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George Morland 
 
RURAL AMUSEMENT. AFTER GEORGE MOkl.AM' 
 Engraved by "J. R. Smith. 
 
''Connoisseur" Extra Number 
 
 George Morland 
 
 A Biographical Essay 
 
 By 
 
 J. T. Herbert Baily 
 
 With a Catalogue of the Engraved Pictures 
 
 LONDON : 
 
 Published by 
 
 OTTO LIMITED 
 
 CARMELITE HOUSE, E.G. 
 1906 
 
ND 
 
 z 
 
 Hot 
 
 'In all the range of British Art," wrote the late W. 
 1 E. Henley in 1888, "there are few things better 
 than a good iVlorland. Morland was nothing if not a 
 good painter, and Morland's paintings are nothing if 
 not a good arrangement of paint. He was a vigorous 
 and expressive draughtsman ; he had the craftsman's 
 sense of his material, and the craftsman's delight in 
 the use of it for its own sake ; he was a colourist and 
 a colourist of the good type ; and the fact remains, and 
 must go on remaining, that his pictures are painter's 
 work." — VV. E. Henley. 
 
GEORGE MORLAND. 
 
 A Biographical Sketch. 
 
 TO all lovers of English art the pictures of George Morland 
 have an irresistible charm which time has not staled, nor 
 new schools of painting have made less admirable. 
 Constable, the father of English landscape art, who first 
 taught our painters to abandon the old classical conventions and to 
 go to school with nature, was a greater master than Morland, and 
 had a more potent influence upon the progress of art in Europe. 
 But Morland must always hold a very special place in our admira- 
 tion and affection. He was the genius of English rural life in the 
 eighteenth century. Without the reverent sense of communion 
 with nature, which gives a spiritual splendour to Constable's land- 
 scapes, and without the sublime imagination of Turner, which put 
 the very glory of the skies on to a square of canvas, he had 
 a healthy love and a familiar understanding of English country 
 life and scenes, free from the sentimentality of later painters, and 
 a frank realism and candour which make his pictures appeal 
 to one's sense of truth. The spirit of rural England in the 
 eighteenth century lives in his pictures. He loved its old barns with 
 their great beams and dim light. He loved its farmyards with all 
 their rough disorder of country implements and stock. He loved 
 its old houses, its old inns, its old wooden bridges. He was at 
 home in the stable, and gave the immortality of his art to many a 
 brave old horse and shaggy colt. He was the true friend, indeed, 
 of all animals, and Francis of Assisi himself, who called the silly 
 sheep his " good brothers," and preached to the birds of the air and 
 the beasts of the field, had not more affection than Morland, who 
 was in no way a saint, for such works of God as pigs and poultry, 
 dogs and cattle, and every live thing of the woods and meadows. 
 
 Morland, though he came of a good family and lived some years 
 of his life in the town, was always a countryman at heart. Though 
 he might have consorted with men of wit and fashion, and toyed 
 
George Morland 
 
 with a snuff-box in ladies' salons, he preferred the society of the 
 stable, the joviality of the inn-parlour, and the natural scents of 
 the country lane. For his own sake it would have been better if 
 he had taken his place among cultured men and women, but English 
 art has gained much because of his boorishness and democratic 
 tastes. In his pictures we are able to see very clearly what 
 English country life was like in the days of George III., before the 
 modern age had destroyed the picturesqueness of our peasantry, 
 and a good deal of the old joyousness and rural prosperity. True, 
 the habits and customs of the countryfolk were somewhat coarse 
 and more uncouth than now ; it was an age of hard drinking, of 
 rough horseplay, of cock-fighting and bull-baiting. But on the 
 whole Morland's pictures are charming in their rural simplicity, 
 though never sacrificing truth to sentiment. 
 
 This at least may be recorded to his honour, that, in spite of his 
 own lax morality and intemperate habits, he did not degrade his 
 trust by expressing what was vile and objectionable. Influenced as 
 he undoubtedly was by Dutch art, his pictures do not contain 
 such wanton and ugly vulgarity as sometimes marred the work of 
 the Dutch painters of village life, and they leave one with a feeling 
 of affection for the brighter and best side of the old English 
 countryside. 
 
 As a figure painter Morland has been much underrated. There 
 is no doubt that had he been only a portrait painter he would have 
 rivalled Romney himself. As it is, one's imagination is charmed by 
 the types of sweet English womanhood which he has left us in such 
 pictures as the " Letitia " series, for which it is believed his wife 
 was the model. 
 
 As the painter of English child life, again, he deserves special 
 honour. It is a pleasant thing to remember the many rosy-cheeked 
 boys and girls whose faces still smile at us from the eighteenth 
 century, whom with sorrow and pleasure, and merry games, he 
 depicted with such sympathy and evident affection. Those tall slim 
 youngsters with the long fair hair and the frilled collars, the short 
 cut-away jackets, and the tight little trousers, and the little round- 
 eyed girls in little soft white blouses high in the waist, were the 
 great-great-grandfathers and grandmothers of some of us ; and as 
 
A Biographical S/cetch 
 
 a painter of English domestic life a century and a half ago Morland 
 should be endeared to all of us. 
 
 It is a pity that the man himself was not a more attractive 
 personality, or rather a more estimable character. Attractive he 
 must have been in many ways, for reading between the grandiloquent 
 lines of his contemporary biographers who, in imitation of the 
 eighteenth century made his bad habits serve for such lengthy 
 moralising that one sickens at it, one sees that the man had much 
 natural goodness in him, and that in spite of many weaknesses, his 
 heart, as the old phrase goes, was in the right place. 
 
 Those who know their " Tom Jones " and their " Roderick 
 Random " do not need reminding that eighteenth century England 
 is not to be pictured from the polished phrases of Joseph Addison, 
 nor judged by the standards of grave respectability which animated 
 the divines and scholars of that time. The morality, or rather the 
 non-morality, of the youthful Tom Jones was not more nor less lax 
 than that of the average young Englishman ; and Squire Weston, 
 the father of the adorable and impossible Sophy, with his love of 
 rough sport and strong drink, with his coarse speech, his loud 
 oaths, his good-natured violence, was a truthful portrait of the 
 typical country squire. George Morland seems to have been a 
 mixture of Tom Jones and the fox-hunting squire, though with the 
 gift of genius which neither of these two immortals possessed. 
 The adventures of his early life, indeed of his career throughout, 
 read like pages of Fielding and Smollett, and though we must blame 
 a man for letting himself sink into the moral degradation to which 
 Morland eventually arrived, we must not forget that it was caused 
 by an intemperance encouraged by the habits of his time. 
 
 Brushing on one side the moral disquisitions of biographers, 
 which, truly or not, seem insincere and hypocritical, and making 
 allowance for a difference in the moral code, there is a good deal to 
 admire and something to love in the character of George Morland. 
 His joviality, his open-handed generosity in good fortune or bad, his 
 democratic friendship with farmers, cotters, gypsies, tramps, 
 jockeys, and prize-fighters, his hatred of snobs and snobbishness, 
 his spirit of fun and freakishness, his intense love of animals and of 
 little children, are qualities of a more human and lovable kind than 
 
George Morland 
 
 the Pharisaic respectability of those who held him up to scorn. 
 Like Robert Burns, the man had too little ballast, but like Burns 
 also, George Morland had the light of genius in his heart, although 
 it flickered low at times, leaving him in darkness and despair, yet 
 when it was brightest there were many who crowded round to 
 enjoy its prodigality. 
 
 Morland was born on the 26th of June, 1763, and his cradle 
 was surrounded with the " properties " of the painter's art. Before 
 he could walk he crawled about among unframed canvases and 
 mahl-sticks, and his earliest recollection must have been the sight 
 of his bright little French mother hard at work before the easel 
 and his father with his palette. For both his father and mother 
 were artists of some distinction in their time. Indeed, Henry 
 Morland still counts in English art, and his pictures of elegant 
 ladies dressed as dairymaids and laundresses, according to the 
 fashion of sham simplicity started by the " naturalism '' of Rousseau, 
 and depicted by Watteau, made him a popular society painter. 
 Two of these pictures hang now in the National Gallery, and are 
 very charming works in spite of their rather bluish tone. At 
 the Garrick Club there is his portrait of Garrick as Richard III.- 
 and his portrait of George III., engraved by Houston, is well 
 known in reproductions. For a time he must have earned 
 considerable sums of money, for he lived in the house at 
 Leicester Square afterwards famous as the dwelling-place of Sir 
 Joshua Reynolds, who was his good friend. When his son George 
 was born, however, Henry Morland was living in a smaller house 
 in the Haymarket. He seems to have been an erratic sort of 
 man, and to have dabbled in many branches of art, trying his 
 hand at the mezzotint process, engraving in line, and drawing in 
 crayons besides painting in oils. According to Dawe and Collins, 
 the first biographers of George, Henry Morland seems to have 
 been a dishonest fellow, palming off copies of Dutch masters done 
 by his clever son to be sold as original works by equally unprincipled 
 dealers. But there is no definite proof of this, and one cannot 
 help feeling that the statement may have been made out of malice. 
 Mrs. Morland, his French wife, a vivacious and industrious 
 little body, was an artist of sufficient skill to exhibit at the Royal 
 
ENGRAVED BY W, WARD. 
 
 PAINTKD BV G. MORLAND. 
 
 VARIETY. 
 
 Crowded scenes or lonely groves Come then my Votary's, /ollo2v me, 
 
 My fickle mind by turns apprmes. The charm of life's variety. 
 
 London, Published Sept. 4TH, lySS, bv W. Dickinson, Engraver. 15S New Bond Street. 
 
A Biographical Sketcfi 
 
 Academy, where in 1785 she showed two pictures — a girl with 
 a guinea pig and a girl washing. Her husband was presented by 
 her with three sons and two daughters, and whatever be the merit 
 of his pictures, the world owes our gratitude for the gift of George, 
 whose genius was a goodly heritage in English art. 
 
 Many curious stories are told of the lad's up-bringing, and is 
 must be confessed that some of them tax one's credulity severely 
 According to Dawe, his early friend and not too kind biographer, 
 the boy was made his father's little slave, and kept long hours 
 every day shut up in an upper room, copying his father's pictures, 
 and the works of Ruysdael, Hobbema, Gainsborough, and other 
 masters. He had shown an astonishing precocity even in his 
 babyhood, and the usual tales of genius were told of him, such as his 
 childish drawing of a beetle on the floor so extraordinarily life-like 
 and accurate that his father went to crush it with his foot. Such 
 a story is to be read with a smile, but we can believe more easily 
 that in his first drawing of a coach and horses his father detected 
 a quick observation and an instinctive talent for drawing. The boy 
 was always happiest with a pencil, and afterwards a brush, in his 
 hands, and this alone makes it rather difficult to believe the 
 accusations of " cruelty " against his father for keeping him too 
 hard at work, and allowing him no relaxation. Like many boys 
 George went through a period of intense shyness, the boyishness 
 of the hobbledehoy, and it was probably his passion for art, and 
 an excuse of his own awkwardness in society, which made him 
 shun his father's fine company and retire to the solitude of his little 
 studio with his brushes and paints. 
 
 It was a strange household, rather disorderly and Bohemian, 
 one would imagine from all accounts. George's two brothers both 
 ran away to sea, probably to escape the paternal tyranny of Henry 
 Morland, who in spite of the artistic temperament does not seem to 
 have escaped the austerity and domineering character of the 
 typical eighteenth century father. But his two sisters were 
 homely and attractive girls, and kept the house meny with their 
 high spirits. There were numerous visitors to the house, for 
 Henry Morland was on familiar terms with his fellow artists, and 
 Flaxman, and the great Sir Joshua himself, would often call in to 
 
George Morland 
 
 pay their respects to Mrs. Morland and to discuss the mezzotint 
 process and art generally with her versatile husband. But while 
 the elegant Sir Joshua and his friends were downstairs, in an 
 upper room young George sat alone with his genius unknown as 
 yet to those who admired his father's inferior work. His chief 
 recreation at this time was music, for when he laid down his 
 brushes it was to pick up his violin and fill his lonely room with 
 throbbing, tumultuous sounds. It would make a subject for a 
 genre painter, this picture of young Morland, a dark-eyed, bullet- 
 headed fellow, standing in the midst of a disorder of canvases, 
 brushes, paints, and palettes, playing alone in his garret. 
 
 His one tried friend at this period of his life seems to have been 
 a lad named Dawe, who afterwards wrote his biography. This 
 youth became a pupil of Henry Morland, and young George used to 
 go long walks with him on a Saturday afternoon. Dawe describes 
 how they went once to some sandpits at Blackheath, and how 
 amazed he was at the memory of his comrade, when, some weeks 
 later, George made a picture of the scene with such accuracy of 
 detail that it was almost impossible to believe he had not painted it 
 on the spot. 
 
 It was a debateable point whether Morland ever studied at the 
 Academy schools, his biographers making precisely opposite state- 
 ments on this point. But it is believed now that he did attend the 
 schools for a time, and was withdrawn by his mother on account of 
 his having fallen into evil company. It was at this time, we 
 are told, that George also acquired his unfortunate taste for 
 strong liquors, which was in after years to be his curse and his 
 ruin. 
 
 By this time, however, when he had turned eighteen years, the 
 secret of his genius had leaked out, and he was recognised by his 
 father's friends as an artist of rare promise. He received two 
 handsome offers, either of which would have filled any ordinarily 
 ambitious youth with joy. Romney offered to take him into his 
 own house as apprentice or pupil at the really excellent salary, 
 for those days, of £300 a year, and an artist named Gress, the 
 drawing-master to the Royal Family, made him a somewhat similar 
 proposal. 
 
 10 
 
A Biographical Sketch 
 
 But young George was no ordinary boy. On the threshold of 
 manhood he desired but one thing, which had hitherto been denied 
 him, and that was liberty. With a spirit of independence, which 
 had previously been shown in his two brothers who ran away to 
 sea, he cut himself adrift from his family and set up on his own 
 account in lodgings at Martlett Row, Bow Street. He got into 
 touch with an Irish picture dealer, who seems to have been a con- 
 summate scoundrel, and for this fellow he painted a large number 
 of pictures, some of them, it is said, of an immodest character — 
 though this has not been satisfactorily proved — which the dealer 
 had no difficulty in selling for much greater sums than he paid to 
 the young painter. 
 
 George was now at the crossways of life, and it must be ad- 
 mitted that he took the wrong turning. With liberty there is always 
 the danger of license, and George, having got rid of the curb of 
 parental discipline, and now a young man of high animal spirits, 
 plunged into the doubtful pleasures of the town. His hobblede- 
 hoyism had disappeared, and, once having got over the shyness and 
 reserve of youth, he became known in many a tavern and haunt of 
 young bloods as a fellow of infinite jest, of imperturbable good 
 humour, and of a daring and adventurous spirit. 
 
 The Cheshire Cheese, off Fleet Street, was one of his favourite 
 haunts, and here he learned to drink deep, and to squander his 
 hard-earned money in loose company. There is an amusing anecdote 
 told by Dawe of how Morland set off one night to Gravesend and 
 fell into the company of a carpenter and a sailor, with whom he 
 journeyed to Chatham, rather frightened by their ruffianly behaviour, 
 but joining them in a drinking bout in some low riverside tavern. 
 After that, he went on a short voyage to the North Foreland in a 
 small sailing vessel, and turned up at the Cheshire Cheese again, 
 after an absence of three days, with a store of amusing anecdotes 
 about his adventures, and a vocabulary of nautical terms. 
 
 Shortly after this he fell in with a certain Mrs. Hill, who 
 was more friendly than she ought to have been with many 
 gallants and fashionable men about town. Morland's high- 
 spirited youth, and his genius for painting, attracted the lady so 
 much that she invited him to accompany her to Margate, where 
 
 11 
 
George Morland 
 
 she was going to spend the season. She promised to introduce 
 him to many young nobles and patrons of art who would pay 
 him handsomely for painting their portraits, and would make his 
 fame and fortune. 
 
 Our friend George was enchanted with the idea, and getting 
 as much money as he could from the Irish dealer left him to pay 
 the bill for his lodgings, set off on a hired horse to Margate. 
 Here he put up at an inn near the lodgings of his patroness, Mrs. 
 Hill, and for a week or more diverted himself by riding his horse in 
 the sea and along the shore, in the intervals of his visits to the 
 lady. By this time, however, he learnt that the horse-dealer in 
 town was making rather strenuous enquiries after his missing steed. 
 George thereupon sent it back in charge of a postboy, leaving his 
 father, however, to pay the bill, amounting to ten pounds. 
 
 Morland's life at Margate was very gay and wild. He had left 
 his boyhood behind him with its shyness and reserve, and now 
 his Bohemian temperament, his rollicking spirit and prodigal tastes, 
 had full play. Mrs. Hill was as good as her word, and introduced 
 him to many fashionable people, of more or less shady character 
 we may imagine in spite of their rank, and Morland seems to have 
 painted their portraits, although none of his pictures can be traced 
 definitely to this time. It is evident, however, that he earned 
 a good deal of money, for he lived lavishly and dressed like one of 
 the dandies. In one of his letters to his friend Dawe he gives an 
 account of his amusements. 
 
 " First,'' he wrote, " I get up in the morning after being called 
 several times — "tis generally about ten o'clock. Then I take a gulp 
 of gin, as I have got some made me a present, then I gang me 
 down to breakfast with a young gentleman, some nobleman's 
 brother, but I forget the name. I was to find my own breakfast, 
 or to go and breakfast with Mrs. Hill, but as he invites me, it is 
 more convenient to have it in his house. At four o'clock dinner is 
 sent to me, after that comes my hairdresser ; then dress and go 
 and take a little ride upon the sands if 'tis a fine day, if not fine, 
 why then I only ride up the town, down Churchfield, through Cecil 
 Square, and into the stable again ; then I drink tea with my 
 companion, and sup at Mrs. Hill's, though these two nights I have 
 
 12 
 
A Bios;raphical Sketch 
 
 not been out-of-doors by reason of it being so very stormy ; there 
 was a violent storm of wind this morning, and the sea was covered 
 with breakers. There is plenty of diversion here for the polite 
 world, such as dancing, coffee-houses, bath-houses, play-houses." 
 
 It was characteristic of Morland that he should " forget the 
 name " of the man with whom he had breakfast every morning. 
 This, however, was Mr. Sherborne, the brother of Lord Digby. He 
 was the friend of Mrs. Hill, and was much attracted by the 
 personality of the young artist. Morland had brought his violin to 
 Margate, and as Sherborne played the piano with some skill, the 
 two friends used to spend many agreeable hours together practising 
 duets. George at this time was a handsome fellow, with a bold 
 merry face, high forehead, sparkling large eyes, and a well-knit 
 figure. Rowlandson's portrait of him at a later period, when 
 dissipation had begun to spoil his good looks, still shows an 
 attractive, jovial, and sporting-looking fellow. With his violin he 
 was a welcome guest in every inn-parlour within a morning's ride 
 of Margate, and after some hours of painting it was his delight to 
 play wild and wanton music to a little crowd of boon companions, 
 who were pleased to give him their applause and drink gin-flip at 
 his expense. It is a wonder that he accomplished any work, for 
 a cock-fight, a horse-race, or a boxing-match was an attraction he 
 could never resist, and some of his adventures on these occasions 
 read like pages from " Roderick Random." His description of his 
 performance as a gentleman jockey is, indeed, as good a picture as 
 one can get of the rowdiness and roughness of sporting life in the 
 eighteenth century. 
 
 " You must know," he wrote to Dawe, " that I have commenced 
 a new business of jockey to the races. I was sent for to Mount 
 Pleasant by a gentleman of the turf to ride a race for the Silver 
 Cup, as I am thought to be the best horseman here. I went there 
 and was weighed, and was afterwards dressed in a tight striped 
 jacket and jockey's cap, and lifted on the horse, led to the start, 
 placed in the rank and file ; three parts of the people out of four 
 paid great bets that I should win the cup, etc. Then the drums 
 beat, and we started ; it was a four-mile heat, and the first three 
 miles I could not keep the horse behind them, being so spirited an 
 
 13 
 
George Morland 
 
 animal ; by that means he exhausted himself, and I soon had the 
 mortification to see them come galloping past me, hissing and 
 laughing, while I was spurring his guts out." 
 
 It seemed no laughing matter, however, to those who had placed 
 their money on the poor beast, and the rage of the crowd became 
 very threatening. 
 
 "A mob of horsemen," continued Morland in his letter, "then 
 gathered round, telling me I could not ride, which is always the way 
 if you lose the heat ; they began at last to use their whips, and, 
 finding I could not get away, I directly pulled off my jacket and laid 
 hold of the bridle, and offered battle to the man who began first, 
 though he was big enough to eat me ; several gentlemen rode in, 
 and all the mob turned over to me, and I was led away in triumph 
 with shouts." 
 
 On another occasion, when he played the jockey again at 
 Margate, he rode so furiously that when he came to the winning-post 
 the other riders were nearly half a mile behind. Again, this did not 
 please those who had backed other horses, and it is a commentary 
 on the manners of the turf in the eighteenth century to find that 
 the winner of the race was nearly killed by a crowd of sailors, 
 smugglers, and policemen, who set on him with sticks, stones, 
 wagoners' whips, and fisticuffs, and nearly killed him. Finally, " a 
 party of my horsemen, and several gentlemen and their servants, 
 some postboys, hairdressers, bakers, and several other people I 
 knew, armed themselves with sticks, etc., ran in to my assistance, 
 and brought me a horse, though the mob pressed so hard it was 
 long before I could mount." 
 
 When the season was over at Margate, Mrs. Hill, who still 
 " protected" him (though it appears from his letters that he had little 
 love for her, and no gratitude), carried the riotous young artist to 
 France. Upon leaving Margate, his popularity was proved by the 
 many valuable presents and tokens of affection he received from 
 his many acquaintances. 
 
 At Calais, and afterwards at St. Omer, where he stayed with 
 Mrs. Hill, he was handsomely welcomed by French and English 
 families of distinction, who seemed to have already heard of his 
 genius. Commissions for portraits were pressed upon him " by many 
 
 14 
 
IHE VISIT RETURNED IN THE COUNTRY. PAINIED BY G. MORLAND. 
 Engraved by W. Nutter. 
 
A Biographical Sketch 
 
 gentlemenandmarquises,"sothat hehadhis hands full. In his letters 
 to Dawe he gives some amusing anecdotes of his experiences. At 
 Calais, with his usual genius for tumbling into scrapes, he tumbled 
 over the string of a kite which some French soldiers were flying, 
 and was roundly abused "in all sorts of French fashion." He was 
 amazed at the size of the bed, "so very high I had to jump into 
 it " ; at the dirtiness of the French friars, "who never change their 
 clothes till they drop off their backs"; at the Church music, in 
 which he seemed to recognise the English air of " Nancy Dawson " ; 
 and at the French women, who went out of doors in rain or sun 
 without hats. 
 
 His love of fine dress led him to the haberdashers' shops, where 
 he purchased some clothes at a price which astonished him. 
 
 " I bought a fine satin coat yesterday," he writes, " for a quarter 
 price of what it would have cost in London : leather breeches are 
 only half-a-guinea per pair, shoes three shillings, cotton stockings 
 half-a-crown, worsted stockings are dear and very bad. They 
 make them of one piece without any distinction for the foot ; that 
 must be formed by putting the stocking on." 
 
 In spite of his commissions to paint the portraits of " many 
 gentlemen and marquises," Morland did not stay more than a few 
 weeks in France, for Mrs. Hill returned to Margate and he with 
 her. At this time, however, there seems to have been a danger of 
 the lady falling out with her friend. George was at the impres- 
 sionable age when a pretty face was worth more than prudence, 
 and at the risk of mortal offence to " Mrs. H.," as he called her 
 in his letters, he was carrying on a very ardent flirtation with her 
 waiting-maid Jenny. 
 
 This girl had attracted him upon his first arrival at Margate, 
 and he described her as "one of the sweetest creatures that ever 
 was seen by man. She is upwards of six feet in height, and so 
 extremely handsome that I have fell desperately in love, and what 
 is charming, I find it returned ; she has not been long come from 
 Liverpool, and is but seventeen years of age." 
 
 It is likely that Mrs. Hill discovered the affection existing 
 between the two young people, for Jenny suddenly left Margate 
 and went to live with her brother in London. Morland, in a brief 
 
 15 
 
George Morland 
 
 visit he paid to his old companions at the Cheshire Cheese (before 
 whom he jingled a purse of guineas and boasted gaily of his 
 achievement), invited his friend Sherborne to go with him to see 
 " the finest girl in the world." 
 
 Accordingly they took a coach to her house. Morland sent in his 
 name, "and presently," says Dawe, "a tall handsome young 
 woman made her appearance. After exchanging a few words, he 
 asked whether she would go out with him the following day, which 
 was Sunday ; she consented, and he drove off. They met agree- 
 ably to appointment, made a circuit among his friends, and a day or 
 two afterward returned to Margate." Shortly afterwards, how- 
 ever, Morland broke off his relations with Mrs. Hill, and came back 
 to town, having promised to marry his pretty Jenny, but not too 
 eager to fulfil his pledge. One would like to know more about 
 Mrs. Hill, who then passes out of the artist's history. She is but a 
 shadowy figure in Dawe's memoir of Morland, and we are not told 
 anything about her age or her looks or her temperament, or the 
 nature of her affections towards her protege. She is called " a 
 woman of the town,'' but she seems to have lived a quiet and 
 outwardly respectable life, and Morland tells his friend in one of his 
 letters that he was tired of the company of " her old maids." 
 Between the artist and his patroness there does not seem to have 
 been any of that tenderness and sentiment which give a glamour 
 to the relations between Rousseau and his dear friend Madame 
 de Warens. Indeed we must come to the conclusion that 
 Morland was an ungrateful young dog, and as soon as he had made 
 use of Mrs. Hill's good nature in bringing him into touch with 
 patrons of art, he coolly separated from her, preferring his 
 independence. 
 
 The maid did not enjoy more fidelity than the mistress. 
 Morland's devotion to " the sweetest creature on earth " suddenly 
 evaporated when the promise of marriage faced him with the 
 prospect of a life-long partnership. He avoided the results of a 
 youthful passion by a stratagem more ingenious than creditable. 
 One of his friends called on Jenny's brother and painted Morland's 
 character in the blackest colours, expressing the conviction that 
 the girl's life would be ruined if she married such an unstable and 
 
 16 
 
A Biographical Sketch 
 
 dissolute fellow. The brother was gravely alarmed, and paying a 
 visit to Morland, upraided him bitterly and broke off the match, 
 little guessing that the artist rejoiced in his abuse and was pro- 
 foundly relieved at the conclusion of the scene. 
 
 After another foolish flirtation with a certain young servant- 
 maid, which did not, however, lead to any serious consequences, 
 George Morland then lived in the same house for a time with 
 William Ward, the engraver, and in Anne Ward, his friend's 
 sister, he met the woman who was to be the faithful companion of 
 his life. William Ward at the same time fell in love with iVlorland's 
 sister Maria. There were two weddings within a month of each 
 other, and the two young couples set up housekeeping together in 
 High Street, Marylebone. 
 
 At first it seemed an idyllic arrangement, and we can imagine 
 the merry scenes and mutual affection which made the life of the 
 young married people, for a few months at least, a dream of roses 
 and delight. George's high spirits, and the charming grace and 
 beauty of his young wife ; William Ward's artistic talent, which 
 gave him common interests with his brother-in-law, and the sisterly 
 affection of Maria, would seem to have promised the most perfect 
 harmony and felicity in the little household. But it has been 
 proved — alas, how many times ! — that close relatives may love each 
 other best at a moderate distance, and that for young married 
 people especially it is a fatal mistake to live in the same house with 
 their kith and kin. After the first month or so the strain of the 
 matrimonial yoke begins to be felt. The bachelor begins to 
 feel the loss of his liberty ; the young wife begins to find out her 
 husband's failings ; and in order that they may get over this trying 
 period of probation the situation must not be complicated by the 
 intrusion of other parties, whose relationship allows them the 
 licence of criticism and interference. We do not know the details 
 of the domestic storms which began to rage in the household of the 
 Wards and Morlands, but with such a passionate and unbridled 
 temperament as that of George Morland we can imagine their 
 violence. There seems to have been jealousy between the two 
 young wives, and fretful suspicion between the husbands. The 
 crisis came when the two young men went out into the sandpit 
 
 17 
 
George Morland 
 
 behind their house and took " pot-shots " at each other with pistols 
 and slugs. Fortunately they seem to have been delightfully bad 
 marksmen, and no more serious consequences ensued than a break- 
 up of the household, and the necessary separation of the two 
 couples. 
 
 George and Mrs. Morland set up a new home at Camden Town, 
 and the young artist now devoted himself seriously to his work. 
 Indeed, to do him justice, Morland had never lacked industry, though 
 being of the artistic temperament, to which many things are 
 allowed, it was of a spasmodic character, and alternated with brief 
 periods of idle amusements. Since leaving Margate he had painted 
 his charming pictures of the Idle and Industrious Mechanic, the 
 Idle Laundress, and the Industrious Cottager, as well as his 
 famous and delightful " Letitia " series. These last represent the 
 progress of a young girl from a state of country innocence through 
 the various stages of depravity, until she returns broken-hearted 
 and penitent to her parents. There is no doubt that his wife was 
 the model for these as for many other of his pictures, and they 
 prove her to have been of unusual beauty with the additional charm 
 of a sweet expression. With soft brown eyes, clear-cut and 
 delicately-moulded features, a full and rounded chin, and a graceful 
 figure, she was worthy of Morland's genius by which she has 
 been immortalised. In studying the life of Morland one feels a 
 great respect and a deep pity for this elegant and charming woman, 
 who was faithful to her husband through all the years of his 
 wildness and his heedless extravagance, of his dissolute habits, his 
 debts and endless difficulties, and his moral degeneration. Many a 
 night her pillow must have been wet with weeping when George 
 was away from home on one of his mad escapades, or lying by her 
 side sleeping off the results of a heavy drinking bout. And yet, to 
 be as just as we can to Morland, it must be said that in spite of 
 all his weaknesses and folly he was not ungrateful for the constant 
 love of a good woman, and all that was best in him was his 
 devotion to his wife. 
 
 It was at Camden Road that he began to paint the pictures 
 which first made him famous. These were his charming illustrations 
 of child-Hfe and domesticity, beginning with his well-known picture 
 
 18 
 
A Biographical Sketch 
 
 of " Blind Man's Buff." The sketch for this was seen by J. R. 
 Smith, the printseller, who offered him what was, at that time, the 
 good price of twelve guineas for the completed picture. Morland 
 was hugely delighted with his stroke of good luck, and, in a 
 boisterous mood, vowed that he would drink a glass of gin for each 
 of the guineas he had earned. As soon, therefore, as he had 
 finished his work, with extraordinary rapidity he threw down his 
 brushes and palette, and set off with a crony to the nearest inn, 
 where he drank his twelve glasses with great gusto, returning in an 
 uproarious condition. His brother-in-law, William Ward, with 
 whom he was now on friendly terms again, engraved the picture, 
 and it immediately achieved a wide popularity. 
 
 Morland followed up this success by other pictures of a similar 
 character, such as " Children playing at Soldiers," " Children 
 Knitting," " Children Birdsnesting," "The Angry Farmer," " Boys 
 Bathing," " Boys Robbing the Orchard," " Gathering Butter- 
 fllowers," " The Kite Entangled," "Juvenile Navigators," " Gath- 
 ering Blackberries," " Selling Guinea Pigs," " Dancing Dogs," and 
 "The Snowball." All these were engraved by William Ward, 
 and sold by J. R. Smith as quickly as they were finished. 
 
 They appealed straight to the heart of the English public, for no 
 painter had hitherto shown such a sympathetic understanding of 
 child-life, nor devoted his genius to the beauty and charm of rustic 
 youth. Even now they have lost none of their appeal to one's 
 love of youthfulness, for their simplicity, their naturalness, their 
 merriment, and their exquisite delicacy of treatment, put them in 
 a rank immeasurably higher than the falsely sentimental and 
 crudely painted child-subjects which now fill fond mothers with 
 ecstasy, and lovers of art with despair. 
 
 Among the most charming of Morland's pictures are his " Visit 
 to a Boarding School," and "Visit to a Child at Nurse." In the first 
 picture an elegant and beautiful mother, dressed in the height of 
 eighteenth century fashion, in a satin gown, a " Siddons " hat with 
 an immense black feather, and powdered hair, in her Marie Antoin- 
 ette dress, is waiting to see her children. The schoolmistress, a 
 very prim "old maid," in a white mop-cap, is evidently recounting 
 some of the naughtiness of her charges, who are being led in by a 
 
 19 
 
George Morland 
 
 simple white-robed damsel, whom we may imagine as a younger 
 mistress. The hesitation and timidity of a little brunette and a 
 small curly-headed youngster who are evidently much in awe of 
 such a formal visit on the part of their grandmamma, are accord- 
 ingly expressed, and the two little girls who are peeping behind the 
 door add to the entertainment of a delightful scene. 
 
 In the other picture mentioned above, "The Visit to a Child at 
 Nurse," we have another lady of fashion playing the lady bountiful 
 in a country cottage, where a young mother sits with a babe at her 
 breast, while another child lies fast asleep on a bed in the corner ; 
 and the details of the cottage are painted with the accuracy of a 
 man who knew the rustic life of England in the eighteenth century 
 with an intimate familiarity. Morland, indeed, was always a realist 
 in the best sense of the word, and, in spite of his unstable character 
 and wild, dissolute ways, he set a splendid example to his brother 
 artists by the conscientiousness of his work. In order to study the 
 expressions and natural poses of children, he invited all the little 
 ones of the neighbourhood to his studio at Camden Town, and he 
 made innumerable sketches of them as they played merrily around 
 his easel. It is said, and truly said, that no man can be really bad 
 who loves animals and little children, and certainly much may be 
 pardoned George Morland for his tenderness towards both of them. 
 What Mrs. Morland had to say on the matter we know not, but the 
 artist's house was a liberty-hall, not only to small boys and girls, 
 but to birds and beasts of every domestic description. Donkeys, 
 pigs and poultry, jackdaws in wicker cages, guinea-pigs and rabbits, 
 would keep him company as he painted, and many a time, when he 
 was engaged on a rural picture, his floor would be littered with 
 straw as if it were a barn. He never painted without models, and 
 if he wanted to get the tone of a red cloak, or the face of some 
 quaint rustic character, he would station a friend at the window to 
 look out for a passer-by who would suit the requirement, ready to 
 pounce out and invite the wayfarer in. On such occasions, we 
 are told, he gave liberal presents to those who had been useful to 
 him. 
 
 Morland, no doubt, seemed mad to many of the elegant people 
 with whom he sometimes associated, and who could not understand 
 
 'iO 
 
•J 
 
 O " 
 
 Hi ic 
 
 'J -S 
 
 
 i-r" ,*^ 
 
A Biographical Sketch 
 
 the familiarity with which he treated the " low, vulgar characters" 
 with whom he was hail-fellow-well-met. But, as he had set out to 
 paint rural comedies and scenes of English peasant and sporting 
 life, he naturally required models of that kind — unlike his father, 
 who, with an artistic insincerity, painted fashionable ladies as dairy- 
 maids and laundresses. There is always a suggestion of contempt 
 and almost of indignation in the contemporary accounts of Morland's 
 life at the idea of an English gentleman being mixed up with " the 
 vulgar herd," but the truth is that this feeling of caste was very 
 strong in the eighteenth century, and his biographers failed to 
 understand the necessities of his art and the democratic nature of 
 his temperament. It is with evident amazement that Dawe tells 
 the story of how he fell in with a sergeant, drummer, and private 
 soldier, who were on their way to arrest a deserter, and entertained 
 them for a night at his house with as much drink as they could 
 absorb. But it was not merely for the purposes of a carouse that 
 Morland behaved in this way. He put a thousand questions to the 
 soldiers and made a number of sketches, which resulted afterwards 
 in his fine picture of "The Deserter." 
 
 If his private reputation suffered, his art gained also by his 
 familiarity with the drivers of the Hampstead and Highgate 
 coaches, with their ostlers and stable-boys, and with the wagoners, 
 horse-dealers, jockeys, prize-fighters, and yokels who took 
 refreshment and enjoyed the conviviality of the taprooms at the 
 inns within a ten mile radius of his house at Camden Town. Even 
 if his pencil was not busy, his vivid brain was recording a thousand 
 impressions which afterwards were used in such pictures as "The 
 Interior of an Ale-house," " The Ale-house Politicians," and " The 
 Amorous Ploughman." 
 
 With his immense fund of high spirits, his rollicking humour, 
 and his lavish generosity, Morland was the most popular 
 character on the coaching roads, and could have ridden on any 
 stage-coach in the kingdom with the prerogative of a man who had 
 " the freedom of the whip." As he spent his money faster than he 
 earned it, and was always ready to give a guinea to any poor 
 devil who tramped the highway, or a free meal and drink to any 
 rogue or vagabond with an empty stomach, he was naturally 
 
 21 
 
George MorUnd 
 
 surrounded by a crowd of spongers and " good fellows " who 
 had a royal time as long as his funds held out. At the " Britannia," 
 a hostelry in the neighbourhood of his house, he would take the 
 chair of an evening after a hard day's work, not waiting to change 
 his clothes, but dressed in his old painting coat with buckskin 
 breeches and riding boots, and until the early hours of the 
 morning a gathering of painters, engravers, apprentices, and young 
 bloods would shout the chorus of his songs, drink hilariously at 
 his expense, and acclaim him with real enthusiasm as the prince of 
 good fellows and the very king of sportsmen. 
 
 George himself was the ringleader in their maddest frolics, 
 and when the meetings had broken up, he and his companions 
 would terrify the peaceful citizens of Camden Town by such pranks 
 as would have done credit to the bloods of the Hell-Fire Club. On 
 one such night Morland overtook a " patrol," or night-watchman, 
 and fired off a pistol close to his ear to give him a scare, running 
 off like a schoolboy down the street. The furious watchman gave 
 chase with fixed bayonet, and finding that he was being outstripped, 
 threatened to fire at the culprit. Morland thought he had carried 
 his joke far enough, and not wishing to end his career, stopped, 
 and then with the greatest glee disclosed his name to the guardian 
 of the peace. This, with the present which no doubt followed, 
 seems to have pacified our friend Dogberry, who knew the reputation 
 of the amiable Mr. Morland and his peculiar sense of humour. 
 
 The most amazing episode in the career of this erratic genius 
 was when he became "head borough," or police-officer, of his 
 division. The good fun of being dressed in a little brief authority 
 and, outlaw as he was himself, of representing the dread authority 
 of the law, seems to have pleased his whimsical imagination. It 
 was certainly, to use an anachronism, a Gilbertan farce. Morland 
 soon tired of his constable's uniform and of the duties attached to 
 it, and got into fearful scrapes in consequence. 
 
 " When busily engaged in finishing a picture," writes Dawe, his 
 friend and biographer, "and in great need of the money, or just 
 going on some favourite excursion with a jovial party, a precept 
 would arrive from the high constable ordering him to some distant 
 place on disagreeable business that would last the whole day ; thus 
 
 22 
 
A Biographical Sketch 
 
 his plans, whether for pleasure or profit, were often destroyed. If 
 he had to serve a summons for a jury, he was ever behindhand in 
 executing it, and seldom accomplished it till he had exhausted the 
 patience of the coroner, who did not fail to reprimand him severely. 
 He was not only embarrassed in the discharge of his duties as 
 ' head borough,' but his companions, the hired constables, imposed 
 on his inexperience by feigning that there were disagreeable 
 commisions to be executed, to get rid of which he would treat and 
 bribe them in various ways. It is not extraordinary that under 
 such circumstances he should have been thoroughly tired of his 
 office before the time of its expiration." 
 
 While living at Camden Town, Morland introduced into his 
 household two men who had a considerable influence upon his life, 
 and to some extent, upon his career. These were Irwin and 
 Brooks. The first seems to have been a young and gentlemanly 
 fellow who had a more or less disinterested affection for Morland, 
 and in return for his hospitality, was useful to him as an agent for 
 the sale of his pictures to the dealers. It is probable that he some- 
 times made a good thing out of some of these sales, beginning a 
 system which was afterwards disastrous to the painter, who was 
 surrounded by scheming fellows ready to purchase his latest work 
 at a cheap rate for the ready-money which Morland could never 
 resist, and shrewd enough to sell the paintings to patrons and 
 dealers at a considerable profit to themselves. Be this as it may, 
 with regard to Irwin, he certainly acted as a kind of business 
 manager to the eccentric genius, and joined also to the fullest 
 extent in his dissipations and adventures. In their cups and out of 
 them the two men quarrelled, to shake hands again when their 
 temper cooled, but at last something caused real strife between 
 them, and Irwin left his former friend's house never to return. He 
 died not long after the separation, but whether his death was due 
 to the excesses learnt in the company of Morland is somewhat 
 doubtful. 
 
 The second man who came into the artist's household, this time 
 to stay as a faithful friend and servant, was a fellow of low degree, 
 called Brooks, who had been a shoemaker by trade, but had ail the 
 qualities which go to the making of a valet or a confidential 
 
 23 
 
George Morland 
 
 servant who can turn his hand at any servile job, and suffer 
 all the temper, abuse, and contempt of a master vi^ith dog-like 
 
 fidelity. 
 
 From the time of his coming to Camden Town, Brooks was an 
 inseparable companion of our artist. He drank with him, pandered 
 to his vices and laughed at his jokes in good fortune; he cooked his 
 kippers and cleaned his boots, and kept his creditors from the door 
 in bad fortune. He followed his patron into hiding and into prison, 
 and in fact was an indispensable servant to the man, who, in many 
 respects, was as helpless and as dependent upon such a slave and 
 drudge as a spoilt child. Morland's relations with him remind one 
 uncommonly of the companionship between Roderick Random and 
 Strap, the journeyman barber. 
 
 Although the artist was by this time a man of considerable 
 reputation in his profession, and sold his pictures as fast as he 
 painted them, he had already entered into the financial quagmire 
 which was eventually to overwhelm him. Surrounded, as we have 
 seen, by rogues who became art-dealers because he played into 
 their hands, so that he seldom received the full or proper price for 
 his work, he also threw his money away in the most wanton and 
 riotous manner, and was further impoverished by a reckless 
 generosity to those who sponged upon him. He fell into debt with 
 all his tradesmen, and borrowed money from chance acquaintances, 
 which he found it difficult or impossible to repay when his bills 
 fell due. His success and also his splendid good nature kept these 
 creditors quiet for some time, and there is a good story told of how 
 he got on the soft side of a worthy tallow-chandler, who had been 
 fretful at Morland's long delay in redeeming a loan. He was 
 invited to a friendly game of skittles, for which he had a passion, 
 and when he was winning, and cheerful, his attention was directed 
 to the lugubrious face of the artist. Upon enquiring the cause he 
 learnt that Morland was dejected because he could see no way of 
 paying back the borrowed money. The tallow-chandler's heart 
 was touched, and he straightway cancelled the debt. But, alas ! 
 all men were not tallow-chandlers ; and bakers, butchers, and others 
 more brutal, now called for a day of reckoning ! Morland did not 
 wait for it. With the aid of Brooks he smuggled out his furniture, 
 
 24 
 
A BiographicaJ Sketch 
 
 and did a " flitting " from his house, relieved beyond measure, as he 
 confessed, "to give the slip to the people of Camden Town." 
 
 His aff^airs were put into the hands of a solicitor named Wedd, 
 who became one of his best friends, and devoted himself now and 
 later to the task of extricating Morland from his pecuniary 
 embarrassments. On the advice of this man the artist sought 
 sanctuary from his creditors by taking lodgings "within the rules," 
 that is to say, in the neighbourhood of the Courts, with a letter of 
 license by which he undertook to pay off his debts in instalments. 
 They amounted to about £200, not much of a sum compared to the 
 heavy debts which he afterwards incurred, and at the end of fifteen 
 months he had paid them off, in an honourable way, by hard work. 
 
 He then moved to Leicester Street, Leicester Square, where he 
 obtained the patronage of some gentlemen anxious to secure his 
 pictures. One of these was an officer named Colonel Stuart, for 
 whom he painted the picture of " Gypsies kindling a fire," the first 
 of a series in which he adopted a new style of subject. George 
 Dawe, in his biography of Morland, relates the incidents connected 
 with the picture. 
 
 " Colonel Stuart called one morning with a friend to see the 
 progress of his picture, and asked Morland, who was at work upon 
 it, when it would be finished. He replied that it would be ready by 
 four o'clock. The Colonel, seeing how much it wanted of being 
 completed, expressed his doubts, but Morland repeated his asser- 
 tion. After looking over him for some time. Colonel Stuart declared 
 to his companion, in French, his admiration of the work, adding 
 that he did not conceive it possible to finish it in so short a time ; 
 which Morland understood, but made no remark ; the Colonel said 
 he would call at the appointed hour and took his leave. Our artist, 
 having received nothing in advance and being in want of money, 
 was anxious to fulfil his engagement, and, as soon as the gentlemen 
 were gone, began to consider how he could curtail the work. With 
 this view he obliterated several figures which he had sketched, 
 and in their place introduced one in a carter's frock, threw in 
 masses of shade and foHage, which diminished the labour, and by 
 three o'clock his task was completed. He was now only concerned 
 lest his employer should not return, and in the meantime amused 
 
 25 
 
George Morland 
 
 himself by playing at shuttlecock. The colonel, however, arrived 
 between four and five o'clock, and, after expressing his surprise at 
 the expedition with which he had finished the picture, gave him a 
 check on his banker for the amount." 
 
 Morland changed his lodging several times in London between 
 the years 1789 and 1790, but at last decided to get out again into 
 "the country," selecting Paddington, now in the very centre of the 
 hurley-burley of the town, but then a quiet and rural retreat. He 
 was good friends with mine host of the White Lion at Paddington, 
 which, being a drovers' house and a highway to the cattle market, 
 gave admirable opportunities to the artist in the way of subjects 
 for his brush. He rented a house opposite to the picturesque old 
 inn and overlooking the yard, which was crowded day after day by 
 cattle-drivers and their animals. 
 
 At this time Morland took into his household two pupils, named 
 Brown and Hand, who were ambitious of following in his footsteps 
 as painters of rural life. They seem to have been an ill-matched 
 pair, and Morland's biographers improve the occasion by holding up 
 the former as a model of respectability and virtue, and the latter as 
 a dissolute and good-for-nothing fellow who entered with too much 
 zeal into the amusements of his master. It is true that David 
 Brown seems to have given up a good business as a house and 
 sign-painter in order to follow Morland, but apart from this first 
 infatuation, he was evidently a canny fellow with a very shrewd eye 
 for the main chance. He took advantage of Morland's eagerness to 
 get hold of ready-money by making him loans, or buying up pictures 
 when the paint was still wet on them, and then disposing of them 
 for considerable sums. Thus "The Farmer's Stable," which he 
 bought from Morland for forty guineas, was sold after its exhibition 
 for upwards of one hundred, and "The Strawyard," a companion 
 picture, for a hundred and twenty. Eventually Morland tired 
 of Mr. David Brown, who, having learned to paint respectable 
 copies of his master's work, left him and set up in the country as a 
 drawing-master. 
 
 Morland might now have been a wealthy man had he possessed 
 even an elementary idea of business and thrift. At times his 
 earnings amounted to a hundred pounds a week, for he painted 
 
 26 
 
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A Biographical Sl<etch 
 
 with amazing rapidity, and, in spite of his wild habits, his industry 
 was remarkable. But he used his pictures as another man would 
 draw cheques, and overdrew his account. When a tradesmen 
 pressed for a settlement of his bill, Morland would hand over a 
 newly-finished painting, which the man could immediately dispose 
 of with a considerable margin of profit for himself. Or if he 
 wanted to obtain credit from his wine-merchant or horse-dealer, he 
 would pledge himself to paint so many pictures within a certain 
 time. It was an amazing situation, and the tradesmen of Padding- 
 ton became so many art-dealers with a personal and pressing 
 interest in Morland's career. At his house opposite the White 
 Hart, and afterwards at Winchester Row, Paddington, whither 
 he removed, his studio became the resort of touts, money-lenders, 
 shopkeepers, and small tradesmen of every description ; besides 
 loafers and hangers-on such as prize-fighters, jockeys, horse- 
 dealers, farmers, drovers, ostlers, and tramps who came to see 
 Morland at work on pictures in which they held shares or which 
 they demanded as " payment on account." 
 
 As Morland's studio was a sort of Tom Tiddler's Ground, in 
 which all these people had pegged out a claim, and in which they 
 were all rivals, it is easy to imagine the jealousies and enmities 
 which existed between them. Morland himself seems to have seen 
 the humour of the situation, and with his whimsical twist of mind 
 to have derived much amusement by playing off his creditors against 
 each other. 
 
 At Paddington he lived " like a lord,'' though like a very dis- 
 reputable and dissolute lord. He kept " the highest style," dressed 
 like one of the dandies, employed two grooms and a footman in 
 livery for his personal attendance, gave open hospitality and the 
 best of wines to his crowd of " friends," and put good horses into 
 his stables. Not only did he indulge in what after all were but 
 reasonable expenses for a man of his position and income, but, like 
 some feudal baron, he clothed as well as fed his " retainers," giving 
 away his brand-new suits to any shabby fellow who had a laugh for 
 his jests, and scattering his money with prodigal generosity upon 
 any " poor devil" who begged a loan. His establishment at this 
 time reminds one of that of the great Alexandre Dumas, who had 
 
 27 
 
George Morland 
 
 a similar joy in playing the lord bountiful to a crowd of ne'r-do-wells 
 and hangers-on. 
 
 To modern readers who have not studied the social side 
 of the eighteenth century, the fact that Morland attended 
 cock-fights, prize-fights, bull-baiting exhibitions, and wrestling- 
 matches, may seem a proof of his inherent vulgarity, but it must 
 not be forgotten that noble young bloods of the time would not be 
 above taking off their coats in the public highway or in the ring and 
 having a bout with a brawny butcher or any expert in the fine art 
 of pugilism. To have stood up to the " Game Chicken," or to the 
 " Bantam of Bermondsey," was an honour held dear by many a 
 young gentleman whose forefathers had fought at Agincourt and 
 whose family escutcheon showed many quarterings. 
 
 Morland became such an enthusiastic patron of pugilism that he 
 hired a room in the neighbourhood which he kept as a school for 
 sparring, providing generous entertainment and giving prizes to 
 well-known boxers and their pupils who frequented this academy 
 of sport. The place, however, became so disorderly, and so much 
 damage was done to the room, that the landlord was soon glad to 
 get rid of such dangerous and damaging tenants. 
 
 Morland, in spite of his enthusiasm, does not seem to have been 
 much of a hand with the gloves. A story is told of a pugilist named 
 Ward who, having obtained Morland's consent for him to borrow a 
 horse out of the stable, took the best animal there, and failed to 
 return it. When Morland missed it, and questioned Ward about it, 
 the fellow impudently confessed that he had sold the horse. Morland, 
 whose temper was hot enough at times, would have liked to pay 
 himself back by hard knocks at Ward's rascally head, but the 
 pugilist was the better man in a stand-up fight, and the artist, 
 recognising this, allowed the debt to go unpaid and un- 
 punished. 
 
 On another occasion, when he was at the rooms of the famous 
 prize-fighter Bob Parker, with whom he was on close terms of 
 friendship, the Duke of Hamilton, who was also a patron of the 
 sport, looked in, and " graciously " invited the artist to have a bout 
 with him. But Morland was either too much abashed at the 
 honour of unching a Duke's head, or too incompetent to do it, for 
 
 as 
 
A Biographical Sketch 
 
 he was quickly knocked out of time, and obtained nothing but the 
 contempt of his noble antagonist. 
 
 This peer seems to have had a haughty and insolent manner 
 with those he considered his social inferiors, in spite of his con- 
 descension in associating with sporting men. After the episode 
 first mentioned, " His Grace ordered a coach, and after enquiring 
 of Morland where he was going, desired him to get into it, with 
 Parker, and said he would set him down. The noble peer then 
 mounted the box, and the coachman got behind. When they 
 arrived near Morland's mansion, the Duke stopped, and asked 
 which was the house. On being told that it was three doors further 
 off, he abruptly bade the painter get out, and in a manner which 
 did not a little hurt his pride ; for he often observed, when speaking 
 of this incident, that he was never so chagrined at any insult he 
 ever received." 
 
 Morland had indeed an incurable dislike for the company of 
 aristocrats and men of fashion. This he carried so far that he 
 would refuse commissions from would-be patrons, preferring to sell 
 his works through the dealers, although he lost heavily by doing so. 
 But he always liked to please his own tastes and to paint his 
 pictures as his own genius dictated, whereas he explained that, if 
 he painted anything for a gentleman connoisseur, he was sure to 
 have it sent back with instructions to alter the sky or the back- 
 ground, or some detail of composition which, if carried out, would 
 spoil the whole effect. 
 
 He was a democrat in every fibre, and would not have given 
 half-a-guinea for a " handle to his name." He did, indeed, refuse 
 to apply for a baronetcy, to which, in the opinion of his friends, he 
 was justly entitled. The Morland family claimed to have descended 
 from Sir Samuel Morland, a scientist of considerable renown during 
 the Protectorate of Cromwell and the Restoration. Employed for 
 the time in the diplomatic service, by Thurloe, Cromwell's Secretary 
 of State, and afterwards one of the gentlemen who met Charles II. 
 at Breda in 1660, he was made a Gentleman of the Privy Chamber, 
 and a baronet in return for his services. But it was as a scientist 
 that he became most famous, and he certainly showed a remarkable 
 genius for invention. It was he who first produced a speaking 
 
 29 
 
George Morland 
 
 trumpet, the original now being at Cambridge, and an arithmetical 
 machine, now exhibited at South Kensington. He also raised 
 water to the top of Windsor Castle, and there is some 
 evidence that his theories on the power of steam contained the 
 germ of the future discovery which led to the revolution of the 
 mechanical world. The baronetcy fell into abeyance in 1716, upon 
 the death of Sir Samuel Morland's son, and it was commonly 
 believed that upon the death of Henry Morland, George was the 
 next-of-kin and could have claimed the title with full right. 
 
 George, however, laughed at the idea of it, observing "that 
 plain George Morland would always sell his pictures, and there was 
 more honour in being a fine painter than a titled gentleman ; that 
 he would have borne the disgrace of a title had there been any 
 income to accompany it ; but, as matters stood, he swore he would 
 wear none of the fooleries of his ancestors." Such revolutionary 
 sentiments must have seemed the rankest blasphemy at a time 
 when the French Revolution had shocked our English gentry into 
 strong antagonism to democratic ideals. 
 
 George Morland's reference to his lack of income was made at 
 a time when the jovial and extravagant life at Paddington previously 
 described had come to its inevitable end. Successful as he was, no 
 success could well keep pace with a reckless prodigality which no 
 ordinary industry, nor even the extraordinary industry of such an 
 artist as Morland, could pay for honourably. It must be remembered 
 that pictures did not fetch the large sums of money which are now 
 expected by distinguished artists. That one or two of Morland's 
 paintings should have been sold for a hundred or a hundred and 
 twenty guineas was remarkable and quite exceptional, and with his 
 method of dealing through amateur and professional agents, it is 
 doubtful whether he ever personally received more than half those 
 sums for his best work. Living from hand to mouth, and obtaining 
 credit far in advance of his painting, his debts accumulated heavily, 
 and the time came when his creditors pressed for a settlement. 
 Then all those boon companions and hangers-on, who had been 
 ready enough to drink his wine, to ride his horses, and to wear his 
 clothes, dropped away from him, and Morland had to face the fact 
 that friendship is a commodity that may be bought at a dear price, 
 
 30 
 
llHWAWit^tUMt 
 
 '^ . '.T'3 .1 :K jM il„ ([5 P E M E W T 
 
 J,n/il/ri .srihiicrl //ri/i III r //-n-in/s tindi rn /i/i'iiiixi- ■/'Miirriinii' 
 ■II //•■//? //la/ //,-,,/e //;-r '/tn/./// >/f'i-.J.\ ^c /^r^ne/ ^t c/:r'.ir:/i>,j ly-r//,> li/u/.-r.l. 
 
 I. "M, lull l'iil,li,slu.,i .T;nini7S<ll.v.l.U.Siiiilli K'liio .Si r.-ci .r.n-.iii (::i.-.J,.:, 
 
 »-r../ A/ ./.S>/..V ;,„//(:. 
 
A Biographical Sketch 
 
 and does not often endure round the ruin of a fortune, or on 
 the threshold of a debtor's prison. 
 
 A story is told by his former schoolfellow, George Dawe, which 
 does not redound to the honour of the artist, but which, if true, 
 proves once again that, when a man is pressed for money and on the 
 brink of ruin, his conscience and sense of honour are apt to be 
 dulled at the moment of a great temptation. 
 
 A certain young fool, who had been given a substantial sum of 
 money by his father to bribe his way into a Government position, a 
 practice common enough in those days of patronage, failed in his 
 purpose, probably because some worthy official scorned to receive 
 a bribe — below his usual purchase money ! — and having consoled 
 himself at a wine-shop, proceeded to Morland's house to spend 
 the evening. Morland, learning that his young friend carried a 
 considerable amount of money on his person, naturally desired to 
 possess what he urgently needed at that particular time. He 
 primed the youth with more wine and then begged him for a loan, 
 promising that in return for such accommodation he would hand 
 over the picture he was then painting, which was much admired by 
 the wine-flushed young gentleman. The scheme succeeded, and 
 the youth went home with empty pockets to his father, whose 
 wrath was loud and violent. The worthy citizen sent his son back 
 with the I.O.U. which Morland had solemnly made out, demanding 
 the instant return of the money. But, alas, the money no longer 
 existed as far as Morland was concerned, for he had immediately 
 paid off some of his most pressing bills and indulged riotously with 
 what was left. This affair might have ended very seriously for our 
 friend, but with his usual promises of repaying the loan in a short 
 time, he staved off the danger. But he was now in the midst of a 
 quagmire of debt amounting to more than £4,000, and at last he 
 considered it prudent to fly from his big house in Paddington to a 
 farmhouse at Enderby, in Leicestershire, where he lived quietly 
 for a time with his faithful wife. 
 
 But Mr. Wedd, his solicitor in London, his brother-in-law William 
 Ward, and a few other real friends, went to work to extricate 
 Morland from his difficulties, and to save him from the danger of a 
 debtor's prison. A meeting of his principal creditors was called 
 
 31 
 
George Morland 
 
 in 1791, and upon the guarantee of the solicitor, or attorney as 
 he was called in those days, they agreed to accept payment by 
 instalments spread over a certain period. Morland, on his side, 
 promised everything that was good — economy, temperance, and 
 other virtues, which may have been innate in him, but had certainly 
 never been cultivated by him before. With every good hope, 
 therefore, that he would turn over a new leaf and make the most of 
 his fine genius, his friends rented a house for him in Charlotte 
 Street, Fitzroy Square, upon receiving a pledge that he would 
 endeavour to pay off his debts at the rate of £120 per month. 
 
 For a time Morland worked assidiously, and according to Dawe 
 earned a very handsome income. About this time, says his friend, 
 he painted for his friend. Colonel Stuart, " The Benevolent 
 Sportsman," a picture which had been ordered for three years as a 
 companion to that of " The Gypsies " before mentioned, and so 
 great was his readiness with the brush, that he completed this in 
 about a week, and received for it seventy guineas, his prices having 
 been nearly doubled since the production of his first picture. 
 
 For Mr Wedd [his solicitor] he painted in one day two small 
 pictures, "Watering the Farmer's Horse," and " Rubbing down 
 the Post Horse," for which he was paid fifteen guineas, and he has 
 been frequently known to earn a hundred guineas in a week. 
 
 On the other hand Morland seems by this time to have 
 earned the distrust, the very natural distrust, of his former 
 creditors and patrons, who were not so ready now to pay him money 
 on account for pictures which he had in hand or in contemplation 
 Consequently, in order to get ready-money, which was so necessary 
 for his indulgence of the extravagant habits which he could not 
 break off, he fell to the expediency of painting a large number of 
 small pictures, for which he still found no difficulty in getting 
 purchasers. For this reason his credit undoubtedly suffered, and at 
 the same time his reputation. From this period began the mental 
 and moral deterioration which eventually resulted in utter ruin. 
 Previously he had been a gay spark, carried away to mad pranks, 
 reckless prodigality, and occasional bouts of intemperance by an 
 excess of animal spirits and love of good fellowship. But now his 
 intemperance seems to have become a confirmed habit — he had 
 
 32 
 
y Before Dinner. 
 
 A Biographical Sketch. 
 
 lost that youthfulness which is the only excuse for folly. His 
 capacity for drink seems to have been Gargantuan, if we may believe 
 a schedule in which he set down the items of one day's carouse. 
 This interesting document is as follows : — 
 
 G. MORLANT'S BUB FOR ONE DAY AT PADDINGTON 
 
 (Having notiiing to do). 
 
 Holland's Gin \ _ . „ i r ^ 
 
 \ Before Breakfast. 
 
 Rum and Milk ) 
 
 Coffee Breakfast, 
 
 Hollands \ 
 
 Porter 
 
 Shrub 
 
 Ale 
 
 Hollands and Water 
 
 Port Wine with Ginger 
 
 Bottled Porter 
 
 Port Wine — At Dinner and after. 
 
 Porter 
 
 Bottled ditto 
 
 Punch 
 
 Porter 
 
 Ale 
 
 Opium and Water 
 
 Port Wine (at Supper). 
 
 Gin and Water 
 
 Shrub 
 
 Rum on going to bed. 
 
 Underneath this amazing inventory is a sketch of a tombstone, 
 with a death's-head and crossbones, with this epitaph : 
 
 " Here lies a Drunken Dog." 
 
 One's admiration for the genius of the man is strained by such 
 a proof of debauchery. Yet if there are any extenuating circum- 
 stances for such bestiality they may be found in the habits of 
 the age, when it was not an unusual thing for gentlemen of 
 high rank and intellectual culture to be carried to bed in their boots, 
 or to be found after an evening's carouse under their dining-room 
 table. 
 
 Morland's period of financial reformation at Charlotte Street 
 was of brief duration, and, putting on one side all his promises and 
 
 33 
 
George Morland 
 
 obligations, he began a fresh career of carelessness, borrowing 
 money from anybody rash enough to lend it, bartering his pictures 
 for sums far beneath their "market value," and going with open 
 eyes into a fresh quagmire of debt ; and he rode gaily enough on 
 the way thereto. 
 
 He rode there in a literal sense, for he always had a passion 
 for horseflesh, and some of his heaviest debts were incurred upon 
 bills with jobmasters and horse-dealers, from whom he borrowed 
 his hacks. He was not always particular about returning them at 
 the proper time, and on one occasion lent a good horse to a friend 
 who rode away and did not return with it. Morland got into 
 trouble about it, but eventually recovered possession of the animal 
 and returned it to its owner. 
 
 Among the extraordinary people with whom Morland was in the 
 habit of associating was a money-lender and dealer named Levi. 
 This man, who was a low and unprincipled fellow, was often in his 
 company, and soon got a hold upon Morland in a way familiar to the 
 Israelites. Having laid his snare with outward show of friendship, 
 the time came when he pounced upon his prey, and he had the 
 artist arrested for debt. By good fortune Morland regained his 
 liberty, owing to the generosity of some friend. With his blood at 
 boiling-point he rushed off to the money-lender's, and challenged him 
 to a fair fight. A crowd of loafers and inhabitants had gathered 
 outside, and Morland, with these spectators to see the glory of his 
 achievement, leant over the counter and struck his enemy a violent 
 blow on the nose, to the enormous pleasure of the crowd. The 
 Jew, raising a great din, protested that he would " take the law of 
 him," but showed no desire to take the law into his own hands. 
 Morland, however, a hero in the eyes of the onlookers, was satisfied 
 with his revenge, and, without doing further damage upon the body 
 of the traitor, departed in a blaze of glory. 
 
 Another of Morland's companions during his residence in 
 Charlotte Street was an ingenious fellow who had a pretty talent 
 as a ventriloquist. With this man Morland had many amusing 
 adventures in the style of Valentine Vox, such as when a fish was 
 made to confess its own rottenness to an astounded fishwife of 
 Billingsgate Market. 
 
 34 
 
::'Ji:.ffit./t'/^ /'/f 0. l/r'>/rtif// 
 
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 l.njulou l'ul>li!,li,-,l .lull-. l.l7«'i.lir.l,K.NuutL Muo Sireet.Cowut (ira-iU-u. 
 
A Biographical Sketch 
 
 Morland's sense of humour delighted in tricks of this kind, and 
 he indulged in such practical jokes as would be pleasing to the 
 intelligence of a fourth-form schoolboy. One day for instance he 
 bought a badly-smelling mackerel, and carrying it off to a public- 
 house in Francis Street, where he often used to dine with convivial 
 friends, he stuffed it under the seats of one of the chairs. Soon 
 after the men had assembled, " an ancient and fish-like smell " 
 became painfully apparent and caused consternation. Morland 
 called up the landlord, and with mock indignation protested that the 
 smell would drive all his friends away. The room was overhauled, 
 but nothing was found for some time afterwards, when the servants 
 who were " spring-cleaning" discovered the cause of the mischief. 
 
 Morland's original creditors were meantime waiting for their 
 money, and after his first few months of regularity he did nothing but 
 create new creditors by extending his debts. His love of indepen- 
 dence, which had been characteristic of him when he left his 
 father's house as a boy, was now intensified into a kind of suspicious 
 dislike of anybody who would keep him to an engagement. Some- 
 times, when one of his patrons would come to watch a painting in 
 progress (some painting perhaps which had been partly paid for 
 some time previously), Morland would deliberately throw down his 
 palette and brushes and set off with Bob Parker, the pugilist, or 
 his old confident Brooks, for a day's pleasure, leaving his patron to 
 gather as much patience as he could in the situation. 
 
 Frequently, too, such excursions were necessary to avoid arrest 
 on the warrant of one of his creditors, whose patience was alto- 
 gether exhausted. From this time onwards, indeed, Morland's life 
 was one of continually dodging, and for years he was like some 
 hunted animal, chased this way and that by the enemies who would 
 devour him, lurking in the holes and corners of the company 
 doubling on his track, and flying from one retreat to another. 
 
 Poor Mrs. Morland must have had a tragic experience, and it is 
 only natural that at times her love for her erratic husband should 
 have been severely strained. There were painful domestic quarrels 
 when the wife gave vent to her indignation and grief at the sight of 
 the wanton ruin of their home and happiness by Morland's incurable 
 self-indulgence. Now and again she left him to seek a shelter at 
 
 35 
 
George Morland 
 
 the house of the Wards, her brother and sister-in-law, but the 
 extraordinary fascination of Morland's nature, and his undoubted 
 affection for her, kept alight the flame of love in her heart, which no 
 disloyalties or dissolute behaviour could ever quite extinguish. 
 
 It is indeed remarkable that, almost to the end, the artist had 
 some witchery about him which put a spell upon everybody who came 
 in touch with him. It was the charm of imperturbable good nature, 
 and of a heart that, with all its weaknesses, was simple and sincere. 
 It is related, for instance, how once an irate creditor accompanied the 
 bailiffs to Morland's house in Charlotte Street with the full intention 
 of recovering his debt by the full power of the law. As they 
 approached the house they saw a coach drive away, and, guessing 
 that it contained their man, they gave chase and caught the fugitive. 
 Morland was now in the hands of his enemy, but, by making 
 elaborate promises and by exercising all his arts of persuasion, he 
 actually succeeded in pacifying his creditor and obtaining easy terms 
 and a longer time for the liquidation of the debt. 
 
 His persuasive powers, however, were not always to be relied on 
 as an infallible extinguisher of irate butchers, troublesome horse- 
 dealers, and plaguing wine-merchants ; and George Morland lived 
 in real terror of a prison, whose doors would too readily receive 
 him, but, when once he was safely in, never perhaps open again to 
 release him. 
 
 Frequently, at the rumour of imminent arrest, he would pack 
 up a few traps and set off for some country place, accompanied by 
 his constant attendant. Brooks; sometimes by Hand, his pupil; and 
 often by a man named Burn, who seems to have been one of those 
 leeches who gorged themselves on the blood of a bankrupt prodigal 
 in the name of " friendship." 
 
 During these spells in the country Morland regained some of 
 his old health and spirits, making resolutions to turn over ever so 
 many new leaves, and restricting himself, to some extent at least, 
 in his potations. Among farmyard animals he found sweeter 
 friendship than among all the herds of miscellaneous acquaintances 
 who had drank at his cost and then forsaken him. 
 
 It was his delight, also, to go into the cottages of any village 
 in which he happened to be staying and make friends with the 
 
A Biographical Sketch 
 
 children, playing with them in his alluring old way, like the child that 
 he himself was at the bottom of his heart. Sometimes, as one 
 thinks of him playing at blind-man's-buff, or crawling on all fours 
 with a crowd of youngsters swarming upon him, one is apt to regret 
 that Mrs. Morland did not have children, and to imagine that, if so, 
 Morland would have been a happier and better man. But, on the 
 other hand, the tragedy of his drinking habits might have been more 
 of a curse if he had been given a family. 
 
 Like all men of highly-strung temperament, especially when 
 their will-power is weakened by self-indulgence, Morland sometimes 
 fell from excess of gaiety into blank despair, and at such times he 
 would burst into tears, bemoaning that such a wretch as he had 
 ever been born into the world to bring wretchedness into other 
 people's lives, and to be a curse to himself. At these times of 
 melancholia he sometimes allowed the awful thought of suicide to 
 obscure his brain, and once at least he walked round and round a 
 piece of water with the idea of throwing himself in and putting an 
 end to his ti'ouble on this earth. Fortunately, however, " the still 
 small voice of conscience," or if not that, the thought that life still 
 had some charms for him, saved him from the last temptation of 
 despair. 
 
 While he was inthecountry his pictures were smuggled up to town 
 by his two companions, who sold them easily enough to connoisseurs, 
 who were always ready for a " Morland." Then, when the hue and 
 cry for him had slackened off when his whereabouts could not be 
 discovered, Morland would slink back to Charlotte Street, to live 
 solitary and miserable if his wife still remained away. He generally 
 had no difficulty in making his escape when arrest was again 
 imminent, for he had adopted a device which made it extremely 
 difficult for his creditors to catch him. This was to buy over the 
 "myrmidons of the law," as they are called in melodrama. It is, 
 indeed, a diverting thing, apart from high ethics, to read of our friend 
 Morland calmly sitting in his studio with the bailiffs who had been 
 sent to arrest him, filling them with liquor, and fascinating them out 
 of all remembrance of their duty by his bonhomie and drollery. 
 These men often gave him a timely warning when a warrant was 
 out, or let him shp through their fingers after a convivial evening. 
 
 37 
 
George Morland 
 
 Towards the end of his tenancy in Charlotte Street, however, 
 his constitution had so suffered from dissipation that he lost a good 
 deal of his old joie de vivre, and having become corpulent and losing 
 his nerve, he could no longer enjoy the horse-exercise which had 
 formerly been his greatest pleasure and the means of mitigating 
 the effects of his excesses. Even when his wife was with him, and 
 there were still servants in the house, he took to living in one room 
 and cooking his own food, waited upon only by Brooks or some 
 other personal attendant. One of his most interesting pictures 
 represents the artist in his studio as he lived in this way. Morland 
 sits before his easel, in an old riding coat with top boots, painting 
 a scene of English rural life, with sketches and unfinished canvases 
 tacked to the wall behind him, and leaning against it on the floor. 
 By his side is a three-legged table with the fragments of a meal, 
 and on the floor a wine flask and whisky bottle with an overturned 
 glass. Two dogs are in the room, one of them at Morland's feet, 
 the other watching with interest the progress of some succulent 
 sausages which are being fried by a man of dissolute appearance, 
 who is probably Brooks, the ex-shoemaker. Over the fireplace, on 
 the chimneypiece, there are some charcoal sketches of animals and 
 men's faces, and the floor near by is littered with faggots, a grid- 
 iron, a broken plate and jugs, a stool with a loaf of bread, a bellows, 
 a churchwarden pipe, and other " properties " of the bohemian 
 life. It is a realistic picture, and gives the best possible idea of 
 Morland's character and life. 
 
 Charlotte Street at last became too hot for the artist, and he 
 was compelled to leave it permanently. It is said that Brooks had 
 wished to betray him into the hands of his creditors, but it is 
 difficult to believe this, as the man had been faithful so long, and 
 as far as we know had no motive for infidelity. The probability is 
 that when Morland gave up a permanent place of residence he had 
 to dispense with a manservant, or found it dangerous to be 
 accompanied in his wanderings by a man so familiar to his creditors. 
 Whatever be the facts of his case, however, it is certain that 
 Brooks went out of Morland's life at this time, and left the artist to 
 find companionship with chance acquaintances who were seldom to 
 be trusted. 
 
 38 
 
„,,).'■',/' I J'' 'm 
 
 //•/ ////,•/ l/iiw rroni irr/i'/'/:ion to//uM/.r e/i/frtninmruls 
 ji) r/iir/.- .■■r/./i.r//<//,j ir'/ftiitu/fn'i.iifr\ .'Jj'u/:tni/.lm<^:i-/ei./fij/i7if/ /'(■■//'/■/• 
 
 l.iiii.li.n l'iil)lislii-.l.l;nr 1 IVMDln-.l l{ Siiiilli.Kill'i Sll-crl .(V.vin( (^;i|-.|.-li 
 
A Biosraphical bketch 
 
 After leaving Charlotte Street he went to live first at Chelsea, 
 but this was out of the frying-pan into the fire. He accidentally 
 ran against an old acquaintance to whom he owed as much as 
 three hundred pounds. With characteristic simplicity Morland was 
 persuaded to give the man his address, and actually promised to 
 give him a picture worth five guineas if he would come to see him. 
 The obliging creditor was pleased to do so next day ; went off with 
 the picture, and promptly had him arrested. 
 
 Even now, however, he managed to escape the imprisonment 
 which was his constant dread, for he was quickly bailed out by 
 a friend. The fact is that while he still retained his skill there 
 were generally people ready to pay off his old creditors by 
 bargaining for his next work, and Morland escaped from one set 
 of creditors with an easy conscience by pledging himself to another 
 set. 
 
 His next hiding-place was at Lambeth, where he lodged with a 
 waterman, who kept his secret faithfully, and rowed him across the 
 river each night, so that under cover of darkness the artist could go 
 to his old haunts and enjoy a convivial evening with public-house 
 friends from whom he thought he had nothing to fear. At the end 
 of a month, however, he again thought it prudent to change his 
 abode, and went to East Sheen. Again, however, he fell in with a 
 creditor, and escaped to Queen Anne Street, East, "where," we 
 are told, "his retreat was so well chosen that he remained in perfect 
 safety for nearly three months, although he lived in the midst of 
 several of his creditors who were in search of him, and one of whom 
 had offered ten pounds as a reward for the discovery of the place of 
 his concealment. At the end of that time he went to live with an 
 engraver named Grozier, where he was treated with much con- 
 sideration, until one day his landlord came home to find that 
 Morland had decamped without paying for his lodging. 
 
 It is difficult and not very interesting to follow Morland's 
 movements as he went from place to place. Occasionally he 
 stayed with his father-in-law and his brother-in-law, and he lodged 
 for a time with a Methodist cobbler, who thought him a fine subject 
 for conversion ; with a carver and gilder, who treated him with 
 extreme kindness ; and then at Hackney, where he was rejoined by 
 
 39 
 
George Morland 
 
 his wife, and for a time resumed his extravagant way of bestow- 
 ing lavish hospitahty upon a crowd of new acquaintances. This 
 mode of Hfe, adopted by a stranger who evidently desired to hide 
 his identity, and whose habits of only going out after dusk were 
 mysterious, aroused the suspicions of his neighbours. One of 
 them, who chanced to overhear Morland discussing " copper- 
 plates " and "engraving" with one of his friends at an inn, 
 immediately, with a power of deductive reasoning worthy of a 
 predecessor to Mr. Sherlock Holmes, jumped to the conclusion 
 that Morland was a forger of bank-notes. He gave information to 
 the bank, and a force of police startled the artist almost out of his 
 senses by suddenly raiding his house. Morland naturally took 
 them for bailiffs, and escaping hurriedly out of the back door, made 
 off post-haste to London, leaving his wife to receive the strangers. 
 
 The police would not listen to Mrs. Morland's explanations, but 
 made a systematic search of the house, turning out all the drawers 
 and otherwise ransacking the place. But all they could find was 
 Morland's paints, palettes, brushes, and canvases, his unfinished 
 works and rough sketches, and his usual disorderly collection of 
 bottles and jugs, pipes, and tobacco boxes. 
 
 Wedd, the solicitor, who had always devoted himself to Morland's 
 interests, made the bank pay for the folly of its police officers, 
 threatening to prosecute them for trespass, and demanding com- 
 pensation for the loss of a week's work to Morland. The bankers 
 were willing to recognise their mistake, and sent a handsome letter 
 of apology to the artist with a cheque for twenty guineas. 
 
 After several other changes of address, Morland accepted an 
 invitation from a friend named Lynn to stay at a house in the Isle 
 of Wight. Mrs. Morland with a servant preceded him, and he then 
 followed on with his man, rejoiced at the prospect of getting away 
 from the haunting fears of arrest, and of enjoying a change of scene 
 and life. But, as the leopard cannot change its spots, so Morland 
 could not get away from his bohemian nature. Although living in 
 a friend's house, he did not scruple to entertain an extraordinary 
 crowd of acquaintances, with whom, in his characteristic way, he 
 had quickly made friends. They were mostly fishermen, sailors, 
 and smugglers, who found Morland a man after their own heart, 
 
 40 
 
A Biographical Sketch 
 
 and, in return for the grog with which he liberally provided them, 
 made him a member of the brotherhood of those who " go down to 
 the sea in ships," and obliged him with information respecting the 
 rig of ships in fair weather and foul for the seascapes upon which 
 he now employed his brush. 
 
 From Cowes, Morland went to Newport, where he had an 
 introduction to a friend of Mr. Lynn's. This man, upon the advice 
 of Lynn, began to buy up Morland's sketches, though he knew 
 nothing whatever about art. Indeed, he began to get alarmed at 
 his investments in pictures which, as he confessed with Philistine 
 ignorance, seemed no better than the coloured prints which he could 
 buy in the Newport shops for threepence apiece. The surgeon, 
 however, reassured him, and told him to buy as many sketches as 
 he could, resting certain that he could afterwards sell them for 
 much more than he had given. 
 
 Poor Morland, who had reasonably expected to have some peace 
 and quiet at such a distance from his old haunts of folly, was not to 
 be gratified in this way, and his sins found him out wherever his 
 retreat might be. He received an unexpected visit from his brother, 
 who warned him that one of his creditors, who had discovered 
 his address, was on his way to Newport, bringing the bailiffs to 
 arrest him and carry him back to a debtor's prison. Morland, in a 
 panic, hurriedly left Newport, and, with his brother and the man- 
 servant, went into hiding at Great Yarmouth. 
 
 Here a ludicrous adventure occurred, which afterwards gave 
 Morland the opportunity of hearty laughter, but at the time 
 frightened him seriously. They had not been at Yarmouth for more 
 than a few days when, as they were having breakfast in the house 
 of a famous smuggler named George Coles, a lieutenant with eight 
 soldiers of the Dorset militia entered the room, and, grounding their 
 arms, declared them all prisoners. Morland was thrown into such 
 confusion and alarm that he had the very aspect of a conscience- 
 stricken criminal. 
 
 The fact was that he had been seen making sketches of the 
 harbour and other works, and at a time when the dread of a French 
 invasion made the most heroic militiaman in terror of his own 
 shadow and suspicious of every stranger. The innocent artist was 
 
 41 
 
George Morland 
 
 promptly taken for one of "Old Boney's " spies. In spite of 
 violent protests, Morland was dragged off with his companions along 
 the twelve-mile road to Newport. On a hot day, hooted all the 
 way by crowds who came out to see the traitors, and who, if they 
 were at all characteristic of their time, must have been forcibly 
 kept back from the throats of men who, as they readily believed, 
 had conspired to deliver this " tight little island " into the clutches of 
 the Corsican ogre. Formally examined before a magistrate at 
 Newport, the proof of their innocent purpose was obtained from 
 Mr. Lynn's friend, to whom Morland had carried an introduction, 
 and to whom he had sold many of his sketches. But although 
 acquitted of all crime, Morland and his friends were solemnly 
 warned by this learned justice of the peace " not to do it again," 
 and to make no more sketches of the coast. It is always well to 
 exercise one's authority ! 
 
 It was in November, 1799, that George Morland returned to 
 London, unable to remain longer in exile. He took lodgings in 
 Vauxhall, but, like a criminal who after hiding from justice welcomes 
 arrest which puts an end to his nervous strain, the artist surrendered 
 to his creditors, and went to the King's Bench Prison. The game 
 was up, and having successfully baffled his enemies for years, he 
 acknowledged defeat at last. It was also an acknowledgment of 
 his physical and mental deterioration. He was growing tired. 
 
 As, however, he had not yet lost his skill and could still earn 
 a considerable income, he was allowed the privilege of " the rules," 
 and permitted to live on licence in a furnished lodging in Lambeth 
 Road, St. George's Fields, where he was joined by Mrs. Morland, 
 her maidservant, and his brother, who had now set up as a picture- 
 dealer, and acted as George's agent. His industry was perhaps 
 more remarkable at this period of his life than at any other 
 time. 
 
 " By his brother's books," says Dawe, " it appears that for him 
 alone he painted four hundred and ninety-two during the last eight 
 years of his life, notwithstanding frequent indisposition ; and 
 when it is considered that besides these he executed perhaps three 
 hundred more for other persons, the slightness of the greater part 
 of them will be easily accounted for. In addition to these, he 
 
 42 
 
■■;v^H'■w>^vOTll M^ W ^^ Mj^ W ^jMWtKW«^ft^^'^»^^^^ 
 
 ^!/aUUet;l6y ^<J^f>t/a^t 
 
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 5.TM1E TAFEMrf D(ID®M, 
 
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 7,ojicl(.ii I'\ililislieclJanyi.]789.1)v J.R.Smivh.Kmd Sti-cei_.Cov*eul G:irdeu. 
 
A Biographical Sketch 
 
 probably made upwards of a thousand drawings within that period, 
 as it was customary to produce one almost every evening." 
 
 While he lived within the rules of the King's Bench, however, 
 Morland abandoned himself more and more to debauchery, so that 
 his hand began to lose its cunning, and his physique deteriorated 
 rapidly into a bloated and unhealthy condition. Although he kept 
 strictly enough to the rules, never breaking bounds without per- 
 mission, and returning home within the limit of time laid down by 
 the law, his imprisonment in other ways was nothing but a legal 
 form for keeping his creditors at bay. His house was the resort of 
 other debtors, who came to join in his drunken revelry and enjoy 
 his hilarious company. A queer lot they must have been — broken- 
 down literary men, faded men of fashion, bankrupt peers, unfrocked 
 clergymen, gamblers ruined at the tables, wits whose jests had long 
 lost their flavour, half-pay officers and fire-eating duellists, sporting 
 men who had been broken by backing the wrong horse, ex-pugilists, 
 prodigal sons, pimps and crimps, and every variety of human 
 wreckage. With these men, many of whom, no doubt, were "jolly 
 good fellows," and as jovial company as could be found in the town 
 Morland was a brother and comrade in misfortune. He seems to' 
 have had the genius of seeing the vital spark that smoulders in the 
 most weary hearts, and of bringing out the good humour and 
 geniality of the sourest souls. He had the magic touchstone of 
 sympathy and friendship, and, drunken as he was, the charm of the 
 man's own personality was fascinating to the last. What poor 
 Mrs. Morland felt, when she had to preside over the strange and 
 noisy crew who were her husband's guests, we are not told. Indeed, 
 Morland's wife is but a shadowy figure. His pictures have per- 
 petuated her comeliness and grace, and we know that, though her 
 love was often strained, her fidelity was unshaken ; but the tragedy 
 of the woman's soul, the sadness that must have invaded her heart 
 at the sight of the pitiful wreck of the man who had been of such 
 brilliant promise, are secret things that have not been recorded. 
 
 And so we come to the last chapter of Morland's life — a sad 
 tale of drunken despair and apoplectic tendency. The man must 
 have realised, with a pitiful sense of fear, his own failing powers as 
 an artist at a time when he should have been in the prime of his 
 
 43 
 
George Morland 
 
 life and the fair flower of his achievements. Sometimes it was 
 necessary for him to paint out days of worli done when his hand 
 was shaky after a bout of debauchery, and, as his critical faculty was 
 not diminished, he was often disgusted with the result of his labour. 
 While living within the rules he had his first apoplectic fit, which 
 weakened him considerably and filled him with the greatest alarm, 
 though he was unable to resist the temptation which he well knew 
 was the cause of the attack. 
 
 In 1802 he was liberated from the King's Bench by the Insolvent 
 Act, but did not leave his house in the Lambeth Road until a second 
 fit of apoplexy again threatened him with an early death. After 
 this, however, he changed his habitation, and went for a time to 
 lodge at the Black Bull, at Highgate, kept by an old friend of his. 
 Having quarrelled with this man, however, before long, he retreated 
 to the restaurant now kept by his brother in Dean Street. 
 
 At this time he was separated from his wife, who had been 
 persuaded by her friends to live at Paddington for the benefit of 
 her health. This was not due to any strife with her husband, who 
 conscientiously and regularly provided her with money, although 
 he took no trouble to pay off any of the innumerable debts still 
 outstanding against him. To all accounts, indeed, Mrs. Morland's 
 old affection for him was stronger now than ever, and his frequent 
 illnesses gave her the deepest anxiety. It was probable that 
 Morland himself was unable to stay at Paddington, where he would 
 have been surrounded by creditors ready to pounce upon him for 
 old obligations. 
 
 Morland now lived a miserable, disconsolate life, working some- 
 times in a room at Roll's Buildings at the house of a Marshalsea- 
 court officer named Donalty, sometimes at the Garrick's Head in 
 Bond-street, and sometimes at the house of a Mr. Harris in 
 Gerrard-street. Even his spirit of independence departed from 
 him, and he became the paid servant of his brother, working for a 
 salary of two guineas a day. His drinking habits now affected his 
 brain, so that his nerves were shattered, and his spirits were over- 
 clouded by melancholia and delusions. He began to be afraid of 
 being alone in a room, and like a timid child could never sleep 
 unless the room were lit by candles. Strange fears oppressed him, 
 
 44 
 
A Biographical Sketch 
 
 and at times he would be quite delirious, talking incoherently and 
 raving of dread visions. A sudden knock at the door, the over- 
 turning of a chair, or any other noise, would cause him to tremble 
 violently, and even to fall off his chair. At night he would sometimes 
 wander out in an aimless way, afraid of the dark, yet unable to stay 
 in the house, and once he was found in the street lying on the snow, 
 half-frozen and unconscious. After repeated strokes the unhappy 
 man lost the use of his left hand, so that he could no longer hold 
 his palettes, and now fell into such an utter state of dejection that 
 he shunned all company, or if with other people was moody and 
 silent, drowsing off into a stupid sleep. 
 
 At last he was arrested for a debt not exceeding ten pounds to 
 a certain publican, and carried off to a " sponging " house in Eyre 
 Street Hill, Coldbath Fields. He endeavoured to procure some 
 money by painting, but while sketching out a landscape he fell off 
 his chair in a fit. The end was near. For eight days he suffered 
 from brain fever, delirious all the time, and never once recovering 
 consciousness. Death came to him on the 29th of October, 1804, 
 when he was only 42 years of age. 
 
 His friends endeavoured to keep the news from Mrs. Morland, 
 as she had always had a presentiment that she and her husband 
 would die at the same time. But something told her that George 
 was dead, and the friends who endeavoured to calm her in her 
 hysterical state by contradicting her — a foolish and unwarrantable 
 thing, as it seems to us now — could not persuade her to believe 
 them. When they did confess to the truth, the unhappy woman 
 gave a shriek, and falling into convulsions, which continued for three 
 days, she died on the second of November. She was only thirty- 
 seven years old, and there were only four days between the death 
 of husband and wife, who were buried together in the graveyard of 
 St. James's Chapel. 
 
 Literary moralising has now gone out of fashion, but one can 
 hardly end an account of George Morland's life without reflecting 
 upon the terrible way in which the man of genius, in whose character 
 one may find many delightful and endearing qualities, wilfully 
 wrecked his life and his wife's happiness by a reckless folly and a 
 wanton debauchery. But "the evil that men do lives after them, 
 
 45 
 
George Morland 
 
 the good is oft interred with their bones." So has it been with 
 Morland, and the grossness of his habits has been remembered, 
 whereas the kindness of his heart has been forgotten. In bringing 
 this brief account to a close, let us rather think of the way in which 
 he loved animals and little children, of his broad-hearted generosity 
 to all poor devils in misfortune, of his infinite capacity for friendship 
 and good fellowship, of his extraordinary industry, and of his 
 irresistible charm of manner. His work is a splendid possession in 
 the national heritage of Art, and his pictures of English rural and 
 domestic life in the eighteenth century have immortalised his 
 memory. 
 
 A NOTE UPON MORLAND ENGRAVINGS. 
 
 BY MARTIN HARDIE. Prom The Connoisseur, August, 1904. 
 
 AOREAT painter though Morland was, he owes his real popularity to the 
 engravings which hare so admirably interpreted his work. If you hear 
 anyone speak with admiration of Morland as a painter, and ask point- 
 blank how many of the artist's pictures the speaker knows, you will find almost 
 invariably that his appreciation depends on his knowledge of the engravings by 
 Ward, Smith, and others, with just a vague remembrance of the National Gallery 
 Farmer's Stable to supply a background of real colour. As Sir Joshua Reynolds 
 remarked of McArdell and his fellows, so Morland might well have said of William 
 Ward and John Raphael Smith, "By these I shall be immortalised." 
 
 Even during his lifetime it was by the prints after his pictures that Morland 
 attained to fame. It is hard to say whether he was pestered most by dealers or by 
 bailiffs. Much of his work was executed on the "while you wait" system, and he 
 was constantly beset by dealers, who would hurry off, taking a canvas still wet, to be 
 instantly translated into stipple or mezzotint. The five years, 1788 to 1792, alone saw 
 the appearance of over a hundred engravings after his work, and during his lifetime 
 over two hundred and fifty separate prints were issued. It forms a record that 
 probably Turner alone has surpassed. The grand total now would be difficult to 
 reckon, for the present writer has a list of over eighty engravers who have inter- 
 preted Morland's pictures in mezzotint, stipple, etching, and aquatint; and some of 
 them are responsible for a dozen or two dozen subjects apiece. 
 
 It is interesting to note among these engravers the name of William Blake, who 
 in 1803 engraved The Industrious Cottager and The Idle Laundress. It is interesting 
 also to remember that when the commission was given to Blake by Linnell for the 
 illustrations of the Book of Job, the poverty-stricken poet and mystic was on the 
 point of spending his last years in engraving a set of Morland's " Pig and Poultry 
 Subjects." 
 
 46 
 
Zn-/tf/n !// /ifiiifcnre /htda rr/fr/' nf/r7 /n-r/er/ir'/i frcm /n'f /'atr f/f.v._ 
 
 
A Note upon Morland bngravings 
 
 The delicate refinement of Blake's nature was at the opposite pole to the 
 outspoken coarseness of Morland. Imagine Morland, writing as Blake did, almost 
 at the time when he was working at the pair of engravings mentioned above — 
 " Felpham is a sweet place for study, because it is more spiritual than London 
 Heaven opens here on all sides her golden gates ; her windows are not obstructed by 
 vapours ; voices of celestial inhabitants are more distinctly heard." If only Morland 
 could have seen the country with Blake's eyes, and could have put some of Blake's 
 soul into his work, the world might never have known a greater painter. 
 
 "The subjects of his pictures," wrote Dawe in 1806, " being adapted to common 
 comprehensions, the prints engraved from them had an unparalleled sale not only in 
 this country but abroad, particularly in France and Germany. Of those of Dancing 
 Dogs and Selling Guinea Pigs five hundred pairs were sold in a few weeks. One 
 foreign dealer often took as many as would have supplied all England. When the 
 four plates of The Deserter were published, a single dealer gave an order for nine 
 dozen sets." It is a striking' fact, this immediate acceptance of Morland on the 
 Continent, for the same was the case in later days with Constable, another example 
 of splendid isolation. Even French engravers tried their hands at his pictures of 
 "le sport," for in 1790 and 1791 La Chasse a la Becassint, La Chasse de la Becasse 
 La Chasse du Canard, and La Chasse du Lihre were all engraved by A. Suntach. 
 
 It is noteworthy too that this great boom in mezzotint engravings should have 
 marked the turn of the nineteenth as well as of the twentieth century. Concerning 
 the foreign demand, C. Josi, the famous Dutch collector and dealer, writes in 1821 : 
 "The craze for English engravings during the last fifty years is extraordinary. 
 Everyone has developed a taste for them. I am, of course, aware that they have 
 reached an exaggerated value as mere objects of mercantile speculation, but this is 
 only natural. They are snapped up as soon as they are seen, bring a certain and 
 considerable profit, and few objects have ever met with so rapid and widely-extended 
 a demand.'' 
 
 Josi himself had passed five years in London as the pupil of J. R. Smith. He 
 had no mean powers as an engraver, and in 1797 published The Peasant's Repast and 
 The Labourer's Luncheon, two excellent plates after Morland. When, however, he 
 returned to Holland, he found that no single plate, be it never so skilfully engraved, 
 could find a purchaser unless it bore an English title and imprint — " Rien n' 6tait 
 comparable aux estampes anglaises 1 Tel m^rite que pouvaient avoir d' autres, il 
 suffisait, pour leur disgrace, qu' elles ne portassent pas des titres et des inscriptions 
 en anglais, avec le nom du marchand 6diteur k Londres." He tells us moreover 
 that in consequence of this demand, quantities of colour prints after Morland and 
 others were deliberately forged in Holland and in France. It is curious how history 
 has repeated itself. A century later the craze for colour prints has returned, again 
 bringing forgeries in its train. As a famous collector said : " It was like manna in 
 the wilderness, a fall of snow in the night : within a few months from the time the 
 demand was established every shop-window had its Morlands, its J. R. Smiths, its 
 William Wards, brilliant in colour." Let the collector then beware of Morland 
 
 47 
 
George Morland 
 
 forgeries, and steer clear also of faded impressions from worn-out plates, furbished 
 up with dabs of colour by indifferent craftsmen. 
 
 The success of the Morland engravings was doubtless due to the fact that their 
 publishers took the tide of popular taste at the flood. It was also owing to the 
 nature of the subjects, coming to the jaded Londoner sweet and fresh as the scent 
 of new-mown hay. A reaction had set in that is bound to repeat itself in the 
 immediate future. People were growing tired of endless engraved portraits. They 
 were surfeited with a succession, sweet but insipid, of fair ladies after Lely and 
 Hoppner and Reynolds. Ward and Smith were the first to recognise the 
 possibilities of Morland's work, and to encourage him in painting subject pictures at 
 a time when portraits were putting money in his purse. Ward became Morland's 
 brother-in-law in 1786, and it was he who brought the artist to the notice of John 
 Raphael Smith, under whom he had served his apprenticeship. It was a fortunate 
 day for all of them. Smith's long experience as publisher and engraver enabled him 
 to gauge the full value of Morland's work. He at once gave him commissions for 
 pictures which he engraved himself, and was so immediately successful in the sale 
 of his own and other prints that he celebrated his good fortune at " a very elegant 
 entertainment" at Hammersmith, where Morland met William Collins, one of his 
 future biographers. Thirty-six pictures in all were bought by Smith, at prices 
 ranging from five to fifty pounds, and were exhibited as the " Morland Gallery." 
 The cost of the engravings varied from five to thirty shillings an impression, and for 
 the owner of a coloured copy there is always the pleasant possibility that he 
 possesses the early work of Turner, who, in his teens, was employed by Smith to 
 give the finishing touches by hand to his colour-prints. 
 
 The first great year for engravings after Morland was 1788. Though The 
 ^ng^^er's /?e/>aj< had been engraved by Ward in 1780, it did not achieve fame till 
 it was re-issued in 1789. Children Nutting, engraved by E. Dayes in 1783, and 
 Domestic Happiness and The Coquette at her Toilet, by W. Ward in 1787, are both 
 well-known prints. The year 1788, however, saw no fewer than eleven engravers 
 busy on Morland's work, and thirty-two plates were published, among them Delia 
 in Town and Delia in the Country, by J. R. Smith, Children Playing at Soldiers, by 
 G. Keating, and Variety and Constancy, by W. Ward. Variety is said to be a 
 portrait of Mrs. Morland, Constancy of Mrs. Ward. These two plates, which are 
 in stipple, were issued before letters, and also in colours with the full imprint. 
 They were re-engraved with the signature " Bartolotti," and in this state are to be 
 avoided. To 1789 belongs the famous Letitia series, by J. R. Smith, which became 
 so popular that the six plates were re-issued in 1811 at seven-and-sixpence each. 
 The plates, however, were worn, and in repairing them the costumes were brought 
 up to date, and other disastrous alterations were made. To 1789 and 1790 belong 
 Selling Guinea Pigs and Dancing Dogs, by T. Gaugain. A certain number of the 
 impressions in colour bear the somewhat rare acknowledgement " Printed in colour 
 by T. Gaugain." At Gaugain's sale in 1793 the plates of these two engravings, 
 together with over two-hundred-and-fifty proofs and prints, thirty-two being in 
 
 48 
 
O 
 
 o 
 a 
 o 
 
 w — 
 
 <-l ^ 
 
 ■J -> 
 
 Q -i 
 
 o - 
 
 O =: 
 
A Note upon Morland Engravings 
 
 colour, realised £127! From 1790 to 1806 there was a steady output of some 
 twenty prints a year ; among the more important engravers, besides those already 
 mentioned, being P. D. Soiron with St. James's Park, A Tea Garden, etc., 
 S. W. Reynolds with Fishermen Going Out, Paying the Horse Seller, etc., E. Bell 
 and VV. Nutter. It is after all to Ward and Smith that Morland owes most. Their 
 mezzotints and stipple engravings are full of sympathy and sweetness. For the 
 lover of coloured prints nothing can surpass a fine proof of Smith's Fishermen or 
 Selling Fish, Ward's Last Litter or The Effects of Youthful Extravagance, but the 
 proofs must have all their first sparkle and life and brilliancy. Beside a genuine 
 original, a copy that has been touched up in the secret atelier of the modern dealer, 
 its every pore clogged with added colour, looks like a painted lady of the town 
 beside a fresh country maid. Like the young lady in the well-known poem, when a 
 colour print is good, it is very, very good, but when it is bad, it is horrid. 
 
 Poor Morland lived before the days of copyright, and it is to be feared that he 
 profited little or nothing by the extensive sale of these engravings. His pictures 
 were sold off the reel for ten, twenty, or thirty pounds down. Their painter took 
 no further interest in them, and the dealer who became their fortunate possessor 
 reaped a handsome profit. Appended to Hassell's Memoirs of the Life of George 
 Morland, published in 1806, is a catalogue of some two hundred engravings, which 
 "are to be had on applying to James Cundee, Ivy Lane, Paternoster Row." The 
 prices range from half-a-crown to a guinea, though the latter price is rare, fifteen 
 shillings being a fair average ; " proofs and coloured prints are always charged 
 double." It makes one's mouth vi^ater to think of coloured proofs of the whole 
 Letitia series for £4 10s., of Delia in Town and Delia in the Country for thirty 
 shillings, of Ward's Aleliouse Door for fifteen 1 Even at this low price the publisher 
 got a noble return for his original investment, for, as we have seen, he could reckon 
 on selling at least five hundred copies with ease. 
 
 While the publisher made large profits, it remains one of the ironies of fate that 
 Morland rarely received above £20 for one of his pictures, a price that now-a-days 
 any good mezzotint after his work would be certain to obtain. Within the last 
 three years the St. jfames's Par/i and A Tea Garden, by Soiron, have fetched 
 £183 15s. for the pair; The Visit to the Boarding School and The Child at Nurse, 
 by W. Ward, £136 10s. ; Children Fishing and Children Gathering Blackberries, by 
 G. Dawe. £105; A Party Angling, by G. Keating, £79 16s.; Contemplation, a very 
 rare print by W. Ward, £252; and the same engraver's Coquette at her Toilet, £126. 
 It is unnecessary to multiply examples. To some extent the low price he received 
 was Morland's own fault. His contemporary, Blagdon, tells us that " as many 
 excellent imitations of his drawings were also engraved at this time by Mr. Orme, 
 they promoted a demand for his works to such a degree that pencil sketches, made 
 in about an hour, were sold at auctions for nine and ten guineas each, but it must 
 be acknowledged that the artist himself did not gain the whole advantage, as he 
 still refused to sell his works to those who would give him a fair price, but only to 
 such as would associate and get drunk with him and his low companions." It is 
 
 49 
 
George Morlznd 
 
 said, too, that when drawing-books containing reproductions of his pencil sketches 
 were selling rapidly he was urged to etch and publish them himself. He even went 
 so far as to buy the copperplates, but his good resolutions were without further 
 result, except that they alarmed the publisher to the extent of giving a slightly more 
 liberal price. 
 
 The drawing-books mentioned above are well worth the collector's attention. 
 They contain odd scraps and studies from Norland's sketchbooks, beautifully 
 reproduced in soft-ground etching and stipple, and showing the artist's painstaking 
 and unceasing study of nature. Sketches by Morland, published originally in 1793-4, 
 and re-issued by Orme in 1799, is one of the best. The charming title from the 
 wrapper, showing the artist sketching pigs, forms one of our illustrations. Another 
 series of soft-ground etchings, by Vivares, was published by J. P. Thompson in 
 1800; and in 1805 a set of stipple engravings was issued by R. Bowyer. In 1806-7 
 Edward Orme again published A Collection of thirty-three Sketches from Nature. 
 These are the principal drawing-books, but mention must also be made of the plates 
 to Blagdon's Authentic Memoirs of the late George Morland, published in 1806. 
 These are twenty-one in number, executed in stipple, mezzotint, and aquatint, by R. 
 Dodd, E. Bell, Vivares, and other well-known engravers. With the plates in colour, 
 this book is a rare and valuable possession, and a copy in December last was sold at 
 Sotheby's for £54. 
 
 In the Print Room at the British Museum can be seen a fine collection of 
 engravings after Morland, including many prints in proof states. The proofs by 
 James Ward are noteworthy as having been presented, in 1817, by the engraver 
 himself. On the View in Leicestershire, one of our illustrations, he has written : " I 
 believe there is not one impression equal to this." There is also a fine-touched 
 proof, which we reproduce, of an engraving of a fisherman's hut, by W. T. Annis, 
 not mentioned in Richardson's list of works after Morland. Of colour-prints after 
 the artist there are only a few at the British Museum, and those very indifferent. 
 At South Kensington are a few excellent examples of work in colour by Ward, 
 Smith, and S. W. Reynolds, and also a good collection of the drawing-books. 
 
 50 
 
"LOL'ISA," OR THE SHIPWRECK. AFTER GEORGE MORLAND. 
 Engraved by T. Gmtgain. 
 {Ill the possesiion of T. J. Barralt, Esq.) 
 
 51 
 
riil'7iWlltiFrl-'l.liH>f,:7'vH'rn/!Ni.<n)\f!);-rorf/,uiH .Vi'^:' ^' 
 
 (i,.M() 
 
 ll,..N^\JJ. 
 
 I'liir ^ \ ii/it/rW ///n7nu/ Son. ofAr/s ^7tc p/yiJc 
 77/y Works /he teal of M/cs, slio// a/yc/c . 
 
 52 
 
% 
 
 J 
 
 MORNING, OR THOUGHTS ON AMUSEMENT FOR THE EVENING. AFTER GEORGE MORLAND. 
 Engraved by William Ward. 
 
A COAST SCENl:. Mill '.. MORLAND. 
 h'loin iht- Mczzutint hy II'. T. Aiiiiis. 
 
 WRECKERS. BY G. MORLAND. 
 
 (Fyom the Collection of Sir Walter Gilbcy.) 
 
 55 
 
MOKI.ANDS SERVANT, SIMPSON. RV G. MOKI.ANn. 
 {Collection of Canon Phillips.) 
 
 FROM " THK fORTI'ol.IO," IIV PKRMISSIOS Of SEKLEV A CO. 
 
 5fi 
 
The: LiEMt:vuL.F;-NT l. aoy 
 
TRAVELLERS. PAIXTED BY G. MORLAND. 
 Engraved hv W. Ward. 
 
 59 
 
MOKNINf., OR THh IIIGI.EKS I'UEPAUING KOK MARKET. G. MORI.AND, PINXT. 
 D. Orme, Sculfi. 
 
 60 
 

 u 
 z 
 
 "^ i 
 
GIRL AND CALVES. AFTER G. MORLAND. 
 Ens'i-avcd hv W. Want. 
 
 THE BELL. G. iMORLANU, FINX'I. 
 J. FittUr, diiext. 
 
 63 
 
THE ALUHOl'SE DOOR. BV G. MOKLAND. 
 {Collection of George Salting, Esq.) 
 
 PROM "THE I'OKTI'OLIO," DV PERMISSION OF SKELEY & CO. 
 
 64 
 
TRAVELLERS REPOSING. 
 J. Fittler, Sculpt. 
 
 G. MORLAXD, PINXT. 
 
 67 
 
GIRL AND PIGS. AI-TER G. MORLAM). 
 Engraved by W. Ward. 
 
 LVENI.NG, OR THE rOSTUOV S RliTUR.N. 
 D. Ormc. Sculpt. 
 
 G. MoKLANU, I'l.Wl. 
 
 68 
 
THE BLIND WHITE HORSE. BY G. MORLAND. 
 (Fiviii the Collection of F. Abbiss Phillips, Esq.) 
 
 71 
 
THE TURNPIKE. G. MORLAND, PINXT. 
 7. Fittler, direxl. 
 
 72 
 
Th K Fl R S T F L. L- D ( ) K i > K L \/ E 
 
GIRL ON A SEASHORE ON A WINDY DAY. HY G. MORLAND. 
 (Front the Cullectiun of F. Abbiss Phillips, Esq.) 
 
 THE FERRY BOAT. BY G. MORLAND. 
 [Collection of Canon Phillips.) 
 
 FROM "THE PORTFOLIO," BY PERMISSION OF SEELEY & CO. 
 
 75 
 
IHl-, llSHlikMAN S HUT. AI-TIiR G. MOKLAND. 
 l-'rom lilt Mi-szotiut by J. R. Smilli. 
 
r^llll/r,,' l-v ',>,■,;„■ .V.-tV'., 
 
 ■A rivW l-\ J;Jll'.,rkr» fjff>}\ 111 fan 
 
 LONDON I'ublitlul N'ovniil.iT G 
 
MORNING, OR THE BENEVOLENT SPORTSMAN. 
 PAINTED BV G. MORLAND. 
 Engraved bv y. Grnser. 
 
 PEDLARS. G. MORLAND, PINXT. 
 y. Fittler, Sculpt. 
 
 79 
 
'1 
 
 THE MARKET CART. BY G. MORLAND. 
 (From the original Painting.) 
 
 SEA COAST, MEN AND BOATS. BY G. MORLAND. 
 (Collection of Sir Charles S. Hamilton.) 
 
 FROM THE PORTFOLIO, BV PERMISSION OF SEELllY & CO. 
 
 So 
 
:^]rSMAN 
 
GUINEA PIGS. PAINTED BV GEORGE MOKLAND. 
 Engraved by T. Gaiigain. 
 
 S3 
 
Tin-; r.ir.iiTHousE. isv g. morland. 
 
 (From till- oriu'nial Fainting'. i 
 
 l-ISHIN'G BOAT. 
 
 From the original Painting by (! . Morland. 
 
 84 
 

 ,/- 
 
 JJl^. 
 
 IxSS 
 
 M.M. 
 
 ■IT O JVJVJ 
 
 i^tlcu) . rof 
 
 7i/i/e 
 
 
 i7va/nyi^' O/ <i(/n^ . .. , 
 
 e-. 
 
THE DESERTER S FAREWELL. BY G. MOKLANU. 
 {From the Collection of Sir Walter Gilhcy.) 
 
 87 
 
ST. JAMES S PARK. PAINTED BY G. MORLAND. 
 Eiioravcit by F. D. Suit on. 
 
 NO. XI. THE RABBIT WARREN. PAINTED BY G. MORLAND. 
 F.iii;rnvcil I y S. Alien. 
 
 58 
 
ff.I^*'«'«<'***""*'"^*-~ *'**>^ 
 
 «*i«4ftaii,sa3[!ta«»'a>s''* 
 
 
 6 
 
 1 n 
 
 tKe r o r'^_^>":2^:'j?- y" ^ 
 
 ..^i^noUyn/ ^u/j-Ud'cC &e67^u£i^ to ^''J7a?> = t^tX/E ):/nuA/v •,ArC^/---,jCi^na-\/^^' 6yv^rnM €^ayt'^>i. 
 
VIRTUE I\ DANGER. 
 y. FiltU-y, Sclpt. 
 
 G. MORLAND, PINXT. 
 
 91 
 
BOAT ON SEASHORE. BY G. MOKLAND. 
 {From the original Painting. ) 
 
 BOyS ROBBING AN ORCHAUD. BV G. MORLANU. 
 {Collection of Sir Charles Tennant.) 
 
 KKOM '• THK I'ORrPOI-IO," UV PKRMtSSION OF SEELKY & CO. 
 
 92 
 
^. 
 
 i 
 
 ^ 
 J 
 
 
 1 
 
THE FARMER S VISIT TO HIS MARRIED DAUGHTER IN TOWN. 
 
 AFTER G. MOkLAND. 
 
 From fill- Sflpf^li' Eii<^i'avntg by \V . Bond. 
 
 INNOCENCE ALARMED, OR THE FLASH IN THE PAN. 
 {Collection of Sir U'cilti-r fiilbcy.) 
 
 FKOM " THE PORTFOLIO." UV PKRMIbblON OF SEELEV & CO. 
 
 BY G. MORLAND. 
 
 95 
 
DANCING DOGS. AFTER G. MORLAND. 
 From the Stipple Engraving by T. Gaugain. 
 
 96 
 
CONSTANTI^. 
 
CO 
 
 O 
 
 CO 
 
 w 
 u 
 Z 
 
 id 
 
 O 
 Q 
 Z 
 
 99 
 
THE DAY AI-TER 1 H li WRECK. BV G. MORI.AND. 
 {Cullcclioii of Canon Phillips.) 
 
 H<OM "THK PORTFOMO." BY PERMISSION 0¥ ShKI,l-V .V CO. 
 lOO 
 
,^'-- 
 
 t'gg^Htk 
 
 MUTUAL JOY, OR THE SHIP IN HARBOUR. 
 AFTER GEORGE MORLAND. 
 Engraved by P. Dawv. 
 
WOODCOCK A\n PHEASANT SHOOIIM.. Al ]KK (,. MORLAN'D. 
 Eugvavcii hv T. Simpson. 
 
 COTTAGERS. PAINTED BV G. MORLAND. 
 Engraved by W . Ward. 
 
 103 
 
GATHERING STICKS. BY G. MORLAND. 
 {Collection of Hir Walter Gilbey.) 
 
 THE POKTFOUIO," By PERMISSION OF SEELEV & CO. 
 
 PROM 
 
 104 
 
THE BILLETED SOLDIER's DEPARTURE. AFTER GEORGE MORI.AND. 
 Engraved by Graham. 
 
BOYS SKATING. PAINTED BY G. MORLAND. 
 Engraved by E. Scott. 
 
 107 
 
DUCK SHOOTING. AFTER G. MORI. AND. 
 Eiigrareti by T. SliiipsKii. 
 
 A VIKW IN LlilCLSTERSHIKK. AI-TER G. MORLAND. 
 h'rutii the Mezzotint hy jf. Ward. 
 
 108 
 
THE SOLDIHU S RKTrRN. AFTJ^R GEORGE MORLAND. 
 
SLIDING. G. MORLAND, PINXT. 
 J. FittUr, Sculpt. 
 
< s 
 
 u p 
 
 112 
 

PLAYING AT SOLDIERS. BY G. MORI.AXl). 
 {Ctillectiou of Sir Onirics Touiaut.) 
 
 l-KOM '• THK HOUTl-ltLIO, BV PERMISSION Ut SttLtV A: CU. 
 
 GIPSIES. BY G. .MORLANU. 
 (Collection of Sir Churl, i: S. llaiiiiltoti.) 
 
 I-KOM THt ruKTl-OLIU, BV i-tKMIbSIUN OF SEELEV & CO. 
 
 115 
 
A GIPSY UNCAMI'MKNT. BY G. MOKLANU. 
 {From the Cullccliuii nf Sir Waller (iiihe).) 
 
 ii6 
 
o 
 3 "S 
 
 < b. 
 
NO. XI. SPORTSMEN REFRESHING. PAINTED BY G. MORLAND. 
 Engraved by S. Alkcn. 
 
 
 ^ SjrKTci/fis 
 
 ,v 
 
 
 ) ..) 
 
 
 TITLE PAGE OF A DRAWING BOOK. BY G. MORLAND. 
 
 119 
 
THE DISCONSOLATE AND HER PARROT. BY G. MORLANU. 
 
 [A Portrait oj Mrs. Morlanil.) 
 
 {From the Collection at F. Abbiss Phillips, fsq.) 
 
 ■■■' i(Svf/.. U/^/f'.£A7yj]>P. 
 
 /a/ro/yitd£tmjtSenitt. . 
 
 TITLE FROM THE WRAI'l'ER OE A DRAWING HOUR. UY G. MORI. AND. 
 
 I 20 
 
f A 
 
 
 
 
 
 
 
 'f •■' 
 
 
 
 
 .'> 
 
 / 
 
 V 
 
 
 ■ 
 
 
 
 '( 
 
 
 
 
 _~- 
 
 a 
 
 X' 
 
 '^li 
 
 *K 
 
 
 
 f 
 
 
 
 
 " \- 
 
 '-•I « ■' 
 
 / 
 
 * 
 
 ^"J^^i^p-- 
 
 ^r^^ 
 
 t-v-% 
 
 JM^?: 
 
 <^ 
 
 --^^i^:;^ 
 
 SKETCH OF A FISHERMAN AN'D WIFE. BY G. MORLAND. 
 {Collection of Jolni Haiius, Estj.] 
 
 J21 
 
5 
 
 
 < ? 
 
 ^ 
 
 -V^ 
 
 J "^ 
 
 / 
 
 \ 
 
 
 a hj 
 
 
 ^ 
 
 122 
 
SKETCH OF A RAM S HEAD. BY G. MORLAND. 
 {Collection of Sir Charles S. Hamilton.) 
 
 FROM "THE PORTFOLIO," BY PERMISSION OF SEELEY & CO. 
 
 (^ 
 
 y 
 
 J 
 
 
 V 
 
 .y.\ 
 
 
 lj - 
 
 ^^'^^v' 
 
 -.:'^ 
 
 vU 
 
 
 ^r:^ 
 
 ^ 
 
 : i:^ .. 
 
 ^> _"---- "'-- " - 
 
 
 4 
 
 * 
 
 
 
 SKETCH OF A PIG S HEAD. BY G. MORLAND. 
 {Collection of John Haines. Estj.) 
 
 123 
 
RUSTIC EMl'I.OVMEXT. BY G. MORLAND. 
 Engraveii by J. R. Smith. 
 
 BIBLIOGRAPHY OF BOOKS RELATING TO G. MORLAND. 
 
 Chronologically arrangcil. Sice iu inches. 
 
 Samtos. W. — Tears of Nature, an elegv on the death of 
 that celebrdted artist. .Mr. G. .Morland, with anecdotes, 
 observations, etc. (S hy .S.) London, 1804. 
 
 Collins, \V. — Memoirs of a Picture .... includin« 
 a genuine biographical sketch of that celebrated, 
 original, and eccentric genius, the late Mr. George 
 Morland. a vols. (The Life of .Morland is in vol. ii.. 
 which has separate title -" Mei.ioirs of a Painter.") 
 (7 by 4.) London, 180.S. 
 
 lilagdiin, /■'. IV. — Authentic Memoirs of the late G. 
 
 Morland. (17 by 22.) London, 1806. 
 Uas%ell. J.- Memoirs of the Life of the late G. 
 
 .Morland. (12 by 9.) London. 180«. 
 
 Dawe, G.— The Life of G. .Morland, with remarks on 
 his works. (9 by H.) London, 1807. 
 
 F.d;far,ls, F. . Anecdotes of Painters who have resided 
 or been born in Kngland. (G. M., p. 290.) (9 by 7 ) 
 London, 1808. 
 
 Cuningham. .4 .—The Lives of the most eminent British 
 Painters. 2nd edition, vol. ii. |6 bv 4.) London, 
 KS;{0. Revised edition, by Mrs. C. Heaton, Vol. ii 
 (7 by 7i.) 1879. 
 
 Naglcr, O. K. Kiinstler-I cxicon. Vol. ix., p. M)3. 
 (9 by .S.) Munich, 1840. 
 
 Rcitgrave, R.—A Century of Pjinters of the English 
 School. Vol. i., pp. 3,S0 3(i4. (9 by 6.) London, 18H6. 
 
 Rcdginvc, S.—A Dictionary of Artists of the English 
 School, pp. 283-4. (9 by 6.) London. 1874. 
 
 Encvclofiirdia B'itannica. 9th edition. Vol. \vi p 82,S 
 (12 by 10.) Edinburgh. 1883. 
 
 Vokins, J. &• W, — Exhibition of upwards of 300 mezzo- 
 tint and other engravings after G. .Morland. Cata- 
 logue. (.=>by4.) 1893-4. 
 
 Dictionary of National Biography. — \'ol. xxxix. (Article on 
 .Morl.ind by C. .Monkhouse.) ' 1894. 
 
 KiV/ja>-(/soH, W. - G. Morland, Painter. |9by6.) London. 
 189,S. 
 
 Richardson, R. — G. .Morland's Pictures; their present 
 posses.sors. {9 by 5.) London, 1897. 
 
 Neltlcship, J. T. — G. Morland and the Evolution from 
 him of some later Painters. ("Portfolio" .Monograph. 
 xxxix.) (Ilby7.) London, 1898. 
 
 British AjHsrHtn.- Catalogue of Drawings by Briti>h 
 Artists in the British .Museum. (By L. Uinyon.) 
 Vol. iii., pp. Ill, 112. (10 by 7.) London, 1902. 
 
 Bryan, M. — Dictionary of Painters and Engravers. 
 New Edition, under the supervision ot <i. C. 
 Williamson. \'ol. iii. (Article on .Morland by U. 
 Richardson.) (11 by 7.) London, 1904. 
 
 I'ictoria and Albert AfHSfiow.— Catalogue of an Exhihi 
 tion of Paintings by George Morland, held at the 
 \'ictoria and Albirt .Museum, South Kensington. 1904. 
 (8 by .S ) London, 1904. 
 
 George Morland, by Dr. G. Williamson. (G. Bell and 
 Sons.) (lUby8J.) London, 1904. 
 
 George Morland, by Ralph Richardson. (Elliot Stock.) 
 (9J by .5^.) London, 1905. 
 
 Life of George .Morland, by George Dawe. R.A. ; 
 Introduction and Notes by J. J. Foster. (Dickinson 
 & Co. (12^ by 10). London, 190.S. 
 
 124 
 
Catalogue of the Published Engravings from Paintings 
 
 of George Morland. 
 
 ABBREVIATIONS. 
 
 M. — Mezzotint. 
 S.— Stipple. 
 
 A. — Aquatint. 
 L. — Line. 
 
 E.— Etching. 
 
 Where the dimensions are given they represent the engraved portion of the plate. The height in each case 
 
 appears first. 
 
 Title of Engraving. 
 
 Accommodation 
 
 (companion to above) ... 
 Affluence Reduced ... 
 African Hospitality... 
 
 The Agreeable Surprise ... 
 
 Alehouse Door 
 
 Alehouse Kitchen ... 
 
 Alehouse Politicians 
 
 The Amorous Ploughman... 
 
 The Angler's Repast 
 
 The Angry Boy and Tired 
 
 Dog 
 
 Anxiety : or the Ship at Sea 
 Appointment, Mezzo 
 ,, Stipple 
 
 Ass and Pigs 
 
 An Ass Race... 
 
 The Attentive Shepherd ... 
 
 (companion to above) 
 Autumn 
 
 Engraver. 
 T. Cook 
 
 H. Hudson ... 
 J. R. Smith... 
 Mdlle. Rollet 
 W. Ward ... 
 R. S. Syer ... 
 
 W. Ward ... 
 
 J. Jenner 
 
 W. Ward ... 
 
 G. Graham 
 P. Dawe 
 
 Size. 
 
 .. lojby 14J 
 
 12J 
 
 18 
 
 15 
 
 i8 
 9l 
 1/4 
 
 Hi 
 25I 
 
 10 
 III 
 
 23I 
 "i 
 
 2l| 
 
 8| ,. 6 J 
 12J ,, io| 
 
 F. Vivares 
 W. Ward 
 R. Brooke 
 
 W. Ward 
 
 .. 12J 
 •• 13J 
 •• i7i 
 
 17 
 17 
 23i 
 
 B 
 
 The Banks of the Dee ... P. Dawe 
 
 The Barn Door W. Ward 
 
 Bathing Horses ... ... ,, 
 
 A Bear Hunt 
 
 Belinda 
 
 The Bell 
 
 The Benevolent Lady 
 The Billeted Soldier 
 
 Blind Man's Buff 
 
 Boatmen 
 
 Boy Employed in Burning 
 
 Weeds J. Ward 
 
 Boys and the Angry Farmer E. Scott 
 Boys Bathing ... ... ,, 
 
 Boys Robbing Orchard ... ,, 
 
 6| „ 5j 
 
 iijby gi 
 
 17J .. 22 
 ... I7f ,, 23J 
 S.W.Reynolds 12 ,, 15J 
 Burrows ... 11 ,, 11 
 J. Fittler ... 7j ,, 8J 
 E. J. Dumee 8J „ 8J 
 G. Graham ... 12 ,, gj 
 W. Ward ... 17J ,, 22 
 J. Whessell 
 
 ... 17J ,, 22 
 
 - iif ,, i5i 
 
 - Hi ,, Mi 
 ... iif „ 15J 
 
 Title of Engraving. 
 
 Boys Skating 
 
 (There are foreign copies of 
 the above four plates, 
 bearing the name of Bar- 
 tolotti ; about the same 
 size as the originals.) 
 
 Engraver. 
 E. Scott 
 
 Size. 
 
 iiiby 14I 
 
 Boy and Pigs 
 
 W. T.Annis 
 
 17I 
 
 ..I3J 
 
 , , , , 
 
 , J. Wright .. 
 
 ■ 19 , 
 
 . Mi 
 
 Breaking the Ice 
 
 , J. R. Smith, 
 
 
 
 The Brown Jug ; or, 
 
 jun. 
 
 I7i . 
 
 , 2ii 
 
 Wagoner's Farewell 
 
 W. Barnard 
 
 I2i , 
 
 . i6| 
 
 Business 
 
 T. Williamson 7J , 
 
 . 9i 
 
 c 
 
 
 
 The Carrier's Stable 
 
 W. Ward ... 
 
 i7i by 23I 
 
 Changing Quarters 
 
 J- Hogg 
 
 
 
 ,, 
 
 A. Ragona ... 
 
 Hi , 
 
 • 9i 
 
 The Child of Nature : Mrs. 
 
 
 
 
 Jordan 
 
 Oval 
 
 7i, 
 
 . 6J 
 
 Child looking into a Pigsty 
 
 J. R.Smith .. 
 
 i9i . 
 
 . 23f 
 
 Children's Amusement 
 
 W. Dickinson 
 
 20 , 
 
 , 16 
 
 Children Birdnesting 
 
 W. Ward ... 
 
 17* ., 
 
 2.} 
 
 Children Feeding Goats ... 
 
 P.W.Tomkins 
 
 ioi„ 
 
 I3f 
 
 Children Fishing 
 
 P. Dawe 
 
 20 ,, 
 
 16 
 
 Children Gathering Black- 
 
 
 
 
 berries 
 
 ,, 
 
 ,, 
 
 
 Children Nutting 
 
 E. Dayes ... 
 
 i7i .. 
 
 22 
 
 Children Playing at Soldiers 
 
 G. Keating ... 
 
 i7.i .. 
 
 22| 
 
 Children in Woods 
 
 F. Vivares ... 
 
 loj „ 
 
 8i 
 
 Children with Sheep 
 
 
 
 
 Christmas Gambols 
 
 J. R. Smith... 
 
 I7i .. 
 
 22 
 
 Coast Scene, A 
 
 W. T. Annis 
 
 
 
 The Comforts of Industry... 
 
 H. Hudson .. 
 
 12J „ 
 
 Ml 
 
 Compassion 
 
 J. Jenner 
 
 
 
 Constancy 
 
 W. Ward ... 
 
 Hi ,, 
 
 7i 
 
 ,, 
 
 Bartolotti ... 
 
 III „ 
 
 7i 
 
 Constantia 
 
 Unknown 
 
 
 
 Contemplation 
 
 Colinet 
 
 14J ., 
 
 II 
 
 Contented Waterman 
 
 W. Ward ... 
 
 13J „ 
 
 18 
 
 1) 
 
 R. Clamp ... 
 
 5i ,. 
 
 6i 
 
 A Conversation 
 
 J. R. Smith ... 
 
 17J ., 
 
 2I| 
 
 Conversation 
 
 E. Orme 
 
 125 ,, 
 
 I7i 
 
 The Coquette at Her Toilet 
 
 W. Ward ... 
 
 i3i .. 
 
 "i 
 
 125 
 
George Morland 
 
 Title of Engraving. 
 
 Engraver. 
 
 Size 
 
 
 The Corn Bin 
 
 J. R. Smith... 
 
 I7jby2lf 
 
 Cottage Family 
 
 )t 
 
 I9i„ 
 
 16 
 
 The Cottage Fireside 
 
 W. Barnard 
 
 
 
 The Cottage Sty 
 
 E. Bell 
 
 I3f >, 
 
 17? 
 
 Cottagers 
 
 W. Ward ... 
 
 I7i„ 
 
 2lf 
 
 Cottagers in Winter 
 
 T. Williamson 
 
 I7l.. 
 
 22J 
 
 The Cottager's Wealth ... 
 
 G. Keating ... 
 
 15J „ 
 
 I9f 
 
 The Country Butcher 
 
 W. Barnard... 
 
 18J .1 
 
 25i 
 
 II 
 
 T. Gosse ... 
 
 I7i 1, 
 
 22 
 
 A Country Church 
 
 H. Schutz 
 
 
 
 The Country Girl at Home 
 
 M. C. Prestel 
 
 12} „ 
 
 9f 
 
 The Country Girl in London 
 
 »» 
 
 >t 
 
 
 The Country Stable 
 
 W. Ward 
 
 18 ,1 
 
 24 
 
 Coursing the Hare 
 
 G. Morland... 
 
 214 ., 
 
 16J 
 
 .. 
 
 Set of Four ... 
 
 I9i ,1 
 
 Mi 
 
 • 1 
 
 T. Simpson 
 
 I2i„ 
 
 I4i 
 
 Cows 
 
 E. Bell 
 
 14 .. 
 
 18 
 
 Credulous Innocence 
 
 J.Young ... 
 
 17I ,1 
 
 I3f 
 
 D 
 
 Dancing Dogs 
 Delia in Town 
 Delia in the Country 
 The Delightful Story 
 Delicate Embarassment ; or, 
 
 the Rival Friends 
 Deserter, Series of Four 
 
 Plates 
 
 •I II ... 
 
 The Disabled Soldier 
 Disappointment, Mezzo ... 
 I, Stipple ... 
 
 Discipline 
 
 The Disconsolate and her 
 
 T. Gaugain ... 20J by 16 
 J. R. Smith ... gj „ 8| 
 9* >. SJ 
 12 ,1 I3f 
 
 18 „ 23J 
 
 21 „ I7i 
 8 „ 6| 
 
 W. Ward .. 
 
 E. Bell 
 
 G. Keating .. 
 A. Suntach .. 
 R. H. Heath 
 
 Title of Engraving. Engraver. Size. 
 
 The Elopement of Anna 
 
 from the Parsonage House 12 by 10 
 
 (Painted and Engraved by J. R. Smith.) 
 Evening : or the Postboy's 
 
 Return D. Orme ... 17J 
 
 Evening : or the Sportsman's 
 
 Return J. Grozer ... 18J 
 
 ... W. Nicholls... 4j 
 Evening : Sportsmen Re- 
 freshing S. Aiken 
 
 23 
 
 23f 
 
 6 
 
 The Fair Seducer 
 
 The Farmer's Door 
 
 The Farmer's Stable 
 
 The Farmer's Visit to his 
 Married Daughter in Town 
 
 The Farmyard 
 
 ,, ... ... 
 
 Feeding the Pigs ... 
 
 The Female Pedlar 
 
 The Fern Gatherers 
 
 Fern Burners 
 
 Fighting Dogs 
 
 First Love 
 
 The First Pledge of Love ... 
 
 The First of September — 
 Morning ... 
 
 , , , , Evening 
 
 The Fisherman's Dog 
 
 The Fisherman's Hut 
 
 Fishermen 
 
 Parrot 
 
 .. T. Nugent ... 
 
 Ill, 
 
 . 9i 
 
 • > 1. 
 
 .. W. Ward ... 
 
 12J 1 
 
 , 9S 
 
 The Discovery 
 
 .. E, J. Dumee 
 
 10 , 
 
 1 8 
 
 Dog and Cat 
 
 .. J. R. Smith... 
 
 '2i 1 
 
 . 145 
 
 Dogs 
 
 .. G. Shepherd 
 
 13^ , 
 
 
 Domestic Happiness 
 
 .. W. Ward ... 
 
 I3f . 
 
 1 li.J 
 
 Donkeys 
 
 •• 
 
 7j - 
 
 , 10 
 
 The Dram 
 
 It 
 
 19S > 
 
 . I5i 
 
 Duck Shooting 
 
 .. T.RowIandson 
 
 I6| , 
 
 , 2li 
 
 „ Plate I . 
 
 .. T. Simpson ... 
 
 12 1 
 
 1 Mi 
 
 „ 2 . 
 
 
 
 12 , 
 
 . I4i 
 
 The Effects of Extravagance 
 
 and Idleness, Small Plate W. Ward 
 I. Large ,, ,, 
 
 The Elopement Reading 
 
 T. Prattent ... 8 ,, 7J Fishermen Going Out 
 
 Fishermen in Distress 
 Fishermen on Shore 
 Fishermen Preparing to Go 
 
 Out 
 
 The Fishermen Returning 
 
 Tlie Fleecy Charge... 
 
 The Flowing Bowl ; or, 
 
 Sailors Return'd ... 
 Fox Hunting — Going Out... 
 ,, — Going into 
 
 Cover ... 
 ,, — The Check... 
 
 ,, — The Death... 
 Friendship ... 
 The Frightened Horse 
 
 Frost Piece 
 
 The Fruitsof Early Industry 
 and CEconomy. 
 
 Small Plate 
 Large Plate 
 
 .. 20 J by 16J 
 •• 23J „ 18J- 
 
 E. J. Dum^e 
 B. Dutterrau 
 J. P. LeviUy 
 W. Ward ... 
 
 10 by 8 
 15J .. I3i 
 15J >i 13 
 17I II 23 J 
 I7i .1 2ii 
 
 12J 
 
 2l| 
 
 7l 
 22 
 
 W. Bond ... 12J 
 
 W. Ward ... 17J 
 
 J. Scott ... 5j 
 
 J. R. Smith... 17J 
 
 R. H. Heath 
 
 J. R. Smith, jun. 
 
 J. Ward ... 17J ,, 22 
 
 J.R.Smith... 12 ,, 14J 
 
 T. Williamson 19J ,, 16 
 
 W. Ward ... 9I ,, gf 
 
 ... 18 ,, 24 
 
 17I .. 23i 
 
 S.W.Reynolds I if ,, 14I 
 J. R. Smith ... 17J ,, 22 
 J.Young ... 13I ,, 17I 
 J. Ward ... I7i „ 21J 
 S.W.Reynolds 17! ,, 22 
 W. Ward ... 17 „ 22 
 R. Brooke ... 14J ,, 17! 
 W. Hilton ... 17J ,, 21J 
 
 Jukes 6 ,, 12 
 
 ... 6 ,, 12 
 G. Shepherd... 14 ,, 18 
 
 W. Barnard... ,, 16J 
 
 E. Bell 
 
 Adam 
 E. Bell 
 
 W. Ward 
 
 7 .1 8J 
 16 ,, 12 
 6| „ 8| 
 
 20| 
 23i 
 
 I5f 
 
 126 
 
List of Engravings 
 
 J 
 
 Title of Engraving. Engraver. Size. 
 
 Gathering Fruit 
 
 Gathering Wood ... 
 Gentle Shepherd ... 
 Giles, the Farmer's Boy 
 Gipsies 
 
 Gipsies Camp 
 
 The Gipsies' Encampment J. Fittler ... I2| 
 
 The Gipsies' Tent J. Grozer ... 17J 
 
 Gipsy Courtship J. Jenner ... gj 
 
 Girl and Boy looking into 
 
 Shed J.R.Smith... 18 ,,23 
 
 Girl and Calves W.Ward ... 13! ,, 17I 
 
 Girl and Pigs ,, ... 13I ,, 17J 
 
 Girl with Dove P. Dawe ... n ,, gj 
 
 Goldfinch ; or, the Road to 
 
 Ruin Reading ... 3J ,, 3J 
 
 The Grey Horse W.Ward ... lyj ,, 22 
 
 Guinea Pigs ,, ... gj ,, 12J 
 
 „ J. R. Smith... 19 ,, 23I 
 
 ,, T. Gaugain ... 20J ,, 16 
 
 „ J. P. Levilly... 20J ,, 15! 
 
 R. M. Meadows 
 
 15J by 12 
 
 i5i .. 12 
 
 g| ,, iij 
 
 W. Ward ... 17} ,, 23I 
 
 „ ... Wl '■ 2ii 
 
 I6i 
 23 
 
 H 
 
 La Halte 
 
 The Happy Cottagers 
 The Happy Family 
 
 The Hard Bargain 
 
 Hare Shooting 
 
 Harley and Old Edwards at 
 
 the Grave o£ Young 
 
 Edwards 
 
 The Horse Feeder ... 
 How Sweet's the Love, that 
 
 Meets Return 
 
 Hunting Scene 
 
 Huntsmen and Hounds (Set 
 
 of Six) 
 
 P. Rajon ... 6J by 7| 
 J. Crozer ... 17J ,, 22J 
 J. Dean ... 20 ,, 16 
 W. Ward ... 18J ,, 23S 
 T. Simpson ... 14J ,, ig 
 
 J. Pettitt ... 17J ,, 21J 
 
 J. R. Smith... 17J ,, 2if 
 
 T. Gaugain ... 10 ,, 12 
 
 J. Scott ... 45 ,, 3j 
 
 J. Wright ... 12 ,, 16 
 
 I 
 
 The Idle Laundress 
 
 W. Blake ... 
 
 84 by 10} 
 
 Idleness 
 
 C. Knight ... 
 
 12 „ 94 
 
 Indulgence 
 
 T. Prattent ... 
 
 8 ., 74 
 
 The Industrious Cottager... 
 
 W. Blake ... 
 
 84 „ loj 
 
 Industry 
 
 C. Knight ... 
 
 12 ,, 94 
 
 Innocence Alarmed 
 
 J. R. Smith, 
 
 
 
 jun. 
 
 18I „ 23i 
 
 ,, 
 
 W. Ward ... 
 
 i7i .. 234 
 
 Inside a Country Alehouse 
 
 ,, 
 
 18 „ 23J 
 
 Interior of a Shepherd's 
 
 Cottage 
 
 Interior of a Stable 
 
 Title of Engraving. 
 Jack in the Bilboes... 
 
 Mrs. Jordan in Character of 
 
 Isabella 
 
 Juvenile Navigators 
 
 Engraver. 
 
 W. Ward 
 R. Clamp 
 
 Size, 
 in. in. 
 
 I3|byi8 
 54 .. 6i 
 
 T. S. Englehart 
 
 W. Ward ... 17J „ 2:| 
 
 K 
 
 The Kennel ... 
 The Kite Entangled 
 
 S.W.Reynolds 14I by 12 
 W. Ward ... 20 ,, 16 
 
 The Labourer's Luncheon 
 A Landscape with Man and 
 
 Donkey 
 
 A Land Storm 
 
 The Lass of Livingstone ... 
 
 The Last Litter 
 
 Laundry Maid hanging 
 
 Clothes 
 
 Lazy Shepherds 
 The Listening Lover 
 
 A Litter of Foxes 
 
 Lstitia. Series of Six Plates 
 
 ,) 1) •■• 
 
 Louisa 
 
 Love and Constancy Re- 
 warded 
 
 The Lover's Retreat 
 The Lucky Sportsman 
 
 C. Josi ... 15J by 12J 
 
 S.W.Reynolds igj ,, 23J 
 T. Gaugain ... 10 ,, 12 
 W. Ward ... 18 ,, 23J 
 
 I9f .. IS 
 
 T, Williamson 15I ,, ig 
 
 T.Rowlandson 12J ,, 10 
 G. J. Grozer 
 
 J. R. Smith... 13I ,, II 
 
 A, Gabrielli ... 8 „ loj 
 
 T. Gaugain ... 16 ,, 13J 
 
 16 ,, 13J 
 
 P. Dawe ... io| ,, I2j 
 
 F. D. Soiron 12J ,, loj 
 
 M 
 
 J. Young 
 
 i9i .. 254 
 
 Mad Bull 
 
 The Mail Coach in a Storm 
 
 The Market Girl 
 
 Mastiff Chained 
 
 Men Towing a Boat Ashore 
 Milkmaid and Cowherd ... 
 
 The Millers 
 
 Millers Loading Boat 
 
 The Miseries of Idleness ... 
 
 Mrs. Morland 
 
 Morland. Wife and Child 
 
 Morland's Ass 
 
 Morland's Cottager 
 Morland's Emblematical 
 
 Palette 
 
 Morland's Land Storm 
 Morland's Pheasant 
 
 Morland's Summer 
 
 Morland's Winter 
 
 Morland's Woodman 
 Morning 
 
 R. Dodd ... 13J by 17^ 
 S.W.Reynolds 18 ,, 23J 
 C. Marr ... 53 ,, 4I 
 
 19 ., 134 
 
 S. W. Reynolds 6J ,, 8| 
 J. R. Smith... 17J ,, 2lf 
 S.W.Reynolds 2i| ,, 15 
 F. Vivares ... lof ,, 8f 
 H. Hudson ... 12^ ,, 14^ 
 
 Gill 
 
 Malgo ... loj 
 
 T. Williamson 
 
 12J 
 
 S.W.Reynolds ii| ,, 15J 
 
 T. Williamson 20J ,, i6 
 
 W. Barnard... 171 ,, 23I 
 
 W. Barnard... 17 „ 22J 
 
 T. Williamson 19^ ,, l6| 
 
 S. Aiken ... 21J ,, 16J 
 
 127 
 
George Mori and 
 
 Title of Engraving. 
 
 Morning ; or, the Benevolent 
 
 Sportsman 
 
 ,, ,, ... ... 
 
 Morning ; or, the Higglers 
 Preparing for Market ... 
 
 Morning ; or. Thoughts on 
 Amusement for the Even- 
 ing 
 
 Morning Reflection 
 
 The Mower 
 
 Mutual Confidence ; or, 
 the Sentimental Friends 
 
 Mutual Joy ; or, the Ship 
 in Harbour 
 
 My Grandfather Smoking... 
 
 My Grandmother Knitting 
 
 Engraver. Size. 
 
 in. in. 
 
 J.Grozer ... i8J by 3 J 
 W. NichoUs... 4j „ 5 
 
 D. Orme ... 17J .. 23 
 
 VV. Ward 
 G. Graham 
 E. Bell 
 
 Nurse and Children in the 
 Fields 
 
 7J 
 23i 
 
 P. Dawe ... 12J ,, lof 
 
 R.M. Meadows lof ,, 8J 
 
 loi „ 8i 
 
 N 
 
 The Old Gamekeeper 
 On the Wings of Love 
 Outside a Stable 
 Outside a Publichouse 
 
 G. Keating ... 2o| by ijf 
 
 o 
 
 E. Bell 
 
 ... 4 by 6 
 
 ... 13 ,, 10 
 
 ... 15 ,, 19I 
 
 ... 20J ,, 15J 
 
 Title ot Engraving. 
 
 The Publichouse Door 
 Puss ... 
 Puss Alarmed 
 
 Rabbits 
 
 Engraver. 
 
 Size. 
 
 W. Ward ... 17J by 21J 
 T. Hodgett ... I2i ., 14I 
 P. Dawe ... 19J ,, I4i 
 
 R 
 
 The Rabbit Warren 
 The Recruit ... 
 Refreshment... 
 The Repast ... 
 
 Rest from Labour 
 
 Rubbing Down the Post- 
 Horse 
 
 Rural Amusement 
 
 Rural Courtship 
 
 A Rural Feast 
 
 A Rural Road 
 
 The Rustic Ballad 
 
 A Rustic Bridge 
 
 Rustic Cares 
 
 Rustic Courtship 
 
 Rustic Ease ... 
 Rustic Employment 
 Rustic Gate with Figures ... 
 The Rustic Hovel 
 
 W. Ward ... 
 
 gjby 12J 
 
 J. R. Smith... 
 
 19 ., 
 
 23f 
 
 S. Aiken ... 
 
 Ilg .. 
 
 I5f 
 
 
 9i .. 
 
 Hi 
 
 W. Ward ... 
 
 6J ., 
 
 8| 
 
 ,, 
 
 17 .. 
 
 14 
 
 T. Burke 
 
 17I .. 
 
 14 
 
 J. R. Smith... 
 
 12 ,. 
 
 Hi 
 
 
 I8| .. 
 
 I3i 
 
 
 
 134 .. 
 
 lof 
 
 
 9 .. 
 
 12 
 
 J. Dean 
 
 19 .. 
 
 23I 
 
 
 13I .. 
 
 i8i 
 
 S.W.Reynolds 
 
 13 .. 
 
 I4f 
 
 
 13I .. 
 
 i8i 
 
 T. Williamson 
 
 15I.. 
 
 19 
 
 M. C. Prestel 
 
 10 ,, 
 
 I3f 
 
 J. Young 
 
 I7i .. 
 
 14 
 
 J. R. Smith... 
 
 i3i .. 
 
 loi 
 
 
 9i .. 
 
 8 
 
 E. Bell 
 
 I3i ., 
 
 i7i 
 
 Partridge Shooting., 
 
 A Party Angling ... 
 Paying the Horse Seller . 
 Peasant and Pigs ... 
 Peasant Family 
 The Peasant's Repast 
 
 The Peasant's Sty ... 
 Pedlars 
 
 Pheasant Shooting ... 
 Mr. Phillips' Dog Friend 
 Pigs 
 
 The Pigsty 
 
 Playing at Dominoes 
 
 Playing with a Monkey 
 
 Pleasure 
 
 The Pleasures of Retirement 
 
 The Pledge of Love 
 
 The Poacher... 
 
 The Pointer ... 
 
 Pointer and Hare 
 
 The Power of Justice 
 
 E. Jones. 
 
 T.Rowlandson 16J 
 C. Catton.jun. 12J 
 G. Keatmg ... 17J 
 S.W.Reynolds 18J 
 J. R. Smith... 17J 
 J. Pierson ... 12J 
 C. Josi ... 15J 
 
 ... 15 
 W. Pether ... iif 
 J. Shepherd... 12J 
 J, Fittler ... 7J 
 T.Rowlandson i6f 
 W. Ward ... 13I 
 R. M. Meadows 
 R. Laurie 
 
 F. Vivares 
 
 J. R. Smith... 19J 
 J. R. Reynolds 17J 
 
 17J 
 T.Williamson 7J 
 W. Ward ... 13J 
 W. Ward ... 12I 
 S.W.Reynolds 20 
 
 I2| 
 
 J. Scott ... 5i 
 J. Dean ... iSJ 
 
 by2ij 
 
 ., I5i 
 ,, 22 
 ., 23 J 
 
 ,, 2lf 
 
 „ I5I 
 
 ,. I2i 
 
 .. I9I 
 
 .. 15 
 
 .. I5I 
 
 .. 8i 
 ,. 214 
 .. 17 
 
 23J 
 
 2l| 
 2l| 
 
 9j 
 II 
 
 10 J 
 16 
 
 15J 
 8 
 
 i3i 
 
 Sailors' Conversation 
 St. James's Park 
 
 Seduction 
 Selling Cherries 
 Selling Fish 
 Selling Peas 
 Setters 
 
 The Setters 
 Sheep 
 
 Sheep, Horses, Cows and 
 
 Dogs 
 
 The Shepherd 
 
 The Shepherds 
 
 The Shepherd's Boy 
 The Shepherd's Meal 
 Shepherds Reposing 
 Slave Trade 
 
 Sliding 
 Smugglers 
 
 W.Ward ... I7jby2i| 
 
 F.D. Soiron... 16J ,, 20 
 
 Mdlle. Rollet 134 ,, 16J 
 
 J. Young ... 17I ,, 13^ 
 
 E. Bell ... 24 ,, 184 
 
 J. R. Smith... 17J ,, 2i| 
 
 E. Bell ... 24 ,, 184 
 
 W. Ward ... 13! ,, i6i 
 
 S.W.Reynolds 12J ,, 14I 
 R. Laurie 
 
 J. Kennerley 6^ ,, 84 
 
 E. Bell ... 14 ,, 18 
 
 J. Murphy ... 12J ,, 15 
 J. R. Smith 
 
 ... 164 ,, 21 
 W. Barnard 
 
 W. Ward ... 17! ,, 234 
 J. Wright 
 
 W. Ward ... 17J ,, 2ii 
 
 J. R. Smith... 20 ,, 16 
 
 W. Bond ... 18J ,, 144 
 
 Mdlle. Rollet 13J ,. 174 
 
 J. R. Smith... 18 ,, 25I 
 
 J. Fittler ... 7 ,, 8| 
 
 J.Ward ... 174 ,, iif 
 
 128 
 
List of Engravings 
 
 Title of Engraving. 
 Snipe Shooting 
 
 The Soldier's Farewell 
 Tlie Soldier's Return 
 
 The Soliloquy 
 
 The Sportsman Enamoured ; 
 
 or, the Wife in Danger 
 Sportsman's Hall ... 
 The Sportraan's Return ... 
 Sportsmen Refreshing 
 
 Spring 
 
 The Squire's Door 
 
 ,, ... ... 
 
 Stable Amusement 
 
 The Storm 
 
 The Strangers at Home ... 
 
 Such Things Are 
 
 Summer 
 
 Summer's Evening 
 
 Susan's Farewell 
 
 Suspense 
 
 The Swan Inn 
 
 Engraver. 
 
 Size. 
 
 T.Rowlandson 
 
 17 by 
 
 2.5 
 
 C. Catton.jun. 
 
 12J „ 
 
 i5i 
 
 G. Graham ... 
 
 13 .. 
 
 154 
 
 ,, 
 
 13 ,, 
 
 154 
 
 W. Ward ... 
 
 II ,. 
 
 7i 
 
 W. Ward ... 
 
 14 .. 
 
 17 
 
 t ) ••• 
 
 I7i .. 
 
 24 
 
 S. Aiken ... 
 
 Hi .. 
 
 15! 
 
 W. Ward ... 
 
 6i „ 
 
 54 
 
 B Duterran... 
 
 15* -. 
 
 ■34 
 
 J. P. Levilly 
 
 I5i .. 
 
 133 
 
 W. Ward ... 
 
 i7i„ 
 
 22 
 
 ,, 
 
 194 .. 
 
 I5S 
 
 W. Nutter ... 
 
 10 ,, 
 
 12 
 
 
 13 .. 
 
 10 
 
 T. Nugent ... 
 
 114 „ 
 
 9 
 
 W. Ward ... 
 
 6f ,. 
 
 54 
 
 T. Williamson 
 
 I5i .. 
 
 19J 
 
 W. Ward ... iij ., 13J 
 Davenport ... 2J ,, 3J 
 
 Title of Engravings. 
 
 A Visit to the Boarding 
 
 School 
 A Visit to the Child at Nurse 
 A Visit to the Donkies 
 The Visit Returned in the 
 
 Country 
 
 Vocal Music 
 
 Engraver. 
 
 W. Ward 
 
 W. Nutter 
 ]. Baldrey 
 
 Size, 
 in. in. 
 
 ,.. lyjby 2I| 
 ... I7i .. 2i| 
 ... 14 ,, 18 
 
 ... 12J ,, I2i 
 ... '8 „ 65 
 
 w 
 
 The Warrener 
 
 Watering the Cart Horse ... 
 
 The Weary Sportsman 
 
 The Widow 
 
 Winter 
 
 Winter's Morning 
 
 A Woman Selling Fish 
 Woodcock Shooting 
 Woodcock and Pheasant 
 
 Shooting 
 
 The Woodcutters 
 
 Woodcutter 
 
 Woodcutters at Dinner ... 
 A Woodland Scene 
 
 W. Ward ... I7?by23| 
 
 J. R. Smith ... 12 ,, 14I 
 
 ■•• 17I .. 134 
 
 W. Bond ... 18J ,, 144 
 
 J. Dean ... 18 ,, 13! 
 
 W. Ward ... 6J ,, 5 J 
 
 T. Williamson 15J „ igj 
 
 W. Nutter ... 14J ,, 12 
 
 T. Simpson ... 12 ,, 14I 
 
 W. Ward ... 17J ,, 22 
 
 T.Williamson i8| „ 14J 
 
 154 .. 194 
 
 9} ,. II 
 
 A Tea Garden 
 
 Temptation ... 
 
 The Thatcher 
 
 Tired Gypsies 
 
 The Tomb ... 
 
 Tom Jones' First Interview 
 with Molly Seagrim 
 
 Tom Jones and Sophia 
 Western 
 
 Tom Jones taking Molly Sea- 
 grim from the Constable 
 
 Tottenham Court Road and 
 St. James's Chapel 
 
 Travellers 
 
 Travellers Reposing 
 
 TheTriumph of Benevolence 
 
 The Turnpike 
 
 The Turnpike Gate 
 
 F. D. Soiron i6§ by 20J 
 Mdlle. Rollet 134 ,, 164 
 W. Humphrey 174 ,, I3f 
 W. Ward ... 18 ,, 23^ 
 T.Williamson 15J ,, i8| 
 J. Dean ... 12 ,, loj 
 
 W. Ward 
 
 E. Scott 
 
 12! .. 9i 
 12J ,, 12J 
 12J ,, 12J 
 
 ... 4l .. 7i 
 
 W. Ward ... 174 ,, 2if 
 
 J. Young ... 2ii ,, 16J 
 
 J. Fittler ... 7J „ 8^ 
 
 T. WiUiamson 154 „ iSf 
 
 J. Dean ... 18J ,, 13J 
 
 J. Fittler ... 7I ,, 9 
 
 W. Ward ... 17I ,, 23I 
 
 V 
 
 Valentine's Day 
 
 . J. Dean 
 
 I8jb 
 
 y 13J 
 
 Variety 
 
 . W. Ward ... 
 
 Hi . 
 
 . 74 
 
 ,, 
 
 . Bartolotti ... 
 
 ■li . 
 
 . 74 
 
 A View in Leicestershire .. 
 
 . J. Ward 
 
 
 
 View on a Common... 
 
 .. M. C. Prestel 
 
 18 , 
 
 - 234 
 
 Villagers 
 
 ,. J. Young 
 
 164 , 
 
 . 21^ 
 
 Virtue in Danger 
 
 . J. Fittler ... 
 
 7 . 
 
 . H 
 
 The Young Dealer T.Williamson 
 
 I5jb: 
 
 M9i 
 
 The Young Nurse and Quiet 
 
 
 
 Child G. Graham ... 
 
 8§ „ 
 
 6J 
 
 Youth Diverting Age ... J. Grozer ... 
 
 18J „ 
 
 i 14 
 
 MODERN ENGRAVINGS. 
 
 Alehouse Parlour 
 
 Children Birdnesting 
 
 The Cottagers 
 
 Delia 
 
 Domestic Happiness 
 Dressing for the Masquerade 
 
 The Elopement 
 
 The Fair Penitent 
 
 Farm Outhouse 
 
 The Farrier's Forge 
 
 Feeding Pigs 
 
 The Fish Market 
 
 The Gipsies 
 
 The Haywain 
 
 Higglers 
 
 Horses in a Stable ... 
 
 Louisa 
 
 The Milkmaid and Shepherd 
 
 Nancy 
 
 The Pledge of Love 
 Rabbits 
 
 C. A.Tomkins 5 by 84 
 
 T.G.Appleton 17J ,, 2lf 
 
 M. A. Gates... 17J ,, 22 
 
 M. Cormack... 20 ,, 17 
 J. Scott ... ^ „ 5 
 
 5 ,• 84 
 
 T.G.Appleton 17J ,, 23J 
 
 C. J. Tomkins 5 ,, 8J 
 
 J. Scott 
 
 C. A. Tomkins ,, 
 
 C. J. Tomkins „ 
 
 M. Cormack 174 ,, 23:J 
 
 20 ,, 17 
 
 I7i .. 23 
 
 20 ,, 17 
 
 19} ., 16J 
 
 C. J. Tomkins 5 ,, 8J 
 
 129 
 
George Morland 
 
 Title of EngraWng. 
 
 The Reckoning 
 
 Return to the Stable 
 
 Setters 
 
 The Shipwreck 
 
 Tarring the Boat 
 
 The Tavern Door 
 
 The Thatclier 
 
 Toll House ... 
 
 The Travellers 
 
 The Virtuous Parent 
 
 The Visit to the Nurse 
 
 Winter 
 
 Engraver. 
 
 Size. 
 
 B. Shutte ... 17* by 23J 
 
 C. O. Murray 15 ,, 21 
 Photogravure 5 ,, 8i 
 J. Scott 
 
 8i 
 
 C. J. Tomkins 5 
 C. A. Tomkins 
 
 M. A. Dates... 17} 
 
 J. Scott ... 8.J 
 
 Photogravure 5 
 J. Scott 
 
 5 
 
 5 
 Si 
 
 ENGRAVERS. 
 
 Adam. 
 Title of Engraving. Publisher. 
 
 Friendship ... (S)... J. Read. 
 
 S. Alken. 
 
 Evening (A)..- J. Vivares. 
 
 Morning ... ... (.^)... ,. 
 
 The Rabbit Warren (A) J. R. Smith. 
 Sportsmen Refreshing (A) ,, 
 
 W. T. Annis. 
 Boy and Pigs (M)... H. Macklin. 
 
 Coast Scene, A. (M)... 
 
 J. Baldrey. 
 Vocal Music ... (S)... T. Palser. 
 
 W. Barnard. 
 The Shepherd (M)... W. Barnard. 
 
 The Brown Jug, or Wag- 
 goner's Farewell (M) ,, 
 The Flowing Bowl, or 
 Sailors Return'd (M) 
 Morland's Winter (M) W.J.Sargard 
 The Country Butcher (M) J. Higham. 
 The Cottage Fireside (M) T. Palser. 
 
 Cows 
 
 Sheep (M)... 
 
 Delicate Embarrass- 
 ment (M)... 
 
 Mutual Confidence (M)... 
 
 Fox Hunting. Series of 
 
 Four ;— (M)... 
 
 Going Out. 
 
 Going into Cover. 
 
 The Check. 
 
 The Death. 
 
 Edward Bell, 
 (M)... E. Bell. 
 
 J. Crozer. 
 
 E. Bell. 
 
 Selling Peas 
 Selling Cherries (M)... 
 The Rustic Hovel (M)... 
 The Cottage Sty (M)... 
 The Frightened Horse(M) 
 The Mower ... (M) 
 The Old Gamekeeper (S) 
 
 Edward Bell. 
 (M)... T. Ladd. 
 
 E. Orme. 
 
 Date. 
 Aug. 15, 1795 
 
 1792 
 
 Mar. 2, 1801 
 
 July 12, 1806 
 
 Mar. I, 1813 
 Sep. 12, 1801 
 May I, 1802 
 
 Aug. 21, 1802 
 Feb. 14, 1810 
 June 20, iSii 
 
 Oct., 1793 
 
 1796 
 
 Apr. 14, 1800 
 
 July 12, 1801 
 May 12, iSoi 
 Jan. I, 1804 
 
 W. Blake. 
 Title of Engraving. Publisher. Date. 
 
 The Idle Laundress (S)... J. R. Smith. 1788 
 
 Rcpub., H. Macklin. Jan. i, 1803 
 The Industrious Cottager 
 
 (S) J. R. Smith. 1788 
 
 Rcpub., H. Macklin. Jan. i, 1803 
 
 W. Bond. 
 The Farmer's Visit to his 
 
 Married Daughter in 
 
 Town (S) W.Dickinson. May i, 1789 
 
 The Weary Sportsman(S) H. Macklin. Apr. i, 1803 
 Shepherds Reposing (S) ,, Oct. i, 1S03 
 
 R. Brooke. 
 The Attentive Shepherd 
 
 (M) Mrs.Macklin Oct. i, 1805 
 Companion to above (M) ,, ,, 
 
 Fishermen in Distress(M) 
 
 T. BnRKE. 
 Returning from Labour 
 
 (M) H. Macklin. June 10. 1801 
 Rest from Labour (S)... R. Lambe. May 1, 1808 
 
 Belinda 
 
 Borrows. 
 ... (S)... J. Read. 
 
 May I, 1794 
 
 C. Catton, Jun. 
 Partridge Shooting (A)... Simpson&Co. Feb. 14, 1790 
 
 Repub., J. P. Thompson. Aug. 16, 1814 
 Snipe Shooting ... (A) Simpson&Co. Feb. 14, 1790 
 
 Repub., J. P. Thompson. Aug. 16, 1814 
 
 R. Clamp. 
 The Contented Waterman , 
 
 (S) J. Read. Jan. i, 1797 
 
 Jack in the Bilboes (S)... ,, ,, 
 
 COLINET. 
 
 Contemplation (S)... A Paris chez Eaton 
 
 T. Cook. 
 The Accommodation (S) 1795 
 
 Companion to above (S) „ 
 
 Davenport. 
 The Swan Inn ... (L) 
 
 P. Dawe. 
 
 Love and Constancy Re- 
 warded ... (M)... W. Hinton. Nov. i, 1785 
 
 Anxiety : or. The Ship at 
 Sea (M)... 
 
 Mutual Joy : or the Ship 
 
 in Harbour (M)... ,, 
 
 Children Fishing (M) .. ,, 
 
 Children GatheringBlack- 
 
 berries ... (M)... ,, 
 
 Puss Alarmed (M)... R. Lambe. 
 
 The Banks of the Dee(M) 
 
 Girl with Dove (M)... 
 
 W. Dickinson May i, 1788 
 ,, Dec. 20, 1788 
 
 1808 
 
 130 
 
List of Engravings 
 
 E. Dayes. 
 Title of Engraving. Publisher. 
 
 Children Nutting (M) J. R. Smith. 
 
 Repub., 
 
 De 
 J 
 
 AN. 
 
 Dean. 
 
 J- 
 The Happy Family (M)... 
 Valentine's Day (M)... 
 The Power of Justice (M) 
 The Widow ... (M)... 
 The Triumph of Benevo- 
 lence (M)... 
 
 The Tomb ... (S)... 
 A Rural Feast ... (M)... 
 
 W. Dickinson. 
 Children's Amusement W. Dickin- 
 (M) son. 
 
 R. DODD. 
 Mad Bull ... (A)... P.Cornman. Nov.20, 17S9 
 
 Date. 
 July I, 1783 
 17S8 
 
 Nov. 15, 1787 
 
 I > 
 Apr. I, 1788 
 June 5, 17S8 
 
 Aug. I, 1788 
 Oct. I, 1789 
 May 20, 1790 
 
 E. J. DUMEE. 
 The Discovery (S)... J.R.Smith. 
 
 The Fair Seducer (S)... 
 The Benevolent Lady (S) T. Prattent. 
 
 B. DUTERREAU. 
 
 The Farmer's Door ... (S) J. R. Smith. 
 The Squire's Door ... (S) ,, 
 
 T. S. Englehart. 
 Mrs. Jordan in the char- 
 acter of Isabella ... (S) 
 
 J. FiTILER. 
 
 Traveller's Reposing (L) J. Fittler. 
 Virtue in Danger (L)... . P. Cornman. 
 
 June 25, 17SS 
 Feb. I, 1791 
 Aug. 4, 1790 
 
 Sliding ... 
 Pedlars 
 The Turnpike 
 The Bell ... 
 The Gipsies' 
 ment 
 
 ... (L)... 
 ... (L)... 
 ... (L)... 
 ... (L)... 
 Encamp- 
 ... (L). 
 
 J. Fittler. 
 
 May I, 1790 
 Aug., 1790 
 Jan., 1796 
 
 A. Gabrielli. 
 *Laetitia. Series of Six 
 
 Plates (L). 
 
 • For Titles of Plates see J. R. Smith. 
 
 a pair 
 
 T. Gaugain. 
 (S)... J.R.Smith. 
 
 T. Gaugain. 
 How Sweet's the Love 
 that meets Return (S)... 
 The Lassof Livingtone(S) 
 Louisa 
 Louisa 
 
 Guinea Pigs ... (S)... T. Gaugain. 
 Dancing Dogs ... (S)... ,, 
 
 T. GossE. 
 The Country Butcher (M) J.R.Smith. 
 
 G. Graham. 
 Morning Reflection (S) E. Jackson. 
 
 Dec, 1785 
 
 Apr. ID, 1789 
 
 Sep., 1789 
 Feb., 1790 
 
 Oct. 25, 1S02 
 Sep. 3, 1788 
 
 Title of Engraving. Publisher. Date. 
 
 The Billeted Soldier (S) T.Simpson. Feb. 4, 1791 
 The Soldier's Return (S) ,, Feb. i, 1790 
 
 The Soldier's Farewell (S) ,, 1, 
 
 The Angry Boy and Tired 
 
 Dog (S)... T. Falser. Apr. 15, 1813 
 
 The Young Nurse and 
 
 Quiet Child ... (S)... 
 
 J. Grozer. 
 
 Youth Diverting Age (M) W.Dickinson. Aug. 30, 1789 
 
 The Gipsies' Tent (M)... B.B.Evans. Apr. 23, 1793 
 
 The Happy Cottagers (M) 
 
 Morning : or the Bene- 
 volent Sportsman (M) J. Grozer. May, 1795 
 
 Evening : or, The Sports- 
 man's Return (M)... ,, <• 
 
 A Litter of Foxes (M)... ,, 1797 
 
 R. H. Heath. 
 The Disabled Soldier ... T. Tegg. 1806 
 
 The Female Pedlar ... ,, .. 
 
 W. Hilton. 
 Fishermen on Shore (M) J. R. Smith. Feb. 10, 1806 
 
 T. HODGETT. 
 
 Puss (M)... H. Morland. Apr. 11, 1810 
 
 J. Hogg. 
 Changing Quarters (S)... T. Simpson. Feb. 4, 1791 
 
 H. Hudson. 
 Affluence Reduced (M) J. R. Smith. Jan. 20, 1790 
 The Miseries of Idleness 
 (M) 
 
 W. Humphrey. 
 ... (M) W. Dickinson. Dec. i, 1790 
 
 Temptation 
 
 Compassion 
 Gipsy Courtship 
 
 J. Jenner. 
 (M) 
 (M) T. Jones and 
 
 J. Jenner Aug. 12, 1792 
 
 E. Jones. 
 
 Partridge Shooting (M) John Gary. June 7, 1805 
 
 C. Josi. 
 The Labourer's Luncheon 
 
 (S) J. R. Smith. Dec. 20, 1797 
 The Peasant's Repast (S) ,, ,. 
 
 F. Jukes. 
 Fishermen Preparing to 
 
 Go Out ... (A)... J. Deeley. Feb. 14, 1811 
 
 The Fishermen Returning 
 (A) 
 
 G. Keating. 
 Children Playing at 
 
 Soldiers ... (M)... J. R. Smith. Aug. 5, 1788 
 A Party Angling (M)... ., Nov. 28, 1789 
 
 Nurse and Children in the 
 
 Fields (M)... „ Apr. i, 1791 
 
 131 
 
George Morland 
 
 Title of Engraving. 
 Deserter. Series of Four 
 
 Plates (M)... 
 
 Trepanning a Recruit. 
 Recruit Deserted. 
 Deserter taking Leave of 
 
 his Wife. 
 Deserter Pardoned. 
 The Cottager's Wealth(M) 
 
 Publisher. 
 
 J. R.Smith. 
 
 Date. 
 
 July 29, 1791 
 
 The Setters 
 
 Industry ... 
 Idleness ... 
 
 Setters ... 
 
 J NO. Kennerley. 
 (S)... H. Macklin. 
 
 C. Knight. 
 (S)... E.M. Diemar. 
 
 (S) 
 
 R. Laurie. 
 (M)... 
 
 Mackenzie. 
 
 Jan. 20, 1804 
 May I, 1788 
 
 Vignette on Title (S).. 
 The Infant Nursery (S). 
 
 J. Cundee. 1806 
 
 Goats 
 
 Asses 
 
 Sheep 
 
 Morland's Ass .. 
 Tne Market Girl 
 Gathering Fruit.. 
 
 Gathering Wood 
 
 Pigs (S)... 
 
 My Grandmother Knit- 
 ting (S)... 
 
 My Grandfather Smo- 
 
 king (S). 
 
 (S) 
 
 (S) 
 
 (S) 
 
 Malgo. 
 (M)... E. Orme. 
 
 C. Mark. 
 (L)... G. Virtue. 
 
 R. M. Meadows. 
 (S)... J. R. Smith. 
 Rcpub., 
 
 T. Falser. 
 (S)... J. R. Smith. 
 Repub., ,, 
 
 T. Falser. 
 W.T. Strutt. 
 
 1804 
 
 Feb. 2, 1795 
 Feb. 2, 1799 
 Jan. I, 1816 
 Feb. 2, 1795 
 Feb. 2, 1799 
 Jan. I, 1816 
 Mar. 18, 1806 
 
 Coursing ... 
 
 Mar. 
 
 1792 
 
 G. Morland. 
 .. (A)... J. Read. 
 .. (A) 
 
 J. Mdrphy. 
 Sheep (M). 
 
 W. NiCHOLLS. 
 
 Evening : or, The Sports- 
 man's Return... (S). 
 
 T. NOGENT. 
 
 The Disconsolate and Her 
 
 Parrot (S). 
 
 Summer (S). 
 
 W. Nutter. 
 The Strangers at Home(S) E.M. Diemar. Aug. 1,1788 
 
 Title of Engraving. Publisher. Date. 
 
 The Visit Returned in the 
 
 Country ... (S)... W.Dickinson. May i, 1789 
 
 A Woman Selling Fish (S) 
 
 Repub., Boydell&Co. May 1,1815 
 
 D. Orme. 
 Morning : or,The Higglers 
 
 Preparing for Market(S) D. Orme. 
 Evening : or, The Post- 
 boy's Return ... (S)... 
 
 E. Orme. 
 Conversation ... (S)... E. Orme. 
 
 W. Pether. 
 The Peasant's Sty (M). 
 
 J. Petiitt. 
 Harley and Old Edwards 
 at the Grave of Young 
 
 Jan. I, 1796 
 
 July I, 1804 
 
 Edwards 
 Peasant Family. 
 
 Discipline 
 Indulgence 
 
 (M)... W. Holland. May, 17S7 
 July I, 1S05 
 June, 1788 
 
 J. Pierson. 
 (S)... J. Pierson. 
 
 T. Prattent. 
 . (S)... J. Brydon. 
 . (S)... 
 
 M. C. Prestel. 
 Girl at 
 
 E.M. Diemar. Feb. 
 
 1792 
 
 The Country 
 
 Home ... ... (A) 
 
 The Country Girl in 
 
 London ... (A)... ,, ,, 
 
 Rustic Courtship (A)... ,, 
 
 View on a Common (A). 
 
 A. Ragona. 
 Changing Quarters (L). 
 
 P. Rajon. 
 La Hake (Publichouse 
 
 Door) (E)... F. Li^nard. 
 
 Reading. 
 The Elopement... (S)... J. Garbanati. 
 Goldfinch : or. The Road 
 to Ruin ... (L)... ,, 
 
 J. R. Reynolds. 
 Playing atDominoes(M)... T. Ladd and 
 
 W.Atkins. May i, 1797 
 Playing with a Monkey (M) ,, ,, 
 
 (In Whitman's book the above named prints are given 
 as by S. W. Reynolds.) 
 
 S. W. Reynolds. 
 
 The Rustic Ballad (M)... J. Read. May i, 1795 
 
 A Bear Hunt ... (M)... S.W.Reynolds.Apr. 20, 1796 
 The Kennel ... (M)... ,, ,, 
 
 A Land Storm ... (M)... P. Brown. Feb. 17, 1798 
 
 Setters (M)... S.Morgan. Mar. i, 1799 
 
 The Fisherman's Dog (M) S.W.Reynolds. Jan. i, 1800 
 
 132 
 
List of Engravings 
 
 Publisher. 
 W. Jeffryes. 
 
 R.Ackermann. Jan 
 H. Macklin. Jan 
 J. R. Smith 
 
 Title of Engraving. 
 
 The Millers ... (M)... 
 The Poacher ... (M)... 
 The Mail Coach (M)... 
 Paying the Horseseller(M) 
 Fisherman Going Out(M) 
 Morland's Emblematical 
 
 Palette (M)... 
 
 The Pointer ... (M). 
 Men Towing a Boat 
 
 Ashore (M). 
 
 Mdlle. 
 African Hospitality (S). 
 Slave Trade ... (S). 
 A Tea Garden ... (S). 
 St. James's Park (S). 
 
 T. RoWLANDSON. 
 
 The Listening Lover(A)... W. Taylor. 
 
 Duck Shooting (A)... J. Harris. 
 
 Partridge Shooting (A)... ,, 
 
 Pheasant Shooting (A)... ,, 
 
 Snipe Shooting (A)... ,, 
 
 Date. 
 Aug. 12, 1800 
 
 I, 1801 
 12, 1805 
 May 17, 1805 
 
 J. Linnell. Jan. i, 1806 
 
 ROLLET. 
 
 Nov. 21, 1789 
 Jan. I, 1790 
 
 H. SCHUTZ. 
 
 A Country Church (A) 
 
 E. Scott. 
 
 Boys' Skating ... (S)... 
 
 Boys' Robbing Orchard(S) 
 
 Boys' Bathing ... (S)... 
 
 Boys' and the Angry 
 
 Farmer (S)... 
 
 Repub., J. P. Thompson 
 
 Tom Jones and Sophia 
 Western ... (S)... 
 
 Tom Jones taking Molly 
 Seagrim from the Con- 
 stable (S)... 
 
 J. R. Smith. Dec. g, 1790 
 
 1804 
 J. S. Birchall. June 4, 1791 
 
 Farmyard 
 Frost Piece 
 Pointer and Hare 
 Hunting Scene ... 
 
 J. Scott. 
 (L)... J. Cundee. 
 
 (L) 
 
 (L) 
 
 (L)... J. Pittman. 
 
 G. Shepherd. 
 The Fleecy Charge (S)... T. Macklin. 
 Dogs (SJ... H. Macklin. 
 
 J. Shepherd. 
 Pedlars (S)... J. Pierson. 
 
 T. Simpson. 
 Duck Shooting. Plate i(S) T. Simpson. 
 Plate 2(S) 
 Repub., J. P. Thompson. 
 Woodcock and Pheasant 
 
 Shooting ... (S)... T. Simpson. 
 Hare Shooting ... (S)... 
 
 Coursing (S)... 
 
 Repub., J. P. Thompson. 
 
 Nov. I, 1805 
 
 July 29, 1824 
 
 June 7, 1796 
 May 12, 1802 
 
 Sep. I, 1805 
 
 Apr. 20, 1790 
 
 Aug. 16, 1804 
 
 Apr. 20, 1790 
 
 Nov. 10, 1791 
 Aug. 15, 1814 
 
 John Raphael Smith. 
 
 Title of Engraving. Publisher. Date. 
 
 Delia in Town ... (S)... J.R.Smith. Feb. 12, 1788 
 Delia in the Country (S) 
 •Rural Amusement (S)... 
 •Rustic Employment (S)... 
 
 * These were republished by Ackermann, 1814, 
 but with alterations. 
 
 Laetitia. 
 
 Plates ... 
 
 Plate 
 
 Series 
 
 Jan. I, 1789 
 
 of Six 
 .. (S)... J. R. Smith. 
 Domestic Happiness. 
 ,, 2. The Elopement. 
 ,, 3. The Virtuous Parent. 
 ,, 4. Dressing for the Masquerade. 
 ,, 5. The Tavern Door. 
 ,, 6. The Fair Penitent. 
 This set was republished by R. Ackermann, Jan. i 
 181 1, but with alterations. 
 African Hospitality (M)... J.R.Smith. Feb. I 
 Slave Trade ... (M)... 
 
 This pair were republished by S. Morgan, 
 March 24, 1814. 
 Christmas Gambols (M) 
 Feeding the Pigs (M)... 
 
 J. R. Smith. 
 
 Feb. 5, 
 July I, 
 
 1791 
 
 1 791 
 1793 
 
 Return from Market (M) 
 
 Dog and Cat ... (M)... 
 
 Fighting Dogs ... (M)... 
 
 Rubbing-down the Post- 
 horse (M)... 
 
 Watering the Carthorse 
 
 The Cornbin ... (M)... 
 
 The Horse Feeder (M)... 
 
 Milkmaid and Cowherd 
 (M) 
 
 The Fisherman's Hut (M) 
 
 Selling Fish ... (M)... 
 
 Cottage Family (M)... 
 
 The Shepherd's Meal (M) 
 
 A Conversation (M)... 
 
 Peasant and Pigs (M)... 
 
 Sheep (M)... 
 
 Child looking into a Pig- 
 sty (M)... 
 
 Guinea Pigs ... (M)... 
 
 Rabbits (M)... 
 
 Aug. I, 1794 
 
 May I, 1797 
 Oct. 20, 1798 
 Oct. I, 1799 
 Feb. I, 1803 
 
 June I, 
 Sep. I, 
 
 1803 
 
 1803 
 
 T. Falser. Jan. i, 1807 
 
 J- 
 
 Breaking the Ice ... 
 The Fern Gatherers 
 Innocence Alarmed 
 
 R. Smith, Jdn. 
 (M) J. R. Smith. 
 (M) 
 (M) H. Macklin. 
 
 F. D. 
 
 St. James's Park ... (S) 
 A Tea Garden ... (S) 
 The Lucky Sportsman (S) 
 
 SOIRON. 
 
 T. Gaugain. 
 
 Oct. 20, 1798 
 1799 
 Jan. I, 1803 
 
 Jan., 1790 
 
 B. Tabart. Feb. 14, 1795 
 
 A. Suntach. 
 Deserter. Four Plates (S) A. Suntach. 
 La Chasse de la Be- 
 cassine (Snipe) (S) ,, 
 
 Oct. 15, 1790 
 
 133 
 
George Morland 
 
 tie of Engraving. Publisher. Date. 
 
 La Chasse de la Becasse 
 
 (Woodcock) (S)... A. Suntach. June 15, 1791 
 La Chasse du Lievre 
 
 (Hare) ... (S)... ,, Sept. 15, 1791 
 
 La Chasse du Canard 
 
 (Duck) (S)... „ Dec. 15, 1791 
 
 R. S. Syer. 
 Alehouse Kitchen (M)... J.R.Smith. Jan. i, 1801 
 Alehouse Door (M)... 
 
 P. W. TOMKINS. 
 
 ChildrenFeedingGoats (S) J.Walker. Jan. i, 1790 
 
 F. ViVARES. 
 
 Children in Woods (S)... E. Orrae. Sept., 1802 
 
 Millers loading Boat (S) ... ,, 
 
 Ass and Pigs ... (S) July i, 1804 
 
 Pigs (S)... 
 
 James Ward. 
 
 A Boy Employed in Burn- 
 ing Weeds ... (M)... B. Tabart. April 1,1793 
 
 A View in Leicestershire 
 
 Repub., Coluaghi, Sala & Co. March, 1799 
 
 Fishermen ... (M)... J. R. Smith. Nov. i, 1793 
 
 Smugglers ... (M)... 
 
 Fern Burners ... (M)... ,, 
 
 William Ward. 
 
 Tom Jones' First Inter- 
 view with Molly Seagrim 
 
 (M) W. Holland. Nov. i, 1786 
 
 The Coquette at Her 
 
 Toilet (M)... W.Dickinson. July 2, 17S7 
 
 Domestic Happiness (M) ,, „ 
 
 The Delightful Story (M) W. Ward. Sept. i, 1787 
 
 The Soliloquy ... (S)... W.Dickinson. Oct. i, 17S7 
 
 TheFirstPledgeofLove(S) T. Prattent. Jan., 178S 
 
 Spring 1 
 
 Summer Set of Four) „, „ „ 
 
 Autumn f Ovals. } <S) T. Prattent. Mar. i, 1788 
 
 Winter j 
 
 Suspense (M)... W.Dickinson. May i, 1788 
 
 The Pledge of Love (M)... ,, June i, 1788 
 
 A Visit to the Child at 
 
 Nurse (M)... J. R. Smith. Aug. 20, 1788 
 
 Constancy .. (S)... W.Dickinson. Sep. 4, 17S8 
 
 Variety (S)... 
 
 Blind Man's Buff (M)... J. R. Smith. Dec. 14, 1788 
 
 Children Birdnesting (M) ,, Feb. 27, 1789 
 
 The Pleasures of Retire- 
 ment (M) J. T. Smith. May, 1789 
 
 The Effects of Youthful 
 Extravagance and Idle- 
 ness (M)... T. Simpson. July i, 1789 
 
 'Repub., ,, Mar. 25, 1794 
 
 ,, John P. Thompson. June 4, 1804 
 
 The Fruits of Early In- 
 dustry and Economy (M) T. Simpson. Nov. i, 1789 
 'Repub., „ Mar. 25, 1794 
 
 ,, John P. Thompson. June 4, 1804 
 
 Oct. 4, 1789 
 Oct. 28, 1789 
 Nov. 20, 1789 
 
 J. R. Smith. Nov. 28, 1789 
 
 ,, Dec. 28, 1789 
 
 ,, June 19, 1790 
 
 Title of Engraving. Publisher. Date. 
 
 • The second plates are about 3 inches longer 
 and 2 inches wider. 
 Mr. Phillips' Dog Friend 
 (M) 
 Juvenile Navigators (M) J. R. Smith. 
 Refreshment ... (M)... P. Cornman. 
 An Ass Race ... (M)... 
 The Angler's Repast (M) 
 A Visit to the Boarding 
 
 School ... (M)... ,, 
 
 The Kite Entangled(M)... 
 The Contented Waterman 
 
 (M) P. Cornman. 
 Repub., J. Linnell. 
 Jack in the Bilboes (M)... P. Cornman. 
 Cottagers ... (M)... T. Simpson. 
 
 Travellers ... (M)... ,, 
 
 The Farmer's Stable (M) T. Macklin. 
 The Shepherd's Boy (M) D. Orme. 
 The Woodcutter ... (M) D. Orme. 
 The Country Stable (M) 
 The Barn Door... (M)... T. Simpson. 
 
 Gipsies (M)... „ 
 
 A Carrier's Stable (M)... 
 
 Repub., ,, 
 
 The Sportsman's Return 
 
 (M) D. Orme. 
 The First of September — 
 
 Morning ... (M)... T. Simpson. 
 Evening ... (M)... ,, 
 
 The Farmer's Stable (M) J. R. Smith. 
 The Farmyard ... (M)... ,, 
 
 The Dram ... (M)... ,, 
 
 The Storm ... (M)... 
 Inside of a Country Ale 
 
 house ... 
 Girl and Calves.. 
 
 Girl and Pigs 
 
 (M)... W. Ward. 
 (M)... Collins and 
 Morgan. 
 Repub., S. Morgan. 
 (M)... Collins and 
 Morgan. 
 Repub., S. Morgan. 
 William Ward. 
 The Hard Bargain (M)... J. L. Cart- 
 wright. 
 H. Macklin. 
 J. L. Cart- 
 wright. 
 H. Macklin. 
 Wards & Co. 
 J. R. Smith 
 
 Repub., 
 
 The Last Litter... (M)... 
 
 Repub., 
 
 Alehouse Politicians(M)... 
 The PublichouseDoor(M) 
 Stable Amusement (M)... 
 Sailors' Conversation (M) 
 Giles, the Farmer's 
 
 Boy (M) 
 
 A Visit to theDonkeys (M) 
 
 The Thatcher ... (M)... 
 
 The Warrener ... (M)... 
 
 Repub., 
 
 H. Macklin. 
 
 J. Linnell. 
 H. Morland. 
 R. Lambe. 
 
 Sept. 19, 1790 
 Sept. 8, 1806 
 Sept. 19, 1790 
 
 Feb., 1 79 1 
 
 Jan. I, 1792 
 Feb. I, 1792 
 
 Mar. I, 1792 
 April 9, 1792 
 
 June I, 1792 
 Apr. 9, 1793 
 
 Dec. 20, 1792 
 
 May I, 1794 
 
 July I, 1795 
 
 Aug. 30, 1796 
 
 Mar. I, 1797 
 
 Dec. 3, 1797 
 Feb. 28, 1S02 
 
 Dec. 3, 1797 
 Feb. 28, 1802 
 
 Mar. 20, 1800 
 Jan. I, 1803 
 
 Mar. 20, 1800 
 Jan. I, 1803 
 Mar. 2, 1801 
 July 20, 1801 
 
 Oct. 25, 1802 
 
 Feb. 12, 1803 
 July I, 1803 
 Jan. I, i8o5 
 
 June, 1813 
 
 134 
 
List of Engravings. 
 
 Title of Engravin 
 
 g- 
 
 Publisher. 
 
 Date. 
 
 
 The Shepherds... 
 
 (M)... 
 
 H. Morland. 
 
 June I, 
 
 1806 
 
 The Turnpike Gate (M)... 
 
 J. Linnell. 
 
 June 4, 
 
 1806 
 
 Setters 
 
 (M)... 
 
 ,, 
 
 June 15 
 
 1806 
 
 Rabbits 
 
 (M)... 
 
 ,, 
 
 Sept. I, 
 
 1S06 
 
 Guinea Pigs 
 
 (M)... 
 
 ,, 
 
 ,, 
 
 
 The Repast 
 
 (M)... 
 
 R. Lambe. 
 
 May I, 
 
 1S08 
 
 Donkeys 
 
 (M)... 
 
 W. Ward. 
 
 Feb. 14 
 
 1811 
 
 Bathing Horses... 
 
 (M)... 
 
 R. Lambe. 
 
 May 10, 
 
 1814 
 
 The Disconsolate 
 
 and 
 
 
 
 
 Her Parrot ... 
 
 (M). 
 
 
 
 
 Fishermen Going Out (M). 
 The Grey Horse (M). 
 Innocence Alarmed (M). 
 
 J. Whessell. 
 Boatman ... (S)... J. P. Thomp- 
 
 son. 
 
 T. Williamson. 
 The Gipsies' Camp (S) 
 Woodcutters at Dinner(S) 
 
 T. William- 
 son. 
 
 First Love ... (S)... 
 
 Lazy Shepherds... (S)... 
 The Young Dealer (S)... 
 Morland's Cottager (S)... 
 Morland 's Woodman(S) . . . 
 Rustic Cares ... (S)... 
 Summer's Evening (S)... 
 Travellers' Reposing(S)... 
 Tired Gipsies... (S)... 
 
 Winter's Morning (S)... 
 Cottagers in Winter (S)... 
 Woodcutters (S)... 
 
 Morland'sLand Storm (S) 
 Business ... 
 Pleasure ... 
 
 R. Bowyer. 
 
 Shepherds 
 Boy and Pigs . 
 Huntsmen and 
 Set of Si.x 
 
 T. Falser. 
 (S)... 
 (S)... 
 J. Wright. 
 (S)... J. Harris. 
 
 • (S) 
 
 Hounds, 
 . IS)... 
 
 J. YonNG. 
 
 Credulous Innocence (M) J. Birchall. 
 
 Fishermen ... (M)... J. Young. 
 
 Travellers ... (M)... ,, 
 
 Villagers ... (M)... „ 
 
 Interior of a Stable (M)... ,, 
 
 Rustic Ease ... (M)... ,, 
 
 Jan. I, 1796. 
 
 1S02 
 
 Mar. 10, 1S03 
 May I, 1S04 
 
 Jan. I, 1805 
 Sept. 2, 1S05 
 
 Jan. I, 1S06 
 Mar. 31. 1817 
 
 Feb. II, 1794 
 Feb. 17, 1794 
 
 July I, 1794 
 to Jan. 1,1795 
 
 Nov. 5, 1788 
 May 15, 1800 
 Feb. 14, 1802 
 
 Mar. I, 1804 
 
 ENGRAVERS 
 
 Title of Engraving. 
 Appointment ... (S). 
 ... (M). 
 TheAgreeableSurprise(M) 
 
 Children with Sheep (M) 
 The Child of Nature- 
 Mrs. Jordan (S). 
 
 NOT ASCERTAINED. 
 
 Publisher. Date. 
 
 Carington 
 Bowles. 
 
 Mar. 24, 1788 
 
 Title of Engraving. 
 Constantia 
 Disappointment (M)... 
 
 (S). 
 Duck Shooting (A). 
 The Elopement of Anna 
 
 fr.m the Parsonage 
 
 House ... (S), 
 
 The Frightened Horse (S) 
 Gentle Shepherd (S). 
 Gipsies ... ... (S). 
 
 Gipsies' Camp ... (S). 
 Interior of a Shepherd's 
 
 Cottage ... (M). 
 
 A Landscape with Man 
 
 and Donkey ... (M). 
 Laundry Maid Hanging 
 
 Clothes ... (S)... 
 
 The Lovers' Retreat(M)... 
 
 Mastiff Chained (M). 
 
 Mrs. Morland ... (S). 
 
 Morning : or, Thoughts on 
 Amusements for the 
 Evening... 
 
 On the Wings of Love(M) 
 
 Outside the Public- 
 house ... 
 
 Peasant's Repast 
 
 Rubbing the Post- 
 horse ... 
 
 Rural Courtship 
 
 A Rural Road ... 
 
 A Rustic Bridge 
 
 A Rustic Gate 
 Figures... 
 
 Sheep, Horses, 
 
 and Dogs 
 Such Things Are 
 
 Susan's Farewell (S). 
 
 Tottenham Court Road 
 and St.James'Chapel(A) 
 
 Watering the Cart- 
 horse ... ... (S)... 
 
 Woodcock Shooting (A). 
 
 Publisher. Date. 
 
 S. W. Fores. July, 1792 
 
 E. Orme. June 4, 1804 
 
 E. Orme. May i, 1793 
 
 Laurie and 
 
 Whittle. Sept. 12, 1796 
 
 M. Colnaghi. 1790 
 Robert Sayer. Feb. 12, 1788 
 
 (S)... 
 
 E. Orme. 
 
 May I, 
 
 1793 
 
 (S)... 
 
 " 
 
 Jan. I, 
 
 1794 
 
 (S)... 
 
 „ 
 
 May I, 
 
 1793 
 
 (S). 
 
 
 
 
 (S)... 
 
 ,1 
 
 Jan. I 
 
 1793 
 
 (S)... 
 
 )» 
 
 Jan. I, 
 
 1794 
 
 with 
 
 
 
 
 . (S)... 
 
 ,, 
 
 June 4 
 
 1804 
 
 Cows, 
 
 
 
 
 . (S)... 
 
 »» 
 
 Jan. I, 
 
 1793 
 
 (M).. 
 
 Laurie and 
 Whittle. 
 
 
 
 R.Ackermann. Mar. i, 1812 
 E. Orme. May i, 1793 
 
 MODERN ENGRAVINGS. 
 T. G. Appleton. 
 
 Title of Engraving. 
 The Farrier's Forge(M)... 
 Children Birdnesting (M) 
 
 Mrs. M, 
 Horses in a Stable (M)... 
 
 Delia (M)... 
 
 Nancy (M)... 
 
 The Milkmaid and Shep- 
 herd (M)... 
 
 Publisher. Date. 
 
 J.P.Mendoza. May 14, 
 H. Graves & 
 
 Co. Oct. 23, 
 
 CORMACK. 
 
 J.P.Mendoza. Jan. 24, 
 
 ,, Feb. 6, 1895 
 
 ,, Oct. 22, 1897 
 
 1S96 
 1896 
 
 1895 
 
 May 12, 1900 
 
 135 
 
George Morland 
 
 Title of Engraving. 
 
 Louisa (M)... 
 
 The Pledge of Love (M) 
 
 C. O. 
 
 Return to the Stable 
 
 (National Gallery) (E) 
 
 M. A. 
 The Cottagers ... (M)... 
 
 The Travellers... (M)... 
 
 James 
 Tarring the Boat (M)... 
 
 Winter (M)... 
 
 Farm Outhouse... (M)... 
 Domestic Happiness (M) 
 The Virtuous Parent (M) 
 The Tavern Door (M)... 
 The Elopement... (M)... 
 Dressing lor the Masque- 
 rade (M)... 
 
 The Fair Penitent (M)... 
 The Fish Market (M)... 
 The Shipwreck... (M)... 
 
 Publisher. 
 J.P.Mendoza 
 Frost & Reed 
 Murray. 
 
 Dowdeswell. 
 
 Gates. 
 H. Graves 
 &Co. 
 
 Scott. 
 H. Graves 
 &Co. 
 
 Date. 
 May 26, 1902 
 May 24, 1905 
 
 June 21, i88g 
 Jan. 9, 1903 
 
 Jan. 29, 1883 
 11 
 II 
 
 i» 
 Nov. 17, 18S4 
 
 Sept. 22, 1890 
 
 Beatrice Shutte. 
 
 Title of Engraving. Publisher. Date. 
 
 The Reckoning (M)... J.P.Mendoza. May 3, 1902 
 
 C. A. TOMKINS. 
 
 Alehouse Parlour ... (M) H. Graves 
 
 cS: Co. Jan. 29, 1884 
 Toll-house ... (M)... 
 
 The Gipsies ... (M)... ,, Sept. 22, 1890 
 
 The Haywain ... (M)... „ „ 
 
 C. J. TOMKINS. 
 
 Higglers (M)... H.Graves 
 
 & Co. Jan. 29, 1884 
 
 Rabbits (M)... „ „ 
 
 The Thatcher ... (M)... ,, Nov. 17, 1884 
 
 Feeding Pigs ... (M)... „ 
 
 Setters 
 
 The Visit to the Nurse ... 
 
 Photogravure. 
 
 ... H. Graves 
 
 & Co. Sep. 22, 1890 
 
 ENGRAVED PORTRAITS OF 
 
 George Morland 
 
 Painter. 
 
 Robert Muller ... 
 J. R. Smith 
 G. Morland 
 W. Collins, jun 
 
 Mrs. S.Jones, 1792 
 J. R. Smith, 1792 
 
 Morland, Wife and Child 
 
 Engraver. 
 T. Gaugain ... 
 W. Ward 
 J. R. Smith ... 
 F. Vivares 
 W. Ward 
 
 MacKenzie 
 C. Picart 
 F. S. Wheatley 
 Gill 
 
 GEORGE 
 
 Size. 
 15J by 19J 
 
 (S) 
 (M) 
 (M) 
 (S) 
 (M) 
 (S) 
 (S) 
 (S) 
 (S) 
 (M) 
 
 15 
 
 15 
 >4i 
 
 II 
 3i 
 
 II 
 Hi 
 
 ii 
 
 2i 
 
 MORLAND. 
 
 Publication Line. 
 ... J. Stephens, Nov. 30, 1804 
 ... J. Harris, Jan. I, 1805 
 ... J. R. Smith, Jan, 20, 1805 
 ... E. Orme, Jan. 25, 1805 
 ... W. Collins, Feb. 14, 1806 
 R. S. Kirby, Feb. 26, 1806 
 ... J. Cundee, 1806 
 ... Vernon Hood& Co., April 15, 
 1807 
 
 136 
 
CONTENTS. 
 
 Page. 
 
 Back of Title Page. 
 
 Note on Morland. By W. E. Henley 
 
 George Morland. A Biographical Sketch ,.,,,. 5-46 
 
 A Note upon Morland Engravings (from " The Connoisseur," August, 1904). By 
 
 Martin Hardie. ,,..,,, 46-50 
 
 Bibliography of Books relating to Morland - - - - - - 124 
 
 Catalogue of the Published Engravings from Paintings by George Morland - 125-136 
 
 INDEX TO ILLUSTRATIONS. 
 
 Title, 
 
 Alehouse Door, The (Collection of George Salting, 
 
 Esq.), from " The Portfolio," by permission of 
 
 Seeley & Co. - . . . 
 
 Anglers' Repast .... 
 
 Bell, The ..... 
 
 Benevolent Lady, The .... 
 
 Billeted Soldier's Departure, The 
 
 Blind White Horse, The (Collection of F. Abbiss 
 Phillips, Esq.) .... 
 
 Boat on Seashore (From the Original Painting) 
 
 Boys Robbing an Orchard (Collection of Sir Charles 
 Tennant), from " The Portfolio," by permission of 
 Seeley & Co. .... 
 
 Boys Skating ..... 
 
 Carrier's Stable, A • 
 
 Coast Scene, A - - - ■ 
 
 Constantia ..... 
 Cottagers ..... 
 
 Dancing Dogs .... 
 
 Day after the Wreck, The (Collection of Canon 
 
 Phillips), from " The Portfolio," by permission 
 
 of Seeley & Co. .... 
 Delia in Town ..... 
 Delia in the Country . . . . 
 
 Deserter's Farewell, The (Collection of Sir Walter 
 
 Gilbey) ..... 
 Disconsolate and her Parrot, The (a portrait of Mrs. 
 
 Morland) (Collection of F. Abbiss Phillips, Esq.) 
 
 Engraver. 
 
 W. Ward - Colour Plate 
 
 J. Fittler 
 
 E. J. Dumee Collotype 
 
 G. Graham Colour Plate 
 
 E. Scott 
 
 W. Ward 
 W. T. Annis 
 Unknown 
 W. Ward 
 
 T. Gaugain - 
 
 J. R. Smith 
 
 Colour Plate 
 
 Colour Plate 
 
 Page. 
 
 64 
 117 
 
 63 
 
 57 
 105 
 
 71 
 92 
 
 92 
 107 
 
 112 
 55 
 97 
 
 103 
 
 96 
 
 100 
 85 
 89 
 
 87 
 
 120 
 
 137 
 
George Morland 
 
 Title. 
 Domestic Happiness (Laetitia Series) 
 Dressing for the Masquerade (Lxtitia Series) 
 Duck Shooting .... 
 
 Elopement, The (La:titia Series) - 
 Evening, or the Postboy's Return 
 
 Fair Penitent, The (Lastitia Series) 
 Farmer's Stable, The . . - - 
 
 Farmer's Visit to his Married Daughter in Town, The 
 Ferry Boat, The (Collection of Canon Phillips), from 
 
 "The Portfolio," by permission of Seeley & Co. - 
 First Pledge of Love, The 
 Fisherman and his Wife. A Sketch. (Collection of 
 
 John Haines, Esq.) - . - . 
 
 Fisherman's Hut, The . - . . 
 
 Fishing Boat (from the Original Painting) - 
 
 Gathering Sticks(Collection of Sir Walter Gilbey) from 
 " The Portfolio " by permission of Seeley & Co. 
 
 Gipsies (Collection of Sir Chas. S. Hamilton) from 
 " The Portfolio," by permission of Seeley & Co. 
 
 Gipsy Encampment, A (Collection of Sir Walter Gilbey) 
 
 Girl and Calves . . . . 
 
 Girl and Pigs .... 
 
 Girl on a Seashore on a Windy Day (Collection of 
 F. Abbiss Phillips, Esq.) 
 
 Guinea Pigs .... 
 
 Indolence (Collection of Sir Chas. Tennant)- 
 Industry „ „ „ . 
 
 Innocence Alarmed, or the Flash in the Pan (Collection 
 of Sir Walter Gilbey), from "The Portfolio," by 
 permission of Seeley & Co. ... 
 
 Engraver. 
 
 
 Page. 
 
 J. R. Smith - 
 
 Collotype, facing page 
 
 - 26 
 
 J. R. Smith - 
 
 Collotype, facing page 
 
 • 38 
 
 T. Simpson - 
 
 ■ 
 
 - 108 
 
 J. R. Smith - 
 
 Collotype, facing page 
 
 - 30 
 
 D. Orme 
 
 - 
 
 - 68 
 
 J. R. Smith - 
 
 Collotype, facing page 
 
 - 46 
 
 W. Ward - 
 
 Colour Plate 
 
 - 93 
 
 W. Bond 
 
 - 
 
 - 95 
 
 - 
 
 . 
 
 - 75 
 
 W. Ward - 
 
 Collotype 
 
 - 73 
 
 . 
 
 - 
 
 - 121 
 
 J. R. Smith - 
 
 - 
 
 - 76 
 
 . 
 
 . 
 
 - 84 
 
 W. Ward 
 
 T. Gaugain 
 
 C. Knight 
 
 Lighthouse, The (from the Original Painting) 
 
 "Louisa" (from an Engraving) - - . T. Gaugain 
 
 " Louisa " or the Shipwreck (Collection of T. J. Barratt, Esq.)- 
 
 Lucky Sportsman, The- - - - F. D. Soiron ■ 
 
 Man's Head. A Sketch. (Collection of John 
 
 Haines, Esq.) ..... 
 
 Market Cart, The (from the Original Painting) 
 
 Morland's Servant, Simpson (Collection of Canon 
 Phillips), from "The Portfolio" by permission of 
 Seeley & Co. ..... 
 
 Morland, George, from a Water Colour Drawing, by T. Rowlandson 
 » » - - - - W. Ward 
 
 Colour 
 Collotype 
 
 104 
 
 115 
 
 116 
 
 63 
 
 68 
 
 75 
 83 
 
 99 
 99 
 
 - 95 
 
 - 84 
 Cover. 
 
 51 
 
 - 81 
 
 122 
 80 
 
 56 
 
 122 
 52 
 
 138 
 
Index to Illustrations 
 
 Title. 
 Morning, or the Higglers preparing for Market 
 Morning, or the Benevolent Sportsman 
 Morning, or Thoughts on Amusement for the Evening 
 Mutual Joy, or the Ship in the Harbour 
 
 Party Angling, A - - - - 
 
 Pedlars ..... 
 
 Pig's Head. A Sketch. (Collection of John 
 
 Haines, Esq.) .... 
 
 Playing at Soldiers (Collection of Sir Chas. Tennant) 
 
 from " The Portfolio," by permission of Seeley & Co. 
 
 Rabbit Warren, The (No. 11) 
 
 Ram's Head. A Sketch. (Collection of Sir Charles 
 S. Hamilton), from " The Portfolio," by per- 
 mission of Seeley & Co. 
 
 Rural Amusement .... 
 
 Rustic Employment ... - 
 
 Sea Coast, Men, and Boats (Collection of Sir Charles 
 S. Hamilton), from "The Portfolio," by per- 
 mission of Seeley & Co. 
 
 Sliding ..... 
 
 St. James's Park .... 
 
 Soldier's Return, The 
 
 Sportsmen Refreshing (No. XI.) - 
 
 Suspence . . . . . 
 
 Tavern Door, The (L^etitia Series) 
 
 Title from the Wrapper of a Drawing Book 
 
 Title Page of a Drawing Book 
 
 Traveller, The. From the Original Painting 
 
 Travellers . . . . . 
 
 Travellers Reposing .... 
 
 Turnpike, The - - - . - 
 
 Valentine's Day — The Fairing 
 
 Variety ..... 
 
 View in Leicestershire, A - - - 
 
 Virtue in Danger .... 
 
 Virtuous Parent, The (Lietitia Series) 
 
 Visit to the Boarding School, A - 
 
 Visit to the Child at Nurse, A. - 
 
 Visit returned in the Country, The 
 
 Woodcock and Pheasant Shooting 
 
 Woodland Scene, A. From the Original Painting - 
 
 Wreckers (Collection of Sir Walter Gilbey) 
 
 Engraver. 
 
 
 Page. 
 
 D. Orme 
 
 - 
 
 - 60 
 
 J. Grozer 
 
 - 
 
 - 79 
 
 W. Ward 
 
 Colour Plate - 
 
 - 53 
 
 P. Dawe 
 
 l» 
 
 - 101 
 
 G. Keating - 
 
 „ 
 
 - 113 
 
 J. Fittler 
 
 . 
 
 - 79 
 
 S. Aiken 
 
 J. R. Smith 
 J. R. Smith 
 
 J. Fittler 
 
 F. D. Soiron 
 
 G. Graham 
 S. Aiken 
 
 W. Ward 
 
 J. R. Smith 
 
 W. Ward 
 J. Fittler 
 J. Fittler 
 
 J. Dean 
 W. Ward 
 J. Ward 
 J. Fittler 
 J. R. Smith 
 W. Ward 
 W. Ward 
 W. Nutter 
 
 T. Simpson 
 
 Colour Plate 
 
 Colour Plate 
 
 123 
 
 115 
 88 
 
 . 123 
 
 Frontispiece. 
 ■ 124 
 
 80 
 111 
 
 88 
 109 
 119 
 
 61 
 
 hi one or two cases the illustrations have been reproduced from Modern 
 
 after \V. Nutter and J. Dean. 
 
 Colour Plate - 
 Collotype facingpage 
 
 Colour P\ate, facing page 
 
 Collotype 
 
 Colour Plate facing page 
 
 Collotype, facing page 
 
 Colour Plate facing page 
 
 Colour Plate, facing page 
 Engravings by R. B. Parkes, 
 
 42 
 120 
 119 
 20 
 59 
 67 
 72 
 
 77 
 8 
 108 
 91 
 34 
 69 
 65 
 14 
 
 103 
 48 
 55 
 
 139 
 
GEO. PULMAN & SONS. LTD. 
 THE CRANFORD PRESS 
 WEALDSTONE. MIDDX 
 
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 T . urinary Medicine at 
 
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