M. B. A. 
 
 7^ 
 
 •2. 
 
 
 
 
 
 3^ 
 
 
 
 
 
 
 3'- 
 
 () 111 \ D C A L ER Y 'I' hut s |j1 en tliil CO 1.-. 
 XT JB. I.i;CTION of t)ia:ilXAL IMCI rriKS, ulik-li have 
 for fhro. s.'a^ons ynst been publicly cxhil,i1ed at -^''-s-j^J/^^khn s 
 Great R<.<>'n, No. 39, F leei-<*iree1, and wlieicthcy «illhc K)L!) 
 by AUCTION, by Pl.TEil C:()Xi:, on Tihjks,)A¥, May v, 
 andf..lU.winK Day, at Twelve oVJock, enibracrs the whole range 
 of that hiithlv-esteemed anJ crisinal Masters great art, tin; late 
 Mr GeoiV Mfhi'ifl' in Mibjects of every description tliat could 
 do honourto his pencn. This tn.ly vaUiablc and mo»t imporiant 
 Collection of Orij-inal Paintings is the pniperty of a (-rtiilcman, 
 who has made the solertion with the utm..st care and |iu.frtnenl, 
 indwho in his zera for the hoiioiir of ihc l^ritish Sciiuo!, niid 
 f' ^hrAlishavin-Hirst gratified the pdhlic ^.ilh the . .ht 
 Of this rich asscni'olaso for a lonj.; p,>riod, ultnnate v "fV,'"? .* 
 Iv to sale, with the view to enrich tlx? cabinets of the lUal ol- 
 lectors 1>v thus presenting before thent, for tlieir cn(.)u e and pur- 
 chaw t'lc best productions of thi? great Masters incomparable 
 pencil, in the hishcst state of preservation '^^A hymiy. . 
 
 Mav be vie^Ved three days preceding the sale, u hen < at< Jot,i c.. 
 may be had, at Is. each, on the IVemi.cs ; and of Mr. Peter 
 ('oxe, -3'i, Throsmoit()u-streef.m.|^/^-4t/tt(^ 
 
■■-■'^y- CbLEBRAtED MORLAND GALLEKy. 
 
 To be Sold by Auftion by Mr. CHAISTIE, 
 
 At his Great Room, in Pa!I-Mall, on Saturday next, at Twelve o'Clock 
 
 THE genuine and much-admired COLLECTION 
 PICTURES and DRAWINGS by thateftcemed Artift G. Morlar 
 others J amongft which wil! be found a Number of very Capital .Subj ^i: 
 Prints, and moft of the chsf d'CEuvrcs of his inimitable Pencu, alf, 
 capital Subjefts from the Hi (lory of England by BroWn, and the ce c s 
 Pidlure of the Death of the Poet Chatterton by Singleton, with man. 
 the fuperlor Excellence of whicH the PubiicJc are too well acrioaint^ d ' • ■,: 
 need any Encomium. May be viewed two Days preceding the ;ale, u ncr. v 
 logues mav be had in Pall-MalU Tt^'***^ 
 
DESCRIPTIVE CATALOGUE, 
 
 ON THE 
 
 LEADING BEAUTIES 
 
 OF THE 
 
 PEINCIPAL PICTURES. 
 
 LONDON: 
 
 PRINTED BY C AND W. GALABIN, IN G R AM-C OU F.T. 
 
 (Pi-ice Siifcnce.) 
 
 1805. 
 
ADDRESS. 
 
 Nmfuit minoris Simplicitatis quam Artis. — Plin. 
 
 AT a period when the arts and fciences feem approach- 
 ing to perfeaion, and the tafte and genius of the na- 
 tion becoming more refined by a univerfal patronage and 
 admiration of the Uberal arts, it was thought that the exhibi- 
 tion of the produdlions of one of our countrymen might be 
 peculiarly grateful. 
 
 The works of Mr Morland have fallen into the hands of 
 a few connoiffeurs ; among the number, the proprietor of 
 the prefent colleaion has, for his own private gratification, 
 employed unwearied attention in feleding and purchafmg 
 his beft and moft valuable compofitions, without even ha- 
 ving feen or known the artift ; he confefles himfelf to have 
 been an enthufiaftic admirer of his produdlions. His merit 
 has long been concealed, and the public prevented from pay- 
 ing a tribute of refpedl to the memory of an artift whofe 
 genius and originality have done honour to their country. 
 The catalogue of the prefent gallery, containing nearly one 
 hundred of his moft excellent paintings, has been drawn up 
 rather to aflift thofe whofe attention has never been turned 
 
 to 
 
( 4 } 
 
 to the graphic art than as a critical work. The tafte of an 
 artift or an individual, refined by education and the ftudy of 
 the beft models, requires no direftion : to the former, inde- 
 pendent of its imperfedlions, it may prove of fome fervice ; 
 to the latter, it is undeferving of notice. 
 
 The ftyle and genius of Morland ought not to be dif- 
 miffed without fome few remarks. His talents were pecu- 
 liar and powerful, his flyle perfedly original; furnifhed 
 with a ftrong and copious fancy, he enriched his fubjefts 
 with a variety of new and original images, which he painted 
 from nature. Whatever he once imprefled on his memory 
 time never effaced ; and, after the lapfe of years, he could 
 delineate a fcene, which he had obferved and admired, with 
 the utmoft corrednefs. The charafters (always Englifli) 
 are appropriate to the fubjed, the fcenes he reprefented 
 fufEcIendy dlverfified and pleafmgly varied with wild and 
 romantic beauties, and his minute attention rendered him 
 particularly obfervant to the innumerable litde circumftances 
 that fhould be expreffed in defcriptions of nature. His pro- 
 dudions, in point of colouring, generally poffefs great bril- 
 liancy and richnefs ; he admitted many fubordinate lights in 
 his compofitions, ftudioufly avoiding that affedatlon of al- 
 lowing but one mafs of light, which has been cenfured in 
 fome of the beft mafters. To the objecHiion that has been 
 raifed againft Mr Morland, that he ftudle*. neidier in the 
 fchools or from the produdions of Italy, we may oppofe, 
 as ftrongly applying to this cafe, the opinion of Sir Jofhua 
 Reynolds upon the genius of Gainfborough. " It muft be 
 " remembered, that the ftyle which he chofe and fo much 
 " excelled in did not require that he fhould go out of his 
 
 own country for the objeds of his ftudy ; they were eve- 
 '< ry where about him, he found them in the flreets and in 
 " the fields ; and, from the models thus accidentally found, 
 " he feledled with great judgement fuch as fulted his pur- 
 
 *' pofc. 
 
( 5 ) 
 
 " pofe. As his ftudies were direcfled to the hving" world 
 *' principally, he did not pay a general attention to the 
 *' works of the various mafters ; but, it cannot be denied, 
 " that excellence in the department of the art which he pro- 
 " feffed may exift without them ; that, in fuch fubje6ls and 
 " in the manner that belongs to them, the want of them is 
 " fupplied by natural fagacity and a minute obfervation of 
 particular nature." 14th Difcourfe. 
 
 A. T. P. 
 
 A 
 
A CATALOGUE, 
 
 I, — Cow AND Calf. 
 
 The eafy and natural pofition of the cow and calf is well 
 delineated, and very judicioufly relieved by the contrafted 
 colour of the fhed, together forming a very pleafmg 
 efFeft. — On canvas, 
 
 1. — Smugglers. 
 The figures reprefented are of that hardy rough-hewn race 
 that inhabit the coaft, defying the utmoft vigilance of 
 government; and, labouring to fecure their contraband 
 trade, they are here landing their cargo. Grouped with 
 great propriety, every individual is adapted to his atflion : 
 the figure that appears raifing a weight from tlie bottom 
 of the boat, with his legs bared, which are diftinaiy 
 feen through the tranfparency of the water, is exprefled 
 with uncommon boldnefs. The fuperior and command- 
 ino; appearance of the chief, raifed on the cliiF, is equally 
 deferving attention. — On canvas. 
 
 2. — Two Guinea-Pigs. 
 Thefe portraits are finiihed in his beft manner and colour- 
 ing. — On canvas. 
 
 4- 
 
( 7 ) 
 
 4- — A Landscape. 
 
 In the centre a boy holding a white horfe, to the right fome 
 cottagers, between which and the riling ground, on the 
 left, winds a road ; the whole terminated by hills in the 
 diftance. — On pannel. 
 
 5. — A Landscape. 
 The romantic fubjefl of this fmall pidure is delightful ; the 
 figures eafy, and the fheep beautifully difpofed. It ranks 
 among his beft cabinet-pieces. — On pannel. 
 
 6. — Travellers benighted. 
 This is a unique pi6lure of the artift, and evinces the ftrong 
 verfatile powers of his mind. The efFed is chafte and 
 beautiful: the happy difpofition of the light, contrafled 
 with the fombre appearance and depth of colour in the 
 back-ground, is very fine ; every touch conducing to the 
 general efFccft. It difplays a combination of beauties, 
 which, if comparifon could do honour to native merit, 
 may be faid to vie with many of the produdions, in this 
 ftyle, of the beft niafters. — On canvas. 
 
 7. —Land-Storm. 
 The artift has given us, what we rarely fee reprefented on 
 canvas, a fummer-ftorm. In conception, compofition, 
 and colouring, it may be truly termed a pidure of peculiar 
 excellence. The fcene is very happily imagined: the 
 adion of the horfeman, who boldly faces the ftorm, and 
 the pedeftrian, fhrinking from it, are the very efFeds of 
 nature. The horfes fnuff the wind, the grafs and trees 
 are agitated to a degree that they appear in motion. 
 The moft fpirited and juft conception in this picture is 
 in the reprefentation of the fky. The clouds, loaded 
 with water, feem ready to difcharge themfelves on the 
 
 neighbouring 
 
( 8 ) 
 
 neighbouring country. This is one of thofe ftriking and 
 natural beauties that give fo much truth and dignity to 
 Morland's reprefentations. — On canvas. 
 
 8. FisHERMENs Cot. 
 
 The figures faithfully delineate the charaSers they are in- 
 tended to reprefent. The countenances of the fifhermen 
 at the table are particularly expreffive. — On canvas. 
 
 5. —The Ruins of a Hut. 
 In the front, a group of figures paffing over a bridge ; in the 
 perfpeaive, a fliepherd and his flock. The colouring is 
 extremely verdant and rich : as a whole it is highly plea- 
 fing and fpirited. — On canvas. 
 
 JO. Boys throwing Snow-Balls. 
 
 A woman and child returning home loaded, followed by 
 their faithful companion. The intereft of this piece is 
 increafed by the diverfion of two boys throwing fnow- 
 balls at each other. A fine tone pervades tile whole. — 
 On canvas. 
 
 II.— .The Corn-Bin. 
 Nothing can be more happily executed than the whole 
 figure and attitude of the white horfe : his ceuntenance 
 and eye, and his pawing with his foot, ftrongly mark his 
 impatience to receive his accuftomed allowance of food. 
 The artift has here given an anatomy of the whole am- 
 mal fo perfea as to be the fubjea of an excellent ftudy. 
 Nor muft we lofe fight of the other, who, though more 
 paffive, flill betrays a charaaeriftic anxiety. The in- 
 terior of the bin 'is wonderfully fine, and the aaion 6f 
 the men peculiarly appropriate. In ftiort, it will fcarcely 
 be in the power of any man to give a more juft and ac- 
 curate 
 
f 9 ) 
 
 ctirate view of tlie inficle of a ftable. The white horfe 
 was a favourite one belonging to Morland, and was many- 
 years the companion of his eccentric journeys. The 
 public have had an opportunity of admii ing the beauties 
 of this painting, which have been faithiiiUy copied, in an 
 elegant engraving, by Mr Smith. — On canvas. 
 
 12. — Haymakers refreshing. 
 We have to regret, from the beauty of this flcetch, that the 
 artift never completed it. The drawing and outlines are 
 confidered as in the highell degree corred;. — On canvas. 
 
 13. — The Pigs. 
 
 One of Morland's excellencies as an artift confifled in his 
 accurate reprefentation of animals, and his reputation as 
 a painter was highly eftabliflied by produdions of this 
 nature. This painting is the rnofl: diftinguifhed exhibition 
 of the kind he ever produced ; and, had his fame refted 
 alone on this fpecimen of talent, he would ftill have been 
 entitled to the celebrity he has acquired. Nothing can 
 furpafs the exaiSlnefs of the two pigs : the eye feems to 
 move, as though animated with life ; the attitudes arc na- 
 tural and juft ; the outlines are boldly marked ; and the 
 bodies, from the efFe61: of the fhade, well thrown forward 
 on the canvas. The accompaniments are moft accurately 
 and highly finifhed. As a whole it may, in this particular 
 hne of painting, be confidered as a mafter-piece. — On 
 fanvas. 
 
 14. — Seduction. 
 The conception and execution of this pidure are both ad- 
 mirable. The fkilful and varied forms of the trees, the 
 colouring of the fky, which is diftinaiy feen through the 
 mafs of foliage, and the general glow that pervades the 
 
 B whole, 
 
( 10 ) 
 
 whole, are natural efFe£Vs. In the characters the artift 
 has difplayed a greater power, — the expreffion of the 
 human paffions ; which is fo ftrongly marked, that the 
 countenances of the feveral figures furnifh us with the 
 narrative. In the feducer the outline and attitude con- 
 vince us he is above the common clafs : his duplicity and 
 perfuafive adulation, " the infedlious figh and pleading 
 look," feem to be gradually fubduing the fimplicity, the 
 fears, and the relu6lance, of the female. The attentive 
 and fufpicious vigilance of age, ever miffcruftful and 
 anxious on acccount of the dangers and inexperience of 
 youth, is finely depidled in the chara6ler of the old 
 woman liftening from the cottage-door. — On canvas. 
 
 15. — The Bargain. 
 
 The fubjedt is after the ftyle of the Flemifli fchool. The 
 characters, a farmer and butcher, are completely Englifh, 
 marked with that independent and ftern appearance pecu- 
 liar to both. The harmony of colouring and contrafted 
 light contribute to the great excellence of this compo- 
 fition. — On canvas. 
 
 16. — Travellers. 
 
 A beautiful upright pi6lure. In the fore ground two tra- 
 vellers, man and woman, paffing through a field ; to the 
 right a tree, confiderably agitated by the effect of a high 
 wind. A fpirited compofition. — On canvas. 
 
 17. — Shipwreck. 
 Reprefenting a florra, with a {hip going to pieces againft 
 the rocks in the back ground. The figures on the left 
 are touched with uncommon fpirit and energy : the light 
 brought on the water and fummit of the cliffs is well 
 
 contrafted 
 
( II ) 
 
 contrafted with the lowering and aweful appearance of 
 the {ky. — On pannel. 
 
 i8. — Ale-House Door. 
 Tvvro peafants are regaUng at the door of a cottage, and 
 feem in earneft convcrfation. The figures are drawn 
 with a force highly charaaeriftic, and exhibit objeds to 
 be every day met with in the country. The rude work- 
 manfhip of the table on which they are refting is truly 
 natural. The fine, mellow, rich, and mafterly, manage- 
 ment of colouring, in this pidure, ranks it among the 
 choiceft of his produdlions. — On canvas, 
 
 I9- — The dead Porker. 
 The pig, having been fcoured, is laid on the bench, and 
 the butcher wafiiing his hands of the blood. A carman 
 waits for his load ; while the children, crowding round, 
 exprefs their curiofity. In a fubjed fo familiar the greateft 
 attention has been paid to its execution : the pig drawn to 
 perfedion ; the furrounding figures are judicioufly dif- 
 pofed, and the countenances marked with proper interefl ; 
 the colouring is extremely rich and brilliant ; the compo- 
 fition is worthy of the highcil: merit. — On canvas. 
 
 20. — Inside of a Cottage. 
 
 A fcene familiar to every fpedator. The figures are eafy 
 and charafteriftic ; the colouring correa and chafle. — 
 On canvas. 
 
 21. — Ship-Wreck. 
 ^r pathos and efFea this may be confidered as the chef- 
 d'osuyrc of our artift. If the diftreffes of others can, in 
 pamtnig, awaken our fympathy and compaffion, there 
 are few fpedatGrs whofe feelings will not be deeply af- 
 
 feded 
 
fe£led by the deliberate contemplation of this piece. Jii 
 the back ground, the vcfTcl, forced on fliorc, is repre- 
 fcnted difmafted, going to pieces, with a liigh furf dafli- 
 ing over her.. The fore ground is occupied by a mod in- 
 terefting group : a few of the mariners, having deferted 
 their veffel and taken to their boat, are driven on the 
 rocks, the boat is bilged and the waters gulhing through 
 her iides. The appearance of the failor holding the rope 
 and the foldier is highly charaderiftic; the ftrongeft afflic- 
 tion and anxiety is expreffed in their countenances ; the 
 forrow and concern of the foldier feem increafed by ob- 
 ferving the afFe6lionate fenfibility and regard of his dog. 
 It perhaps is Impoffible to imagine a produdion more 
 rich, correft, or replete with grandeur and incident ; the 
 clearing up of the iky giving an increafed light on the 
 fore ground, the tint and curl of the waves, and the bro- 
 ken billows rufhing up between the cavities of the rocks, 
 are truly natural reprefentations v^'hich muft have been ob- 
 ferved by every perfon, and, in their forcible appeal to the 
 feelings of individuals, cairy a conviaion of their beauty 
 and merit. — On canvas. 
 
 22. — The Hunt. 
 
 The foremoft ohjea, a man thrown and his horfe taking into 
 the wood followed by two huntfmen in full chafe. The 
 fpirit given in the delineation of this fubjca is very great ; 
 the beauty of the perfpedive forms a delightful contrail 
 with the broken furface of the fore ground and rich fo- 
 liage of the wood. — On canvas. 
 
 23 — Catching Muscles. 
 This is highly finifhed and muft be confidered as one of his 
 beft cabinet-pidures. In the centre, a fifliing-boat hauled 
 on fliore ; in the front, three figures colkaing mufcles. 
 
 The 
 
( 13 ) 
 
 The dlftance Is moft beautifully terminated by a range o( 
 lofty clifFs, which feem gradually to recede from the eye 
 until they are loft in the thlcknefs of the atmofphere ; the 
 complexion of the fea and the brilliancy and clearnefs of 
 the colouring are equally deferving of adxiilration. — On 
 panncl. 
 
 24. — Portrait of Bush, the Brick-Moulder. 
 Portrait of a fuperintendant of a brick-kiln, who, although 
 he could neither read nor write, calculated and kept an 
 accurate account of the bufmefs in which he was en- 
 gaged. The refemblance is moft faithful, and the paint- 
 ing is particularly remarkable for the ftngular expedition 
 with which it was done, the artlft having been only twen- 
 ty minutes in its execution, and is done in a mafterly 
 manner. — On canvas. 
 
 25. — Fishermen wrecked. 
 A verv fpirited produflion. The perfpedive Is a range of 
 cliffs admirably executed, tbe attitudes of the figures ex- 
 prefilve, and the anxious fears of the old man are finely 
 pourtrayed. The attention of the artlft feems principally 
 to have been diredled to the effect of the waves in the fore 
 ground. Flniftied with great boldnefs and flcill. — On 
 canvas. 
 
 26. — The Mill. 
 
 The fcenery of this produftlon is hlglily pl6lurefque, and 
 defcribes all the beauties that could be appropriately 
 brought into one fubjeft. The broken furface of the fore 
 ground is filled with incident ; the tranfparent ftrearn, 
 forced down the fall, fteals gradually along the quiet vale, 
 tire profpe6l is full of richnefs and verdure, and, as a 
 whole, the landfcape feems to furnlfti one of thofe re- 
 tired 
 
f H ) 
 
 tired and peaceful fpots, the habitation of contented inno- 
 cence. — On canvas. 
 
 27. The Gipsy. 
 A portrait of a gipfy reclining with her arms on a bank, at 
 her back fte has her baggage. It is fuppofed to be a 
 likenefs of the artift's wife, who was a beautiful woman. 
 The execution of this is bold and mafterlv. — On can- 
 vas. 
 
 28. — The Mower. 
 Tlie figures of the dog and man are very natural ; the warm 
 and glowing appearance of the landfcape indicates the fca- 
 fon of the year. — On canvas. 
 
 29. — Three Guinea-Pigs. 
 Thefe fubjefts, fo familiar to every one, require but little 
 comment. They are finifhed with great fkill and anima- 
 tion. — On canvas. 
 
 30. — Snow-Piece. 
 In the reprefentation of the winter's morning the obfer\ ci 
 is principally ftruck with the gloomy and fombre ap])ear- 
 ance that covers the whole fccne. The fnow-piece, 
 though a painting of a fimilar kind, abounds with beau- 
 ties of a different defcription. The fcene itfelf, fo chilling 
 in appearance, is fraught with nature, and pencilled with 
 a delicacy that would do honour to the beft aitifts of the 
 Flemifh fchool. The light feems refleaed from the fnoA\ 
 upon the canvas ; the colours are rich and mellow, l^he 
 group of fheep fheltering themfelves under the cottage 
 poffeffes that ftill charader which diftinguifhes them, 
 The two peafants in the back ground have a very excel- 
 lent effedt in giving dlftance to the view 5 and the ftreak 
 
 of 
 
{ 15 ) 
 
 of light, upon the rife of the hill, gives an appearance of 
 tranfparency to the fnow. — ^ On canvas. 
 
 21. — Little Girl dressing a Cat. 
 Though painted in his earheft time, poffeffes great merit in 
 colouring and efFe£l. — On pannel. 
 
 22. — The Courtship, or Strangers at Home. 
 
 Reprcfents an aukward countryman paying his addrefles to 
 a girl equally bafliful and fimple. It is taken from the 
 following defcription, in " Le Jeune Laboureur faifant la 
 Cour a fa MaitrefTe." 
 
 Young Roger, the ploughman, who wanted a mate, 
 Went along with his daddy a courting to Kate : 
 With a nofegay fo large, in his holiday-clothes, 
 His hands in his pockets, away Roger goes. 
 
 Now he was as bafhful as bafhful could be. 
 
 And Kitty, poor girl, was as bafliful as he. 
 
 So he bow'd, and he ftar'd, and he let his hat fall, 
 
 Tl:ea he grinn'd, fcratch'd his head, and faid nothing at all. 
 
 If aukward the fwain, no lefs aukward the maid ; 
 She fimper'd and blufh'd, with her apron-firings play'd ; 
 Till the old folks, impatient to have the thing done, 
 Agreed that young Roger and Kate fliould be one. 
 
 33. — View over the Common. 
 A brilliant landfcape, reprefenting a vaft extent of country 
 . in the Ifle of Wight, with travellers on the road, executed 
 with much fpirit. — On canvas. 
 
 . 34. — The Cornish Plunderers. 
 
 This is confidered as the chief of Morland's paintings, and, 
 perhaps, in beauty and efFe6l, may vie with the beft pro- 
 duilions of any artifl : never was a narrative defcribed 
 
 with 
 
( i6 ) 
 
 with more runplicity or force. The fcene Is laid in Corn- 
 wall. A band of plunderers having obferved a fhip in 
 diftrefs, at a diftance, by hoifting up falfe lights, decoyed 
 the veflel upon the neighbouring rocks, where fhe was 
 foon daftied to pieces. The group of figures is repre- 
 fented as having returned from the plunder of the fhip, 
 and examining their booty. No individual painting ever 
 contained more beauties: the charaaeis are happily 
 chofen ; they are the fturdy inhabitants of the fea-coaft, 
 whofe features are hardened by being conftantly expofed 
 to fcenes of diftrefs and the inclemencies of the weather. 
 The difpofal of the adors is no lefs judicious ; they give 
 life and animation to every part of the fcene, without 
 crowding or confufing ; and the variety of attitudes, the 
 attention each individual pays to his feparate employment, 
 heighten the intcreft of the fpedator. Morland has dif- 
 played equal judgement in the choice of his colours : the 
 more rich tints are brought forward in the piece to give 
 efFe6l and diftance. Tiie Iky and fombre appearance of 
 the atmofphere is nothing more than what every fpecStator, 
 whofe obfervatlon has been turned to the appearance of 
 nature after a ftorm, muft have remarked. The minor 
 parts of the pidure are high'y finilhed, and replete with 
 beauties.— On canvas. 
 
 35. — W ood-Clttters. 
 Men cutting wood in the centre of a foreft ; the richnefs of 
 the foliage and delicacy of die figures are highly beauti. 
 ful. — On pannel. 
 
 36. — The Castle, a small Picture. 
 
 A view in the Ifle of Wight, a beautiful cablnet-pidure. — 
 On panncl. 
 
( 17 ) ^ 
 oy. — Corfe-Castle, in Dorsetshire. 
 in the opinion of connoifleurs, this has been confidered as 
 the moft finiflied landfcape Morland ever produced. On 
 the right are feen the proud remains of Corfe-Caftle, tow- 
 ering on the high eminence which feeras once to have 
 commanded the furrounding country. The ftupendous 
 hi^ht of the mountain is admirably efFe^led by the many 
 broken fnrfaces on its fide ; the rocky hill on the left and 
 the tranfparent water on the right are ftriking beauties. — 
 0« canvas. 
 
 * 
 
 ^8. — View i:n Cornwall, small. 
 Travellers pafTing over the dreary bights of Cornwall, a 
 clear and pretty fubjefit. — On pannel. 
 
 ^g. — Gipsies, a Landscape. <- 
 
 A Group lighting a fire and preparing for their meal ; a 
 warm glowing piftuie. •— On pannel. 
 
 40. — Boy tiaching a Dog to sit. 
 Companion to the little girl dreffing the cat, and equal in me- 
 rit. — On pannel. 
 
 41. — Landscape. 
 
 Scene near Groomby-Pool, Markfield, Leiccflerfliiie. The 
 efFc6l of light is remarkable. The horfe was the artift's, 
 left at the inn whilft lie proceeded on his journey to obtain 
 a view a few miles diflant ; it is highly fm^flied. — On 
 canvas. 
 
 42. — Sea View from the Isle of Wight. 
 A bold projecting rock in the fea, delineated with great 
 beauty and force. Tlie furface is breaking on the beach 
 while the fea at a diftance appears gendy ruffled by the 
 wind. — On canvas. 
 
 C 43- 
 
( i8 ) 
 
 43. — The Shepherd. 
 
 The principal figures in this group are defigned with great 
 faithfulnefs and beauty, particularly the dog and fheep. 
 The whole is forcibly touched and poflefles great richnels 
 of colouring. — On canvas. 
 
 44. — A Winter's Morning. 
 This and the fnow-piece are ftriking proofs of the diverfi- 
 fied powers of Morland's genius. His obfervation and 
 quick cpnception led him to a contemplation of the dif- 
 ferent appearances of natuie at every period ; he faw, and 
 remembered Avith the mind of a poet. His winter-fcenes 
 are marked with the fame charadleriftic propriety as his 
 other paintings; the prefent fubje6l is inimitably chofen 
 and executed. The horfe, having over-reached the door, 
 occafions the farmer to give a more than common turn of 
 his body to receive his beverage. The management of 
 this attitude is well worthy of obfervation : the hoflefs, 
 conveying the bafon of warm liquor and treading with in- 
 finite care and anxiety, is a very interefling figure. The 
 fportfman gazes on the farmer with the eye of a ftranger, 
 as if reading the charadler in his countenance ; and the 
 appearance of the fire through the windows, with the pe- 
 culiar tint apparently produced in the interior of the cot- 
 tage by it, is admirable. — On canvas. 
 
 45. WoOD-CuTTERS AT DiNNER. 
 
 Two peafants at their repaft. The attitudes of the figures 
 are extremely eafy : the diftant depth of the wood ihaded 
 with great &ill. This compofition, in itfelf fimple and 
 chafte, has been exhibited to the public by a fine engra- 
 ving of Mr Wiiliamfon. — On canvas. 
 
 46. 
 
( 19 ) 
 
 46. — Sea-View AND Figures. 
 In tlie back ground there is a great bolclnefs, which is re- 
 lieved by the figures in front, reprelenting hfhermen laying 
 up their boat after coming in from their labours. The 
 Iky portends an approaching florm, as the dark clouds are 
 gradually over/liadowing the brighter parts of the atmo- 
 fphere. — On canvas. 
 
 47. — - St0RM. 
 
 In his fea-paintings, Morland acquired an aftonifliing degree 
 of celebrity : in the early part of his life he devoted much 
 time to the ftudy of marine fubjeds, refiding at that pe- 
 riod on the fea-coaffc. The fcene of this painting is laid 
 in the Ifle of Wight : the ftrong effea of denfe clouds 
 paffing rapidly over the furface of the ocean denote the 
 approach of danger ; the niafiy fragments of rock feem 
 rooted in their fituations rather by the hand of nature than 
 of the artift ; the figures in the fore ground, fecuring the 
 means of their fubfiftance from the cfFeds of the ftorm, 
 complete the fubje6l : the tranfparency, fold, and foam, 
 of his waves are admirably executed. — On canvas, 
 
 48. — Gipsies reposing. 
 The fcenery of this pamting is extremely pleafnig ; without 
 poffeffing much variety, we feel fufficient intereft in the 
 wild hmplicity and chaftenefs it difplays ; the brown ap- 
 pearance of the vegetation denotes the fterility of the foil ; 
 the colouring is particularly foft and mellow. — On can^ 
 vas, 
 
 49- — A Sail in View. 
 To the right are two men defcrying a Hiip beautifully intro- 
 duced in the diftance. An uncommon fine diltribution of 
 clouds, touched in a mofl brilliant llyle, which, with tlie 
 
 perfpe6live 
 
( 20 ) 
 
 perfpe6live fo happily obferved, forms a mod finifhed 
 produ6lion. This p!6lure is greatly admired by connoilV 
 feurs as combining infinite fkill and fancy. — On pannel. 
 
 50. — Moon-Light. 
 This is one of the happleft efforts of his pencil, and cannot 
 fail of exciting the higheft admiration. It rcprefents the 
 departure of a firtiing-boat by moon-light ; the whole 
 fcene is mofi: judicioufly contrafted by the introduction ot 
 appropriate light and (liade ; it is one of thofe nights ni 
 which the moon is often partially obfcured by clouds paf- 
 fmg over it, but which, on its emerging, gives a greater 
 degree of brilliancy. — On canvas. 
 
 ^i. — The passing Shower. 
 The fubjefl of this piece may be happily contrafted with the 
 land-florm. In executing this, the artift has been atten- 
 tive to the perfpedive : on the right of the piflure we fee 
 the return of fine weather, the eye again penetrates into 
 the diftance, which is denied to it on the left by the ob- 
 fcurity and rain ; in the diftribution of his objects, alfo, he 
 has effeded that variety which nature refufes to a flat 
 country. — On canvas. 
 
 52. — The Return of Fishermen. 
 In firmnefs of touch, united with delicacy of pencil, clear 
 and brilliant tranfparency of colour, and general air, this 
 painting is in an uncommon degree pleahng. Ihe fi- 
 gures are corre£lly drawn and charaaeriftically marked : 
 the fifti, and little accompaniments, touched with great 
 fpirit ; the diftance and extent of the fea, when properly 
 viewed, is a very ftriking beauty ; the wave, half curled 
 over and gradually breaking, difplays n»inute obfervations 
 of nature ; the rocks and furrounding fcenery form a hap- 
 py combination. — On canvas. 
 
 53- 
 
{ 21 ) 
 
 Gull-Shooting. 
 
 The figures are very charaacriftically expreflfed : the dark 
 maffy rock, that bids defiance to the violence- of the 
 waves, and the hght refleaed on the white cliffs, difplay 
 infinite judgeroent and obfervation. — On patinel. 
 
 ^4, — The Gravel-Diggers. 
 
 In the interior of a gravel-pit are feen fix figures taking 
 their refrefliment: on the ground are their different im- 
 plements for woik, touched with a degree of fpirit and 
 elegance beyond defcription: on the brow of the hill, in 
 the perfpe6tive, are fome flieep grafing. The whole 
 fcene is extremely perfed. — On pannel. 
 
 — The Flash OF Lightning. 
 
 The fubje£l of this piece and its execution do infinite honour 
 to the genius of the mafter. The confufed uproar of the 
 elements, the danger impending over the mariners, who 
 have deferted their fliip, and the diftrefling anxiety of the 
 figures in the fore ground, are obje6ls grand and awful. 
 The chiara ofcura is finely managed. The diftant cliff, 
 obfcurely feen through the hazy atmofphere, is a beauty 
 feldom equalled and never furpaffed. The deep colouring 
 is greatly relieved by the light thrown on the fore ground 
 and the fummit of the neareft cliff. This pidure is a 
 unique of the kind, and conveys much refemblance to the 
 ftyle of Vandervelde. — On pannel. 
 
 56. — Landscape and Figures. 
 
 The approach of the ftorm is finely depi6led. In the dark 
 lowering clouds and agitated appearance of the trees, the 
 diftant village, feen through the opening, gives a happy 
 cffe6l and termination to the fight. — On pannel. 
 
 57- 
 
f 22 ) 
 
 57. —Fresh-water Cave. — Moonlight. 
 The fubjea difcovers a body of fmugglers unloading their 
 goods. The general harmony of colour, fo exxeedingly 
 diificult to preferve in fcenes of this defcription, is very 
 happily efFeaed: the clear and filvery appearance of the 
 water, the rippling of the waves againft the boat, and the 
 eafe and contour of the figures, arc finely executed. — 
 On canvas. 
 
 58. — The Sheep. 
 
 This ineomparable pidure exceeds the utmofi: efForts of the 
 pen in its praife. The fubjed has received life and 
 animation fro.n the pencil, and, together with No. 13, may 
 be confidered as the fineft compofitions in this fiyle that 
 ever appeared, — On canvas. 
 
 52. — Fruit-Stall, 
 
 This compofltion is, in the highefl degree, chafte, eafy, and 
 rich i. difplaying a great variety and happy combination of 
 talent. , The romantic fituation of the cottage, under the 
 canopy of two fiately trees, moft admirably executed, in- 
 .creafes the beauty of the fcenery. The figure of the 
 woman, affuring the doubting carman (who is feeling for 
 his iponey with relufkance) that her goods are excellent 
 and not over-rated, is finely drawn : the depth and dif- 
 tance under the ftall, which admits the tub and bafket, 
 and fhews the legs of the man, are fliaded and executed 
 with beautiful effe6t : the vegetables and fruit are highly 
 finished ; . and nothing can exceed the fimplicity exhibited 
 in the countenances of the children, who feem converfing 
 with great eagernefs on the perfciflion of the articles dif- 
 played before their longing eyes. — On canvas. 
 
{ 23 ) 
 
 6o. The Slaughter-House. 
 The efFed of the light in the houfe, contrafted with the 
 brilliance of the fky, is excellent. The flieep are finely- 
 executed, and the narrow flip in which they are pent ad- 
 mirably deepened : the flern commanding afped of the 
 butcher, the fubmiflive attention of the boy, and the in- 
 quifitive appearance of the children, are traits of nature. 
 The ftyle in which they are finifhed places this fmall 
 pidure on a level with Morland's beft productions. — 
 On canvas. 
 
 6l. — MoON-LlGHT. 
 
 A landfcape, with figures, and a cottage on the left ; to the 
 right, fome water, wherein the moon is refleiled with 
 great tranfparency. It muft be confideied as among his 
 finefl produdlons. — On panncl. 
 
 62. — A Landscape with Figures. 
 
 Rich Iiiduftry fits fmiling o'er the plains. 
 
 Pope's Pastorals. 
 
 In the produ6tion of paftoral fcenes, of which this cabinet- 
 painting is an elegant fpecimen, it is eflentially requifite to 
 avoid the afFedation of too much ftudy, left the eafe and 
 limplicity of the defign, whence our pleafurc arifes, fliould 
 be deftroyed. The variety of rural beauties in this little 
 compofition are diftributed with great tafte and eafe : one 
 obje6t fucceeds another, and, like the romantic fcenes of 
 Salvator Rofa, crowds the canvas with incident and va- 
 riety. — On canvas. 
 
 63. — Conversation. 
 Two countrymen converfing, the countenances of each 
 portraying the different characters of the fpeaker and at- 
 tentive liftener. The dog afleep is worthy of notice : 
 the colouring of the %Yhole is fine. — On panncl. 
 
 63- 
 
( 24 ) 
 
 64- — The Corn-FielT>. 
 
 The combination is beautiful ; and, though with tlie leaft 
 fubjedl, this niay be tenned one of his fweeteft cabinet- 
 pieces. The flieep a finifhed miniature, and the peifpec- 
 tive kept nearly to perfe£lion. — On pannel. 
 
 65. — The Sportsman refreshing.— ^Snow-Piece. 
 
 The boldnefs of this production is its chief merit. The 
 aflemblage of circumftances that furround a winter - 
 fcene are properly introduced : 
 
 " The weary clcruds, 
 Slow meeting, mingle into folid gloom." 
 
 *rhe light is diftributed with great judgement. — On 
 tanvas. 
 
 66. — Return of the Post-Boy. 
 
 The peculiarity of the fcene is marked with much novelty. 
 On the left the village is prote£led by lofty mountains, 
 coloured with remarkable foftnefs : the attitudes of the 
 horfes and their riders are very judicious: the fubjedt is 
 in itfelf familiar and intereftlng. — On pannel. 
 
 67. Interior of a Wood, with Figures. 
 Every part of this compofition has received, from the hands 
 of the artift, an expreffion and power rarely to be met with. 
 The thick foliage of the trees, at the entrance of the 
 wood, with the beautiful perfpedtive in the interior, 
 where the eye Is loft by the gloom that pervades if, are 
 happily efFeded. The figures are truly natural, and ac- 
 cord with the furrounding objefts. The defign was by a 
 pupil of Morland ; with which he was fo much delighted, 
 that he finifhed the pidlure himfelf. — On canvas. 
 
 68. 
 
( 25 ) 
 
 68. — Fishermen landing their Fish. 
 This little elegant cabinet-piece may be juftly compared 
 with the reft of Morland's marine paintings ; the figures 
 are peculiarly appropriate and natural. — On pannel. 
 
 69 A SMALL Landscape. 
 
 A romantic view in the Ifle of Wight, with figures : 
 finiflied with uncommon tafte and delicacy. — On pannel. 
 
 70. — A SMALL Landscape. 
 A romantic view in the Ifle of Wight, with fifherman's hut 
 and figures, beautifully finiflied : companion to No. 69. 
 — On panncl. 
 
 71. — Snovv-Piece, with Horses. 
 This piece defcribes very finely the rude defolation of win- 
 ter : the chilly afpeft of the country, and the diftrefled 
 appearance of the cattle, endeavouring to fliield them- 
 felves from the efFefts of the cold, render it a fac-fimile 
 of nature. — On canvas. 
 
 72.— Soldiers on their March. 
 A very Angular fubjea:. The foldiers, having halted for 
 refrefliment, are proceeding on their way, and, by the 
 baggage at their backs and irregular marcli, denote well 
 the fervice they are on, that of being quartered at a new 
 fiation. The cfFeds of a high wind are well exhibited in 
 the refiftance of the foldiers, and the appearance of the 
 countryman, his horfe, and the trees. — On pannel. 
 
 73- — Thunder-Storm. 
 An open common with a cottage on the left, before it a 
 tree almoft torn up by the violence of the ftorm, from 
 
 •D whick 
 
( 26 ) 
 
 which two figures in the fore-ground are haflening to 
 fhelter themfelves: a bold and mafterly cablnet-pidlure. 
 — On canvas. 
 
 j^, -—'Watering Horses. 
 A landfcape, with a view of an extenfive open country. 
 A woman, on a rifing ground in the centre, gives a fine 
 effeSt to the diftance ; to the right a man watering two 
 horfes in a pool, at the foot of a high hill, on the fum- 
 mit of which is an old caftle. — 0/7 canvas. 
 
 y^. — The Disappointment. 
 Portrait of two females, companion to the Novelifts- — Or/ 
 canvas. 
 
 76. — A Skirmish. 
 A remarkably fine drawing. 
 
 yy. — Asking THE Way. 
 
 Exhibits an elegant drawing by Morland: it polTeffes the 
 fame charaaeriftic elegance and fimplicity as his painting. 
 
 78. — The Artist. 
 A caricature of himfelf. It fignified not what his fubjed fo 
 that he had his whim : this is fully evinced, as he certainly 
 has not fpared himfelf. — On canvas. 
 
 79. — Portraits of an Ass and Goats. 
 Portrait of animals ; bold and rich in colouring. — On can- 
 vas. 
 
 80. — A Group of Figures. 
 Scene in St James's park, a group of figures ; an early 
 produflion of this artift. — On canvas. 
 
( 2? ) 
 
 8i. — Soldier's Farewell. 
 An officer taking leave of his family, with fonow in their 
 countenances. — On canvas. 
 
 82. — Woman ironing. 
 
 The admirers of Morland will feel a particular intereH: iu 
 this portrait, commenced by his father and finifhed by 
 himfelf. It poffeffes, in an eminent degree, fpirit, bril- 
 liancy, and chara6ter ; the countenance is full of expref- 
 fion and archnefs, marked wjth chara^leriftic fimplicity. 
 The projeftion of the right arm, which feems to leave 
 the canvafs, is inimitably executed. — On canvas. 
 
 83. ^ Soldier's Return. 
 
 The officer's return to his family fpreading joy and happi- 
 nefs. Thefe two fpecimens of his early genius are intro- 
 duced to fhew the progrefs of this fmgular artift. — On 
 canvas. 
 
 84. — Bagnigge-Wells. 
 The group reprefents the artift and his family : an early pro- 
 du6lion. — On canvas. 
 
 85. — Two Shepherds under a Tree. 
 
 The charaders of the two fhepherds watching their flocks 
 are drawn with attentive obfervation ; the foliage of 
 the tree fpreading itfelf over the whole piece is finely 
 painted, and the diftance well kept. — On pannel. 
 
 86. — The Virtuoso. 
 A fpecimen of the fmgular humour of this extraordinary 
 genius. The original fketch was of a large monkey, 
 which, in one of his whimfical frolics, he changed into 
 the prefent fubjeft. — On canvas. 
 
 87. 
 
Sy. — Int-eriok of "a Wood, with Figures. 
 
 The grace and fplrit of this drawing is deferving of at- 
 tention. 
 
 88. — Snow-Pieck. 
 The labourers returning home, loaded with wood; to tlic 
 right a boy Aiding. A clear pidture. — On cattvas. 
 
 89. — The Novelists. 
 Portraits of two females, fuppofed to be his fifter and wife. 
 This and its companion are fpecimens of his early pro- 
 ,du6lions. — On canvas. 
 
 90. — Portrait. 
 
 A traveller and his dog fheltering under a hedge from a 
 fhower. — - On canvas. 
 
 91. — Bust of Mr George Morland. 
 Taken immediately after his death, under the infpcdlion of 
 his brother-in-law, Mr Ward ; executed by P. Turnerelli, 
 Greek-ftreet, Soho. 
 
 0: 
 
 FrbittdiiyjJ, and JV. Galahhi, Intrjam-court, Lindjn.