HUNTSMAN AND HOUNDS.
Landseer loved to have his artistic joke. This is excellently seen in the two sketches which we reproduce. "Huntsman and Hounds" is a little pen-and-ink drawing done for Miss Wardrop at the age of thirty-four. Miss Wardrop, herself, was fond of the pencil and brush, and was particularly partial to animals. She found no small difficulty in drawing accurately a horse's hoofs. One day she went to Landseer and told him frankly of her non-success, at the same time asking him to give her a hint as to the best way of drawing them correctly. The artist good-humouredly complied with her request, and showed her that it was by no means necessary to depict them at all. This he did by hiding the horse's hoofs in a wealth of grass, as shown in the sketch.
"THE EXPECTANT DOG."
"The Expectant Dog" is another example of the artist's merry moments. The poodle was the property of the Hon. F. Byng, a distinguished member of the Humane Society, and also prominent through his connection with the Metropolitan Commission of Sewers. Landseer was dining with Mr. Byng, when he was asked to make a little sketch of Mr. Byng himself. This he immediately did by drawing that gentleman's favourite dog with its head up a sewer in the midst of a puddle of water, and a rat making a very speedy exit at its approach. The eminent Commissioner of Sewers saw the joke at once, as did also his friends, and for many a long day he was known by the nickname of "Poodle Byng."
We now turn to some works by Sir Joshua Reynolds, to which a history is attached, and, in so doing, there occurs a somewhat curious incident, which has the interest of connecting two of our greatest painters. Sir Joshua's famous picture of "The Gleaners" shows one of the toilers of the field carrying a bundle of wheat on her head. This figure was put in, as the lady—Miss Potts—who posed as the model for it, happened to be staying with her friends, the Macklins, where Sir Joshua was staying also. Miss Potts was destined to become the mother of Sir Edwin Landseer; for, some time afterwards, she met John Landseer, loved and married him. In passing, it may be mentioned that Sir Joshua is credited with having expressed the opinion that if an artist painted four or five distinctly original subjects in his lifetime, the achievement should be sufficient to satisfy the demands of the expectant public. Hence he painted no fewer than a quartette of "The Strawberry Girl," each single picture being as good as the others, though probably the first one painted would be preferred for choice. Any of them would easily fetch £2,000 or £3,000 each. We have had the privilege of examining Sir Joshua's own ledgers, and in 1766 we find that he was only receiving £150 for a whole length portrait, £70 for half-length, £50 for a kit cat (36 in. × 25 in.), and £30 for a head. Gainsborough received about the same figure.
The recent tragic death of the Duke of Bedford suggests to us a picture which Sir Joshua painted of "The Bedford Family"—a work worth, at the lowest estimate, £10,000. The curious circumstance of allowing this valuable painting to be turned towards the wall in a darkened room for a great number of years is in itself suggestive of some unknown story. At last it was decided to have the picture renovated, for it had become perfectly black. It was accordingly sent to be cleaned; but it was found impossible to remove the dire results which a darkened room and a dusty atmosphere had worked upon it. It was then suggested that the very opposite means should be tried. The canvas was hung in a room, the roof of which was of glass, through which the bright sunshine could fall upon it. As the week and month passed by, the sunlight scattered the gloom by degrees, until, at the end of a year, all had disappeared, and the rich colouring was once more visible. One of the boys represented in the picture is Lord William Russell—the father of the late Duke of Bedford—who was killed by his valet in 1840.
"THE BEDFORD FAMILY."