# The Strand Magazine/Volume 1/Issue 4/Pictures with Histories

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Pictures with Histories.
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HE frontispiece we are enabled to give this month is penned in what may be termed pictorial hieroglyphics by Sir Edwin Landseer. The letter was addressed to Charles George Lewis, the celebrated engraver. The first house represented is Lewis's residence in Charlotte-street, whilst the final sketch is a very correct drawing of the artist's house in St. John's Wood-road. It remains just in the same state to-day, and is occupied by Mr. H. W. B. Davis, R.A. This delightfully original missive reads—evidently in response to an invitation:—
"Dear Charles,—I shall be delighted to come to your house, also Maria, William, and Henry.—Yours, Neddy Landseer."
The only other occasion on which Landseer departed from his usual routine of work seems to be have been when he was on a visit to the Duke of Bedford at Woburn Abbey, in December, 1826, at which time the artist was in his twenty-third year. He set himself to sketch a couple of sportsman's cards, of which we give the one considered the most picturesque, and best calculated to show the great painter's versatility and ingenuity. The writing is that of the Duke of Bedford, and, to judge by the number of hares, rabbits, and pheasants bagged, sport at Woburn Abbey during this particular week must have been fairly brisk. There is no question as to the genuine nature of this veritable curiosity, for on the back of it is written the signature—in ink almost faded—of Lady Georgiana Russell.
A sportsman's card, by Sir Edwin Landseer.
From our remarks in the previous chapter on "Pictures with Histories," it will be readily gathered that behind nearly every canvas which Landseer touched some happy incident lies hidden away. His magnificent work, "A Distinguished Member of the Humane Society," was suggested to him by seeing the noble creature which figures in the picture carrying a basket of flowers in its mouth.
​"Lion"—a picture he painted for Mr. W. H. Merle for $50—has its story to tell. Landseer particularly wished to see the dog—Lion—excited. There chanced to be in the house a live mouse in a trap. The mouse was let loose, Lion gave chase, and the next instant the mouse had disappeared. There was no accounting for such a rapid exit, when somebody suggested that possibly Lion had swallowed it. And such was the fact; the poor little mouse had found safety in the dog's huge jowls. Immediately Lion's lips were opened the tiny creature jumped out uninjured and made good its escape.
Lion, being a particularly powerful dog, was not easy to play tricks with. On one occasion whilst he was walking along the bank of a canal, a passing bargeman began to poke him with his oar. With a sudden rush and a jerk, Lion seized the oar, and lifted his tormentor into the water. It is interesting to note that Lion's portrait was despatched in a heavy case to Paris, just at the time of the Revolution, and narrowly escaped being used as a barricade.
Here is another anecdote of one of Landseer's pictures. "Beauty's Bath" was a portrait of Miss Eliza Peel, daughter of Sir Robert Peel, in which she is shown with a pretty little pet poodle, named Fido, in her arms. At the time the picture was engraved and about to be issued to the public, Sir Robert was not on the best of terms with the populace. This the publisher knew, and saw that, if he issued the work as "a portrait of Miss Peel," it would ruin the sale. Accordingly, he gave it this very taking title, by which it has ever since been known.
One day Sir Robert met the publisher and demanded why the title had been changed. He was assured that "Beauty's Bath" was most appropriate.
"Oh! yes, that's all right," said Sir Robert. "I've no objection to that. Only," he continued thoughtfully, evidently thinking of the pet poodle and his charming daughter, which do you intend for the beauty?"
"Well," replied the publisher merrily, "you pay your money and you take your choice!"
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" 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."
"The Expectant Dog."
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."
A "Sir Joshua" worth £15,000 has been thrown out of window during a fire, and reached the ground untouched by smoke or flame. This was "Lady Williams Wynn and children," which now hangs at Wynstay. A very interesting incident may be told to show how minute Sir Joshua was—even to a hair. At the sale of his books, there was found amongst the leaves a little curl wrapped up in a small piece of tissue paper on which the artist had written "Lady Waldegrave's hair." He had painted a picture of the Countess of Waldegrave and her daughter, and, in order to get the exact colour of the hair, had persuaded the Countess to cut off a lock. It was recently beautifully mounted, surrounded by portraits of the pictures connected with it, and presented to the late Countess; and it now hangs underneath the original work.
Can a leopard change its spots? Yes, so far as a pictorial leopard goes—as may be illustrated by a painting by Sir Joshua of ​Master Herbert as a Bacchus. He made an error here, for he depicted the god of wine surrounded by lionesses, when, of course, leopards should have figured in the festive scene. The engraver in whose hands the picture was placed saw the mistake, and took it upon himself to add the spots to the lionesses, thereby converting them into leopards in his engraving. He even went further, and painted the necessary spots on the animals on the canvas. One hundred years passed away, and the picture was sent to London to be cleaned and restored, when, to the great dismay of the cleaner, he noticed that as he worked the leopards began to lose their spots! Examination soon showed what was the reason. All the spots were removed, the lionesses appeared in their proper skins, and so the picture now appears.
We reproduce two pictures by Sir Joshua Reynolds. The history of one is as sensational as the other is broadly humorous. They happen, too, to be the stories of a husband and wife.
Mrs. Musters.
Mrs. Musters was a great beauty of her day, and in 1778 Sir Joshua painted her. The picture he sent home to Mr. Musters to his seat at Colwick. An application was received from the artist that the canvas should be returned to him, as he desired to make one or two important alterations which would considerably benefit the picture. It was sent back to him, and it remained in his possession seven years. Time after time it was applied for, but all to no effect—it was impossible to get it back; the applicants got nothing but excuse after excuse. At last, in desperation, Sir Joshua declared that he had spoiled the work, and so destroyed it, and to make up for this he painted another of Mrs. Musters in the character of Hebe, after a lapse of seven years. Where was the original picture? It transpired that George IV.—then Prince of Wales—was at that time engaged in making a collection of the beauties of his Court, and had often asked Mr. Musters to allow his wife to sit for her portrait for this purpose. This Mr. Musters firmly refused. The Prince then brought some pressure to bear on Sir Joshua Reynolds to get the picture. How Sir Joshua set to work has already been seen. The painting was afterwards sold at the Pavilion at Brighton, and was purchased by the Earl of Egremont of Petworth, at whose seat it now hangs. It should be mentioned that this is the only instance on record where Sir Joshua did anything to cast a shade upon a character which was in every other respect a truly honourable one. The pressure which ​the Prince enforced was too great, and he succumbed.
John Musters, Esq.
Surely nothing can be more humorous than the fact of a man having his portrait painted, and, as the fashion in clothing changed, so having the latest thing in satin coat and flowered vest put on his figure! Yet this was actually done, and by the husband of the very lady who figures prominently in the preceding story. Mr. Musters was exceptionally eccentric. Not content with a picture of himself by Sir Joshua, he secured from time to time the services of another artist to re-clothe him up to date. Some years after his death, the canvas was submitted to a well-known expert, when the momentous question arose as to how it could possibly be a genuine Sir Joshua when the clothing was of a date some thirty years after the great artist had ceased to exist? The picture was put into the hands of a cleaner, when he, almost bewildered, sent a hasty message to the expert to say that all the clothes were gradually coming off! Part of the coat had disappeared, the flowers on the vest were fading, the fob of the watch-chain had gone. The whole truth was soon made evident, and very soon the old, though valuable, clothes were all found underneath, and Mr. Musters appeared in the proper costume of his day as Sir Joshua painted him. As such he is to be seen in our copy of the engraving from the picture.
The works of Gainsborough are replete with anecdote. One incident is worthy of being chronicled as associating Sir Joshua Reynolds and this great artist together. It happened in 1782, when the two painters, to put it plainly, were not on speaking terms. At the Royal Academy of that year Gainsborough exhibited a picture, "Girl and Pigs." Sir Joshua was much impressed with it, and, as a token of his appreciation of unquestionable genius, and, we venture to think, possibly with a view to bringing about a renewal of friendship, purchased the work for £100. It would bring thousands now. The Earl of Carlisle possesses it.
Gainsborough was generous to a high degree. When he was at Bath he was anxious to paint Quin, the actor, and in return for the sitting said that he would make him a present of the portrait. Quin refused. Gainsborough pleaded with him, and made use of these remarkable words: "If you will let me paint your portrait I shall live for ever!" The actor gave way, but today the picture preserves the memory of Quin. On one occasion Gainsborough actually gave half a dozen pictures to a Mr. Wiltshire, a ​carrier, who, "solely for the love of art," volunteered to convey one of his important canvases to London free of charge. These pictures were the price paid for the van hire, and two of them now hang in the National Gallery-"The Market Cart," and "The Parish Clerk."
The two next reproductions we give have exceptionally singular histories. One indeed is a romance of the purest type. The fact of his celebrated Duchess of Devonshire having been stolen has probably had much to do with making the public regard it as the finest thing that Gainsborough ever did. But art connoisseurs say that the "Hon. Mrs. Graham" is a far finer bit of colouring. It now hangs in the National Gallery of Scotland, and its value is put down at £25,000. Here is its history—a truly romantic one.
The Honourable Mrs. Graham.
Mrs. Graham was the wife of Captain Graham, who years afterwards became General Lord Lynedoch, G.C.B. She was only seventeen when her husband commissioned Gainsborough to paint her. He was passionately attached to his beautiful wife, their married life was one long day of happiness, and when, at a comparatively early age, she died, her broken-hearted husband could not bear even to look upon the picture, and it disappeared. He tried in every way to put an end to his life honourably; but at all times failed. He went into the Peninsular War, volunteered for every "forlorn hope" in the hope of getting killed; but he seemed to bear a charmed life, and rose to be a Field Marshal in the English Army, and lived to ninety-one years of age. Where was the picture of such fabulous value? It was not until after Lord Lynedoch's death that it was discovered in a furniture warehouse, where it had been packed away in a heavy case and concealed from view for very many years.
We now come to the picture that was the means of bringing about the historical quarrel between Gainsborough and the Royal Academy; and, in order that its history should be fully set forth in these pages, the writer has searched the various newspapers of that day with a view of showing the extreme feeling that existed. Gainsborough sent a picture of the three daughters of George III. to the Academy, with a polite request that it should be hung the same distance from the ground as it would be when placed in position in the Royal residence. The Academy Council ignored this wish, and hung it far too high. This so enraged Gainsborough—who was of a somewhat irritable disposition—that he sent for all his pictures, and had them brought back from the Academy. The Morning Herald of May 5, 1784, says:—
"Yesterday, the three pictures of the Princess Royal, Princess Elizabeth, and Princess Augusta were removed from the Exhibition Room of Somerset House on the Strand to Mr. Gainsborough's at Pall ​Mall, and from thence are to be fixed as furniture at Carlton House."
The Morning Herald was, however, wrong, there was only one picture, not three.
Again, the following extract, which appeared in the same paper on May 7, 1784, is worthy of being quoted:—
"Gainsborough, whose professional absence every visitor of the Royal Academy so feelingly deplores, is fitting up his own saloon in Pall Mall for the display of his matchless productions, where he may safely exhibit them without further offence to the Sons of Envy and Dullness. . . . By the bye, let it be remembered to the honour of Sir Joshua Reynolds and Sir William Chambers, that, so far from abetting the conduct of the Academy Hangmen, they have in the handsomest manner protested against the shameful outrage offered by these fatal executioners to genius and taste!"
Princess Royal, Princess Augusta, and Princess Elizabeth: daughters of George III.
The history of the picture does not end here. It remained at Carlton House until the building was pulled down, and was then removed to Buckingham Palace. At some subsequent period an unknown individual requiring a picture to fit in a space over a door to one of the State Rooms, positively had it cut down to the required size. It is still there. Its value at the present moment, had it been left untouched, would be £20,000; as it is, it is worth about half that sum. Our illustration shows the painting as it is to-day.