Grafton was an occasional visitor to several artists' studios in London. The former contrasts a Saint Bernard with a King Charles spaniel and the latter a Saint Bernard with a Maltese dog. Landseer went on to produce similar essays in the stately and the ridiculous in Lion and Dash (Badminton, Gloucestershire) and Lion Dog (Royal Collection), both dated around 1840. However, this picture marks a new type of subject in its comical treatment of the two dogs' relationship. Landseer juxtaposes different canine types in a similar way in two separate works, High life (Tate A00702) and Low life (Tate A00703). Moreover, the larger dog is painted in smooth, variegated textures, while the smaller dog comes to life with a few jabbing and expressive brushstrokes. Landseer draws attention to the dogs' 'human' characteristics: the soulful look and gentle dignity of the bloodhound is contrasted with the mischievous expression of the small terrier. The picture's composition parodies the Dutch portrait tradition, whereby the subject is framed by a window, with an arm or hand extending over the edge, just as the bloodhound's paw hangs over the edge of the kennel. Both dogs belonged to Jacob Bell, who commissioned the picture. Here Landseer wittily contrasts the scale and character of a bloodhound called Grafton and a West Highland terrier called Scratch.

Many, including this work, consist of commissioned, life-size ' portraits' the rest are independent subjects, smaller in scale and usually with a narrative content.

Landseer's dog paintings of the 1830s are among his most celebrated works and Dignity and Impudence remains the most popular of all.

Edwin landseer paintings