Sculpture of the Day: A Lion After Landseer, 1874

Paperweight
The Victoria & Albert Museum

Among the most famous public sculptures in Britain are the lions at the base of Nelson’s Column in Trafalgar Square which were designed by Sir Edwin Landseer. Those celebrated lions have inspired multiple works of art including this handsome paperweight of blue pressed glass.

The lion was created through a new technique of press-molding glass with the aid of a hand-operated machine. This technique—developed originally in the U.S. in the 1820s--made the mid-to-late Nineteenth Century the beginning of true mass production of pressed glass in the U.K..

This beautiful piece heralds from John Derbyshire's Regent Flint Glass Works at Salford, Manchester. The concern was not long-lived, however, during its few years of production it manufactured some of the most sought-after paperweights in Britain. The best known of the collection is this lion. Others which were inspired by Landseer also proved to be big sellers. These included based on the master’s paintings of a greyhound and a collie.

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." 

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." 

The Home Beautiful: “Dot and Cairnach, Skye Terriers” by Otto Weber, 1874

Dot and Cairnach, Skye Terriers
Otto Weber, 1874
The Royal Collection

Royal Academician Otto Weber was appointed portrait painter to The Royal Family in the 1870’s by Queen Victoria. Being as Victoria considered the royal pets to be as much a part of the family as anyone else, she commissioned Weber to paint portraits of her dogs, too.

This 1874 portrait shows two Skye Terriers who lived amongst the other dogs in the royal household. Known as Dot and Cairnach, these spirited companions were known to frolic through the corridors in typical terrier fashion. This wasn’t Cairnach’s first time posing for a portrait. He had previously been painted by Sir Edwin Landseer on several occasions and served as a great source of inspiration for the artist who used the terrier’s visage in quite a few masterpieces.

Curiously, another of Landseer's portraits is of a dog also called Cairnach.  This one dates to 1842.  This handsome pup, who was honored later by the name given to the Skye, was a Maltese Terrier.    The 1842 portrait roundel was a Christmas gift to Queen Victoria from Prince Albert.

Cairnach
Sir Edwin Landseer, 1842
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

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.

Royal Pets: Boz, Favourite Skye Terrier of the Duchess of Kent and afterwards the Queen, 1861

Boz, the Favourite Skye Terrier of the Duchess of Kent and Thereafter Queen Victoria
Study by Friedrich Wilhelm Keyl, 1861
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Though Queen Victoria and her mum didn’t get on so well all the time, they did share an appreciation for dogs. So, when the Duchess of Kent finally died, Queen Victoria adopted the Duchess’ Skye Terrier, Boz.

This sketch of colored chalks on gray paper is the work of Friedrich Wilhelm Keyl (1823-71) and is dated June 1861. The drawing was made as a study for an oil painting which was commissioned by Queen Victoria in 1861.

Keyl was Sir Edwin Landseer’s only pupil and mastered his teacher’s ability to create sensitive and accurate animal portraits.

Boz lived with Queen Victoria for another three years after the Duchess of Kent’s passing, and the Queen doted on him. In honor of the friendship between Boz and Queen Victoria, this sketch is proudly displayed in the Charles Dickens Reception Room at Buckingham Palace. Only fitting since the terrier was named for Mr. Dickens.

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

Sculpture of the Day: A Lion After Landseer, 1874

Paperweight
The Victoria & Albert Museum

Among the most famous public sculptures in Britain are the lions at the base of Nelson’s Column in Trafalgar Square which were designed by Sir Edwin Landseer. Those celebrated lions have inspired multiple works of art including this handsome paperweight of blue pressed glass.

The lion was created through a new technique of press-molding glass with the aid of a hand-operated machine. This technique—developed originally in the U.S. in the 1820s--made the mid-to-late Nineteenth Century the beginning of true mass production of pressed glass in the U.K..

This beautiful piece heralds from John Derbyshire's Regent Flint Glass Works at Salford, Manchester. The concern was not long-lived, however, during its few years of production it manufactured some of the most sought-after paperweights in Britain. The best known of the collection is this lion. Others which were inspired by Landseer also proved to be big sellers. These included based on the master’s paintings of a greyhound and a collie.

Painting of the Day: Lady Blessington's Dog - The Barrier, 1832

Lady Blessington's Dog -- The Barrier
Sir Edwin Landseer, 1832
The Victoria & Albert Museum 
Click to Enlarge

Painted in 1832, this comic scene is the work of Sir Edwin Henry Landseer—celebrated for his intelligent portrayals of animals and a favorite painter of Queen Victoria. 

The scene depicts a mother cat separated from her kitten by a large dog who, knowingly, blocks the mother from the staircase upon which her baby has climbed.  Landseer often showed animals in comical scenes, sometimes for allegorical purposes, and sometimes just for the sheer joy and beauty of it.

This painting was commissioned by Lady Blessington and depicts her beloved dog. The dog had been given to Lady Blessington by the King of Naples.  When the painting was exhibited at the Royal Academy in 1833, it was accompanied with the following lines from Shakespeare's Macbeth act I scene 7: 'Letting "I dare not" wait upon "I would"/Like the poor cat I' the adage'.

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. 

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.

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.

The Home Beautiful: “Dot and Cairnach, Skye Terriers” by Otto Weber, 1874

Dot and Cairnach, Skye Terriers
Otto Weber, 1874
The Royal Collection

Royal Academician Otto Weber was appointed portrait painter to The Royal Family in the 1870’s by Queen Victoria. Being as Victoria considered the royal pets to be as much a part of the family as anyone else, she commissioned Weber to paint portraits of her dogs, too.

This 1874 portrait shows two Skye Terriers who lived amongst the other dogs in the royal household. Known as Dot and Cairnach, these spirited companions were known to frolic through the corridors in typical terrier fashion. This wasn’t Cairnach’s first time posing for a portrait. He had previously been painted by Sir Edwin Landseer on several occasions and served as a great source of inspiration for the artist who used the terrier’s visage in quite a few masterpieces.

Curiously, another of Landseer's portraits is of a dog also called Cairnach.  This one dates to 1842.  This handsome pup, who was honored later by the name given to the Skye, was a Maltese Terrier.    The 1842 portrait roundel was a Christmas gift to Queen Victoria from Prince Albert.

Cairnach
Sir Edwin Landseer, 1842
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Royal Pets: Boz, Favourite Skye Terrier of the Duchess of Kent and afterwards the Queen, 1861

Boz, the Favourite Skye Terrier of the Duchess of Kent and Thereafter Queen Victoria
Study by Friedrich Wilhelm Keyl, 1861
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Though Queen Victoria and her mum didn’t get on so well all the time, they did share an appreciation for dogs. So, when the Duchess of Kent finally died, Queen Victoria adopted the Duchess’ Skye Terrier, Boz.

This sketch of colored chalks on gray paper is the work of Friedrich Wilhelm Keyl (1823-71) and is dated June 1861. The drawing was made as a study for an oil painting which was commissioned by Queen Victoria in 1861.

Keyl was Sir Edwin Landseer’s only pupil and mastered his teacher’s ability to create sensitive and accurate animal portraits.

Boz lived with Queen Victoria for another three years after the Duchess of Kent’s passing, and the Queen doted on him. In honor of the friendship between Boz and Queen Victoria, this sketch is proudly displayed in the Charles Dickens Reception Room at Buckingham Palace. Only fitting since the terrier was named for Mr. Dickens.

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.

Drawing of the Day: Study of a Frog, c. 1860

Click image to "jump" to a larger size.
Oil Study of a Frog
Sir Edwin Landseer, c. 1850
The Victoria & Albert Museum
Highlight the line below this one to see what I think her name is...
Marjorie Morning Frog

Nobody painted animals like Sir Edwin Landseer, RA (1802 (0r 1803)-1873).  Here’s a study in oils for a larger painting which Landseer completed in the 1850s.  It’s a frog, obviously.  The sketch alone was exhibited at the Royal Academy.

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." 

Painting of the Day: Lady Blessington's Dog - The Barrier, 1832

Lady Blessington's Dog -- The Barrier
Sir Edwin Landseer, 1832
The Victoria & Albert Museum
Click to Enlarge

Painted in 1832, this comic scene is the work of Sir Edwin Henry Landseer—celebrated for his intelligent portrayals of animals and a favorite painter of Queen Victoria. 

The scene depicts a mother cat separated from her kitten by a large dog who, knowingly, blocks the mother from the staircase upon which her baby has climbed.  Landseer often showed animals in comical scenes, sometimes for allegorical purposes, and sometimes just for the sheer joy and beauty of it.

This painting was commissioned by Lady Blessington and depicts her beloved dog. The dog had been given to Lady Blessington by the King of Naples.  When the painting was exhibited at the Royal Academy in 1833, it was accompanied with the following lines from Shakespeare's Macbeth act I scene 7: 'Letting "I dare not" wait upon "I would"/Like the poor cat I' the adage'.