The heritage collection · RA.1931.1

The Sleeping Hound

A greyhound asleep on a velvet cushion at the foot of the main stair. It breathes, and when it dreams its forepaw twitches.

The Sleeping Hound on its cushion. A greyhound curled asleep on a tufted velvet cushion with tasseled corners, its long head resting on its outstretched forelegs and its tail drawn around its hind feet. Its eyes are closed and its ear folded back. NO. 64
Atelier drawing 64, 1931The Sleeping Hound on its cushion. The bellows beneath its ribs, which make it breathe, are drawn separately, as drawing 66.

1931

The Sleeping Hound was begun in the winter of 1929–30, the first winter of the Depression, when the house had almost no commissions and kept its makers at the bench by setting them a piece of its own. It took them until the spring of 1931. Rosalind Hayes, the natural history preparator among the founders, modeled it on a greyhound that slept every afternoon on the steps of a bakery on Queen Anne Avenue.

It breathes at fourteen breaths a minute, slower than a waking dog and exactly as fast as a sleeping one, by means of a leather bellows beneath its ribs worked from a slowly turning cam. Every thirteen minutes or so, at an interval that varies by a few seconds so that nobody can anticipate it, the right forepaw twitches as if the hound were dreaming of running.

It has lain at the foot of the main stair of the House since 1931. Visitors lower their voices as they pass it. Staff do too.

Object record

Object type
Breathing figure of a sleeping dog
Made
The House, Seattle, 1929–1931
Makers
Rosalind Hayes, figure; Matthias Oberle, bellows; Tobias Rosen, movement
Materials and techniques
Carved lime, gesso, short-haired kid, leather, brass; velvet cushion
Dimensions
96 cm long, curled
Gallery label
“Please let him sleep.”
Accession number
RA.1931.1
Certificate of provenance
No. 506
Location
The House, Seattle. Shown on any visit
Record
Cataloged 1952; revised 2026

Records in the heritage catalog are compiled from the Register of Provenance and the makers’ own notebooks. Where the two disagree, the Register is preferred and the disagreement noted. Return to the collection