoria from one Baroness Lehzen on September 10, 1839. The Baroness described the work as “a lovely sketch in oils Landseer has done of Victoire’s back, as a surprise for me; it is so like, - such a treasure — just the figure of that Angel.”

Landseer shows us that a figure that is drawn properly is recognizable as a particular person even from behind. This strange pose at once reminds us of his talent as a painter and the quiet beauty of Princess Victoire of Saxe-Coburg-Gotha. 

Crown Copyright
The Royal Collection
Via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Object of the Day: An Engraving by Charles Landseer, 1845

Though never achieving the huge fame of his brother, Edwin Landseer, Charles Landseer (1799-1879) possessed an enormous talent and attained the respect of his peers with his epic historical paintings. Charles was named Keeper of the Royal Academy Schools in 1851. One of his most famous works was the painting of Charles I, On the Eve of the Battle of Edgehill, 1642.

For this painting, Charles asked his famous brother, Edwin, to paint the dogs in the scene. Edwin, known for his stunning paintings of animals, was happy to oblige. This collaboration on their part caused some controversy. In 1861, the two dogs were cut from the canvas and sold as individual works of art attributed to Edwin Landseer—leaving the painting terribly damaged. Legend has it, that eleven years later, the two dogs were replicated by an unknown artist and restored to the canvas which was then sold at auction.

The original, Walker Art Gallery, Liverpool

This 1845 engraving of the painting was crafted under the direction of Charles Landseer himself. A crisp representation of the original, engravings such as this are our only indication of what the painting would have looked like before being cut. With its ominous sky and exquisite detail, we have the sense of being present in the tense moment just before the Battle of Edgehill. Landseer was clever to add a domestic feeling to the painting by adding representations of townspeople in the scene. These gentle faces set against the stoniness of the king show the effects of war on the population. Just as talented as his brother, Charles Landseer deserves to be remembered for his sensitive portrayals of important world events. The moments that he replicates shaped the world as we know it today.

Painting of the Day: Queen Victoria at Osborne, 1867

Queen Victoria at Osborne
"Shadow"
Sir Edwin Landseer, 1867
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Victoria’s “Go-to” painter for many reasons was Sir Edwin Landseer (1803-1873). Her Majesty admired Landseer’s work for its monumentality and sense of historical accuracy as well as his sensitive and accurate depictions of children and animals. After the 1861 pre-mature death of Prince Albert, Victoria commissioned Landseer to create a pair of paintings which she called “Sunshine and Shadow.” She wrote in her journal that she was “seized with a great wish” to see illustrated the contrast between those dear, joyful times which she had shared with Prince Albert on the Highlands at Balmoral and at their vacation home, Osborne House, and the overwhelming grief she felt since the Prince Consort’s death.

Her Majesty asked, for the “Shadow” portion of the pair that she be painted, “as I am now, sad & lonely, seated on my pony, led by Brown, with a representation of Osborne.”

And, that’s just what Landseer did.

Here, we see the Queen in the mourning attire she donned for the remainder of her life. Landseer pictures Her Majesty seated upon Flora, the royal pony. Flora is being led by John Brown. Behind them, we can see the grand terraces of Osborne, the clock stopped at 3 p.m. Her Majesty reads a letter while, on the ground, her gloves and other letters have been cast aside. As I’ve mentioned before, imagery of cast-off gloves often symbolized a woman alone.

Landseer has also carefully painted two of the Queen’s dogs, a Border Collie (most likely the one called Sharp) and a Skye Terrier whom we know as “Prince.” Princesses Louise and Helena are seen in the background.

That Victoria asked for Brown to be included in the painting speaks of her affection for the servant who had originally been a ghillie (an outdoor servant) at Balmoral. Upon the passing of Prince Albert, Queen Victoria and Brown enjoyed a close friendship. John Brown was deeply protective of the Queen, and she was fiercely loyal to him despite the opposition of her advisors and family, especially the future King Edward VII.

The Queen’s grief was compounded when Brown died in 1883. She wrote:

Perhaps never in history was there so strong and true an attachment, so warm and loving a friendship between the sovereign and servant…Strength of character as well as power of frame – the most fearless uprightness, kindness, sense of justice, honesty, independence and unselfishness combined with a tender, warm heart…the most remarkable of men.

Landseer painted the portrait based on many live sittings as well as a variety of photographs of the Queen on horseback, the dogs, and the princesses. He began the work on “Shadow” in 1865—creating sketches, but didn’t begin actual painting until 1867. Landseer claimed to have been unsettled by the fog and suggested that his failing eyesight had delayed him. The painting was exhibited at the Royal Academy in 1867, at the end of the year. He wrote, upon the opening of the exhibit:

If there is any merit in my treatment of the composition it is in the truthful and unaffected representation of Her Majesty’s unceasing grief – The story should be told by the Picture.

Painting of the Day: “Comical Dogs” by Edwin Landseer, 1836

Comical Dogs
Sir Edwin Landseer, 1836
The Victoria & Albert Museum

Known for his depictions of animals, especially dogs, Sir Edwin Landseer was Queen Victoria’s first choice to paint official portraits of her many beloved pets. Landseer also enjoyed painting dogs in allegorical and even humorous circumstances. Take this painting entitled “Comical Dogs” for example. Painted in oil on a wooden panel, the painting shows a scene of two dogs, one wearing a white bonnet who appears to be smoking a pipe as he sits back on his hind legs with both front paws extended, while the other dog wears a woman’s Scottish tam on his head. The wire-haired terrier in the Scottish bonnet has in his possession a ram's horn snuff container.

Terriers were a favorite subject of Landseer’s. One critic observed that Landseer, “gives them all the intelligence of the canine nature but never plays with the falsehood of a fanciful or humanised expression.”

Painting of the Day: “Comical Dogs” by Edwin Landseer, 1836

Comical Dogs
Sir Edwin Landseer, 1836
The Victoria & Albert Museum

Known for his depictions of animals, especially dogs, Sir Edwin Landseer was Queen Victoria’s first choice to paint official portraits of her many beloved pets. Landseer also enjoyed painting dogs in allegorical and even humorous circumstances. Take this painting entitled “Comical Dogs” for example. Painted in oil on a wooden panel, the painting shows a scene of two dogs, one wearing a white bonnet who appears to be smoking a pipe as he sits back on his hind legs with both front paws extended, while the other dog wears a woman’s Scottish tam on his head. The wire-haired terrier in the Scottish bonnet has in his possession a ram's horn snuff container.

Terriers were a favorite subject of Landseer’s. One critic observed that Landseer, “gives them all the intelligence of the canine nature but never plays with the falsehood of a fanciful or humanised expression.”

Painting of the Day: Queen Victoria at Osborne, 1867

Queen Victoria at Osborne
"Shadow"
Sir Edwin Landseer, 1867
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Queen Victoria’s “Go-to” painter for many reasons was Sir Edwin Landseer (1803-1873). Her Majesty admired Landseer’s work for its monumentality and sense of historical accuracy as well as his sensitive and accurate depictions of children and animals. After the 1861 pre-mature death of Prince Albert, Victoria commissioned Landseer to create a pair of paintings which she called “Sunshine and Shadow.” She wrote in her journal that she was “seized with a great wish” to see illustrated the contrast between those dear, joyful times which she had shared with Prince Albert on the Highlands at Balmoral and at their vacation home, Osborne House, and the overwhelming grief she felt since the Prince Consort’s death.

Her Majesty asked, for the “Shadow” portion of the pair that she be painted, “as I am now, sad & lonely, seated on my pony, led by Brown, with a representation of Osborne.”

And, that’s just what Landseer did.

Here, we see the Queen in the mourning attire she donned for the remainder of her life. Landseer pictures Her Majesty seated upon Flora, the royal pony. Flora is being led by John Brown. Behind them, we can see the grand terraces of Osborne, the clock stopped at 3 p.m. Her Majesty reads a letter while, on the ground, her gloves and other letters have been cast aside. As I’ve mentioned before, imagery of cast-off gloves often symbolized a woman alone.

Landseer has also carefully painted two of the Queen’s dogs, a Border Collie (most likely the one called Sharp) and a Skye Terrier whom we know as “Prince.” Princesses Louise and Helena are seen in the background.

That Victoria asked for Brown to be included in the painting speaks of her affection for the servant who had originally been a ghillie (an outdoor servant) at Balmoral. Upon the passing of Prince Albert, Queen Victoria and Brown enjoyed a close friendship. John Brown was deeply protective of the Queen, and she was fiercely loyal to him despite the opposition of her advisors and family, especially the future King Edward VII.

The Queen’s grief was compounded when Brown died in 1883. She wrote:

Perhaps never in history was there so strong and true an attachment, so warm and loving a friendship between the sovereign and servant…Strength of character as well as power of frame – the most fearless uprightness, kindness, sense of justice, honesty, independence and unselfishness combined with a tender, warm heart…the most remarkable of men.

Landseer painted the portrait based on many live sittings as well as a variety of photographs of the Queen on horseback, the dogs, and the princesses. He began the work on “Shadow” in 1865—creating sketches, but didn’t begin actual painting until 1867. Landseer claimed to have been unsettled by the fog and suggested that his failing eyesight had delayed him. The painting was exhibited at the Royal Academy in 1867, at the end of the year. He wrote, upon the opening of the exhibit:

If there is any merit in my treatment of the composition it is in the truthful and unaffected representation of Her Majesty’s unceasing grief – The story should be told by the Picture.

Object of the Day, Museum Edition: Princess Mary Adelaide with “Nelson,” by Sir Edwin Landseer, 1839

Princess Mary Adelaide of Cambridge
with Nelson, a Newfoundland Dog
Sir Edwin Landseer, 1839
Presented to King George V, 1893
The Royal Collection

Hello, all.  I'm a little off-schedule today.  My apologies for my tardiness in getting things going.

This week's "Treat of the Week," is a special edition, and, given that, we're going to have a WHOLE day devoted to its theme.  Make sure to come back on Wednesday for that day of fun!

But, never fear.  There's fun today and tomorrow, too.

Let's begin with a lovely painting which I've selected to begin our day's festivities as our "Object of the Day, Museum Edition."

Technically, this painting fits better into the category of “Royal Pets.” Painted in 1839 by Sir Edwin Landseer, this portrait of Princess Mary Adelaide of Cambridge depicts the royal child with the favorite Newfoundland dog of her father Prince Adolphus, Duke of Cambridge.

Princess Mary Adelaide (known in her adult life by the unflattering sobriquet of “Fat Mary”) was the granddaughter of King George III and the mother of Princess Mary of Teck who would later become the queen consort of George V. Therefore, she is the Great Grandmother of Queen Elizabeth II (Mary of Teck’s son, King George VI was Queen Elizabeth II’s father).

This painting was presented to King George V in 1893 on the occasion of his marriage to Mary of Teck. Mary very much liked this picture of her mother and kept it near. Of course, much of the beauty of the painting owes to its artist, Sir Edwin Landseer—long known as the foremost British painter of animals.

HRH Princess Mary Adelaide of Cambridge, Duchess of Teck
in later life.

Pets of the Belle Epoque: Princess Mary Adelaide with “Nelson,” by Sir Edwin Landseer, 1839

Princess Mary Adelaide of Cambridge
with Nelson, a Newfoundland Dog
Sir Edwin Landseer, 1839
Presented to King George V, 1893
The Royal Collection

Technically, this painting fits better into the category of “Royal Pets.” Painted in 1839 by Sir Edwin Landseer, this portrait of Princess Mary Adelaide of Cambridge depicts the royal child with the favorite Newfoundland dog of her father Prince Adolphus, Duke of Cambridge.

Princess Mary Adelaide (known in her adult life by the unflattering sobriquet of “Fat Mary”) was the granddaughter of King George III and the mother of Princess Mary of Teck who would later become the queen consort of George V. Therefore, she is the Great Grandmother of Queen Elizabeth II (Mary of Teck’s son, King George VI was Queen Elizabeth II’s father).

This painting was presented to King George V in 1893 on the occasion of his marriage to Mary of Teck. Mary very much liked this picture of her mother and kept it near. Of course, much of the beauty of the painting owes to its artist, Sir Edwin Landseer—long known as the foremost British painter of animals.

HRH Princess Mary Adelaide of Cambridge, Duchess of Teck
in later life.

Pets of the Belle Époque: “Victoria, Princess Royal, with Eos” by Sir Edwin Landseer, 1841

Victoria, Princess Royal, with Eos
August, 1841
Sir Edwin Landseer
Commissioned by Queen Victoria on the
event of Prince Albert's Birthday
The Royal Collection

On Wednesday, we examined a painting by Sir Edwin Landseer from 1841 which depicted Prince Albert’s favorite greyhound, Eos, in a very dignified pose. Here, we see another painting by Landseer from the same year. This time, Eos is peacefully curled up with Victoria, Princess Royal. Queen Victoria commissioned Landseer to paint this portrait of their eight-month old daughter with Prince Albert’s beloved Eos as a gift for the Prince’s birthday on August 26, 1841.  This tender scene shows the child to be alert and bright, her foot resting on the nose of the patient, loyal hound.

Also included in the painting is a barbary dove—perched on the arm of the green silk bergère chair upon which the infant princess rests. This dove was a symbol of childhood innocence, but also represented the vast assemblage of birds which Queen Victoria and Prince Albert houses in the Royal Aviary in the Home Park of Windsor.

By all accounts, Prince Albert was thrilled with the portrait which was displayed near the painting of Eos protecting his master’s belongings.

Painting of the Day: Brazilian Monkeys by Sir Edwin Landseer, 1842

Brazillian Monkeys
Sir Edwin Landseer
1842
The Royal Collection
Commissioned by Queen Victoria

Monkeys! Monkeys smaller than a pineapple! How wonderful. Now, I have to say that I don’t have much occasion to see tiny monkeys. So, I find paintings such as this 1842 oil by the greatest depicter of animals, Sir Edwin Landseer, to be quite interesting. Imagine how it was received when it was first created. This is where I want to say, “its viewers must have gone ape.” But, I wouldn’t make such a cheap pun.


Though Landseer’s works included portraits, he was best known for his paintings of animals. He usually painted dogs and horses and other animals native to Britain, however, every so often, he’d have a chance to have some exotic sitters. I’m glad that he did. It would have been a shame is these little simians had been lost to the ages.

Painting of the Day: Prince Albert’s Greyhound, “Eos” by Sir Edwin Landseer, 1841

Eos
Sir Edwin Landseer, 1841
Commissioned by Queen Victoria as a gift
for Prince Albert
The Royal Collection

Those Royals and their dogs…it’s a long-standing love. Prince Albert and Queen Victoria always had dogs around the house and, by all accounts, loved each of them dearly. In 1841, Queen Victoria wanted to make a present to her husband of a painting of his favorite greyhound. Of course, she commissioned Sir Edwin Landseer who was well known for his skill in depicting dogs in his artwork.


Here, we see a lovely portrait of the greyhound that the prince called “Eos.” Greyhounds were a symbol of court life of the time, and Prince Albert had a particular fondness for this particular fellow. He described the dog as, “very friendly if there is plum-cake in the room … keen on hunting, sleepy after it, always proud and contemptuous of other dogs.”

Landseer has portrayed Eos in a fittingly dignified light as he stands in attention, guarding his master’s tall hat, gloves and stick. Prince Albert was thrilled with the gift. And, well he should have been. It’s a truly stunning painting.

Pets of the Belle Époque: "The Connoisseurs" by Sir Edwin Landseer, 1865

The Connoisseurs:
Portrait of the Artist with Two Dogs
Sir Edwin Landseer,
1865
The Royal Collection

Throughout our many visits to the work of celebrated painter and favorite of Queen Victoria, we’ve looked at his masterful paintings of both humans and their animal companions. However, we have not stopped to consider Landseer himself. His skill in painting animals is widely known. So, it’s only appropriate that in painting a self-portrait as a gift for King Edward VII, Landseer would flank his own image with that of two dogs. I’m not quite sure if these two dogs were his own companions, but I like the idea that they are the truest connoisseurs of his art. Landseer’s sense of humor keenly shows in this picture.


Despite his great talent and success, Landseer was often plagued by long periods of depression and hypochondria. Just before his death in 1873, his family declared him insane. Regardless of the melancholy that haunted him, he created exceptional works of art which are highly regarded to this day.

Painting of the Day: “A Highland Breakfast,” Sir Edwin Landseer, 1834

A Highland Breakfast
Landseer, 1834
The Victoria & Albert Museum

Edwin Landseer loved dogs, or at least painting them. And, I can tell you that dog’s love breakfast. So, this painting is the perfect loving combination.

In this 1834 canvas by Landseer, called “A Highland Breakfast,” we see a young mother feeding her child while the family dogs enjoy their breakfast from a large tub nearby. The painting was exhibited at the Royal Academy in 1834 when a reviewer noted, “the group of terriers and hounds... socially toiling with their teeth.... [and the] young mother giving her child the breast... the innocence of the latter, and the truth and nature of the former are equally striking.” This truth was the hallmark of Landseer’s work. The artist had an innate ability to combine a genre scene with his beloved canine studies, and does so effortlessly here in this intimate Scottish setting.

This painting was another of the many genre works collecting by the celebrated John Sheepshanks.

Painting of the Day: “The Lory” by Sir Edwin Landseer, 1837

The Lory
Sir Edwin Landseer
1837
The Royal Collection

“The Lory” was a frequent sitter for Sir Edwin Landseer.  The parrot’s amiable nature made him a suitable subject and an easy one to work with.  Queen Victoria described the bird as “so tame that is remains in your hand, and you may put your finger into its beak, or do anything with it, without it ever attempting to bite.”  Lory was a gift from Queen Victoria’s uncle, Ernest I, Duke of Saxe-Coburg-Gotha upon his May, 1836 visit to London. As thanks for the Queen’s hospitality and her generosity to his two sons, he presented her with the friendly parrot who never ceased to delight Victoria. 

Painting of the Day: “The Highland Lassie,” by Sir Edwin Landseer, 1850

The Highland Lassie
Sir Edwin Landseer, 1850
The Royal Collection

After their first visit to Balmoral in 1848, Queen Victoria and Prince Albert fell in love with the beauty of Scotland.  Before they established a royal residence at Balmoral in 1852, Queen Victoria took every opportunity to remind her husband of the happy times they spent at Balmoral.  In 1850, Queen Victoria commissioned one of the her favorite painters, Sir Edwin Landseer, to create an idealized Scottish scene to give to Prince Albert for Christmas.  The result was this stunning picture of a young lady with two deer set against a majestic Scottish landscape.  Thrilled with the painting, Prince Albert displayed it proudly.  I can only imagine that seeing this bucolic scene every day probably further encouraged Prince Albert to actively pursue the lease on Balmoral. 

Object of the Day, Museum Edition: Maria, 1836

Maria
Charles Landseer
England, 1836
The Victoria & Albert Museum

“Poor Maria, sitting under a poplar…with her elbow in her lap…and her head leaning on one side…dressed in white.” 
      --from “A Sentimental Journey through France and Italy” by Laurence Sterne 

Charles Landseer (1799-1879, the elder brother of Sir Edwin Landseer) was inspired to create this painting upon reading Laurence Sterne’s novel “A Sentimental Journey through France and Italy,” 1768. The subject is lifted right from the book, specifically, a character called Maria who lost her true love. At her side is a loyal dog who keeps her company in her grief.

Painted in 1836, the canvas shows that Charles Landseer was just as talented as his better-remembered young brother. However, in this composition, like many of his works, it has eben long believed, Charles looked to Edwin for assistance in painting the figure of the dog. Edwin was well-known for his portraits of dogs and animals in general. His handling of animal subjects made Edwin a favorite of Queen Victoria and Prince Albert who commissioned the artist to paint their beloved pets.

The painting was exhibited at the British Institute under the title “Sterne’s Maria.” The character of the inconsolable Maria was quite popular in the later 18th century. Engravings of this piece were big sellers.

Pets of the Belle Époque: “Victoria, Princess Royal, with Eos” by Sir Edwin Landseer, 1841

Victoria, Princess Royal, with Eos
August, 1841
Sir Edwin Landseer
Commissioned by Queen Victoria on the
event of Prince Albert's Birthday
The Royal Collection

These days, I just seem to be constantly behind schedule.  So, it's another slow start today.  Let's get going by looking at some more Royal Family birthday gifts.  Queen Victoria's birthday has past, it was May 24th, but, let's look ahead to Prince Albert's.

Here, we see another painting by Landseer from the same year. This time, Eos is peacefully curled up with Victoria, Princess Royal. Queen Victoria commissioned Landseer to paint this portrait of their eight-month old daughter with Prince Albert’s beloved Eos as a gift for the Prince’s birthday on August 26, 1841.  This tender scene shows the child to be alert and bright, her foot resting on the nose of the patient, loyal hound.

Also included in the painting is a barbary dove—perched on the arm of the green silk bergère chair upon which the infant princess rests. This dove was a symbol of childhood innocence, but also represented the vast assemblage of birds which Queen Victoria and Prince Albert houses in the Royal Aviary in the Home Park of Windsor.

By all accounts, Prince Albert was thrilled with the portrait which was displayed near the painting of Eos protecting his master’s belongings. 

Painting of the Day: Maria, 1836

Maria
Charles Landseer
England, 1836
The Victoria & Albert Museum

“Poor Maria, sitting under a poplar…with her elbow in her lap…and her head leaning on one side…dressed in white.” 
      --from “A Sentimental Journey through France and Italy” by Laurence Sterne 

Charles Landseer (1799-1879, the elder brother of Sir Edwin Landseer) was inspired to create this painting upon reading Laurence Sterne’s novel “A Sentimental Journey through France and Italy,” 1768. The subject is lifted right from the book, specifically, a character called Maria who lost her true love. At her side is a loyal dog who keeps her company in her grief.

Painted in 1836, the canvas shows that Charles Landseer was just as talented as his better-remembered young brother. However, in this composition, like many of his works, it has eben long believed, Charles looked to Edwin for assistance in painting the figure of the dog. Edwin was well-known for his portraits of dogs and animals in general. His handling of animal subjects made Edwin a favorite of Queen Victoria and Prince Albert who commissioned the artist to paint their beloved pets.

The painting was exhibited at the British Institute under the title “Sterne’s Maria.” The character of the inconsolable Maria was quite popular in the later 18th century. Engravings of this piece were big sellers.

Painting of the Day: A Jack in Office, 1833

A Jack in Office
Sir Edwin Landseer, 1833
The Victoria & Albert Museum

Ha!  Early Nineteenth political humor (humour).  You see, when this painting was finished, a slang expression for a pompous government official was "a jack in office." And, that’s what this painting is called.  But, it's not a governmental official...no, it's a doggie.  A Jack Russell Terrier!  Ha!  Oh, Edwin Landseer, you slay me with your canine antics.

All teasing aside, I do like this painting by the always wonderful Landseer and I think it's quite clever.  Completed in 1833, a critic at the time  described how "the well-fed and much caressed dog…keeps others from testing the food of which he has had too much." Sounds like a politician to me.

The painting was given to the V&A by John Sheepshanks in 1857

This is one of Sir Edwin's most clearly anthropomorphic treatments of human matters in canine terms.  A other critic said that the piece was "enormously popular, providing fable, parody, humour, and narrative in a single image."