The authors of several artist references agree that the quality of Colin Grahaeme’s paintings often depended on the amount of drink he consumed. This drink problem “probably accounts for the variations in quality and content,” writes Sally Mitchell, author of “The Dictionary of Equestrian Artists,” and who includes an illustration of one of his works in her book. William Secord, in his “Dog Painting: 1840-1940,” has two illustrations of Graeme’s dog paintings, noting that “He had a good understanding of anatomy and a painterly technique.” Fortunately, we have in this painting a work that he did on one of his good days; a very good day, indeed.; As a specialist in sporting art, I have long been drawn to the soft, romantic quality of his works. He sometimes exaggerated the eyes of his canine and equine subjects by outlining them, but he did not do that with the three dogs in this piece. (Some critics feel that that exaggeration to be somewhat annoying, while others find it endearing, including his followers in his own Victorian era.); My references tell me that the artist was born either in 1855 or 1859 in Argyle, Scotland, but he thereafter mainly lived in Sheffield in the north of England, and the city museum there holds some of his works. He was taught in the studio of his father, Robert Henry Roe, and he had two brothers who also worked as professional artists. There has been some confusion about this artist’s name; for example, he is listed separately in “Sporting Artists: 1650-1950" as Colin Graeme and Colin Graeme Roe. Also, it is sometimes spelled with an "h," as it is on this painting. Rumor has it that he took to leaving off his last name because of family disputes, but there is also the more prosaic reason that he simply wished to distinguish himself from all the other Roe artists.; While I find all of his works romantic, this fairly large depiction of two spaniels and a collie dog having a respite in the majestic Scottish Highlands is especially so. The perfect lighting and the mists rolling down the mountains, along with the soft, well-harmonizing mix of grays, greens, browns and blues are all quite effective. The dogs are finely painted and look their part as integral to the scene as they await their master. It shows the strong relationship between the dogs that were bred for this place and the landscape in which they worked.; It is fully signed “Colin Grahaeme” in the lower left corner. In addition, the artist signed it on the back with the title “Waiting for Master.”; I have had the painting placed in custom-made and hand-gilded wood and gesso frame with adjoining slip. It is a swept frame with piercings. This is a classical-style frame for a classical and traditional British oil painting.; As I have the painting professionally restored, it is in ready-to-hang condition.; It measures 38 inches wide by 29 inches high, including the frame.

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