Charlemagne until 1890 (or so)

Charlemagne until 1890 (or so)

Please note: We group the images from the various natural histories published from the 16th until the 18th century under the distinguished authors (in order of publication), because even if we can identify the artists, they are obscure by comparison. Please see Rare..., 16th - 18th century Natural Histories.

Adam, V. Le Chien. 19th century French lithograph, "composé et lith par V. Adam". Central picture of a pointer indicating with very natural surprise a creature which appears to be a cross between a lamb and a rabbit; around this centrepiece are ten smaller illustrations. Upper left, "Fidelité" depicts a Poodle seated on a rock, beside a bridge, guarding a top hat. Top left, "Les chiens savans", two Poodles in fancy dress dance a minuet produced by a music box operated by a man turning a handle; two other Poodles, also dressed, look on. Center right, "Aveugle", a Poodle leads a blind man who holds a dish, wears a sign, and sings. Nelson Coon, A Brief History of Dog Guides for the Blind (Morristown, NJ: The Seeing Eye, Inc., 1959), monograph, pp. illus., pp. 24-5.

Alophe, M. La Fin d'Une Triste Journée. 1838. Parti-coloured moyen-sized Poodle in classic (short and curly) Continental clip and holding alms dish leads blind man (and blind woman holding the man's arm) along a wall beside a river in a city (looks like Paris). See Guide... Coon, p. 31.

Anguisciola, Sofonisba (Italian, 1532-1625). Portrait (1559) of the artist's family: Minerva (sister), Amilcare (father) and Asdrubale (brother). A calm moyen-size white Poodle in moderate clip sits with an air of alert intelligence at right of the family group. This is a very superior dog-portrait. See: Le chien dans l'art as of 15/7/07.

Anon.: "...Barbet". 17th century (wood?) engraving. Blind man led by barbet leads second man who holds his left shoulder; appears from abundant text contained in the illustration that this is a collection of proverbs. Legible adjacent to the dog is: "[cro]tté com[m]e un barbet" (see Poodle Lit. 101, Coon).

Anon. Dutch school, 1632. Portrait of a young girl with a bird on her finger and a dog at her feet. London private collection, Johnny Van Haeften Ltd. Small white Toy in moderate Continental jumps up on small girl. See: Le chien dans l'art as of 15/7/07.

Anon. Flemish. L'instruction pastorale (ca 1475). Louvre. Lower left, small white Poodle wearing moderate curls, strip shaven on back and entire tail except for small pom at end. Le chien dans l'art as of 15/7/07.

Anon. English, ca 1810. #491, while it lasts on line--the link is to an auction house's website, in Germany: Michael Zeller. Oil. 46 x 58,5 cm. Older man sits in chair, looking at viewer, wearing grey waistcoat and matching britches, holding glass tumbler of ale, and on the table to his right are packets of notes--he might be a bookie, or a race-horse owner, or someone lucky in cards or on the horses. One can date the picture by his Hessian boots, which became fashionable in the first decade of the 19th century. To his left is lying a very handsome black and white parti-coloured Poodle, looking up adoringly. Don't delay clicking on the link, because the auction houses take their wares off-line very quickly. (2/2005)

Anon.: Bas relief of a lion-clipped Mini-sized Poodle, standing beside Roman soldier who is obeying magistrate's orders to chop off St. Firman's head in 287 AD; enclosure of choir, Amiens cathedral (begun ; nave, trancepts, 14th c., Poodle was restored by Caudron in 1840). Lydia Hopkins, The Complete Poodle, 3rd edition (New York: Howell, 1953), p. 17.

Anon. "Beg, sir! Beg!" Engraving, published in Ballou's Pictorial Drawing-Room Companion,1857. 7 1/4 x 5 3/4 inches. The article which accompanies this engraving describes the dog as a poodle, and discusses their intelligence. Young woman, facing right, sits on wicker stool or overturned basket, instructing with dainty forefinger pointed at small Bichon-Havanese-ish straight-coated dog who is sitting up, begging intently. Interesting particularly because, at this time, in English, "poodle" might refer to a variety of types of small dogs.

Anon. "...coupe chien et chat et son mari va t'en ville", street scene, France ca. 1776 (she's wearing Martha Washington's clothes), depressed-looking woman in cap clipping (doubtless discouraged because of too-small scissors) white Poodle who's holding hind legs straight up and head dangles down hopelessly; sign overhead; two men in knee-britches stand behind. Price, plate 12, opposite p. 61.

Anon, "Dog observing itself in a looking glass" Silver-plated statue of a clown holding a looking glass while a sitting Standard Poodle in Continental Clip raises its right paw and looks towards the mirror. Silver plate work by Wurttenbergische Metallwarenfabrik, Geislingen, Germany, dated 1853. 13cm x 13cm. The clown is holding the mirror at an angle that makes one think that perhaps the mirror, only about 4cm in diameter, was designed so that one could quickly check one's appearance while pretending to admire the statue. A Dog Lover's Collection, photography and captions by Nicholas Sapieha ( Wappinger Falls, NY and Woodbridge, England: Antique Collector's Club,1995; ISBN 0 935748 97 ), p. 57. This book covers the rather eclectic collecton of dog collectables owned by Achille Alessandro Conti and housed in a tower on his estate. He calls his museum Vanessa dei Barabba Florine, after three of his dogs. The museum's address is Tavarnelle Val di Pesa, Chianti, Italy.

Anon. Pair of Wine Coolers, 1777 (Genoa, Italy). Metalwork, Silver, Height: 11 9/16 inches each; Diameter: 13 3/8 inches each. Los Angeles County Museum of Art. Long-term loan from The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London (L.2010.9.33.1-.2) Decorative Arts and Design Department. Handles opposite sides represent Poodles with tails docked short, and shaved down except for topknots and outside of leathers. See wine coolers as of 9 August 2010.

Anon. "Early Bronze of a German Poodle," apparently 1750-1850. Poodle in historically-correct working Continental clip crouches alertly as if ready to receive a thrown object; tail is undocked. Hayes Blake Hoyt, "Origin and History of the Poodle", The Poodle Showcase, December 1964, p. 34; caption: "He has a deep chest, beautiful feet and hindquarters, and a lovely head. The tail was often left long in Germany, Switzerland and Sweden."

Anon., early to mid-18th century: Mechanical Glass Theatre. France, Nevers or Paris. Multicolored glass, wood, mirror, rock crystal, fabric, shell; lampworked, assembled. H. 59.4 cm; W. 74.1 cm; D. 29.9 cm. Collection of The Corning Museum of Glass 2002.3. (see Mechanical Glass Theatre). Theater depicts the Wedding at Cana, with figurines in Venetian and Turkish costumes seated in the loggia of a Rococo palace. Their heads and limbs are lampworked in glass; can be moved by levers and pulls on the outside wall of the theater. " Joining in the celebration are two parti-colored poodles!!! ...clipped in the lion clip....standing [in the foreground] by the balusters....white with some black spots and holding things in their mouths." (BKJ, 10/06)

Anon. En ce bon premier lundi de la semaine, n'oubliez pas ce pauvre Aveugle. Engraving, artist unknown. Probably 18th century French. Shaggy small Poodle (?) leads blind man by controlled pull on leash held in left hand; stick and cup held in man's right hand. Coon, p. 32.

Anon. Englische Pudelfriseuse im Jahre 1820. English cartoon of the "Prinny" era, seated woman grooms Poodle sitting on candle/wash-stand. Hans Thum, Mein Freund der Pudel, (Munich: Gersbach & Son, ), p. 79.

Anon. English, ca 1810. < a HREF = "http://www.zeller.de/katalogliste_66_19.php"> #491, while it lasts on line--the link is to an auction house's website, in Germany: Michael Zeller. Oil. 46 x 58,5 cm. Older man sits in chair, looking at viewer, wearing grey waistcoat and matching britches, holding glass tumbler of ale, and on the table to his right are packets of notes--he might be a bookie, or a race-horse owner, or someone lucky in cards or on the horses. One can date the picture by his Hessian boots, which became fashionable in the first decade of the 19th century. To his left is lying a very handsome black and white parti-coloured Poodle, looking up adoringly. Don't delay clicking on the link, because the auction houses take their wares off-line very quickly. (2/2005)

Anon. Ex-voto, 1640. Lille, musée de l'Hospice Comtesse. Small girl wearing dress and holding a basket of flowers in her right hand and a tall candle in her left, stands beside small white Poodle in lion clip and rendered in the style of Durer. Item #99DE24619/Inv. D. 62-6 Agence photographique de la Réunion des Musées Nationaux.

Anon. Guide dog on rigid leash, as recommended by Fr. Johann Wilhelm Klein, Lehrbuch zum Unterrichte der Blinden (Vienna: 1819), Coon, p. 9; this illustration is the headpiece for Guide.... Moving picture: disk revolved on an axis in front of an opening to create illusion of blind man playing violin while his Poodle alternately sat, and sat-up (begged), while holding small alms dish in his mouth. French, ca. 1850. Coon, p. 38; see: Guide.... In addition: Coon, pp. 34-5: L'Aveugle (19th century lithograph; Poodle for sure!), The Blind Man of the Bridge of Arts (19th century; Poodle, probably), and (Poodle--by a stretch of imagination): Mendiant, Regne de Louis XIII, lithograph by F. Delpeck (1778-1825).

Anon. Illustration in Georg Phillip Harsdoerffer, Frauenzimmergespraechspiele, vol. 2 (Tuebingen: Max Niemeyer, ). Reprint of an--our sleuth estimates--18th century book. Three men and three women seated in a semi-circle and engaged in animated conversation. Right foreground is a small dog in a lion clip with a long tufted tail; coat does not appear to be curly; probably Lowchen.

Anon. Hot Day. French 19th century cartoon, showing three people sitting on a sofa apparently sleeping off large meal; small Poodle snoozes in foreground. Price, plate 3, opposite p. 20.

Anon. Lady With a Falcon, ca 1415. Lady, wearing a houppelande, a huge overgown with vast sleeves, sits holding a falcon on her left wrist; her little Poodle sits on the copious fabric of her right sleeve. To see this image, go to: Poodles in Art(as of 15 August 2000).

Anon. from Macer's De Virtutibus herbarum (Baquetier, c. ). Woodcut, 6.5 x 10.5 cm. The first printed edition of 1477 is the first herbal ever to be printed; this 1510 edition is headed by a portrait of Macer seated in his study writing his herbal, a small dog in moderate Continental sitting at his feet. Alludes to icons of St. Jerome in his study with his pet lion whose paw he healed. Frank J. Anderson, An Illustrated History of Herbals (NY: Columbia University Press, 1977), p. 33.

Anon. Munito, or the learned dog. Broadside advertisement. Wood cut of a solid, muscular SP in very moderate lion-clip, standing, side-on, blindfolded, matching number cards. "This wonderful dog understands the Alphabet, can read, copy words, and cast Accounts. He knows all the playing Cards....plays at Dominos: is acquainted with the Principles of Botany and Geography..." Munito performed in London and Paris, 1814-1818. Mackey J. Irick, Jr., The New Poodle, 6th edition (New York: Howell Book House, 1986), p. 32. Also, Rosa Engler, Pudel (Cham: Muller, 1995), p. 25. Head-piece for Circus dogs.

Anon (artist unknown). The Pointer's Dream. French, 19th century. Oil on panel, 8.5"xll". For sale at Secord Gallery, 11/24/99. Erotica: in a landscape with two cedars, an English Pointer stands with front paws on huge cushion on which is play-bowing an oversized white Standard Poodle in exaggerated (for the 19th century) Continental clip.

Anon. Portrait of a child with a small white Poodle. Painting, primitive, German, ca 1620. Irick, p. 182; also frontispiece, Price.

Anon. Roundhead cartoons (woodcuts) depicting Prince Rupert of the Rhine's white SP, Boy. Irick, 18; 20, and Army dogs.

Anon.: Tapestry wall hangings; 16th century Flemish sporting scenes. Poodles are frequently depicted related to hawking. For example: A Falconer with Two Ladies, a Page, and a Foot Soldier. Southern Netherlands 1500-1530. Art Institute of Chicago. Lion-clipped Poodle jumps up on a lady. Adolfo Salvatore Cavallo, Medieval Tapestries in the Metropolitan Museum of Art (NY: Met., 1993). Also see: George Wingfield Digby assisted by Wendy Hefford, The Devonshire Hunting Tapestries (London: V&A--Her Majesty's Stationery Office, 1971), p. 40--Poodle in lower centre, hunting tapesty (aft. 1450) from the Regensburg Rathaus. Best of all, Falconry (one of three Devonshire tapestries at the Victoria and Albert Museum in London), 14 feet 6 inches x 35 feet 3.5 inches, Digby and Hefford, plate II, shows "going to the brook" to hunt mallard ducks with falcons and dogs (and, is that rough dog with frontal eyes just to the left of the mill, a Poodle? Is the dog delivering a duck to two ladies at the right, a Poodle?). Noted: "The Lady with the Unicorn" series at Cluny, ca. 1510, marginal decorations shows part of a Poodle, mentioned in Our Friend the Poodle (author unknown), (Price, p. 14).

Anon. Tapestry wall hangings; 16th century; subjects other than sporting. "The Noble Pastoral: The Preparation of Wool, Loire, France, early sixteenth century. In this small verdure or so-called millefleurs, tapestry, the figures are foils to the real subjects: the flowers. Cliché des Musées Nationaux, Paris." The Magazine Antiques, September, 1993, vol. cxliv, pls. v (p. 342), vi (p. 343). Two ladies and a gentlemanlike shepherd demo shearing, carding, and spinning, accompanied by sheep and three dogs, at least two of which are proto-Poodles (Poodles?) wearing historically-correct Continentals.

Anon. Watch stand. Two Poodles in kennel clip standing on their hind legs support a column with and elegantly carved and weathed circular top with a cut out circular centre in which to place the pocket watch. Gilded wood. Origin unknown. Height 26.3cm Possibly late 18th Century. A Dog Lover's Collection, p. 70.

Anon. Water dog. Woodcut. Gervaise Markham, Hungers Prevention (London: 1621), p. 70 (available on microfilm, English Books, 1475-1640, University Microfilms, Ann Arbor, MI, P&R *21160). See also Irick, p. 20, and Duck dogs: guns

Ansdell, Richard (1815-1885). The Ace of Hearts. Oil on canvas, 46 x 63 inches/117 x 160 cm. See: William Secord, Dog Painting: the European Breeds (Woodbridge, Suffolk: The Antique Collectors' Club), plate 330, p. 225. A travelling entertainer has stopped on a hilltop to await the puppet stage bringing up the rear; he's training his troupe of dogs including two SP-sized Poodles in the historically-correct (moderate) Continental doing sit-ups in response to a tiny hand-signal. Reproduction available for purchase at Encore Editions: The Lucky Dogs Pugs Poodles and Fox Terrier 1881.

Ansdell. Buy a Dog, Ma'am? 1860. Oil on canvas, 36 x 29 in. (91.4 x 73.7 cm). Collection of The Kennel Club, London. White curly-haired Bichon-clipped smallish white dog held up for presentation. Best in Show : The Dog in Art from the Renaissance to Today, by Peter Bowron, Carolyn Rose Rebbert, Robert Rosenblum, and William Secord (New Haven: Yale University Press, 2006), p. 121. This is an exhibition catalogue; the exhibition "Best in Show: Dogs in Art from the Renaissance to the Present" was at the Bruce Museum in Greenwich, Connecticut from May 13, 2006 - August 27, 2006 and at the The Museum of Fine Arts, Houston, Texas October 1, 2006 - January 1, 2007. See also Encore Editions as of 1 August 2011.

Bachelier, Jean-Jacques (1724-1806). Dog of the Havannah Breed (1768). Bowes Museum, Durham, England. Painting. White Mini in modern-type showcoat, sitting up to beg. An image may be seen (as of 7/07) at Le chien dans l'art website. NB: Irick, p. 21: "From the reign of Louis XIV through that of Louis XVI Toy Poodles, so called, were very popular and were shaved and shorn. These very tiny Poodles were all the rage in court circles. It is not known how breeders managed to produce such small specimens, possibly by using the Maltese or a very tiny white Cuban dog that was imported into France for the purpose." The Dog Lover's Literary Companion, ed. John Richard Stephens (Rocklin, CA: Prima, 1992) ISBN: 1-55958-218-9, p. 20.

Bachelier. Head of a Dog. 1758. Oil on canvas, 20 1/2 x 18 1/2 in. (52 x 46 cm). Private collection. Head-study of alert parti-coloured (brown and white) poodle in what at our house is a well-grown winter coat. Best in Show : The Dog in Art from the Renaissance to Today, by Peter Bowron, Carolyn Rose Rebbert, Robert Rosenblum, and William Secord (New Haven: Yale University Press, 2006), p. 58. This is an exhibition catalogue; the exhibition "Best in Show: Dogs in Art from the Renaissance to the Present" was at the Bruce Museum in Greenwich, Connecticut from May 13, 2006 - August 27, 2006 and at the The Museum of Fine Arts, Houston, Texas October 1, 2006 - January 1, 2007.

Bachelier. Portrait of a poodle. London, Rafael Valls Gallery, as of its reference by Le chien dans l'art website, added to the Poodle History Project 7/07. This oval painting appears to be a small portrait of a small white pet Poodle typical of the period, wearing a longish Continental.

Barnard, Frederick, or Fred (1846-96). Achille's Toilet. Pen & ink drawing reproduced by copperplate? Black Poodle (moyen) in traditional clip sits on wooden crate in humble interior at Christmas (holly in jar on cupboard) admired by small boy and mustachioed, ear-ringed man in smock holding scissors; severed curls lie around crate. The Illustrated London News, 27 December 1879.

Barrett, G. See Watson, James, below.

Bayard, Émile and Johann Ettling. Le Chien Pêcheur woodcut, 1868. For amplification of this illustration, see Crayfish dog, a subsection of Ships' dogs....

Bayre, Alfred (French, fl.1864 -1882). Bronze, 14 x 7 inches. Harlequin and Poodle. Harlequin standing behind Moyen-size Poodle in moderate Continental balanced on hind legs. This sculpture for sale as of 1 August 2011 at William Secord Gallery.

Beard, William H. (American 1824-1900). The Dog Congress (Candidates for Bench Show). c. 1876. Oil on canvas, 19 1/2 x 29 1/2 in. (48.9 x 74.6 cm). Wadsworth Atheneum Museum of Art, Hartford, CT; The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund. White or cream SP in very moderate Continental sitting lower-left; there's at least one other standing in the midst of the dog-crowd, and perhaps more: this is a "where's Wallace" Poodle-search! Best in Show : The Dog in Art from the Renaissance to Today, by Peter Bowron, Carolyn Rose Rebbert, Robert Rosenblum, and William Secord (New Haven: Yale University Press, 2006), p. 74. This is an exhibition catalogue; the exhibition "Best in Show: Dogs in Art from the Renaissance to the Present" was at the Bruce Museum in Greenwich, Connecticut from May 13, 2006 - August 27, 2006 and at the The Museum of Fine Arts, Houston, Texas October 1, 2006 - January 1, 2007.

Bedford Master, Master of the Hunt, illumination. ca 1405. Fascinating little image, packed with many different kinds of dogs. Curly dog center front, behind one of the hunters. C. Cutler, Northern Painting from Pucelle to Bruegel: 14th, 15th and 16th centuries (New York: Holt, Rinehart, Winston, 1968) ISBN: 0-03-07-072500-30; p. 34, fig. 39. For this, and the other images in its group, see: Gaston Phoebus--Gaston iii, Count of Foix--Livre de Chasse ed. Gunnar Tilander, Karlshamn, 1971, reproduced from manuscript 616 in the Bibliothèque nationale in Paris, including all 87 miniatures--several contain shaggy proto-Poodle maybes. One or another are occasionally reproduced for our interest and pleasure, for example: Man's Best Friend (Washington, DC: National Geographic Society, ; revised edition, 1966), p. 418--depiction of different dogs being treated by various robed figures; one is poodlish-spaniel having an ear examined.

Behr, V. (18th c.) Poodle on a Cushion (detail). Small white snarling Poodle with undocked tail, wearing a collar with the name "Fidel" on it, sits on a red cushion in front of a gold box with a mirror set in the lid; reflected in the mirror is a man making amorous advances to a woman. Rafael Vals Gallery, London (Bridgeman Art Library). Dog Art (London: Studio Editions Ltd, 1994), plate 13.

Bellini, Giovanni (worked: 1459; died: 1516) The Assassination of Saint Peter Martyr. Probably 1507. Egg tempera and oil on wood 99.7 x 165.1 cm. The National Gallery, London. Large white Poodle lies, calmly tolerant of high drama, lower right.

Bennington [Vermont] potteries (1793-1858). ca 1855, ceramic dog. Index of American design 1943.8.8289. Standing Poodle wearing moderate Continental and with undocked tail held over and attached to the back "pitcher-style" holds basket of fruit. Bennington potteries produced great variety of decorative wares; among the most popular, this so-called "Bennington Poodle", usually made in pairs as mantel ornaments. Variety of glazes used; this Poodle wears Rockingham glaze except mane is shaggy; the potter achieved this "cole-slaw decoration" effect by pushing moist clay through a fine screen. Spargo, The Potters of Bennington , 268, pls. 15 and 35; Hornung, Clarence P., Treasury of American Design (NY: 1970), 368, p. 1310.

Bewick, Thomas (1753-1828). The Large Rough Water-Dog. A General History of Quadrupeds, figures engraved on wood by T. Bewick, 3rd edition (Newcastle upon Tyne: 1792), p. 328; also see The Large Water Spaniel, p. 329 and The Small Water Spaniel, p. 330; text quoted at length in Ships' dogs.... More accessible, but lacking Bewick's informative captions: 1800 Woodcuts by Thomas Bewick and His School, Blanche Cirker, ed. (NY: Dover, 1962), plate #8, plate 2 #4 and #3 respectively.

Bombleid, K.F. Book illustration of blind person sitting against a building, alms dish between his wooden shoes, Poodle lying behind his right foot. J. van Beers, Der Blinde (1855), reproduced in Coon, p. 36.

Bosch, Hieronymous (b. ca 1450-1460; d. 1515). Marriage Feast at Cana, 1475-1480. Painting. Two dogs in FG. One is a clipped dark Poodle. (Rotterdam, Museum Boymans van Beuningen; a must-have for the Poodle AH collector, ed.). Walter Bosing, Hieronymous Bosch (Taschen: Cologne, 1987) ISBN: 3-8228-0066-X; p. 23. To see this image, go to:
Poodles in Art
(as of 15 August 2000).

Bosch. Beggars and Cripples. Drawing. Curlycoat on a leash. Bosing, p. 61. Also see: Charles de Tolnay, Hieronymus Bosch (NY: Morrow, 1996), p. 320, fig. 13.

Bosch. Temptation of St. Anthony, detail. Painting. Brace of armored curlycoats on a leash, held by fish-headed monster. Bosing, p. 93.

Bosch. NB: reproductions, in Bosing, of Garden of Earthly Delights and Haywain are not detailed enough to check; however, canoids abound amongst the bizarre phantasms Bosch created. There may be other proto-Poodles lurking amongst the creatures.

Bosse, Abraham (1602-76). Wives When Their Husbands Are Away (ca ). Lower right, small Poodle with plate of table scraps. To see this image, go to:
Poodles in Art
(as of 15 August 2000).

Botticini, Francesco (ca 1446-1498). The Three Archangels with Tobias (1470). Woolly white mini-sized Poodle accompanies the boy Tobias, accompanied in turn by three grown-men angels. Thum, p. 16.

Boucher, François (1703-70). The Mysterious Basket. National Gallery of Victoria, 180 St. Kilda Rd., Melbourne, Victoria 3004, Australia. Mini Poodle between a couple. Peter Tomory and Robert Gaston, Summary Catalogue: European Paintings before 1800 in Australian and New Zealand Public Collections (Sydney: Beagle, ), p. 59. ISBN 0 947349 00 6.

Boucher, François (1703-1770). Le chien savant. Oil on canvas. Cholet, musée d'Art et d'Histoire. Boy sits in bower; commands "dancing" small brown Poodle in Continental clip. Item # 95DE11554/MNR 68; Inv. 980.122 Agence photographique de la Réunion des Musées Nationaux.

Boultbee, John (1753-1812). Mr Robert Andrew with his chestnut mare Morel and water spaniel, a string of racehorses in the distance. Signed: J Boultbee 1811. Canvas: 28 x 36 in., 71 x 91.5 cm. Private collection, listed by the British Sporting Art Trust. A gentleman stands facing right in the foreground under a tree, offering a treat to a horse who is facing left; a parti-coloured (brown and white) standard-sized water dog wearing a cozy jacket including the forelegs stands to the man's right.

Bristow, Edmund (1787-1876). Poodle With a Stick (1828). Oil on panel, 8 x 11 in. (20.3 c 28 cm). Signed and dated 1828. Painting sold in a sale of Important English Pictures at Christie's in London on Friday, 18 April 1986 as lot 12 (sale number 3353). It sold as "The Property of a Lady"; had previously been sold as the property of F. Smith Bucknole; Christie's on 22 November 1935, as part of lot 15 to ? Perkins). Christie's published an "art image" postcard, one of which was sold on e-Bay in April, 2000 (item #281805355). Standard Poodle stands in wooded landscape, facing right, holding (walking?) stick; bullrushes behind, water gleams upper right, below patch of sky. This is one of the best of the Poodle images before 1850. The Reference Library of the Yale Center for British Art holds a copy of the Christie's catalogue for the last sale, and the listing includes a photograph of the painting. No call number is necessary, just the date: Friday, 18 April 1986. The Library hours are Tuesday-Friday, 10 to :30. During the academic year, there are additional hours on Saturday, -4:30. The phone number is 203-432-2818. On 1 August 2011 we note that Encore Editions now sells a print: Poodle in a Landscape.

Bruegel, Peter (ca 1525-69). The Bone of Contention, detail from The Blue Cloak (1559). Proverb shows one bone and two dogs, one a large cut-coat Poodle. To see this image, go to:
Poodles in Art
(as of 15 August 2000).

Bruegel, Peter, Hunters in the Snow (1565), painting. Many kinds of dogs, including curlycoats. Cutler, p. 480, plate 31.

Bruegel, Peter. The Sermon of St. John the Baptist (1566). Central foreground, large Poodle guards man in horizontally-striped cloak. To see this image, go to:
Poodles in Art
(as of 15 August 2000).

Brueghel II, Jan (1601-78). Archduke Albrecht VII of Austria and Archduchess Isabella Clara Eugenia walking in the Park of the Royal Castle in Brussels. Oil on panel. 47 x 72 cm. The family group with children and courtiers stroll in a wooded deer park. A number of Toy Poodles play amongst the family. The castle is in the left background. Sold by the order of the Trustees of the second Baron Hesketh, Christie's sale of Important Old Master Pictures, London, Friday, 24 May . Est. Stg£100,000-£150,000. Christie's International Magazine, London, May 1991, p. 32.

Bunbury, J.W., engraved by J. Bretherton. The dog barber/La Francia. 29th March 1772 (source: imprint). Engraving, coloured, 29.3 x 20.7 cm. (single sheet dimensions of whole item). John Johnson Collection, Bodleian Library, University of Oxford. Man stands in urban landscape in front of wall recollecting that flanking the Seine ("QUA...CH..."), wearing sabots and a queue, smoking a pipe, with a small dog wearing a tail-pom struggling under his left arm while he displays a large pair of shears with his right hand. Two other small dogs sit behind him, tied with leashes to a hitching-ring. (Query: this information is taken from the Bodlean's listing which we hesitate to correct off-hand, but ask is this Henry William Bunbury, or was there also a J.W.?)

Bunbury, Henry William (1750-1811). The Dinner. Coloured stipple engraving printed by John Jeffryes in London, England on 5 March 1794. Diminutive white Poodle in historically-correct Continental clip greets another small dog in foreground. This image is on line at the Williamsburg museum site: George Washington, Rules of Civility & Decent Behaviour in Company and Conversation: a Book of Etiquette (Williamsburg, VA: Beaver Press, .

Burgkmair, Hans (1473-1531), and others. Woodcut #136 showing the baggage train portion of the Triumph of Maxmilian I, a parade in woodcuts honouring the emperor and German king (1459-1519), a detail of which comprises the head-piece for this section. Burgkmair was the main contributer to this artistic project, but there were several other contributors, and the van portion has been attributed in turn to Albrecht Altdorfer, Wolf Huber and Hans Dürer, Albrecht's brother. The Triumph of Maximilian I: 137 Woodcuts by Hans Burgkmair and Others(NY: Dover, 1964), #136, note p. 19, and bibliography pp. -20.

Caillebotte, Gustave (1848-1894). Richard Gallo and his Dog Dick at Petit Gennevilliers (1884). 89 x 116 cm (35" x 45 5/8"), oil on canvas. Private collection. Gallo, who was a Parisian newspaper publisher, strolls left along a river with his smallish Standard Poodle, who proceeds ahead off-leash, wearing a very moderate (jacket perhaps 1.5 inches) historically-correct Continental. Dick's locomotion is puzzling: he's pacing (left front and left rear back, right front and right rear forward; yet his right front leg isn't extended; it's bent at the wrist, as if walking). Please compare with images in Rachel Page Elliott's The New Dogsteps (NY: Howell, revised edition 1973), and let us know your opinion. "Art Review: Impressionists at the Wadsworth Atheneum [Hartford, CT]," The Boston Globe, Saturday, October 2000, p. G12, a review of an exhibition, "The Impressionists of Argenteuil," co-organized by the Atheneum and the National Gallery of Art [Washington, DC], at at the Atheneum through 3 December 2000. Catalogue: Paul Hayes Tucker, The Impressionists at Argenteuil (Washington and Hartford: National Gallery of Art and Wadsworth Atheneum, 2000), ISBN 0-300-08349-1, p. 133, detail p. 135.

Carpaccio, Vittore (c. 1465-1526). The Miracle of the Relic of the True Cross on the Rialto Bridge (Milagro de la gran cruz; Healing of a Madman), also. 1494. Canvas. 365 x 389 cm. Galleria dell'Accademia, Venice, Italy. White moyen-sized Poodle lolls in a gondola, lower right.

Carpaccio. The Vision of Saint Augustine (1502-4), also. Canvas. 141 x 211 cm. Scuola di San Giorgio degli Schiavoni, Venice, Italy. Small curly-coated white proto-Poodle-ish dog with prick ears sits at left, looking at the saint.

Carter, Samuel John (1835-1892). "Home for destitute and starving dogs, Hollingsworth-Street Islington," London News, August 22, 1868. .5" x 15.5". Jumble of dogs waiting to be let in a door with signs on it, and a box, center foreground is a white Mini in historically-correct Continental. Text related to this image on p. 182.

Carter. Poodles & Italian Greyhound (1870). Poodles & Italian Greyhound (1870). Parti-coloured (silver and cream?) Standard Poodle sits on left; black mis-mark (blaze on chest, and two white forefeet) sits on right; an Italian Greyhound sits between them.

Chalon, H.B. (English, 1770-1849). Dogs in a Landscape (1802). Oil on canvas, 9" x 16". For sale at Secord Gallery, 11/24/99. Three dogs, indoors or in a very simple landscape. Center dog is a parti-coloured Poodle in a modified and exaggerated (for the 19th century) clip intermediate between Continental and English Saddle. See: William Secord, Dog Painting: the European Breeds (Woodbridge, Suffolk: The Antique Collectors' Club, 2000), plate 329, p. 224.

Chalon, H.B. Sancho. Aquatint with printed blue sky. 230 x 185mm. Pubd. & Sold Augt 29 1814, by Edwd. Orme, Bond St. (Corner of Brook St.) London. ""Sancho. The Property of the Marchioness of Worcester, taken at the Battle of Salamanca by the Marquis, from the Grave of its Master a French Officer, where it was found exhausted & nearly starved to death, & was with much difficulty forced away from becoming a sacrifice to its Fidelity. Engraved from a Picture by H.B. Chalon, Painted for H.R.H. the Princess Charlotte of Wales (1796-1817). H.B.Chalon Pinxt. Clark & Dubourg Sculpt." "'Para Mi Dueno' on a card in the dogs mouth, the battle in the background. Henry Somerset, 7th Duke of Beaufort when Marquis of Worcester at the battle of Salamanca in 1812 rescued Sancho, a poodle who became his loyal pet. Princess Charlotte became one of the dog's admirers and this portrait was commissioned for her. Sancho was also immortalised by Richard Dighton [see above] walking with his master in Hyde Park." (J.P. 7/07)

Chalon, John-James (1778-1854). Les Tondeuses de Chiens, 1820. Lithograph. Two women grooming Poodles outdoors in urban setting. Hopkins, p. 36. (See Harral, below.) "La vogue du Caniche fait renaître le métier de tondeurs de chiens, et une gravure anglaise, en couleurs, signée Chalone et gravée en 1820, représente 'Les tondeurs de chiens aux Tuileries'." Mad. Jeancourt-Galignani, Les Caniches et leur élevage, (Paris: Crepin-Leblond, 1958; first published in 1937), p. 186. Tuileries (palace) gardens in Paris were laid out by Le Nôtre and even thirty years after the commencement of the French Revolution must have provided a very elegant setting in which to groom Poodles, which is, perhaps, the point of the lithograph.

Chalon. A Begging Poodle. Cream-coloured dog does sit-up.

Chapman, John Watkins (1853-1903). White Poodles with a Bird, 1858. Oil on canvas, 24.5 x 29.5 inches (62 x 75cm). Two white Minis one lying, one sitting, with a peacock tailfeather on a sofa, and, in foreground, the family parrot. William Secord, Dog Painting, -1940 (New York: Antique Collectors' Club, 1992) ISBN -85149-139-2, p. 212, plate 178.

Chase, William Merritt (1849-1916). Gravesend Bay (ca 1888). Also known as Afternoon by the Sea. Pastel on canvas. 20 x 30 inches. Hirshl & Adler Galleries, NY, NY. Seated woman holding a child, and a young girl looking out into a bay where several boats are under sail. In the group are two dogs, one a tan-coloured, short-haired dog with its back to the viewer. Standing near the girl is a white Miniature Poodle facing the viewer. Ronald G. Pisano, Summer Afternoons: Landscape Paintings of William Merritt Chase (Boston: Little Brown, 1993), p. 61.

Chémellier, Georges de (? - 1908). Get up, 1882. Plaster, Height: 110; width: 45; depth: 58. Subject: man/clown/Poodle. Musé des beaux-arts, Angers.

Cima, Giovanni Battista (c.1459-c.1517). Petit Barbet, c. 1470. Painting. Venice Academy. Reproduced in Toy Dogs and Their Ancestors, by Hon. Mrs. Neville Lytton, and mentioned in Price, p. .

Cipper, Giacomo Francesco ("Il Todeschini"; active 1705-36). Aukland City Art Gallery, PO Box 5449, Wellesley St., Aukland, NZ. Boys playing cards. Poodle under the table. See: Tomory and Gaston, p. 76.

Clouet, François (vers 1515-1572) (d'après). Henri II, enfant. Painting. Height: 0.300; width: 0.230. Chantilly, musée Condé. Henri II as a small child holds silver TP puppy, as yet uncleared. Item #00DE1114/Inv. 259 Agence photographique de la Réunion des Musées Nationaux.

Courbet, Gustave (1819-1877). Femme nue au chien (Léontine Renaude, amie de l'artiste), 1861-62. Oil on canvas. Height: 0.650; width: 0.810. Orsay museum. Naked woman seated at sea/lake-side, kisses white curly Bichon/Poodle who has evidently enjoyed a swim. Item #88EE473/RF 1979-56 Agence photographique de la Réunion des Musées Nationaux.

Cranach, Lucas "the Elder" (1472-1553). Portrait of Duchess Katharine of Mecklenburg. 1514. Oil on wood. Alte Meister Gallerie, Dresden, Germany. Small white dog sits beside the standing subject. This dog is similar to St. Jerome's small prick-eared proto-Poodle-reminiscent dog in the headpiece for Diminutive dogs.

Cranach "the Elder". The Stag Hunt. Oil on panel, dated 1540. Cleveland Museum of Art. An unbelievably active scene, hunting on land and water, in which ladies and gentlemen and hounds are engaged in dispatching magnificently antlered stags (one lady has just loosed an arrow from a cross-bow, another is paddling a small boat--in which a lady and gentleman are standing!) . Top central, in the background, coursing with the hounds, is a white Standard Poodle in the historically-correct working Continental clip. The central area of this painting is reproduced in a postcard available from the museum; unfortunately we don't have this address at our fingertips, but if you have a sudden need, the Cleveland Landmarks Commission, City Hall, Room 28, 44114; tel. (216) 664-2531 will surely be able to give you the museum's address and/or phone number. To see this image, go to: Poodles in Art(as of 15 August 2000).

Crane, Walter (1845-1915). Illustrations for Old Mother Hubbard's Picture Book (London and New York: Routledge and Sons, 1874). Crane's Toy Books became famous in Victorian times and led to a revolution in nursery decoration; Old Mother Hubbard, one of the second series of Toy Books 6d Series was illustrated by Crane shortly after his marriage while staying in Rome during the winter of 1872-3. His biographer, Isobel Spencer (Walter Crane. NY: Macmillan; London: Studio Vista, 1975) comments, "Old Mother Hubbard whose poodle reflects current Roman dog-owning fashion."

Cruikshank, George (1792-1878). Monstrosities of 1821. Wasp-waisted beaux and ladies en promenade; centre front, a good-looking Toy or Minature Poodle, in "show coat." Hayes Blake Hoyt, "Origin and History of the Poodle", The Poodle Showcase, December 1964, p. .

Cunaeus, Conradyn (1825-1895). Waiting for Mistress. White toy-sized dog, probably a Poodle. Dogs in Art address book, published by Alan Hutchison, Ltd., 9 Penbridge Studios, 27a Penbridge Villas, London, W11 3EP. Publisher gives list of sources, without identifying which art work is derived from which source: Alenburg, Staatliche Lindenau Museum; Archiv fur Kunst und Geschnichte, Berlin; Christie's Images; Sara Davenport, London; MacConnal-Mason Fine Paintings, London; Royal Collection Enterprises; Simon & Buunk, Ede, Netherlands; Rafael Valls, Ltd. Also in this address book (which lacks an ISBN number, and which is out of print, according to Amazon) is another image of a white toy-sized dog, Poodle on a Cushion, Italian school, 18th century.

David, Gérard (ca 1460-1523). Judgement of Cambyses. 1498. Two dogs, one sighthound, one curlycoat. Cutler, p. 193, fig. 240.

Davis, William Henry (1783-1864). Poodle and Maltese in a Landscape (1813). Oil on canvas, 22.5 x 30 inches. William Secord Gallery, as of January '09. Black Moyen-sized, quite fine-boned Poodle wearing a working-length Continental, stands in front of the base of a column. See: "Elegance Meets Intelligence" by Stephanie Horan, Dog World, March 2009, vol. 94, #3, sidebar p. 34: "The painting is especially important as an historic depiction of how the standard Poodle looked almost 200 years ago....Both the Poodle and Maltese are carefully posed in profile." This painting is re-sized and re-dated since publication (2000) of the following reference: Canine Companions (1820). Oil on canvas, 22.5 x 29 inches/ 57 x 75 cm., William Secord, Dog Painting: the European Breeds (Woodbridge, Suffolk: The Antique Collectors' Club, 2000), plate 332, p. 227. The editor of the Poodle History Project speculates (1/09) that the Poodle's fine bone may be a stylistic phenomenon. See Davis's portrait of a prize cow: William Henry Davis - Farm Animals - A Prize Cow 1838.

Dighton, Richard (1796?-1880). 'A view taken in Hyde Park' (Henry Somerset, 7th Duke of Beaufort), 1817., Hand-coloured etching, 13 1/8 in. x 9 7/8 in. (332 mm x 252 mm) paper size. There are four versions of this print at the National Portrait Gallery, London; this is the earliest. SP Sancho (see Army dogs), wearing a modified curly Continental, heels on Henry Somerset's left.

Doré, Paul Gustave (1833?-83). At the Church Door. Among pathetic mendicants at a church door, to whom a lady in deepest black and flowing cloak is giving money, is a moderately cheerful and expectant-looking Poodle very properly holding an alms dish. Coon, p. .

Doré. Le chien qui porte à son cou le diné de son maître. Illustration in Fables de La Fontaine (Paris: Hachette, 1868). Sturdy smallish SP in moderate Continental with undocked tail and with a basket hung on his neck trots down steps in a narrow urban alleyway ahead a of motley pack of hungry-looking dogs. In this fable, this Poodle ignobly gives way to pressure from his peers, and shares his master's dinner.

Doré. The Performers. Strasbourg 1832-Paris 1874 (sic?). Silver Mini in a dress at the bottom centre of the picture with a foot on a woman's dress. Jean Clair & al. The Great Parade: Portrait of the Artist as Clown Hardcover ISBN 0-300-10375-1 (Ottawa: National Gallery of Canada 2004) catalogue #92.

Dorner, Johann Jakob (1741-1813). The Hard Landlady. National Gallery of Victoria, Melbourne. Toy Poodle running in FG. Tomory and Gaston, p. 67.

Draner (pseud. Jules Renard), Types Militaires: Français (Paris: Dusacq et Cie, [ca. 1862-71]). 65 hand-finished colour lithographs by Renard, poignant yet light-hearted caricatures of French officers and enlisted men. Elegant wasp-waisted young cavalry officers apply rouge while a Poodle observes... (Also in Poodle Lit. 101.)

Ducrollay, Jean (vers 1708-après 1776). Tabatière d'or et d'émail de forme rectangulaire et allongée. Louvre, Paris. Framed on the face of the small box, an even smaller Poodle on a red cushion. Item #87EE5343/OA 10877 Agence photographique de la Réunion des Musées Nationaux.

Dürer, Albrecht (1471-1528). We await a Where's Waldo-type who will scan Dürer's work for (many!) Poodles. Meanwhile, from DM-B:
ca 1497: The Knight and the Landsknecht; to see this image, go to: Poodles in Art(as of 15 August 2000);
ca 1500: The Flagellation of Christ, and Christ Carrying the Cross, from the Great Passion; to see these images, go to: Poodles in Art(as of 15 August 2000);
1511: The Visitation, from The Life of the Virgin; to see this image, go to: Poodles in Art(as of 15 August 2000);
Also, from EAS, who, at a party from whence all but she had fled to watch a video of US Civil War army drill, took these notes on a paper cocktail napkin: "The Complete Woodcuts of Albrecht Dürer. Willi Kurth, ed. (NY: Crown, 1946):
1504: 17 ills to The Life of the Virgin, p. 182
-15: Triumphal Arch for Emperor Maximillian, p. 285
1487: The Apocalypse, p. 106
1500: Seven Woodcuts to the Great Passion [see above], p. 122; 124.)"

Duval, G. L'Aveugle de Saint-Suplice. 19th century etching. Man wrapped in hooded cloak sits on narrow sidewalk in front of stone building, alms box on his knees, two handled covered basket to his left, moyen-sized Poodle lies in foreground. Coon, p. 30.

Edwards, Sydenham Teak. See Rare books: 1800 [-05]. Sydenham Teak Edwards, Cynographia Britannica; consisting of coloured engravings of the various breeds of dogs existing in Great Britain, drawn and coloured from the life, with observations on their properties and uses.

Eisen, Charles Dominique (1720-1778). Le chien dansant (The Dancing Dog) Oil on panel. Utah Museum of Fine Arts. Gift of Mr. Val A. Browning for The Val A. Browning Memorial Collection of 500 Years of European Masterworks Museum # 1993.034.009. Very small parti-coloured Poodle with fluffy ears and a shaven tail with a pom on the end, wears red two-piece suit and a fancy hat, stands on hind legs on table, with forepaws extended forward.

Estrada, Jose-Maria (Mexican, 1811-1862). Young girl with a dog. 1838. Primitive portrait in which a very small and slender (and long-legged) white Toy in moderate Continental sits gazing attentively at small girl holding a doll. Museo bellas artes (where, please?). See: Le chien dans l'art as of 15/7/07.

Fath, Georges (1818-1900). Bronze statue of Poodle in lion-clip, standing. Hopkins, p. 17.

Fedotov, Pavel Andreevich (1815-1852). The Aristocrat's Breakfast (1849-50). Oil on canvas, 51x42 (query: inches or cm?). The State Tretyakov Gallery, Moscow, Russia. White moyen Poodle wearing moderate "Continental bolero" clip stands facing two-thirds away from viewer.

Fedotov. Encore, once again! (1851-2). Oil on canvas, 34,5x46,4 (query: inches or cm?). White moyen Poodle wearing moderate Continental clip jumps over cane.

Fei, Alessandro (1543-92). A Goldsmith's Workshop. Scala/Art Resource, NY. Busy scene in goldsmith's workshop, small white Poodle centre background. We have reason to believe, and would be delighted to receive confirmation, that this image may be found in From Problems to Profits: The Madson Management System for Pet Grooming Businesses (Revised & Updated 1997, ISBN 1878795252, 320 pages), as an illustration in the first chapter, "The Heritage of Pet Grooming," first section, "The Evolution of Pet Grooming Salons."

Ferneley, John, Sr. (1782-1860). Bay Hunter with Poodle in a Stable, 1818. Prettily-marked black-and-white parti-coloured SP in very moderate working Continental stands on his hind legs to greet a horse by touching noses. This is one of the best Poodle art-images. As of 1 August 2011 see Encore Editions.

Ferneley, John, Jr. (1815-1862) White Poodle Seated on a Red Cushion. Oil on canvas, 18 1.8 x 15 1/8 inches (46 x 38.5 cm): Offered 2/13/07 at Doyle New York Inscribed 15 Chester St. and J. Fernley [sic] jnr. on the stretcher. Offered for sale at Dogs in Art auction, 13/2/2007, Lot No. 3080 by Doyle, New York. Small white Poodle wearing very moderate and somewhat grown out version of Continental with full hair on front legs sits on large red cushion.

Fessard, Etienne (1714-77). A clipped Bichon (more like a Disneyesque Poodle wannabe, so we've included it here in case someone's interested). 1767. Price, plate 4, opposite p. 21.

Fielding, Newton Smith Limbird (1799-1856), Barbet/Water-Dog, one of 12 coloured plates of hunting and sporting dogs engraved by Falkeisen after designs by Newton Fielding published in Chiens de Chasse: d'après les dessins de Newton Smith Fielding (Paris: Rittner, 1828), 12 coloured plates etc.

Flemish School (early 16th century). Miracles of Christ. Triptych panel. National Gallery of Australia, Melbourne. White Toy Poodle (?) slightly off centre before a lady. See: Tomory and Gaston, 114.

Frankfurt, Master of (1460-1520-c. 1533). Virgin and Child with St. James the Pilgrim, St. Catherine, and the Donor with St. Peter, c. 1496. Oil on oak panel, 69 x 55.2cm. Queensland Art Gallery (South Brisbane, Australia; variants are in the Norton Simon Gallery, Pasadena, and the [British] Royal Collection). The Donor looks into space in contemplation after studying his prayer book while his parti-coloured Miniature Poodle (moyen) in Continental clip gazes at him in admiration. Unseen to the donor, the virgin and child with the saints are drawn by his piety to gather superbly in the background. Plate 368 (p. 121), Tomory and Gaston. This is one of the most fascinating Poodle-art images. This dog could step out of the painting and into a modern UKC conformation ring without causing a riot.

Fragonard, Jean-Honoré (1732-1806) La Chemise enlevée / La Gimblette. Erotic painting; girl lies on her back in bed, knees raised, and resting on her knees and shins is her fluffy white Poodle/Bichon; the dog's tail lies over her private parts.

Froissart, Jean (c. 1337 c. 1405). Amiens Peace Parleys (1392). (150 x 200 mm) Negotiations between France and England, as King Charles VI, his uncles, and John of Gaunt, duke of Lancaster, look on. (BNF, FR 2646). Jean Froissart, Chronicles, fol. 141 Flandres, Bruges 15th Century. Very modern-looking Standard Poodle recumbent at the feet of the French king; almost looks pasted-in. See Bibliothèque Nationale de France, The Age of Charles V...

Froment, Nicholas (ca 1425-d. bet. 1483-86). Altarpiece of the Burning Bush, 1476. Curlycoat in L hand panel. (Cathedral of Saint-Sauveur, Aix-en-Provence.) Cutler, p. 234, fig. 293.

Gainsborough, Thomas (1727-88). William Poinz (1734-1809), 1762. Oil painting, 96.5 x 60 inches. Private collection. Man stands, holding fowling piece, parti-coloured water dog lies at his feet. Ellis Waterhouse, Gainsborough (London: Edward Hutton, 1958), plate 63 (description 554, p. 85).

Gainsborough. Henry, Third Duke of Bucceleuch (1746-1812), 1770. Oil painting, 48 1/2 x 38 inches. Private collection. Engraved in mezzotint by John Dixon, 1771. Bucceleugh affectionately embraces parti-coloured water spaniel. Waterhouse, plate 120 (description 88, p. ). Stephens, p. 113.

Gainsborough. Margaret and Mary Gainsborough. Oil on canvas, 231 x cm. Whitbread collection at Biggleswade (UK). Gainsborough painted this portrait of his daughters shortly after 1770. At left is Margaret, born in 1748 and who became mentally unstable after a failed marriage. Beside her is her sister Mary, who was born in 1752. She remained unmarried and cared for her sick sister. Seated at the far right of the portrait, beside Mary, is the family's white Miniature Poodle (moyen-sized; vital; a must-have for the Poodle-art collector), in the sporting clip of the period. Its right paw is raised and it looks devotedly at the two women. Print 36, Giuseppe Gatt, Gainsborough (London: Thames & Hudson, 1968; Florence: Sadea).

Gainsborough. Rev. Sir Henry Bate-Dudley (1745-1824), 1780. Oil painting, 88 x 59 inches. Private collection. Engraved in mezzotint by Gainsborough Dupont. Man stands, water dog stands beside him. Waterhouse, plate 204 (description 45, p. 53).

Gainsborough. Cottage girl with dog and pitcher, 1785. Oil painting. Engraved in stipple by John Whessell, 1806, as The Young Cottager. Girl stands holding pitcher in one hand, and snuggles parti-coloured water dog puppy in her other arm. Waterhouse, plate 273 (description 803, p. 103).

Gaston Phoebus--Gaston iii, Count of Foix--Livre de Chasse, see Bedford Master, above.

Gérard, François (1770-1837). Tarquin le superbe. Private collection. Small parti-coloured Poodle with fluffy coat and shorn forepaws sits on a cushion, facing us. To the left, a white DSH cat paints the dog's portrait, observed by a green parrot. In the right foreground are two tri-coloured guinea pigs who seem to be reading aloud to entertain the sitter. (NB: "We seem to be accumulating some evidence of non-white little poodles!" MC, 2/2005.)

Goes, Hugo van der (ca 1440-82). Jacob and Rachel, drawing (1475). Medium sized cut-coated dog in LL. Cutler, p. 159, fig. 196.

Gossart, Jan (ca 1478-ca 1536). Adoration of the Magi. 1507. Two cut curlycoats in foreground. Cutler, p. 428, fig. 574.

Goujon, Jean (c. 1510 - c. 1565 ) workshop of. Diana the Huntress/Diana with a Stag (c. 1549). or Diane appuyé sur un cerf dite La Diane d'Anet. Sculpture (marble?), mid-16th century. Height: 2.110 m.; Length: 2.580 m.; Depth: 1.340 m. Paris, Louvre. Part of a fountain designed for Diane de Poitiers for the Château d'Anet. Very busy statue of the goddess Diana and her prey (astonishingly, the antlers on the friendly deer--and Diana's bow--have survived!); a sturdy curly-coated Barbet/Poodle, with shaven legs, stands behind the seated goddess who has her arm over the shoulders of the demurely-reclining stag. A copy stands in a garden at Château de Rambouillet (just outside Paris), see: Le chien dans l'art as of 15/7/07. There is also a copy at the Nobelparken, Stockholm, Sweden.

Goya y Lucientes, Francisco Jose de (1746-1828). "Javier Goya 'L'homme en gris' 1805/1806. Oil painting, 192 x 115 cm Paris heirs of Comptesse de Noalles M.311, DF.454, G.500," caption, plate 852 (b&w), in Pierre Glassier and Juliette Wilson's The Life and Complete Works of Francesco Goya (London: Harrison House, 1971). A colour plate of the same painting: Jean Adhemar, Goya (London: House of Beric, ), p. 41: The Man in Grey (Xavier Goya, the artist's son), c 1798. Oil painting. Xavier Goya stands; a white Mini lies at his feet. "A masterpiece. Xavier has been spruced up and the dog recently groomed. Unlike Goya's other paintings there is no argument but that this is a poodle and a pretty classy one at that. Its face is shaven and its top knot tied up so that you can see the unmistakable Poodle face..." (GL, Feb. '97). To see this image, go to: Poodles in Art(as of 15 August 2000).

Goya. "Gumersinda Giocoedea, 1805/06. Oil painting, 192 x 115 cm. Paris, heirs of Comptesse de Noalles. M.311, DF.454, G.500," caption, plate 851, Glassier and Wilson. Goya's daughter-in-law with her small white toy; obviously intended to be hung with painting of Xavier.

Goya. Duchess of Alba, 1795. Oil painting. Duchess with white toy Poodle at her feet. Richard Schickel, The World of Goya, -1828 (New York: Time-Life, 1968), p. 66. To see this image, go to: Poodles in Art(as of 15 August 2000).

Goya. Encounter on the paseo, 1796-97. Drawing. Back view of a lady talking to a gentleman with the lady's small dog in a continental-type clip playing at her feet. Pierre Glassier, The Drawings of Goya - The Complete Albums (London: Thames & Hudson, ), plate B32 verso of B31 - I - No(I) - Madrid, Prado (465) - GW400.

Goya. Les Jeunes, c. 1812-14. Oil painting. 181 x 122 cm. Musee des Beaux-Arts, Lille. Young woman holds a letter, white toy Poodle stands on hind legs with front paws resting on her skirt; another woman shelters her with an umbrella; behind, women do laundry out of doors. Glassier and Wilson, p. 243.

Goya. Man picking fleas from a little dog, 1824-25. Painting on ivory, 8.8 x 8.6 cm. Dresden KK (1899.40) ESll, MS3, M.646a, G740. Glassier and Wilson, p. 342.

Goya. Maria Teresa de Borbon y Vallabriga, Countess of Chinchon. Small girl standing; small Poodle sits at her left side. To see this image, go to: Poodles in Art (as of 15 August 2000).

Habert, Nicolas (b. ca 1650, d. after 1715). Henriette d'Angleterre, Duchesse d'Orleans. Engraving. Before 1699 (date of subject's death; judging from costume, etc., prob. ca 1666). Henriette is depicted as Diana. At her side is a greyhound, and at her knee is a cut-coat dog--unmistakable white miniature Poodle! Poodle is imploring her, standing with forepaws on her knees. Habert was active in 17th c.; primarily known for genre scenes and illustration of large banquet pieces. John B. Wolf Louis XIV (NY: Norton, 1968; London: Gollanz, 1968), 678 pp., illustrations (unpaginated) clustered in center of the book, Habert's engraving occupies 1/3 page, opposite Louis XIV enthroned. (D.M.-B., 22 April '97). To see this image, go to:
Poodles in Art
(as of 15 August 2000).

Hadol, Paul (1835-1875; French caricaturist of the Napoleonic Third Empire). La Ménagerie impériale de Paul Hadol et les Goncourt (1871). "NEWERKERQUE [sic: Nieuwerkerke, Count Alfred de (1811-1892), friend of Louis Napoleon Bonaparte, director general of museums, responsible for organization of the Paris Salon] LE CANICHE (Bohême-Rapine) [1862]", numéro 26. Nieuwerkerke's head on a Poodle's body, the imperial monogram branded to his shorn thigh, and tied to his tail a couple of framed pictures, and ... an "Oscar"?

Hals, Dirck (1591-1656). Banquet in a Garden, c. 1620. Louvre, Paris ("if you go", check the location, because in 1937/1958 Jeancourt-Galignani, p. 183, lists this at Amsterdam Museum). Outdoor banquet scene (by younger brother of Frans Hals); table in front of stately house; white lion-clipped Mini in foreground (long tail); another Poodle, bigger, sits at the extreme left, placidly watching. Seymour Slive, Frans Hals (London: Phaidon, 1974), catalogue 5, fig. 3.

Hancock, Charles (1802-1877). A Pet Dog. 1875. Oil on panel, 8.5 x .25 inches (21.5 x 26 cm). Maybe-Poodle (moyen-sized), parti-coloured, sitting on step. Secord, p. 212, plate 179.

Harral, Horace (exh. 1862-76) / S. Hall / Basil Bradley. Wood engraving. Rome--shaving dogs on the steps of the Trinita de' Monti. Poodles being groomed in outdoor urban setting. Published in The Graphic, June 8, 1872; republished (apparently by arrangement from the same block and without credit) as: Shaving Dogs on the Spanish Steps in Rome, in Harper's Weekly, July 6, 1872. Irick, p. 36, and, unacknowledged, Hopkins, p. 36. (See Chalon, above.)

Harrison, George L. English, 19th century. A White Poodle in an Interior. Oil on canvas, 1887. Apparently moyen-sized shaggy white Poodle seated on Axminster raises right paw. Private collection; published on a notecard by the Metropolitan Museum of Art, 1993, -00625-1.

Harvey, William (1796-1866). (del.) The Poodle. Copperplate (T. Williams). Shaggy, calm, parti-coloured Poodle stands in front of rushes with front feet on a walking stick. Harvey was one of Bewick's pupils. Thomas Youatt, The Dog(London: 1886), p. 48.

Hogarth, William (1697-1764). The Strode family (1738). Tate Gallery. Family group of adults seated around a round breakfast-type table in a stately house; seated at left forefront, a small Barbet-type parti-coloured dog in very moderate clip. See: Le chien dans l'art as of 15/7/07.

Holt, Edwin (English, fl. 1854 -1897). Oil on canvas, 5 3/4 x 5 1/2 inches. Head study of a white Toy with abundant coat and wearing a red bow. See William Secord Gallery as of 4 August 2011.

Hondius, Abraham (Dutch, c. 1631-1691). Amsterdam Dog Market. c. 1671-72. Oil on wood, 38 1/2 x 48 1/2 in. (97.8 x 123.2 cm). Walter F. Goodman and Robert A. Flanders. Small lion-clipped dog, lower left. Best in Show : The Dog in Art from the Renaissance to Today, by Peter Bowron, Carolyn Rose Rebbert, Robert Rosenblum, and William Secord (New Haven: Yale University Press, 2006), p. 34. This is an exhibition catalogue; the exhibition "Best in Show: Dogs in Art from the Renaissance to the Present" was at the Bruce Museum in Greenwich, Connecticut from May 13, 2006 - August 27, 2006 and at the The Museum of Fine Arts, Houston, Texas October 1, 2006 - January 1, 2007.

Hosemann, Theodor (1807-1875). Der Pudel. Illustration included in J.C. Winckelmann, Zoologische Abbildungen (Zoological Images), lithographed by Theodor Hosemann, (Berlin, Germany: Winclkelmann u. Soehne, 1840).

Houdon, Jean Antoine (1741-1828). Cast iron? One of a pair of andirons attributed to Houdon, one represents a cat, the other a seated Poodle, the two serve as guards for the fireplace. Hopkins, p. 24.

Howe, James (1780-1836). Hawking. Oil painting. Private collection; bought at Christie's sale room in London on 17 December 1976. Falconers Malcolm Fleming of Barochan (1745-1811), hereditary falconer to the king of Scotland is mounted; Anderson (d. 1833), his famous falconer to whom John James Audubon made a pilgrimage, is standing; and Harvey is seated. The three men hold hawks/falcons on their wrists; pointer and small spaniels; moyen-sized black Poodle standing at far left. National Portrait Gallery (London) holds a black and white negative, 26398. Mezzotint (1816; copy in the British Library) by Charles Turner republished in Sport and Countryside by David Coombs (Oxford: Phaidon, ). Yale Center for British Art holds a copy (1834; B1985.36.551). Howe was a Scottish artist; Barochan is stately house a few miles northwest of Paisley, near Glasgow. To see this image, go to: Poodles in Art(as of 15 August 2000).

Howitt. Engraving from his Groups of Animals (1811). Parti-coloured curly-coat (moderate clip) emerges from watery-cover holding duck. Ash, plate 94.

Huet, Jean Baptiste (1745-1811). Le couronnement de la Rosière (Schumaker: Ronnement de la Rosiere), French toile (1789-92). Subject is the crowning of the Rose Maiden: "lady in a bower with a lamb on a leash, various other people standing about....Poodle's not in the party but part of a flanking pattern--to the right is a fox jumping at a yard of chickens and on the left a Poodle is focused on a pond with ducks." MH, /6/98 (see detail, right). Reproduced in Schumaker's Museum Collection, and available in 1958; no longer in production. See Josette Brédif, Printed French Fabrics, Toiles de Jouy (NY: Rizzoli, ), plate facing p. 57. Caption: "...Factory mark: Manufacture Royale de Oberkampf à Jouy... The scene refers to a custom instituted by St. Medarus, bishop of Nyoyn and lord of Salency: each year he gave 25 livres and a garland of roses to the most virtuous young girl in his domain."

Huet. Le Petit Enfant Maitre de Chien, 1790. The Amarillo Museum of Art. Two small boys watch as small dog stands on hind legs to "dance" under a tree.

Ingaldi, Nicola (active late 18th-early 19th century). Crèche figure--seated white Moyen wearing moderate working Continental, associated with one of the three kings, ca 1862. See: Linn Howard and Mary Jane Pool, photographed by Elliott Erwitt, THE ANGEL TREE: Celebrating Christmas at the Metropolitan Museum of Art (New York: Metropolitan Museum, 2011), pp. 24, 26-7, 116; and, as of 22 December 2012, Seated Poodle, accession no. 1981.162.5

Jack, J. (English, fl. 1867) Parti-Coloured Poodle on the Beach with a Man's Hat, 1867. Oil on canvas, 18.5 x 24 inches (47 x 61 cm). Private collection. White and black Standard Poodle emerging from the sea carrying a top hat we hope not of a person drowned at sea--just someone whose hat has blown away. Secord, p. 213, colour plate 101. See also Encore Editions as of 1 August 2011.

Johnson, Eastman (American, 1824-1906). Negro Life at the South (1859). Oil on linen, 36 x 45 1/4 in. The New-York Historical Society on permanent loan from The New York Public Library, S-225. In the foreground, moyen-sized parti-coloured (brown and white) Poodle in a play-bow. In the close background a two-and-a-half story frame house in poor repair directly adjacent to (at right) a masonry or stucco mansion in excellent condition. In the dooryard of the frame house, gathered near a seated black man playing a banjo, several groups of black/mulatto people; entering from far right wearing an expression of relaxed interest, and followed by a black attendant, is a beautifully-dressed white woman. It's unclear to whom the dog belongs. 29 October 1999 - 6 February 2000 exhibited at the Brooklyn Museum of Art; catalogue by Teresa A. Carbone and Patricia Hills, Eastman Johnson Painting America (NY: Rizzoli International Publications, Inc., 1999), see pp. 120-131. This Poodle is particularly interesting because among the earliest evidence of Poodles in North America; and because perhaps linked to the breed's traditional role in entertainment. This painting is popularly known as Old Kentucky Home; the artist painted his father's back yard in Washington, D.C.

Johnson, Eastman. Christmas Time (The Blodgett Family) (1864). Oil on canvas, 30 x 25 in. The Metropolitan Museum of Art, New York. In a substantial "Renaissance Revival" parlour, at lower left background, a small white Poodle in moderate Continental stands on a board on wheels, with a string attached to the front; this is a pull-toy, which is forgotten by the owner, a small girl in a white dress, as she watches, with her standing father, seated mother, and sister leaning against a table, her brother manipulate a kinetic toy, a dancing black "minstrel" figure in military dress. Ibid. pp. 63-5.

Kemmelmeyer, Frederick (b. prior to 1755; fl. 1788-1816), attrib. Charlotte Marsteller, ca 1803. Oil on canvas. Height: 29 3/4"; width: 24 1/4". Corcoran Gallery, Washington, D.C. Portrait of small girl, granddaughter of Philip Marsteller of Alexandria, Virginia, with small white Poodle sitting beside her. Postcard and note-card available from the museum store.

Keyl, F. W. (1823-71). Poodle "Domini" playing dominoes. Woodcut. th c. Domino sits on table, playing dominoes watched by eight men. Price, plate 3, opposite p. 20.

Knappe, Karl Friedrich (1745-1808). Pair of Fire Screens, 1805. Mahogany, brass, oil on canvas, 57 3/8 x 15 1/2 in. White Standard Poodle wearing moderate Continental play-bows in 3/4 profile facing left, his fore-paws guarding several coins on the floor. This is an excellent portrait, packed with information about the dog. The State Reserve Museum "Pavlovsk"; a postcard was published when it was shown as part of an exhibition, "Stroganoff: The Palace and Collections of a Russian Noble Family", Portland (Oregon) Art Museum, February 19 - May 31, 2000. See that exhibition's catalogue: Stroganoff: The Palace and Collections of a Russian Noble Family, by Penelope Hunter-Stiebel (editor), Helene de Ludinghuysen (preface), (New York: Harry N. Abrams, Inc., 2000), page 41, cat. no. 25 (there is no plate no.).

Knaus, Ludwig (1829-1910). Behind the Curtain, 1880. Staatliche Kunstsammlungen Dresden, Gemaldegalelrie Neue Meister. Genre oil painting of circus family life (clown father giving baby a bottle, two little girls in costume talking to three Standard Poodles--two white, one black--lying down in centre of group, mother wrapped in shawl and otherwise scantily clad talking with polite reserve to man wearing top hat who intends seduction; on the other side of the curtain can glimpse circus--tightrope walker, audience, etc. Stephens, p. 102. Ludwig Pietsch, Knaus (Bielefeld and Leipzig: Velhagen & Klasling, ), p. 59.

Landseer, Sir Edwin (1802-1873). Laying Down the Law (also called Trial By Jury), 1840. Painting. Chatsworth House. White Standard Poodle with right paw on open book, other dogs gathered around. Irick, p. 14. Mezzotint: Hilary Guise, Great Victorian Engravings: A Collector's Guide (London: Astragal, 1980), plate 32, notes p. 138 to the effect that mixed mezzotint (54.7 x 48.3) by T. Stanfeld after the painting dated 1840, date and publisher are not known though the original plate by Tom Landseer was published in 1843 and another engraving by George Zobel was published by Thomas McLean in 1851. W.T. Davy also engraved the subject in small size. "The French Poodle belonged to the well-known socialite Count d'Orsay..." Also see: William Secord, Dog Painting: the European Breeds (Woodbridge, Suffolk: The Antique Collectors' Club, 2000), plate 333, p. 227. See also Encore Editions as of 1 August 2011.

Landseer. Tapageur (1852). Engraving; engraved by Robert Mitchell. 19 x 24 inches. Facing left, parti-coloured SP wearing moderate Continental, evidently wet because somewhat corded, is poised to leap once more into the waves.

Lastman, Pieter Pietersz (1583-1633). The Angel and Tobias with the Fish, c. 1625. Oil on wood, 34,3 x 59 cm. Museum of Fine Arts, Budapest. Between Tobias and the angel stands a large, calm parti-coloured Poodle.

Lawreince, Nicolas, le Jeune (1737-1807), Lafrensen (dit). Portrait du Baron de Montigny dans un paysage, 1763. Miniature on ivory. Height 0.185, width 0.150. Louvre, D.A.G. Small white Poodle with docked tail and wearing moderate Continental stands at lower left, facing right. Item #98BE24546/RF 30765 Agence photographique de la Réunion des Musées Nationaux.

Lizars, William Home (1788-1859). Plate #20 in Charles Hamilton Smith's two volume Dogs (Edinburgh: Lizars, 1839; 1840), volumes 9 and 10 in William Jardine's series The Naturalist's Library (Mammalia). Bichon-esque curly small white dog stands beside a dog house in front of which sits a bulldog.

Limbourg brothers. Les Très Riches Heures du Duc de Berry. Manuscript, ca 1413- ca 1416; illustrated by the three Limbourg brothers; Musée Condé, Chantilly, France. Month of August: illustration shows a hunting party, two curly-haired dogs in foreground, one appears to be in a "lion clip". Les Très Riches Heures du Duc de Berry, text by Edmond Pognon, Chief Curator, Bibliothèque Nationale, Paris; published by Minerva. Smaller edition published by Crescent Books. Also see: Les Très Riches Heures of Jean, Duc of Berry, introduction and legends by Jean Longnon and Raymond Cazelles published by George Brazillier, Inc. Contributed by Dorothy Dehn, Sept. '97.

Lippi, Filippino (1457-1504). Tobias and the Angel, probably c. 1480. Detail. National Gallery of Art, Washington, Samuel H. Kress Collection 1939.1.229. Oil and tempera (?) on panel, painted surface: 32.7 x 23.5 cm (12 7/8 x 9 1/4 in.) overall size: 34.5 x 25.4 cm (13 9/16 x 10 in.). Small shaggy white proto-Poodle wearing a tail-pom leads the angel.

Lonicer, J. A. (1582). "German woodcut engraved by J. A. Lonicer, British Museum" depicts multitude of dogs on a ship: "Greyhounds and ring-tailed Afghans travel kennel class with Mastiffs and unshorn Poodles." Man's Best Friend (Washington, DC: National Geographic Society, 1958; revised edition,1966), p. 58.

Loustaunau, Auguste Louis Georges (1846-1898) and A. Legras, lithographer. Mariage de Raison. 25x33in? Chromolithograph. Man in uniform (Franco-Prussian War?) plays chess with lady, who has check-mated him; SP lies near.

Martens, William Johannes (1838-95). Die Drei Pudelchen. Signed--W J Martens Roma--and inscribed, oil on panel, 13 x 9 inches (33 by 23 cm). Two parti-coloured puppies held by an Italianate young woman whom we must infer is the third pudelchen. Christie's International Magazine , May 1989, p. 83 (Christie's London auction of Fine Continental Pictures of the 19th and 20th Centuries on Friday 5 May ).

Meissen. For more information about Meissen Poodles, see Meissen Porcelain Dogs, 1875-1925 (London: Hugh Davies, 1998), available (5/98) from Hugh Davies Publishing, 40 Kensington Church St., London, UK W8 4BX for $US50. plus $US15. packing and shipping. The Meissen porcelain factory was founded in 1710 at Meissen, near Dresden. Of particular potential interest is the famous swan dinner service made (1737-41) for the factory's director Count Brühl; every plate is decorated in relief with swans, reeds, rushes, and other watery motifs; from the curves of the tureens emerge swans, dolphins, mermaids, etc.

Meloni, Altobello (1497-1517). Tobias and the angel (ca 1500). University of Oxford, Ashmolean museum. Yet another Tobias/angel painting, in which the Lamb of God doubles as Tobias's dog, a small white Poodle. See: Le chien dans l'art as of 15/7/07.

Memling, Hans (c. 1430-c.1494). Bathsheba (1484). Small white Poodle (proto-Poodle?), lower left. To see this image, go to:
Poodles in Art
(as of 15 August 2000).

Memling. The Allegory of Vanity (about 1485 or later), from the Triptych of Earthly Vanity and Divine Salvation. Oil on panel. Strasbourg, Musee des Beaux-Arts. Small white proto- Poodle/Poodle standing lower left.

Metsys, Quinten (ca 1466-1530). St. Anne Altarpiece (1507-1509), left wing. Very large white curlycoat in LR. (NB: sometimes called a sheep!). 1507-09; at the Musees Royaux des Beaux-Arts, Brussels. Cutler, p. 419, plate 29. To see this image, go to:
Poodles in Art
(as of 15 August 2000).

Meyburgh, Bartolomeus (1625-1708/9?). Jagdhund vor einer Ruine (Hunting dog in front of ruins) 1667. Oil on canvas, 103.5 x 127.6 cm. Black Standard-sized "water dogge" Poodle stands, facing right, in front of a ruin; a dead duck lies decoratively between hind and fore feet. The lean working-dog is a bit down in the pasterns; has a lovely layback; and a modern-looking rear extension; shorter in the muzzle than today's dogs. The tail, if it is docked at all, is docked longer than today's fashion; the dog wears the traditional pom at the end; and may be wearing a very moderate jacket--at the last rib, there seems to be a very slight change in coat-length. The catalogue text suggests this is an Irish Water Spaniel. Those of us who are familiar with the sources in the Poodle History Project understand that this is a water dog ("water dogge": see Markham; it's uncertain which national variety (if, indeed there was marked difference in national variety between the maritime Low Countries and maritime Great Britain) especially since the artist did work for the queen of England. This image contains a great deal of information, and is a real treasure for us! Ein Fest der Malerei: die niederländische unf flämanische Gemäldesammlung des 16.-18.Jahrhunderts (Leipzig : E.A. Seemann, Verlag, 2005; ISBN 3-86502-111-5), illustration #101, p. 146. This is a catalogue from an exhibition held at the Museum Kunst Palast, Dusseldorf, July 16 - November 6, 2005; an approximate translation of the title is: a celebration (festival; party) of painting: Dutch and Flemish paintings [owned by the museum] 16-18 centuries.

Monet, Claude (1840-1926). Camille with a Small Dog (1866). Oil on canvas; private collection. Young woman in profile, facing right, holds "shock" (small, white, curly dog) in the crook of her right arm; with sparkling black eyes, dog looks straight at viewer.

Morland, George Charles (1763-1804). "Diver and Shucklebach" Water Dogs. Oil painting. Private collection. Mezzotint by William Ward (1766-1826), about 1790-1800. A Newfoundland and a Standard Poodle, both parti-coloured, while walking, playfully hold onto the same stick. Francis P. Fretwell, "200-Year Old 'Poodle'...", Poodle Variety, stud dog issue, 1996, p. 16.

Motte, C. Contrastes. 19th century lithograph (engraving?) of busy street scene including gentleman putting money into dish held by a small-SP-sized Poodle in classic (i.e. short and curly) Continental clip, sitting in between knees of his blind master who is playing an oboe?/bassoon?/alto-recorder? Coon, p. 33.

Moucheron, Isaac de (1667-1744). An Italianate Garden with a Parrot, a Poodle, and a Man (1730s). Watercolor and pen and brown ink over black chalk on laid paper, 25 x 38.3 cm (9 13/16 x 15 1/16 in.). Small animated white Poodle with undocked tail and wearing bow stands on wall. ("This one looks distinctly poodly--length of leg, curls, lion clip, intelligent expression--as opposed to a generic little white mop." MC, 2/2005.) National Gallery of Art, Washington, D.C.; gift of Anne Eustis Emmet in memory of David E. Finley, 1987.11.1

Mougin, Pierre Antoine (1761-1827) Le repos du joueur de vielle; L'aveugle Frélont (1814). Oil on canvas. Height: 0.384 ; width: 0.305. Paris, musée des traditions populaires. Blind man kneels at side of road, playing small accordian, his parti-coloured Poodle/Poodle-cross, shorn except for a curly cap, holds the beggar's bowl. Item #99CE19411/996.18.1 C Agence photographique de la Réunion des Musées Nationaux.

MZ, Master. Dance at the Court of the Duke of Bavaria, 1500, engraving. Large, cut curlycoat in R near seated lovers. (Yes! ed.) Cutler, p. 311, fig. 398

Nip, Peter Johann. The Blind Fiddler. Engraving of a man, bundled up for cold weather, seated in front of a stone building, a top hat inverted in front of his feet; a moyen-sized Poodle (probably) is seated beside the hat. Coon, p. 18.

Nittis, Giuseppe de (1846-1884). La Place du Carrousel: ruines des Tuileries en 1882. Oil on wood. Height: 0.450; width: 0.600. Louvre, Paris. White Poodle in short Continental stands alone on pavement in foreground; good, informative Poodle-image. Item #94DE52654/RF 372 Agence photographique de la Réunion des Musées Nationaux.

Northcote, James (1746-1831). A Standard Poodle in a Coastal Landscape. Oil on canvas. Dated 1806. 102.2 x 127.5 cm. Private collection? sold by Christie's, London, on Friday, November 15, 1991. Christie's Images/CORBIS print available including on eBay July 2012.

Noter, David Emile Joseph de (1818-1892). The Lady's Obedient Dog. Oil on canvas 31.97 x 26.50 inches / 81.2 x 67.3 cm. Private collection. In lavish interior, small white Poodle sits on chair, facing quarter-turn away from viewer, holds up left paw, gazes raptly at lady who is holding a white tidbit.

Ostade, Isaak van (1621-1649) (d'après). Aveugle et son chien. Oil on wood. Louvre, Paris. Blind man holding staff follows small white Poodle on lightly-held leash attached to the dog's collar. Item #97DE9191/MNR 459 Agence photographique de la Réunion des Musées Nationaux.

Oudry, J.-B. (1686-1755). Water Spaniel Seizing a Bittern. Large drawing, ink and wash, squared for transfer to canvas, study for fig. 64 in Hal Opperman, J.-B. Oudry (Fort Worth: Kimbell Art Museum, 1983), exhibition catalogue distributed by University of Washington Press, Seattle and London; ISBN (cloth) 0-912804-11-4, (paper) 0-912804-12-2, p. 118, fig. 21.

Oudry. Water Spaniel Confronting a Heron, 1722. Oil painting. Geneva, Musee d'Art et d'Histoire. SP crouches tensely, awaiting moment to attack, heron seeks to take flight. Disneyesque confrontation; clear view of dog and clip. Opperman, p. 119.

Oudry. Water Spaniel Seizing a Bittern, 1725. Oil painting. Stockholm, Nationalmuseum. Determined parti-coloured SP, in short "show-coat", grasps a "runner" which exhibits dramatic resistance. Opperman, p. 119, fig. 64. See also Hopkins, p. 22; Price, plate 2, opposite p. 5.

Oudry. Water Spaniel Seizing a Duck in Flight, 1726. Black and white chalk on light brown paper. Schwerin, Staatliches Museum. inv. no. 4576 Hz. Opperman, p. 120, fig. 22.

Oudry. Water Spaniel Seizing a Duck in Flight, 1728. Oil painting. Private collection. Less vital than drawing from which it differs in details; parti-coloured SP rears up to capture, with courage and determination, a runner. Opperman, p. 120, fig. 66.

Oudry. Misse and Luttine, 1729. Oil on canvas, 97.8 x 131.5 cm (38 1/2 x 51 3/4 in.) National Gallery of Art, Washington, D.C. Gift of Mr. and Mrs. Eugene Victor Thaw, in Honor of the 50th Anniversary of the National Gallery of Art 1994.53.1. Black SP/SP-cross stands in profile facing left; white blaze on chest, today's-length docked tail shaved with pom; jaw-profile reminiscent of the greyhound with whom the dog is playing in front of a huge column.

Oudry. Water Spaniel Attacking a Swan on its Nest, 1740. Oil on canvas. Property of the Swedish Government, deposited in the Embassy of Sweden, Paris. (NB: similar painting, 1731.) Mostly swan, effects of light and atmosphere; parti-coloured SP in the shadows; "really shows what a SP can do to get a bit of meat for the hunter's table" (GL, 20 Feb. '97). Opperman, p. 170, fig. 56 (colour plate on p. 20).

Oudry. Water Spaniel Pursuing a Family of Ducks at the Base of a Fountain, 1742. Strasbourg, Musee des Beaux-Arts. Clearly-depicted parti-coloured SP (great layback!) harrassing game at worst time of year. Opperman, p. 173, fig. 94.

Oudry. Chien se jetant sur un canard, 1745. Oil on canvas. Height: 99.5; width: 85.5. Exhibited at 1745 salon. Musé des beaux-arts, Rouen.

Oudry. [Water] Spaniel Pursuing Ducks, 1748. Canvas, relined (H) 118.5cm, (W) 153cm. Inventory Number P631. The Wallace Collection, London, England. Large parti-coloured Poodle, shaven except for a pom on a tail docked to today's length, and curly ears and cap, chases three ducks.

Oudry. Water Spaniel with a Rifle and Dead Game, about 1760-1790, Swedish school (?) based on two pictures of Oudry. Lots of still-life, not much dog (parti-coloured SP), Opperman, p. 171, fig. 92.

Oudry (atelier de). Oiseau de proie touchant sur des canards qui se cachent dans les roseaux. Oil on canvas. Height: 2.380 Width: 1.600. Châteaux de Versailles et de Trianon. Bird of prey (beak is too small for a Golden Eagle; might be a Booted Eagle, dark phase; maybe a Red Kite) prepares to take one of several puddle ducks flushed from cover by a parti-coloured Poodle, shorn, with a tail pom. (Item #80EE1220/MV 8102 Agence photographique de la Réunion des Musées Nationaux.)

Oudry (attributed to). Chien barbet chassant des canards sauvages. Oil on canvas. Height: 2.700; width 1.035. Château de Fontainebleau. Parti-coloured Poodle flushes puddle ducks. Item #03DE5643/INV. 7032 Agence photographique de la Réunion des Musées Nationaux.

Paton, Frank (1856-1909). The Card Game (1885). Oil on canvas, 27.5 x 36 inches/69 x 91.5 cm. Collection: The Kennel Club. Group of five dogs and a cat, indoors, playing cards on a footstool. At right, a seated black Standard Poodle, wearing approximately 2002's show-coat length Continental with cap and moustache. William Secord, Dog Painting: the European Breeds (Woodbridge, Suffolk: The Antique Collectors' Club, 2000), plate 331, p. 226.

Piero di Cosimo (1462-1521). The Three Archangels and the Young Tobias, 1492. Munich, Pinakothek (in 1907). Small dog resembling an adolescent white Poodle walks alongside Raphael. Der Deutsche Pudel (Munich: 1907), p. 5.

Pinturicchio (1454-1513); "the little painter", his real name was Bernardino di Betto. Patient Griselda. National Gallery, London. Small shaven Poodle appears among spectators. Mention: Irick, p. 24.

Pinturicchio. Adoration of the Magi. Frieze, Campo Santo de Pise. A small, sturdy, squat fully-coated (except for the face) Poodle-maybe walking beside a horse. Hopkins, p. 15. (A very similar dog--query: the same dog?--accompanies St. Martin in a 16th century sculpture in Aix cathedral. Hopkins, p. 21.)

Pollaiolo, Antonio (ca.1432-1498). Tobias and the Angel, 1460. Wood. Galleria Sabauda, Turin. Small white curly proto-Poodle leads angel.

Pompadour Jeanne Antoinette, née Poisson, Marquise de (1721-1764). Caniche. Print: etching. Height: 0.136; width: 0.110. Shorn Poodle wearing narrow bracelets, a small tail pom, and some head-and-ear curls, moves right, while looking back over shoulder. Item #01CE20339/18960 LR Agence photographique de la Réunion des Musées Nationaux.

Provost, Jan (Flemish, 1465-1529). Abraham, Sarah and the Angel (ca 1520). Louvre. Lower right foreground, small brown Poodle wearing lion-clip, including pom on the end of an undocked tail. Le chien dans l'art as of 15/7/07.

Reinagle, Richard Ramsay (1775-1862). Poodle and Wildcat, 1793. Oil on canvas, 60 x 48 inches (152.5 x 122 cm). Romantic, Disneyesque scene: parti-coloured Standard Poodle in moderate "show-coat" has treed, at night, a peculiar-looking wild cat. Secord, p. 211, plate .

Reinagle. Water Dog. Painting. Engraving by John Scott, printed in [William Taplin] The sportsman's cabinet; or, a correct delineation of the various dogs used in the sports of the field....Consisting of a series of engravings...from original paintings, taken from life...to which is added a scientific disquisition...by a "Veteran Sportsman" (pseud.). (London: 1803-4), 2 vols. Water dog with four white paws and white tip to his nose, carrying cane, walks in grassy foreground; behind him, three men in boat, one rowing, one steering, one gesticulating. Reprinted: Irick, p. 23. For text, see HREF="PRARE.HTM">Rare..., 1803, Taplin. Hoyt, p. 31: caption notes that "The original of this painting is now in the Melon Museum," by which the author perhaps means the Mellon Collection at the National Gallery of Art in Washington, DC. The image of this Water Dog (minus cane) was reproduced on a Goodwin & Co. Old Judge Cigarette Factory (New York and London) tobacco card in the "Dogs of the World" series, .

Reinagle. Water dog and wild duck. Collection of Sir Walter Gilbey (as of 1962). Parti-coloured SP grasps struggling "runner" (or could the flight feathers be in moult?). Hopkins, p. 41.

Rembrandt van Rijn (1606-69). Self-Portrait in an Oriental Costume with a Dog, 1631. Oil on wood, 66.5 x 52cm. Petit Palais, Paris. Artist standing; parti-coloured (brown and white) Standard Poodle in very moderate Continental seated in foreground--a marvellous dog portrait. Stephens, p. 98. Gary Schwartz, Rembrandt, his life, his paintings (New York: Viking, 1985), p. 61, fig. 48 (colour). X-ray studies of this painting show the artist's feet; the dog was later painted over the feet, and thus the reason for the dog's presence is a matter for speculation among art historians (i.e. did Rembrandt have problems painting his feet?).

This painting was included in an exhibition "Rembrandt by Himself", organized by the National Gallery in London with the Mauritshuis in The Hague in 1999. Fully-illustrated catalogue (including a colour plate of the painting which includes the Poodle): Rembrandt by himself, edited by Christopher White and Quentin Buvelot, with essays by Ernst van de Wetering, Vokker Manuth and Marieke de Winkel, catalogue by Edwin Buijsen, Peter Schatborn, Ben Broos, and Ariane van Suchtelen (London: National Gallery Publications; The Hague: Royal Cabinet of Paintings Mauritshuis, 1999; distributed by Yale University Press, New Haven, CT, USA) available for £ 25 hardcover, and £ 14.95 paperback, and presumably $C and $US equivalents. We're very pleased that the Poodle History Project is referenced (footnote #114) in this catalogue, to support the following statement (by Edwin Buijsen; p. 139): "One may wonder at Rembrandt's choice of a poodle to add to this composition.... The poodle, which is now regarded mainly as a pet, was originally used as a hunting-dog, especially for the shooting of waterfowl. For practical reasons, the furry rear of the animal was shaved clean. This pattern of fur, which recalls the coat of a lion, is clearly visible in Rembrandt's painting. As hunting was the prerogative of royalty and the nobility, the poodle became a sort of status symbol. Thus several French sovereigns owned poodles and Prince Rupert, the son of Frederick V, the Elector Palatine known as the "Winter King" who had sought refuge in The Hague, had a poodle that answered to the name of Boy. So it is possible that Rembrandt chose the breed to enhance the princely stature of his disguse."

Rembrandt. The Meeting of Mary and Elizabeth (The Visitation), 1640. Panel, 56.5 x 47.9 cm. Institute of Arts, Detroit. White lion-clipped elderly Poodle standing in foreground of scene. Stephens, p. 210. Schwartz, p. 221, fig. 241. Larger, more detailed reproduction is found in Horst Gerson, Rembrandt Paintings (New York: Harrison House, 1978), p. 313, illus. 203.

Renior, Pierre-Auguste (1841-1919). At Mother Anthony's, 1866. National Museum, Stockholm. Oil painting, three men gathered in conversation at table, woman clearing away dishes; in foreground a white Moyen-sized Poodle, lying down and gazing at the viewer. This is one of the best Poodle portraits. Renior remarked in a letter to Vollard (1918) that this bistro-habituated dog, Toto, had a "wooden leg." This painting included in exhibition of Renoir portraits at the National Gallery of Canada, 27 June - 14 September 1997. Exhibition catalogue: Colin B. Bailey, Renoir's Portraits: Impressions of an Age (New Haven: Yale University Press, and Ottawa: National Gallery of Canada, ), see particularly pp. 97-9 and note re Vollard, 1918a, 23. Available for $C39.95 from:
National Gallery of Canada/Musée des Beaux-Arts du Canada
Bookstore
380 Sussex Drive
Ottawa, ON, K1N 9N4, Canada
or e-mail the National Gallery's book store at: ngcbook@ngc.chin.gc.ca. Also available from the same source presumably until supplies run out a (must-have!) mouse pad ($C15.95) depicting this Poodle! See also Stephens, p. 49 (and p. 202, The White Dog--probably a Bichon?).

Reynolds, Sir Joshua (1723-92). Miss Nelly O'Brien, 1762-64. Oil on canvas. Height: 126cm; width; 110cm. Wallace Collection, London. Top three-quarters of young woman wearing dark dress and hat, holding white Miniature Poodle in her arms. Hopkins, unpaged illustration, penultimate page before p. 33, in part II, "General Care" by Milo Denlinger.

Reynolds. Lady Georgina Spencer and her child. The Royal Academy, London. White unclipped TP/MP looks up at child. The Connoisseur, January, 1969, vol. 170, no. 683, London plate 2, p. .

Reynolds. The Ladies Amabel and Mary Jemima Yorke, 1761? Oil painting. Height: 196.cm; width: 170.cm. Curly white Bichon/Poodle playfully jumps up on child who is holding dove. Cleveland Museum of Art.

Riedel, Gottleib Friedrich (1724-84). Pudel. Ash, plate 50. Probably from Riedel's Tabula I. Generalis regni animalis omnes 6 classes animalium comprehendens et tabulis aere incisis illustrans (Augsburg, 1780, 1784), 47 plates.

Roehn, Adolphe Eugène Gabriel (1780-1867). L'Aveugle et le Tillbury. Horse and carriage containing well-dressed man and woman gaily disappear in the distance, evidently having run over a blind man's moyen-sized Poodle, who, lying on the ground, appeals to his master for help, having spilled all the coins from his alms dish; the blind man commences to search the air where the dog should be standing. Probably a print, because cited as "after 19th century painting by Roehm [sic]" in Coon, p. 42.

Rockingham figurines. See Staffordshire.

Roslin, Marie-Suzanne. Augustine-Suzanne Roslin (ca 1770). Pastel, x 52 cm. Tressin Institute, Paris. Artist's 10-year-old daughter holds white unclipped TP(?). ("Hard to identify, but I would swear it is a TP from its expression." GL, 10 June 1997.) The Connoisseur, February, 1976, vol. 191, no. 768, pl. 14, p. 95.

Rotta, Antonio (1828-1903). The Traveling Mountebank. Engraving from a painting. Man seated on hurdy-gurdy box pouring a drink from a bottle for a monkey in fancy costume seated beside him and holding a cup; white SP wearing a monkey-saddle sleeping in foregound; handcart in background. Hopkins, p. 12.

Rowlandson, Thomas (1756-1827). The Bum Shop (1785). Shop selling bustles, women trying on, small Poodle in foreground stands on hind legs, in imitation? To see this image, go to:
Poodles in Art
(as of 15 August 2000).

St. Barbara, Master of the. Adoration of the Magi triptych. 1490. (Metropolitan Museum.) Queen of Sheba panel. Cut-coat particolored dog in LR. Cutler, p. 188, fig. 228.

Schoengauer, Martin. Road to Calvary, 1475 engraving. Many dogs running around; cut curlycoat in center. Cultler, p. 306, fig. 388.

Schryver, Louis Marie de (1862-1942). L'Avenue du Bois de Boulogne; Matinée du Printemps (1902). Oil on canvas signed and dated "1902" lower right. 70.5 x 102.9 cm. Two women in morning dress buy flowers from a young flower-seller while in the background a (pregnant) white MP bitch in continental clip barks playfully at a young child. One of Louis de Schryver's most important paintings depicting Paris filled with beautiful young women, children, and flower-sellers--his favorite subject. The enceinte Poodle perhaps symbolizes spring. Christie's International Magazine, October/November, 1992, vol. ix, no. 6, p. . (Catalogue-highlights for sale of 19th century European paintings, drawings, watercolours and sculpture, NY, 30 October 1992: estimate: $US150,000-$200,000.)

Schwerdfeger, Jean-Ferdinand (1734-1818). 1788. Consoles d'ébénisterie XVIIIe: console de la Chambre de Marie-Antoinette au Petit Trianon. Détail[1], Détail[2], Détail[3] poignée à motif de tête de caniche en bronze ciselé et doré. Châteaux de Versailles et de Trianon. Poodle-head medallions where one might confidently expect lion-heads. Every Poodle-lover needs several--including in brass enlarged for a door- knocker! Item #88EE1214-1/V 5106 Agence photographique de la Réunion des Musées Nationaux.

Seve, Gilbert de (1615-1698). Le Grand Barbet. Engraving. Shaggy parti-coloured proto-Poodle stands sedately, facing left, on a rocky ledge; a few rushes in foreground; a distant hillside descends from upper right to lower left. Alice Lang Rogers, Poodles in Particular (NY: Howell, 1967), p. 27.

Sidney, Herbert. White Poodle. Small white Poodle in moderate Continental stands facing 3/4 left, with forepaws on yellow glove which lies on blue cushion. See Encore Editions as of 1 August 2011.

Siberechts, Jan (1627-c.1700). Richard Amherst's Manor and Seat at Bayhall, Pembury, Kent. c. 1670. Painting, 45x69 ins. Paul Mellon private collection. This is a portrait of a large "stately house" (far right) and its formal 17th century gardens in a flat landscape. Right across the centre runs a red fox, hounds and horseman wearing red coat in hot pursuit, and foremost among the hounds is a white Standard Poodle. (And we thought we'd seen it all!) "Must-have" for the Poodle art collector!! British Sporting and Animal Paintings, -1867, a catalogue compiled by Judy Egerton (London: Tate Gallery for the Yale Center for British Art, 1978), No. 4.

Slingelandt, Pieter van (1640-1691). Painting. Staatliche Kinstsammlungen, Dresden. Woman seated by a window with lace-making pillow in her lap, graciously accepts recently-killed chicken passed through open window by older woman; small white Poodle in lion-clip play-bows in apparent surprise in background. Riddle, p. 113.

Staffordshire (1840-1900) and Rockingham (1826-1842) figurines, and etc. Poodles as well as spaniels were among the favorite subjects for endearingly naive yet vital figurines manufactured for cottage mantlepieces. Clive Mason Pope, A-Z of Staffordshire Dogs: A Potted History (NY: Antique Collectors' Club, 1990); also, Price, plates -11 contain photos of some 25 Staffordshire/Rockingham statuettes.

Steen, Jan (1626-1679). The Dancing Dog. Engraving from painting. White Mini dancing for an audience, to music played on a flute, at an inn. Hopkins, p. 28 (dog facing right). Engler, p. 25 (dog facing left; we have our money on Engler!); Price, plate 2, opposite p. 5 (dog faces left!).

Stevens, Joseph Edouard (Belgian, 1816-1892). At the Dog Walk, Paris. Oil on canvas, 94 1/2 x 114 in (240 x 289.6 cm). Mus&233es Royaux des Beaux- Arts de Belgique. Parti-coloured poodle in short Continental seated at left and facing away from painter. Best in Show : The Dog in Art from the Renaissance to Today, by Peter Bowron, Carolyn Rose Rebbert, Robert Rosenblum, and William Secord (New Haven: Yale University Press, 2006), p. 119. This is an exhibition catalogue; the exhibition "Best in Show: Dogs in Art from the Renaissance to the Present" was at the Bruce Museum in Greenwich, Connecticut from May 13, 2006 - August 27, 2006 and at the The Museum of Fine Arts, Houston, Texas October 1, 2006 - January 1, 2007.

Stuart, Gilbert (1755 - 1828). Mary Barry, 1803/1805. 0il on canvas, 74.3 x 61.6 cm (29 1/4 x 24 1/4 in.). National Gallery of Art, Washington. Gift of Jean McGinley Draper 1954.9.4. Mary Barry sits holding small white curly Poodle or Bichon.

Stubbs, George (1724-1806). A Water Spaniel, 1769. British Art Center, Yale University. Oil on canvas. Parti-coloured SP in sporting clip with merry expression, standing side view. Robert Fountain and Alfred Gates, Stubbs' Dogs: The Hounds and Domestic Dogs of the Eighteenth Century as seen through the Paintings of George Stubbs (London: Ackerman, 1974), p. 55; fig. 29; cat. 3. Very useful exhibition catalogue with plenty of details re techniques of fowling, bibliography, etc. NB: The British Art Center at Yale University has postcards of A Water Spaniel (1769) ; also, Stubbs' wonderful zebra which hangs nearby. To order postcards, write to: Yale Center for British Art, 1080 Chapel St., New Haven, CT., 06520-8280 USA. See A Water Spaniel.

Stubbs. Brown and White Norfolk or Water Spaniel, 1778. Oil on canvas, 31.75 x 38 1/4 in. The Center for British Art, Paul Mellon Collection. Best in Show : The Dog in Art from the Renaissance to Today, by Peter Bowron, Carolyn Rose Rebbert, Robert Rosenblum, and William Secord (New Haven: Yale University Press, 2006), cover and p. 47. This is an exhibition catalogue; the exhibition "Best in Show: Dogs in Art from the Renaissance to the Present" was at the Bruce Museum in Greenwich, Connecticut from May 13, 2006 - August 27, 2006 and at the The Museum of Fine Arts, Houston, Texas October 1, 2006 - January 1, 2007. Brown and white parti-coloured dog with tightly-curled coat and very moderately docked tail stands facing left. The dog's face is either closely shaved or naturally short-haired as are today's Irish Water Spaniels; as a matter of related interest, please see Bell and Clayton , or, more directly: "White Poodle, c. 1850s" "Photography as a Fine Arf".

Stubbs. White Poodle in a Punt, c. 1780. Oil on canvas, 127 x 101.5 cm (50 x 39 15/16 in.) Paul Mellon Collection 1999.80.22, National Gallery of Art, Washington, DC. White SP in "sporting clip", with what we'd consider too short a tail, concentrating on balancing (side view) on seat of punt. Fountain & Gates, Plate VIII (cat. 14). (NB: postcard available; to order, a request addressed to the National Gallery of Art, Washington, DC 20560 USA should get there, and/or there's a toll-free number for mail orders: 1-800-697-9350. Postcards are $US.45, but there's a minimum shipping charge of $US4.) See also Encore Editions as of 1 August 2011. Also see: Best in Show : The Dog in Art from the Renaissance to Today, by Peter Bowron, Carolyn Rose Rebbert, Robert Rosenblum, and William Secord (New Haven: Yale University Press, 2006), p. 46. This is an exhibition catalogue; the exhibition "Best in Show: Dogs in Art from the Renaissance to the Present" was at the Bruce Museum in Greenwich, Connecticut from May 13, 2006 - August 27, 2006 and at the The Museum of Fine Arts, Houston, Texas October 1, 2006 - January 1, 2007. In this catalogue, the painting is re-titled Norfolk Water Dog in a Punt.

Stubbs. Hunter, Arab, and Water Spaniel. 1780-90. 39x49 in. Private collection. Two horses, in grassy landscape with tree, lake in background, look at white SP who holds the stance of one who might have attracted their attention by barking. A "must-have" for the Poodle art collector. Basil Taylor, Stubbs (London: Phaidon, 1971), Plate 92.

Stubbs. A Rough Dog, 1790. Fountain & Gates, Plate VIII (cat. 28). Here's a maybe-Poodle: parti-coloured curly-coat, could be litter brother to Bewick's water dog, lying under a tree. A marginally more distant cousin: Brown and White Water Spaniel, 1778. Fig. 30, p. 56.

Stubbs. A Water Spaniel, 1804. (Painting recorded in 1898 as "Bashaw, a White German Poodle".) White SP, similar dog to one in a punt, with coat grown out, wearing merry Poodle smile, walking, side view. Fountain & Gates, plate IX (cat. 35).

Stubbs, attributed to. Oil painting, approximately life-sized parti-coloured SP in practical working Continental-type clip (fairly short coat on rear--except for tail-pom--moderate jacket, shaven legs and feet, except for bracelets) facing right, left foreleg raised as if in play, alert, happy expression (tip of tongue showing in smile), on rocky shore, body of water in background; distant hill, in photograph captioned: "Vulcan Polka Dog standing under a painting of a particolour Poodle attributed to Stubbs", Our Poodle, August 1977, p. 18; illustrating an article by Ann Cambray Coppage (Vulcan), "Parti-Coloured Poodles" (pp. 18-25).

Tempesta, Antonio (1555-1630). Engraving. "1060 (164) Hunters Chasing Wild Geese into a Large Net, from Hunting Scenes II. x137. Vienna" (British Museum citation). Spaniel in swimming water drives ducks into a decoy trap; second water spaniel on shore in the tolling (luring) role. First published in bound volume of engravings, Primo Libro di Caccie Varie; republished in Rev. H.A.MacPherson, A History of Fowling (Edinburgh: 1897), p. 234. See also The Illustrated Bartsch, 36 (formerly volume 17 (part ), Antonio Tempesta; Italian Masters of the Sixteenth Century, edited by Sebastian Buffa (NY: Arabis Books; we lack a date of publication, but the title page of the British Museum's copy, of which we have a Xerox, is stamped 1988). This engraving is used as the headpiece for HREF="PDUCKTR.HTM">Duck dogs--traps.

Terborch, Gerard (1617-1681). The Dancing Dog. Lady and gentleman seated, paying attention to parrot, while another lady, standing, plays the lute. Classical garden scene behind. Small white Poodle dances, apparently to gain attention. Price, plate 1, opposite p. 4.

Thulden, van Theéodor (1606-1669/1676). Saint François de Paule (1416-1507) prophétisant un fils à Louise de Savoie (1476-1531). Oil on canvas. .730 m. high; .610 m. wide. Paris, Louvre. Small dog in Continental prettily decorated with beads/bells. See Agence photographique de la Réunion des Musées Nationaux (second of two paintings by van Thulden of the same subject), and, for a detail of the dog, see: Le chien dans l'art as of 15/7/07.

Tito, Tiberio di (Italian, 1573-1627). A Dwarf with Medici Dogs in Boboli Gardens. 1620-25. Oil on canvas, 52 x 60 5/8 in (132 x 154 cm). Private collection, England. Lion-clipped small dog play-bowing in centre of painting. Best in Show : The Dog in Art from the Renaissance to Today, by Peter Bowron, Carolyn Rose Rebbert, Robert Rosenblum, and William Secord (New Haven: Yale University Press, 2006), p. 15. This is an exhibition catalogue; the exhibition "Best in Show: Dogs in Art from the Renaissance to the Present" was at the Bruce Museum in Greenwich, Connecticut from May 13, 2006 - August 27, 2006 and at the The Museum of Fine Arts, Houston, Texas October 1, 2006 - January 1, 2007.

Toulouse-Lautrec, Henri de (1864-1901). Coloured chalk on paper, [?].9 x 43.3 cm. Statens Museum for Kunst, Copenhagen. A stern-faced clown whip-commands an emaciated white SP in continental clip to sit up and beg. A baby (or dwarf) elephant on a tub is also possibly under the clown's command but the elephant's rear leg is lifted suspiciously like that of a urinating dog. The benches of the circus are empty. The dwarf elephant was his public persona--he called his family-appointed guardian "my elephant keeper". Is the emaciated Poodle his real self? Toulouse-Lautrec's gaunt photographs from the period show him looking suspiciously like the Poodle. Who does the clown represent? The world? The demons driving Toulouse-Lautrec? His art? (Your interpretation would be appreciated!) One of a series of 39 chalk, ink and coloured crayon drawings made by Toulouse-Lautrec on the theme of the circus during his eleven-week confinement in a private sanatorium at Neuilly as a result of his fin-de-siècle bohemian lifestyle. The drawings were made as evidence for his family and doctors that he was fit to be allowed out. Frank Milner, Toulouse-Lautrec (London: Bison Books, Ltd., 1992), pp. 158-9.

Toulouse-Lautrec. Item from Toulouse-Lautrec's series of pastels devoted to the circus, showing a pony in good condition, a plump clown, and a small Poodle in historically-correct Continental: Rupert Croft-Cooke and Peter Cotes. Circus: A World History (London: Elek, 1976) p. 77.

Toulouse-Lautrec. At the Circus, Clowness (1899). Crayon on paper, x 9 7/8 in., collection of Mr. Phillip Hofer. The clown (Cha-U-Kao of the Nouveau Cirque) astride a white horse has it bow to the right front of the scene. A black SP in Continental clip in the foreground has its back to the viewer and crouches down looking at the horse and clown. Cha-U-Kao was a regular subject of Toulouse-Lautrec's work, appearing in his Moulin Rouge scenes and Lesbian series as well as his Circus series. One in the same (as above) series of 39 chalk, ink and coloured crayon drawings. Ph. Huisman & M.G. Dortu, Henri de Toulouse Lautrec (London: Cassel, 1988), plate 4, p. 66.

See also: Facsimile lithograph, from artist's drawing of 1899, published posthumously in the limited edition portfolio Au Cirque (Paris: Manzi, Joyant et Cie, 1905). The New York Public Library. Black Poodle bottom centre of picture appears to be barking at horse. Jean Clair & al. The Great Parade: Portrait of the Artist as Clown Hardcover ISBN 0-300-10375-1 (Ottawa: National Gallery of Canada 2004) catalogue #160.

Toulouse-Lautrec. Trainer Clown (1899). Facsimile lithograph, from artists drawing of 1899, published posthumously in the limited edition portfolio Au Cirque (Paris: Manzi, Joyant et Cie, 1905) The New York Public Library. Clown training white Poodle in centre of picture, elephant on platform in background. Jean Clair & al. The Great Parade: Portrait of the Artist as Clown Hardcover ISBN 0-300-10375-1 (Ottawa: National Gallery of Canada 2004) Catalogue #156.

Très Riches Heures du Duc de Berry, see Limbourg brothers, above.

Troy, Jean-Francois de (1679-1752). La Chasse au Canard. Fitzwilliam Museum, University of Cambridge. Sportsman shoots at ducks rising from piece of water deeply shadowed by huge trees; little white Poodle exhibits keen water-entry. 35mm colour slide available from the Fitzwilliam, PD.--1964 TROY La Chasse au Canard SL2047 for L5.08 including postage and handling (7 March 1997); order from The Photographic Sales Officer, The Fitzwilliam Museum, Trumpington St., Cambridge, CB2 IRB, England; make cheques payable to: "Fitzwilliam Museum, Cambridge." A detail (the Poodle) of this painting was photographed (1997) for the Poodle History Project, and you may wish to order this from the Fitzwilliam at the same time.

Valton, Henri (1798-1878). Portrait de Dominique Morlot copiant l'Hercule et de janire de Guido Reni, 1833. Oil on canvas. Height: 123.5; width: 97.5. We haven't seen this one, but the description's dramatic, and this painting features a Poodle! Muse des beaux-arts, Troyes.

Vecellio, Cesare, Compendium of World Costume (1589), "A Venetian Prostitute in Wintertime" -- small Poodle, lower left. To see this image, go to:
Poodles in Art
(as of 15 August 2000).

Verrocchio, Andrea del (1435?-88) (attrib.). Tobias and the Angel. Tempera on poplar, 83.6 x 66 cm. National Gallery, London. Tobias, depicted as a well grown boy wearing red hose, a blue jerkin, and carrying a fish in a sling, is led by the angel. Beside the angel walks a white curly small Poodle in a lion clip. Postcard from the National Gallery, London.

Vierge, Daniel (so called: Urrabieta Ortiz y Vierge; 1851-1904). Aveugle appuyé contre un arbre demandant l'aumône. Ink wash. Height: 0.380; width: 0.465. Blind man leans against tree, holding alms cup, passerby drops in coin; Poodle in short Continental raises paw. Lille, musée des Beaux-Arts. Item #02NT11974/Inv. W. 3205 Agence photographique de la Réunion des Musées Nationaux

Vinckboons, David (1576-1632) Le joueur de vielle aveugle (Making fun of the old blind man). Oil on canvas? Private collection? An old man led on a taut leash by a smallish solid gray dog in moderate Continental, surrounded by mocking village children. See: Le chien dans l'art as of 15/7/07.

Waller, Lucy. English, late 19th century. Ch. Joe II. Oil on canvas, 26 x 32 inches (66 x 81 cm). American Kennel Club collection. Black corded Poodle, standing, with a ball. Secord, p. 216, colour plate 102; AKC annual report, 1996, p. 15.

Ward, James (1769-1859). Buff, 1812. Oil on wood panel, 27.5 x 36 inches (69 x 91.5 cm). Black moyen-sized Poodle standing on cliff gazing out to sea, braced against stiff breeze. Secord, p. 213, colour plate 100. (Private collection; Buff was owned by Lt. Col. Chestmaster and went "with him to Spain during the Napoleonic Wars": Stephens, p. .) Also see Encore Editions as of 1 August 2011.

Watson, James. Mezzotint, after G. Barret, 1 November 1768. Portrait of a Dog Belonging to Lord Edward Bentinck. Parti-coloured curly-coat stands alertly in heavily wooded, marshy cover. Item 508, An Eighteenth Century Collection of British Prints (London: Sotheby's, 1997). Auction catalogue for sale #LN7681 ("Gosse"), Thursday, 13 November 1997 at 2:30 p.m.

Weenix, Jan (1640-1719). ca. 1680. Some of the dogs of the Elector Palatine Johann Wilhelm (1640-1716). Elector, with kennel man, inspects new entry of greyhounds; elector's wife admires a Miniature Poodle held out by dog-dealer; small white Poodle at lower left. Lots of other dogs (over 50 in the painting), getting along astonishingly well, considering how many and how closely they're grouped. Price, plate 1 (opposite p. ).

Weir, Harrison (1857). Poodle & Spaniel. Sheep-like Poodle stands in front of standing Brittany-ish spaniel, both dogs facing right. From: George Frederick Pardon, Dogs: Their Sagacity, Instinct and Uses (London, 1857), illustrated by H. Weir. A second edition was published in 1877.

Weyden, Roger van der (c. 1400-64). Eine der ersten pudelartigen Hunde--Ausschnitt aus einem Alterbild, "Darbringung im Tempel". Detail: alert-looking smallish dog on tile floor, white, stringy coat. Not the most convincing Poodle but well worth noting. Thum, p. 16.

  • Weyden, Rogier van der (1399/1400 - 1464). The Seven Sacraments altarpiece (1445), detail of a woman reading and a dog. Antwerp, Koninklijk museum voor schone kunsten. A smallish sturdy white curly-coated pom-wearing dog stands beside a seated woman reading a book. If you are doing a paper for a university fine arts course on dogs in sacred paintings and portraits (for example, those portraits of Florentine young men as Tobias) which double as a symbol of fidelity and the Lamb of God, this is a likely example. See: Le chien dans l'art as of 15/7/07.

    Wootton, John (1682-1764). The Dancing Dogs. Oil on canvas, 44 x 54 inches (111.5 x 137 cm). Collection Wallington House: The National Trust. Four Mini Poodles, two white, two parti-coloured (mostly white) performing in classical surroundings (parrot on urn at upper right). Secord, p. 211, plate 176. Dogs very like these danced for Queen Anne at Bath: see Circus dogs....Bygone.

    Wootton. Favorite Poodle and Monkey Belonging to Thomas Osborne, 4th Duke of Leeds Medium to largish parti-coloured Poodle, body (including tail) and legs clipped approximately the length of today's 1/2" comb, with tail docked at today's approved length, short curly cap and similar curls on ears, and wearing good-tempered expression, stands facing left, gives left forepaw to pet monkey wearing red coat and trousers. This is one of the very best Poodle-art images. (NB: the link does work; you might have to press "go" or "refresh"; also, here's a research project: the OED dates the use of "poodle" in English to the early 19th century, and this seems far too late. Query: did Thomas Osborne consider that he owned a Pudel or a Poodle?)

    Headpiece, see above: Anon. from Macer's De Virtutibus herbarum (Baquetier, c. 1510).

    Go back "Gordon's Poodle Visuals"