Sir Edwin Henry Landseer, R.A.

Commissioned by Sir Henry Dymoke, Bt. (1801-1865);
his sale, Christie's London, 20th December 1877, lot 173, bt. by The Duchess of Montrose;
her sale, Christie's London, 14th July 1894, lot 19 (as Newfoundland Dog "Venus", and rabbit);
Anonymous sale, Christie's London, 4th May 1895, lot 69

London, British Institution, 1819, no. 188

J. Dafforne, Sir Edwin Landseer R.A., 1873, p. 83;
A. Graves, Catalogue of the Works of the late Sir Edwin Landseer, R.A., 1875, p. 6, (as Newfoundland Dog and Rabbit);
Annals of the Fine Arts for 1819, 1820, Vol IV, pp. 122-123

STRUCTURE The canvas has been lined. PAINT SURFACE The painting appears to be in very good condition. There is some very minor flacking to the upper section of the canvas, in the sky, as well as a few areas of further minor drying to the paint. There are some minor visible, old areas of strenghtening to the sky and the edges of the canvas. ULTRAVIOLET Examination under ultraviolet light confirms the areas of strengthening in the sky and minor retouchings around the edges of the canvas, where it meets the frame. There is also a slightly dicoloured varnish overall. FRAME In a British Neoclassical revival moulded and gilded frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This spectacular early work, painted when the artist was just 17 years old was commissioned by Sir Henry Dymoke then aged only 18. It is the first of many such images of Newfoundland dogs which Landseer would later paint. This particular variation of the breed, with its characteristic white coat and dappled black spots, which the artist made famous with such pictures as A Distinguished Member of the Humane Society of 1838 (London, National Gallery), and Neptune of 1824 (Sotheby's New York, 18^th October 1989, lot 3), as well as the present painting, was such a favourite of his that to this day, it is referred to as a Landseer.

Landseer's dog paintings, the majority of which were painted in the late 1820s and 1830s, constitute one of the high points of his art and include some of his most popular works. They form a coherent body of work by virtue of their subject matter, as well as their imaginative treatment of an animal undergoing a significant symbolic conversion in the national psyche. Dogs figured heavily in the contemporary literature of the day, especially in the works of Sir Walter Scott and Charles Dickens. Portrayed as creatures of feeling and intelligence, by the early 19^th Century the dog was beginning to emerge in the role of the devoted companion, a phenomenon of the 'age of sentiment', in contrast to the Renaissance image of the dog as a creature essentially base and unclean. In terms of visual representation, Landseer was at the forefront of this revolution. The anthropomorphic tendencies of his work, which would come increasingly to the fore in his art, stemmed largely from the 'cult of the pet', which emanated from the romantic imagination of the late Georgian era and suffused human emotions into the world of nature. At the same time his detailed knowledge of anatomy, and his wonderful rendering of the character and texture of animal life, satisfied the quasi-scientific outlook of his audience. The present painting represents the birth of this phenomenon in his work.

Exhibited at the British Institution in 1819, as A Newfoundland dog with Rabbit, "Venus" belonged to Sir Henry Dymoke (1801-1865), for whom the picture was painted. The Newfoundland, a breed cherished for its amiable nature and life saving abilities, was particularly in vogue in the early decades of the century, and featured heavily in sporting art, as well as family portraits. Listed as one of the highlights in a review of the British Institution exhibition for 1819, in the Annals of the Fine Arts, the critic notes in the entry for this painting 'Newfoundland Dog and Rabbit, E. Landseer, unexcelled in the English school of animal painters'.  Sir Henry paid 35 guineas for the picture, the largest sum paid for any of the artist's works in the exhibition. Landseer's three other exhibition pieces that year included no. 105, The Cat Disturbed (bought by Sir J. G. Egerton for 25gns), no. 108, The Wanton Puppy (bought by H.R. Hoare for 20gns), and no. 218, Fighting Dogs getting wind (bought by Sir G. Beaumont, for an undisclosed sum).

The title The Champion, which was acquired some time shortly after the picture was exhibited, before it was engraved, may be an eponymous title referring to the dog's owner. Since the 14^th Century the Dymoke family had held the hereditary title of King's Champion, an office which required the bearer to ride into Westminster Hall at the monarch's coronation banquet, and challenge all comers to impugn the King's title.  The earliest record of such a ceremony dates from the accession of Richard II, and was conducted by Sir John Dymoke (d.1381). The Dymokes held this office through their descent from the Marmion family, hereditary champions of the Dukes of Normandy.

Sir Henry, the dog's owner, held the title of King's Champion in place of his father, John Dymoke (1764-1828), Rector of Scrivelsby and Prebendary of Lincoln, on the basis that he deemed the role incompatible with that of a clergyman. On 19^th July 1821 Sir Henry presided over the ceremony as King's Champion at the coronation of George IV, the last occasion on which the Champion appeared. In 1841 Sir John was created a Baronet as recompense for his hereditary entitlement being dispensed with at subsequent coronations.

We are grateful to Richard Ormond for his assistance in cataloguing this picture.