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GEORGE MORLAND

INTERIOR OF A STABLE

GEORGE MORLAND

HIS LIFE AND WORKS

BY

GEORGE C. WILLIAMSON, Litt.D.

'1/

LONDON
GEORGE BELL AND SONS
1904

nrioh Arf
MfeS

CHISWICK PRESS : CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

PREFACE
IT might at first be thought that a new life of George Morland
would be superfluous, inasmuch as there have been at least
six memoirs of this artist, as well as numerous accounts of
him and of his works in the various books of reference. It must,
however, be explained that all the chief authorities from which
information as to Morland is obtained are very scarce works, and
copies of them are to be found in very few libraries. There were
no fewer than four biographies of the artist written very shortly
after his death: by William Collins in 1805; F. W. Blagdon in
1806; J. Hassell in the same year, and George Dawe, R.A., in
1807. Of these four books, Blagdon's is a particularly valuable
one, and on the rare occasions when a copy comes into the
market, it commands a high price.
The memoir by Dawe, which is the best of the four, is
almost equally rare, and that of Collins forms one part of a
curious little volume entitled, " Memoirs of a Picture," contain
ing adventures of many conspicuous characters.
It is hardly possible in any library, save a public one, to
consult all four memoirs, and, that being the case, Mr. Ralph
Richardson issued, in 1895, a small volume compiled from the
four rare books. That work is now out of print. In 1898, the
late Mr. J. T. Nettleship, the well-known animal painter, issued
in the "Portfolio Series " a slight volume on Morland, which was
V

vi PREFACE
to a great extent a study of his works from the artist's point of
view, and which developed Mr. Nettleship's theory as to the
evolution of some of the later painters from Morland. This
work is practically the only book which is now available on
Morland, and it does not profess to be a memoir, and ignores a
great deal of the interesting social information which the con
temporaries of Morland gave in the four memoirs to which
allusion has been made. In these circumstances, it seemed well
that yet a new book should be issued on this ever popular artist,
which should gather up the information contained in the other
works, and which should illustrate the pictures of the artist to
a fuller extent than has before been possible.
Fortunately a few contemporary letters in which there are
references to Morland have come into the author's possession,
and have enabled him to add a little new information as to the
artist, and to correct some errors previously made. In other
respects the story of Morland's life has been taken from the
various biographies already alluded to.
The author desires to acknowledge in very grateful terms
the way in which he has been assisted by Mr. Richardson,
who is responsible for the important schedules which form
Appendices III. and IV. Mr. Richardson has not only con
sented to the freest use of his volume, but has co-operated very
heartily in the production of this book, placing at the author's
disposal his stores of knowledge as to the works of an artist
whose productions for many years he has closely studied.
Hearty thanks are also tendered to Mr. F. Abbiss Phillips, to
Sir Charles Tennant, and to Mr. Eric A. Knight, for permissions
they have so kindly given to the author to have the fine examples

PREFACE vii
of Morland's work in their possession photographed for the illus
trations in this book, and also to Mr. Marshall Hall for the loan
of his brilliant engravings from which the illustrations of the
Laetitia series, "Return from Market'' and "Feeding the Pigs "
have been made.

TABLE OF CONTENTS

CHAPTER. Preface ....
List of Illustrations
I. The Morland Family
II. Early Days
III. Marriage AND Housekeeping
IV. Work in London
V. Debts and Difficulties .
VI. Morland at the Seaside
VII. The End of the Story .
VIII. Morland's Pupils
IX. The Art of Morland
X. Morland's Engravers

Appendix I. List of Pictures Exhibited by George Morland
Society of Artists .....
Free Society of Artists ....
Royal Academy
Appendix II. Pictures by Morland Exhibited in Public Gal
LERIES :
National Gallery .
Hertford House
Victoria and Albert Museum
National Portrait Gallery
Birmingham Art Gallery
Glasgow Art Gallery
National Gallery of Ireland .
Manchester Art Gallery
Port Sunlight Exhibition
National Gallery of Scotland
The Louvre, Paris
Royal Holloway College, Egham
Leicester Art Gallery
Sheffield Art Gallery .

PAGE V
xi I
14
22
34
49
617Z
85
87
94

103
103
104

105
105
los105
105105
105
105
105
105105
105106 106

X TABLE OF CONTENTS
Appendix II. Pictures by Morland, etc — continued.
Wolverhampton Art Gallery
Corcoran Gallery, Washington
Metropolitan Museum, New York
Asiatic Society's Gallery, Calcutta
Oxford University Galleries .
BurHngton House Winter Exhibitions
Guildhall Exhibitions
Guelph Exhibition, 1891
New Gallery Exhibition, 1899
Grosvenor Gallery
Appendix III. Proprietors of Paintings by George Morland
Appendix IV. Catalogue of Engravings, Etchings, etc after
George Morland, showing names of en
gravers AND publishers AND YEARS OF PUBLI
CATION ........
Index  .

PAGE
106106106
106106
106 108
108108108
IIO

131
149

LIST OF ILLUSTRATIONS

TO FACE

Interior of a Stable . . National Gallery Frontispiece
Wreck of a Boat. Signed .
The Blind White Horse. Signed
The Miller and his Men. Signed 1797
The Disconsolate and Her Parrot. (Portrait of Mrs. Morland.)
Signed .
Peasants Travelling. (The woman is a portrait of Morland's
sister-in-law.) Signed on the donkey's pack
Selling Fish. Signed on the rock
The Cottage Door. Signed
Woman feeding Pigs. Signed
Friend, the Newfoundland Dog (which saved Mr. William
Phillips from being drowned whilst bathing in the sea at
Portsmouth, October 4th, 1789). Signed
The Red Lion Inn. Signed .
The First of September
Winter. Signed .
The Stable Yard. Signed .
Portrait of Mrs. Jordan
Wreck of an Indiaman off the Needles. Signed on a package
The Day after the Wreck. Signed on a package
Cow AND Calf worried by a Dog. Signed
Feeding the Calves ....
Fishermen waiting for the Evening Breeze
Bargaining for Fish
A Seapiece .
Evening
Shepherds Reposing
Summer. Signed 1795
Gipsy Encampment. Signed 1795
Landscape. Signed 1794
Farmer, Wife and Child
All the above are from the collection of F. Abbiss Phillips,
Esq., Stoke D' Abernon Manor, Surrey.
xi

4 6

10121416

18
20
22242628
3032343638
40424446
48 50
5254

Xll

LIST OF ILLUSTRATIONS

The Waggoner's Halt outside the Bell Inn
Collection of Eric A. Knight, Esq.
Idleness . . . Collection of Sir Charles Tennant, Bart.
Diligence . . . Collection of Sir Charles Tennant, Bart.
La Halte (scene outside an inn) .... The Louvre
Children playing at Soldiers
Boys robbing an Orchard .
The Door of a Village Inn .
A Quarry with Peasants
Rabbiting ....
Portrait of Morland by Rowlandson

TO FACE
PAGE

Sir C. Tennant, Bart.
Sir C. Tennant, Bart.
National Gallery
National Gallery
National Gallery
British Museum

Original Water-colour of J. R. Smith by Morland
British Museum
Drawing of a Dog ..... British Museum
Drawing OF Landscape WITH Horses . . British Museum
The Laetitia Series :
Plate I. Domestic Happiness .
2. The Elopement
3. The Virtuous Parent
4. Dressing for the Masquerade .
5. The Tavern Door
6. The Fair Penitent
{From, the coloured engravings by J. R. Smithy
Feeding the Pigs (from the engraving by J. R. Smith)
Breaking the Ice (from the engraving by J. R. Smith, jun., pub
lished by J. R. Smith, 1798) 

56
58
60 62
646668 70
72
78
80
82
84
868890
92
9496
98
100

GEORGE MORLAND
CHAPTER I
THE MORLAND FAMILY
GEORGE DAWE, in his memoir of Morland, states that
the information he gives is derived from personal and
intimate knowledge. He tells us that his father, Mr.
Philip Dawe, was articled to George Morland's father, was
intimate with the son from his childhood, and kept up a familiar
intercourse with him during the greater part of his life. Mr.
Philip Dawe was, he says, "perhaps the only person with whom
his friendship remained uninterrupted, and with whom, as well
in adversity as in prosperity, he appears to have had no reserve."
The author, therefore, had the opportunity of becoming closely
acquainted with the circumstances of Morland's early life, and
he gathered information as to his later career from those friends
and associates who were his intimate acquaintances.
He does not spare the artist in his volume ; he sets down in
very clear language the grave faults which marked and marred
the whole of Morland's life, but he does it in no bitter spirit,
and of the four memoirs which were written soon after the
artist's decease, his appears to be not only the most reliable and
straightforward, but certainly the least malicious.
He tells us that George Morland was born in London on
the 26th of June, 1763. His father, Henry Morland, was a painter
in crayons, and, being esteemed an excellent connoisseur, was
much respected in his profession.
We must go, however, a little further back than to Morland's
father in order to find the beginning of the artistic genius. His
B

2 GEORGE MORLAND
grandfather, George Henry Morland, was a subject painter,
born, says Redgrave, at the beginning of the eighteenth cen
tury. He was one of the artists who were assisted by an advance
of money from the Society of Artists, and this he obtained in
1760. His pictures were popular in their time, and many of
them were engraved, but they had very little artistic excellence,
and no permanent importance. The three most popular appear
to have been : " The Pretty Ballad-Singer," engraved by Watson
in 1769; "The Fair Nun Unmasked," and the "Oyster- Woman,"
which were engraved by Philip Dawe about the same time.
George Henry Morland lived on the south side of St. James's
Square and was still living in 1789, but appears to have died
soon afterwards.
His son, Henry Robert Morland, was taught drawing by
his father. He was, according to Collins, " much respected by
all who knew him for his liberality and gentlemanly address,"
but he appears to have been an eminently unsatisfactory person.
He was a man of unsettled habits and of restless disposition,
extravagant and careless as to money, and frequently indulging
in most imprudent speculations. He attempted various branches
of artistic work, practising line engraving and mezzotint, painting
in oil and with crayons, cleaning pictures, restoring them, and at
times dealing in them, and yet, everything at times and nothing
long, he never succeeded, and twice at least in his life was bank
rupt. At one time he must have been a rich man, for he then
occupied the house in Leicester Square which was afterwards the
residence of Sir Joshua Reynolds, but when George was born,
he had been compelled to reduce his expenses and was living in
the Hay market.
He was undoubtedly clever, and recently the few pictures
by his hand which still remain have come into greater demand,
and their excellences have more readily been recognized. There
are two of his works in the National Gallery, which form part
of a set. They both represent laundry-maids, one engaged in
washing and the other in ironing; but there is little doubt that

WRECK OF A BOAT

THE MORLAND FAMILY 3
they are portraits of ladies of some importance at the time, who
desired to be represented, according to the fashion of the day, in
domestic work, and wearing simple print gowns, specially cal
culated to show off their figure. His work is always carefully
drawn, and, as Redgrave states, laboriously finished. It is
expressive, but the colour scheme is not a rich one, but of a cold
and bluish quality. " He painted," adds Redgrave, " a portrait
of George III., which was engraved by Houston; a portrait of
Garrick as Richard III., which is at the Garrick Club, and two
other portraits called 'The Beautiful Miss Gunnings.'" His
pictures of laundry-maids were very popular in their time, and
were reproduced in mezzotint. They sold well, and he appears
to have developed the idea of these laundry pictures very largely,
and to have painted portraits over and over again in this style.
It is to be feared, however, that, owing to his extravagant habits,
he was led to indulge in some very questionable proceedings,
and it will be seen a little later that one of Morland's bio
graphers implies that the copies of works by old masters which
George did when he was a boy were sold by his father as
originals. Morland's mother is believed to have been a Frenchwoman.
She is described by James Ward in his biography as "of an
opposite character [to that of her husband], and was to me (if I
may use the comparison) like a little strutting bantam cock. She
had," continues Ward, " a small independent property, and she
crowed over her quiet husband most completely. She was a
Frenchwoman and had three sons and two daughters, her
partiality was to her son George and his youngest sister Sophia,
. . . the eldest sister was a most exemplary character, and the
more praiseworthy as being brought up under the greatest
temptation to the contrary. One son went to sea. He returned
to England once, after which he went to sea again, and was
never afterwards heard of. The other brother, Henry, was a
dealer in everything, a business for which his mind was exactly
fitted, being an eccentric, money-making character. Latterly, he

4 GEORGE MORLAND
opened a coffee-house in Dean Street, Soho, and became the last
and most constant dealer in his brother George's pictures, and,
I believe, had a greater number of them copied and sold as
originals than all the other dealers put together."
Mrs. Morland, whose Christian name was Maria, was evid
ently an artist herself; she exhibited twice at the Royal Academy,
sending in, in 1785, a portrait of a child hugging a guinea pig
(item 194), and in 1786, a girl washing (item 114). We have no
other evidence beyond the exhibition of these two pictures of her
artistic merit. Dawe tells us that "the domestic affairs were
conducted by Mrs. Morland with a scrupulous regularity which
subjected their children to more than ordinary restraint, but
they were preserved in a state of uninterrupted health, and she
was herself a remarkable instance of the effects of exercise and
temperance in prolonging activity and cheerfulness to a late
period of life."
The only one of the daughters whom Dawe mentions had
her mother's name, Maria, and the author says that she " vol
untarily applied herself to painting, in which at an early age
she displayed talents which, had they been cultivated with per
severance, should have ranked respectably in the art, but she
relinquished that pursuit on becoming a wife."
It is quite possible that the Maria Morland who exhibited
at the Academy was the daughter and not the mother, and in
fact many writers have stated that it was so. A comparison,
however, of the various references to the exhibit leads us to
believe that Mrs. Morland was the artist in question, and not
her daughter. The Morland family claimed descent from a rather cele
brated man, a certain Sir Samuel Morland, the son of the Rev.
Thomas Morland, rector of Sulhamstead in Berkshire. He was
educated at Winchester School and Magdalene College, Cam
bridge. When about twenty-eight he accompanied the embassy
of Bulstrode Whitelocke to Sweden, and a little later was assist
ant to Thurloe, then Secretary of State. He was sent by the

THE BLIND WHITE HORSE

THE MORLAND FAMILY 5
Protector as his representative to Savoy, to remonstrate with
the Duke for permitting the persecution of the Waldenses, and,
on his return home, he published, in 1658, an account of the
Waldensian Church and of the persecution it had undergone.
It was not, however, for his diplomatic or for his literary work
that he was specially remarkable, but for his wonderful inventive
genius as a mechanician. To Samuel Morland has been attri
buted the invention of the speaking-trumpet, the fire-engine,
and the steam-engine, and although, with regard to the last, he
cannot be credited with the development of the engine, yet it
appears to be probable that the germ of the idea to be developed
by other men originated with him. He certainly invented two
arithmetical machines, one of which is now at South Kensington,
and his original speaking-trumpet can be seen at Cambridge.
By his plunger pump he raised water to the top of Windsor
Castle in 1675, and he went so far as to suggest the use of com
pressed steam as a power for the propulsion of vessels on the
water. In his own house he fitted up a remarkable fountain on
the side table in his dining room, and, when he travelled, his
carriage was arranged with extraordinary clockwork mechanism,
by means of which he is said to have been able en route to
cook an excellent meal, making soup, broiling steaks, or roasting
a joint of meat.
He became acquainted with Sir Richard Willis's plot, and
from that time did his utmost to promote the Restoration, evid
ently becoming one of the group of persons who met Charles II.
at Breda in May, 1660, and for his services to the King was
created a Gentleman of the Privy Chamber and a Baronet. He
was in high repute at Court, was sent to France by the King in
1682, became blind in 1692, and died four years afterwards.
His married life was not a satisfactory one, although he entered
upon matrimony no fewer than four times. His first wife was a
Frenchwoman, his second the daughter of Sir Roger Harsnet,
and his third a Miss Fielding. His fourth wife, by her extra
vagance and evil life, ruined his estate, dispersed his means.

6 GEORGE MORLAND
and destroyed his peace of mind, and from her he was divorced
in 1688. At the time of his death he was in much impoverished
circumstances, and he left one son who succeeded to his baronetcy.
This son is said to have died without issue in 17 16, but the
Morland family, the father and grandfather of the artist, con
sidered themselves as heirs to the title. They certainly could
not have been so had the son died without issue, unless they
were descended from Sir Samuel's brothers, which is of course
possible; but we have no evidence as to this, save that each
writer on Morland appears to have taken it for granted that the
baronetcy could have been obtained if it had been claimed. Sir
Samuel Morland does not appear to have had artistic talent,
but we read of the very elaborate mechanical drawings which
he made, and it is possible, therefore, that the genius which
came down to George Morland had a starting-point in his
celebrated ancestor.
We now have the family before us, and it will be well to
turn more careful attention to the talented son. Dawe tells us
that George was the eldest child and the favourite, that he was
the only one brought up at home, and that " he acquired some
superficial knowledge of the French and Latin languages, prob
ably with the assistance of his father, who was a tolerable
scholar." It was clear, however, that from a very tender age
his aptitude was not for languages, but for art. When he
was between three and four years of age, and still dressed in
frocks, we are told by Collins that he was noticed by the servants
drawing with his finger in the dust, wherever it happened to
accumulate ; but the first work which excited his father's atten
tion was "a gentleman's coach with four fine horses and two
footmen behind it, which he drew with a bit of broken crayon
and the small remains of a black-lead pencil which his father
had thrown away." This drawing, which was on a quarter of a
sheet of paper, was of so extraordinary a kind, when it was
considered that it was done from so slight and rapid a glance
as the child could possibly get of a gentleman's carriage just

THE MILLER AND HIS MEN
1797

THE MORLAND FAMILY 7
passing by the door, that the father beheld it with wonder and
parental admiration.
Dawe says that one of his favourite amusements was to
draw objects on the floor, that he might laugh at those persons
who, deceived by their resemblance, stooped to pick them up.
He was clever enough in this way to impose even on his father,
who was once alarmed at the sight of what he supposed to be
his most valuable crayons under his feet. Blagdon states that
he drew a spider with charcoal on the ceiling of the servant-
girls' bedroom, and they took it for a real one, and shrieked
with horror. He also drew a beetle on the hearth, which com
pletely deceived his father, who tried to crush it with his foot,
and Dawe adds that another of his favourite amusements was
dissecting dead mice in order that he might understand where
their bones and muscles were placed. The genius which the
boy so early developed was very quickly put into training, and
his father sent him to copy from prints engraved for Gay's
fables, and later on to draw from plaster casts. It would appear
to be probable that there was a difference of opinion in his
home with regard to the treatment of the boy. Collins tells us
that " at a very early period he was admitted as a student at
the Royal Academy, Somerset House," and he goes on to speak
of his boyish companions whom he met on his way to and from
the Academy. Dawe, on the contrary, says that he was not
permitted to study at the Academy, and that he was never
allowed to associate with other children, and was deprived of
playmates of his own age. Blagdon tells us that so jealously
did his parents guard him, that, for fear his morals should be
subverted, he was kept away from the Academy schools.
It is probable that the facts of the case lie between these
two statements. It is pretty clear that at one period of his life
he certainly studied at the Academy schools. Perhaps he went
there for a very short time as a boy, and then was taken away
by his mother. It appears that quite early in his life, as a mere
boy, he commenced the evil habit which was the source of so

8 GEORGE MORLAND
much trouble during his life. Collins says: "On his way to
and from the Academy he had frequently observed some of his
brother students, who were much older than himself, stop at a
dram shop near Exeter 'Change, most of whom were loud in
their praises of gin. After several efforts to conquer a natural
shyness ... he entered the shop, and, having drunk a small glass,
liked it so very much that he never after could forget this
premature and unfortunate attachment, which accompanied him
through life." May we not surmise that this habit was perhaps
the reason for his being withdrawn for a time from the Academy
schools? Much later on, in about his twentieth year, he certainly
was at the schools, as Dawe tells us that " unknown to his
father, he showed some of his drawings to the keeper, and
obtained permission to draw as a candidate for becoming a
student; yet ... he drew there only three nights, though he
occasionally attended the lectures." From the age of fourteen,
however, he was apprenticed to his father for seven years, and
this apprenticeship seems to have been a time of very hard study.
The father recognized that he had in his son a very talented
pupil, and he was determined that he should be well trained.
We learn that, "so just was his eye, and so remarkable his
facility of execution that he began his chalk drawings from
plaster casts without previous sketching, and seldom had occa
sion to alter." We learn also that he copied pictures by the best
masters, which his father had for purposes of cleaning and re
storation, and then it was that the father, as Collins states most
definitely, on several occasions "sold copies by his son after
Ruysdael, Hobbema, and others, for originals."
He executed a large number of seapieces from prints after
Vernet, and of landscapes from highly finished German draw
ings, of which he made enlarged copies, "even more elaborate than
the originals." He copied his father's crayon pictures in oil, also
the paintings of Gainsborough, both of pigs and of dogs; and the
celebrated picture of " Garrick between Tragedy and Comedy "
which Sir Joshua Reynolds had painted, and which was then in

THE DISCONSOLATE AND HER PARROT

THE MORLAND FAMILY 9
the possession of Mr. Angerstein. His days, says Dawe, were
devoted to painting, his summer evenings to reading, during
which time, we are told, he especially studied the art treatises
of Webb and Du Fresnoy, and the Dictionary of Art, and his
evenings were given up to drawing by lamplight.
His training, indeed, appears to have been thorough; he
was very hard-worked, and the boy was allowed scarcely any
time to himself. His father, who at heart must have been a
selfish man, with very little principle and plenty of outward show,
kept George hard at work in order that he might profit by his
genius. Hassell tells us that he was closely confined " in an
upper room in his father's house, where he was constantly em
ployed copying drawings, pictures, or plaster casts, with scarce
respite for his meals. . . . He was almost entirely restricted from
society, except what was acquired by stealth with a few boys
in the neighbourhood, his principal amusement was a walk on
Sunday with his father to view the new buildings in the vicinity
of Tottenham Court." It is pretty clear that the boy had to
supply his father's purse by the proceeds of his remarkable
work; but closely as he was kept to his easel, he was yet able,
so great was his perseverance, to execute other drawings on his
own account, which he sold in order to obtain money to indulge
his taste for gin, which he so early acquired.
From Collins's Memoir we learn that the pictures which
he did on his own account he slipped into the large drawer of a
great colour-box as soon as he heard his father's foot in the
direction of the painting-room ; and, when the picture was ready,
which generally happened at night or early in the morning, it
was let down in this drawer from the window of the painting-
room, by means of a piece of whip-cord, to the person who
had established his identity by means of some secret signal
outside. Ward, in his biography, gives us to understand that
these pictures were concerned with immodest subjects. Collins
assures us that the subjects were suggested by those who em
ployed the young artist ; but whatever was the case, it is clear
c

IO GEORGE MORLAND
that they were only done to obtain pocket-money, and, consider
ing the drudgery of his regular work, it is astonishing that he
was even able to produce these extra pictures at all.
It was the works of the Dutch masters, says Dawe, which
made the greatest impression on him as a boy; and, by the
practice of copying them he acquired great facility and the
excellence of high finish, with broad, easy brushwork. From
Spenser's " Faerie Queene " he painted a series of pictures, and
he also illustrated such ballads as "Auld Robin Gray" and
" Margaret's Ghost." These designs found a very ready sale to
the extent of some hundreds, and were a source of considerable
profit to his father. The boy was, however, gradually tiring of
the drudgery of his work, and Dawe tells us that " at so early
an age as eighteen he formed the intention of adopting a new
style as soon as he should be emancipated from parental autho
rity, and he would often remark to a friend that he would see in
what manner he would paint when he became his own master."
Morland's father, according to Ward, was at one time very
intimate with Sir Joshua Reynolds, and was able to introduce
his boy to the great President; but later on, Reynolds, who
considered bankruptcy as a great disgrace, did not care to have
to do with Morland's father, and it is probable that there was
never much personal intimacy between Reynolds and the Morland
family at any time. Hassell thought Sir Joshua's gallery was
always accessible to the young artist; but this was often the
case with young students of the time. The picture by Sir Joshua,
which has already been mentioned, and which Morland copied,
" Garrick between Tragedy and Comedy," was in the Angerstein
Gallery in the City, and the copy which the young artist made
of it was evidently a very good one. We are told, however, by
Hassell, that the curious repugnance for educated society which
in later years characterized Morland showed itself when he was
at work at this picture. " No persuasion," says the author, " or
entreaties could ever allure him within reach of Mr. Anger-
stein's family or his visitors."

PEASANTS TRAVELLING

THE MORLAND FAMILY ii
During all this time of apprenticeship his life must have
been a particularly lonely one. Such spare time as he had, he
gave to music, acquiring sufficient skill on the violin to play
concerted music. His parents, Dawe tells us, never played cards
or any other game, and therefore he had no opportunity of
acquiring that form of recreation. The same author, speaking
of his father's associates, says that they were very few, the chief
amongst them being Mr. Forster, a merchant in the City, who
was a great connoisseur of art, and to whose house George was
taken by his father. He had very little interest, however, in
their conversation; and it would appear that as soon as the
cloth was removed after dinner, the boy was set to work with
pencil and paper to sketch. Another friend of the elder Morland
was Flaxman; but George never became intimate, says Dawe,
with his son, " for, except genius, they had nothing in common."
The only house to which young Morland was allowed to go of
an evening was the residence of Mr. Philip Dawe, whose son
was afterwards to be Morland's biographer, and with this young
man, who was a pupil of Morland's father, the young artist was
allowed to take walks, especially on Sunday. Dawe says, in
describing these walks, that George Morland " fully enjoyed his
short-lived liberty ; they were the sweetest days of his life, and
he often surveyed them in retrospect with melancholy pleasure."
As an instance of the strength of his memory, we have the
following, which is told by Dawe, who remarked, that "although
Morland never drew upon the spot, he was able to design,
from recollection alone, most objects he had seen." The two
friends on one occasion pursued their walk over Blackheath,
Shooter's Hill, and Woolwich, returning through Charlton by
the Sand-pits and Hanging Wood, a place which Morland
always admired as the most romantic within reach of London.
Three months afterwards, he made two drawings of these sand
pits, delineating so cleverly the men digging and loading the
carts, barrows, and asses, that his young companion could
scarce believe that he had not sketched them on the spot.

12 GEORGE MORLAND
The restraint of his father's arrangements, adopted no doubt
with the best intentions in the world in order to keep the boy
from some evil habits, the signs of which had probably been
only too evident, was acting upon him with the very opposite
effect to that which was desired. The dull, respectable life which
his parents led had no attraction for him; and if, as seems
probable, the outward respectability of his father's career was
united with the practice of acts of fraud, there was but little
attraction for the brilliant son to follow in his father's steps.
Gradually he realized that he was being detained not so much
for his own good as for his father's advantage. He also dis
covered, as Dawe tells us, that the accounts of the vices of the
town and the evils of ordinary life, which his father gave him,
were grossly exaggerated, and were untrue, and this deception,
however well intended, was productive of disastrous conse
quences. Before his apprenticeship to his father came to an
end, Romney offered to take Morland into his own house with
a salary of ;^300 a year, on condition of his signing articles
for three years; but George had had enough of restraint, and
declared that one experience of articles frightened him for the
rest of his life, and he very promptly rejected the proposal,
which might have led to considerable fortune.
From about his nineteenth year, says Dawe, "he began to
evade all restraint, and fell into those very errors from which
his parents had endeavoured to deter him by ill-judged means.
He then first gave the rein to those passions which eventually
impaired his intelligence and destroyed his constitution. His
Sunday walks were soon exchanged for a ride with some
favourite mistress, with whom he scrupled not to visit his
friends, and exhibit himself boldly in a chaise or phaeton,
when he could procure the necessary supply of cash, and so
much was he the dupe of folly that one of these women had
the address nearly to persuade him to marry her." In another
place, Dawe tells us that Henry Morland had an extensive
connection amongst the most distinguished characters of the

SELLING FISH

THE MORLAND FAMILY 13
day; that he knew Lord Grosvenor, Lord Scarsdale, and Lord
Fortescue; that he was acquainted with Reynolds, Garrick,
Locke, and Angerstein; with Mrs. Yates and with Mr. Child;
and that by all of them "he was so highly respected that he
could easily borrow any picture in their collections." He does
not appear to have been penurious. On the other hand, he was
generous, if not lavish, in some of his expenditure, but he was
a man deficient in judgement, of very limited understanding. It
is probable that he was exceedingly selfish, endeavouring to
keep his son for himself, to train him within rigid lines, and as
Mr. Richardson expresses it, to train a wild flower in a hot
house, with the result that when his son was free from his
control, his naturally ungovernable habits led him into the
wildest excess, and he indulged in the reckless, jovial, un
healthy life from which it had been his father's most earnest
desire to keep him.

CHAPTER II
EARLY DAYS
THE expiry of Morland's apprenticeship launched the young
artist free upon the world, and the result of the unnatural
training which he had received at his father's house was
at once apparent. In a striking manner Dawe contrasts the
extremes of character observable in George Morland and in his
father. "The elder Morland," he says, "was economical but
liberal; his son profuse without being generous. The one was
remarkably methodical in his habits: the other uncertain, rest
less, and versatile. Sobriety characterized the one, dissipation of
every kind degraded the other. The manners of the parent were
polite and humane, his society select and respectable. The son,
on the contrary, associated only with the debauched and illiterate,
and his feelings were obtuse ; but in talent he as far surpassed, as
in sensibility and morals he was thus lamentably inferior to his
father; whose imagination was sterile and tardy, while that of
the son was rapid and prolific."
The freedom which he gained was a very precious thing to
him, and he employed it exactly as he thought fit. He declined
quite flippantly an excellent proposal made to him by Mr. Gress,
the drawing-master of the royal family, and he refused to engage
in any constant employment. He gave up his time to the wildest
of companions, and prided himself on doing everything which
his parents had represented to him as pernicious. So little had
he known of the world, that he had never lost a natural bashful-
ness, and with all his ideas of wild life, hardly knew what was
the life he really longed for. " On one occasion," Dawe tells us,
"being at the 'Cheshire Cheese,' he wished his companions
14

THE COTTAGE DOOR

EARLY DAYS 15
good-night about ten o'clock, and they heard nothing of him
for two days." When he returned to them, he described his
adventures, saying that he had gone by the boat to Gravesend,
merely for the sake of a spree, and arrived there about two o'clock
in the morning. Not knowing where to go, he joined company
with a carpenter and sailor, with whom he travelled five
miles towards Chatham, quite indifferent in what direction he
journeyed. When they separated, he was in terror as to what to
do, or whom to follow, and eventually pursued his way with the
sailor towards Chatham, reaching that place about daybreak.
He then employed his time in drinking gin and that extra
ordinary beverage called purl, made of ale and milk with spirits
and sugar, and slept on a bench until seven o'clock. With his
sailor acquaintance he then went on board a small vessel, which
took him as far as the North Foreland, and was nearly wrecked
in the voyage. Back he came to Chatham, spent the night at
the same inn, and returned to Gravesend with eighteenpence
in his pocket, which just enabled him to reach the " Cheshire
Cheese," where his companions were assembled, and to relate his
experiences. His mind, as Dawe tells us, had not been idle during the
time; he was an excellent talker, and he had gathered from the
sailor a store of nautical information, some of which he was
able to put into practice almost immediately on the little voyage
to the Foreland, and as Hassell says, he was always ready to
make use of it before his friends, and astonished them with the
extent of his nautical knowledge. Similar nocturnal adventures,
appearances in watch-houses and before magistrates, prize-fights
and wrestling-bouts, and constant attendance at various inns,
absorbed a good deal of Morland's time, and so a few months
passed. The freedom which Morland gained in 1784, when he was
twenty-one years of age and his apprenticeship with his father
had expired, lasted, however, for a short time only. He appears
to have remained with his father for six months after he was

i6 GEORGE MORLAND
free, but during that time had been employing a friend, so Dawe
tells us, to dispose of many of his designs to a publisher, with
out disclosing his name. For these designs he was being paid
satisfactorily, but presently the purchaser found out who was
the artist, and at once discovering his ignorance of the world,
bargained with him for other pictures at half the former price.
None of the books on Morland tell us who this hard-hearted
dealer was; we only know that he was an Irishman who lived
in Drury Lane, who engaged Morland to paint a number of sub
jects "of a description," says Dawe, "that did little credit either
to the artist or his employer." He attended Morland every
morning for three or four hours, to direct the manner of treating
these pictures, and it seems that he commenced this acquaint
ance with the artist while he was yet living with his father. In
order, however, to appropriate the talents of the youth more
entirely to himself, he persuaded George to leave his father's
house, and he took an attic apartment in Martlett's Court, Bow
Street, close to where the dealer was residing. Here commenced
Morland's second period of drudgery, as the Irishman would
not allow him to work for any other person, and paid him only
just sufficient to procure him food, lest he should gradually
acquire the means of being independent of him. He was con
tinually, says Dawe, "at his elbow," and overlooking him. He
was not allowed even to go out for his meals, and they were
brought to him by a boy from the neighbouring cookshop, a few
pennyworth of meat and a pint of ale being all that was allowed
him, although he sometimes ventured to ask that a pennyworth
of pudding might be added to the frugal fare. Of payment for
his pictures he hardly got any.
On one occasion, upon his begging for five shillings, the
Irishman handed him half-a-crown, telling him that he might
think himself very well off with that, for he had not done half-
a-crown's worth of work that day. His industry, however, was
indefatigable, and he painted sufficient pictures for his hard
employer to fill a whole room, the price of admission to which

WOMAN FEEDING PIGS

EARLY DAYS 17
was placed at half-a-crown. Some of the works which now be
long to the Duke of Westminster are said to have been painted
at this time.' It was bondage over again, and harder, perhaps,
than Morland had hitherto undergone. The rigid pedantry of
his father had been less exasperating than the harshness of this
greedy picture-dealer, and at length Morland had had enough,
and escaped from his taskmaster. According to Dawe, he had
an invitation from a rich lady who was residing in Margate, a
Mrs. Hill, who desired to have her own portrait painted, and
those of her friends. How she heard of this young artist, we
cannot tell, but she appears to have written to him, and he de
termined to accept her invitation. " He kept secret," says Dawe,
" his intentions, and on the night of his departure obtained from
the Irishman as much money as he could, and then decamped,
taking with him the key of his lodging, for the rent of which his
employer was accountable." According to Hassell, he hired a
horse, and went away in the early dawn to Margate, where he
settled down at an inn. Mrs. Hill was an excellent patroness,
she admired his talents, and she introduced him to all her
friends, and insisted upon his leaving the inn and coming to her
house to stay. With his customary carelessness, he forgot all
about returning the horse which he had hired for his journey,
and kept it with him six or seven weeks, till he heard that the
owner was making serious inquiries about it. He then sent it
back by a postboy, but left his father to discharge the bill for
the accommodation, which amounted to about ten pounds.
Dawe quotes several of Morland's letters, which he wrote
during his sojourn at Margate, and these give very clear evidence
of his life by the sea. The first letter is dated from the " Ship
Inn," Dover, Friday, and was written in July or August, 1785.
It is as follows:
" Dawe, " I arrived at Margate on Wednesday, surveyed the
town on Thursday, and drank tea at Dover on Friday. Here is
D

i8 GEORGE MORLAND
one of the pleasantest places in the world, a fine view of the clift
and castle, with the pier and shipping, opposite are the Calais
cliffs, which seem so very near as to appear not above three or
four miles over. A very large pretty town is Dover, and looks
something like London, but of all the horrible places that can
be imagined. Sandwich is the worst. 'Tis likely I shall go over
to France with Mrs. Hill, she is talking about it. My compli
ments to the Congress,^ except that Jew-looking fellow. I have
swam my horse in the sea several times. I should be glad of
an answer. "I am, "Yours, etc., " Morland."
The next letter is written from Mrs. Hill's house. It is dated,
" Saturday night, Margate,
"August 13th, 1785.
" Dawe, " Now I have done some little sketches for you, and, as
I do not go out of a night, I have time to do you some more. I
shall be glad if you will answer it as soon as possible, and
mention the dimensions more distinct, and if it must be from
any story, for I have an excellent opportunity of drawing some
smart women, as there are many about, and there is one of the
sweetest creatures in the house I lodge 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. ... I should
certainly marry here, only as I am a great favourite of Mrs. H.
she has made me promise to go to Paris this September, and
marrying would exclude me entirely from that . . . besides . .
I have a shaking of the hand, and falling off very fast (these are
1 A smoking club at the Cheshire Cheese.

FRIEND, THE NEWFOUNDLAND DOG

EARLY DAYS 19
not very comfortable symptoms) I begin to reflect a little now,
but hope it is not too late. I have smoked but two pipes since my
absence, my house for smoking is the King's Head Inn in High
Street, a good pleasant house, — for on high water the sea comes
to the very walls of the house, and if you was to fall out of
window, must surely be drowned, but I seldom use it, by reason
the company are so disagreeable, a parcel of old sleepy fellows.
. . . Now, I will inform you how I amuse myself. First, 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, 'tis more convenient to
have it in the 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 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."
These two letters, quoted by Dawe, give us a good idea of
the sort of life Morland was leading. The arrangement that he
should live in Mrs. Hill's house came to an end almost as
quickly as it had been commenced, very probably by reason of
Morland's commencing at once to court the lady's-maid. He was
but twenty-two years of age, a very susceptible young man, but
he appears to have been attached to this girl, and we hear of
her again later on.
It seems that his work in painting was done between his
late breakfast-time and his early four o'clock dinner, but the

20 GEORGE MORLAND
letters tell us nothing of the portraits which he was supposed
to be painting, and we know of no portraits which can be
attributed to this period of his life. He himself speaks of the
portraits of Lord Loughborough, whom he calls Mr. Wedder
burn, but who certainly at that time was Lord Chief Justice,
and had been elevated, in 1780, to the peerage. The sentence in
Dawe's memoir which refers to this portrait speaks of one which
Morland painted of the Master of the Ceremonies, and implies
that this was the position held by Lord Loughborough. It was
not so, however, and two distinct portraits are evidently referred
to. The Master of the Ceremonies was painted in an embroid
ered coat, and Dawe says that Morland spoilt this coat with
melted tallow by placing a candle upon it when he was in a state
of intoxication. It is clear that his bad habits were, if possible,
growing worse at Margate.
For three months he remained away, and then he gave him
self a short holiday in London. The girl who had so attracted
him had by that time left the employment of Mrs. Hill, and had
come up to town to live with her brother. Morland one evening
ran into the Cheshire Cheese, shaking a purse of guineas before
his old friends, and boasting that he could get as many of them
as he pleased. Mrs. Hill, said he, had recommended him so
highly as a portrait painter that he had more business than he
could execute, but he could not bear " to be stuck up in the
society of her old maids, and had therefore taken a lodging for
himself." He then told his friends about the " finest girl in the
world," and insisted upon one of them accompanying him to
see her. Off they went in a coach, and a tall, handsome young
woman made her appearance when he gave in his name. He
begged her to go out with him the following day, which was
Sunday; she consented to do so; he introduced her to his
friend, and drove off". The next day, Dawe tells us, they met as
arranged ; made a circuit amongst all his friends, and a day or
two afterwards, he went back to Margate. Now it is that we
learn the name of the young gentleman referred to in the letter.

THE RED LION INN

EARLY DAYS 21
It was Mr. Sherborne, a brother of Lord Digby, who had been
attracted to Morland by hearing him play the violin, and who
had invited him to play duets with him. They had made a favour
able impression upon one another, and, as Dawe tells us, Mor
land was " indeed blessed with that happy art which unlocks
every door and every bosom, but not with those more solid claims
upon esteem which should have kept open the door he had
entered, and preserved the good opinions he had gained." It
was for a very short time that Morland and Mr. Sherborne were
close friends. The artist drew all the money he could obtain,
and then deserted his friend. Whether the pictures that Mr.
Sherborne commissioned were ever delivered we are not told,
but we do know that so high an esteem had this Lord Digby's
brother for the artist that he begged him never to think of his
past accommodations; and, on arriving in London, called on
Morland's father, leaving a pressing invitation for the young
artist to visit him, which, however, was never accepted. Mor
land, says Dawe, " had no taste for the refinements of friend
ship," and could not bear even the slight restraint that such
friendship involved. His sympathies lay in quite another direc
tion, and it was in the public house and on the race course that
he found himself most at home. To the hotels of Margate he
took his violin, and he was a very welcome guest. He was a
good-looking, merry fellow, with a penetrating and expressive
countenance, a large, high forehead, dark hazel eyes, which were
full and somewhat piercing, an aquiline nose, and an intelligent
mouth. He was ready for any frolic, could play and sing well,
and had long ago put aside any sympathy he ever had for more
serious pursuits, or for literature. After his apprenticeship was
over, we are told, he never possessed a book in his life; he had
no inclination for study, and he prevented any of his companions
reading even a newspaper, snatching it away from his friend,
and insisting upon his joining him in whatever frolic was at
that time on hand.

CHAPTER III
MARRIAGE AND HOUSEKEEPING
WHILE staying at Margate, Morland had some strange
adventures, and his letters to Dawe give us an insight
not only into the manners of the society in which he
was so popular, but also into the arrangements for regulating
horse races at that time. Not content with the quieter amuse
ments to which we have already made reference, Morland
determined to engage in the very rough life of the race course;
and in writing to Dawe he says: "You must know I have com
menced 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 laid great bets that I should win the cup,
etc. Then the drums beat, and we started ; 'twas a four-mile
heat, and the first three miles I could not keep the horse behind
them, being so spirited an 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."
The people who had been backing the horse appear, accord
ing to Morland's story, to have become enraged with him for
losing the race, and determined to visit their vengeance upon
him. "A mob of horsemen," he says, "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

THE FIRST OF SEPTEMBER

MARRIAGE AND HOUSEKEEPING 23
could not get away, I directly pulled off my jacket, 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." This exciting scene does not seem to have
chilled the ardour of our artist for the race course, and a little
afterwards we hear of his riding in another race at Margate, and
being very nearly killed. " I rode for a gentleman," he says,
" and won the heat so completely, that when I came into the
starting-place the other horses were near half-a-mile behind me."
This time it was his success that brought him the vengeance
of the mob, and poor George Morland appears to have been
just as unfortunate whether he lost or won the race. " Near
four hundred sailors, smugglers, fishermen, etc.," says he, " set
upon me with sticks, stones, waggoners' whips, fists, etc., and
one man, an inn-keeper here, took me by the thigh and pulled
me off the horse; I could not defend myself; the sounds I heard
all where {sic), ' kill him '! ' strip him '! ' throw him in the sea'!
and a hundred other sentences rather worse than the first. I got
from them once and ran into the booth ; some of the men threw
me out amongst the mob again, and I was then worse off" than
ever. Michiner rode in to me, dismounted and took me in his
arms, half beat to pieces, kept crying to the mob to keep back,
and that his name was Michiner and he would notice them ; at
last 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. After I was mounted
and got to some distance, I missed my hat ; at last I saw a man
waving a hat at me; I rode to him, and found it to be a person
I knew very well : he found means to get it to me whilst two
sailors were fighting who should have it."
Even this experience, which to an ordinary person would
have been quite enough for one day, does not seem to have

24 GEORGE MORLAND
seriously troubled Morland, for that very night he engaged in a
fresh adventure. "I went," says he, "to the King's Head at
night, met many of my bloods and bucks, though none of them
could imagine what was the cause of the riot, but supposed it
was a parcel of blackguards who had been laying sixpences and
shillings against the horse I rode, and afterwards by the riot
wanted to make it appear 'twas an unfair start, though one
started before me. We had three crowns' worth of punch at the
King's Head, and then marched out to meet them, or some if
possible ; we got into a fishing-house to look for some of them ;
however, there were so many in the house that, though we were
armed, they put us all to flight. It was very dark; I ran over
the drawbridge, a stout sailor pursued me, and threatened
vengeance; he catched me by the collar; I had a stick with a
sword in it ; he didn't see that, and whilst he was telling me
what he would do, I found means to draw it, and had very
nearly ran him through ; then some of my companions coming
up, he got his gruel. I found the man who dismounted me, and
he humbly begged pardon, as did most of the rest. One savage
fellow," concludes Morland, " who is a sore pest of this town,
everybody advises me to enter an action against him, which I
did this morning; so I must conclude, as the watchman is going
past one o'clock."
A little later than this, Morland made his long anticipated
journey to France, but, just before he started, he told Dawe in
a letter of the 22nd of October that, " almost everybody in Mar
gate was drunk by reason of the Freemasons' meeting and fox
hunt." He says that "all my male sitters disappointed me;
some sent me word they were engaged, some not very well,
others could not get their hair dressed, and I found it was all
one general disorder." He was eagerly looking forward, he says,
to the journey to France, especially as his destination was
St. Omer, which, he says, was a town of more resource than
Paris, and that in it there were six hundred English families.
He appears, however, to have done very well in Margate, apart

MARRIAGE AND HOUSEKEEPING 25
from the fees which he received for his portraits, as in this same
letter he says that he had various tokens of remembrance given
him, "one a fine gold pin, the other a handsome pocket-book
with a silver lock and full of instruments, and t' other day a
remarkably fine patent watch-chain, worth about two guineas, a
fine silver pencil-case and hiding-purse, and several dollars."
A few days afterwards he was in France, and his first letter
was sent from the Port Royal Inn, St. Omer, 1785. He tells
us that he set out at one in the forenoon, and " had the most
amazing quick passage known these twelve years, 'twas no longer
than one hour and thirty-two minutes from pier to pier. The
sea," he says, "ran very high, and frequently washed quite over
us. Mrs. Hill came down below to avoid the spray, and she
was no sooner down than a great sea poured through one of
the weather ports, and wetted her from head to foot. I was the
second sick on board," he continues, "and the first that got
well, after my sickness began I went down, tumbled into my
hammock, and slept very sound, 'midst straining and groaning,
however, I slept till I heard ' Welcome to Calais, gentlemen and
ladies.' "
On landing, Morland had the customary impression that
almost every person refers to on the occasion of their first visit
to France, the fact of the extraordinary difference that so short
a journey has made. " I flew out on deck," he says, " I was
surprised to find myself surrounded by Frenchmen, and quite a
diff'erent country about me ; extraordinary everything should be
so different in so short a distance as twenty-one miles." On his
landing, he proceeded by a coach sent by the master of the
hotel. Monsieur Dessein, whom he mentions was the same hotel-
keeper as Sterne had spoken of, to the H6tel d'Angleterre. They
passed through the fish-market, which reminded him of Billings
gate, and on arriving at the inn, their first business was to get
dry, and then he wandered off" into the town. " Coming down
the Rue de Rampart, some soldiers were flying a kite, I did not
see the string, and tumbled over it, for which I got abused in
E

26 GEORGE MORLAND
all sorts of French jargon." Then he returned to the inn for
supper and tea, all of which, he says, was very good and very
cheap, and after receiving his goods from the customhouse,
went to bed, remarking that his bed was so high he was obliged
to jump into it.
The next morning, after breakfast, Mrs. Hill and the artist
set out on their journey in a coach and four, and reached their
destination at ten minutes after three. They had dinner, and
then Morland began to look out for an hotel for himself, and to
pay some calls, finding in the place several English people whom
he had known in Margate. His bedroom was, he says, "as big
as Westminster Hall, with two beds," adding, "'tis rather im
possible to find a bedroom in France with only one bed, so that
makes good what Sterne says in the conclusion of his ' Senti
mental Journey,' that 'tis very common for gentlemen and ladies
to lay in the same room at the inns."
He does not appear to be very satisfied with the accom
modation of his inn, as he says in the letter that he doubts
whether his friend will be able to read it, " for the French pens
are so bad, the legs of the table so uneven, and the paper so
coarse. " I am now sitting by myself," says he, " over a bottle
of claret, in a great room about sixteen feet high, starved with
cold; a fire-place as large as a moderate room in London, but
has not, by the colour of it, felt the warmth of a flame these
dozen years; a parcel of French waiters, who, as I cannot talk
French, impose upon me at pleasure, these are not half my
grievances, but too numerous to write about at present."
His fame as a painter had evidently preceded him, and he
appears to have had no lack of work whilst he was in France.
" I have very pressing invitations," says he, " to stay and paint
portraits by many gentlemen and marquises here ; and there are
already upwards of six hundred English families, besides many
more daily coming, all people of fortune, upon which I have pro
mised to return as soon as possible, and I have already many
commissions to bring with me from England." He then goes on

THE STABLE YARD

MARRIAGE AND HOUSEKEEPING 27
to add that he intended to visit Lille, which was only a day's
journey from where he was ; and he comments in an amusing
way upon his expenses in France, and upon the habits of the
people. He was evidently charmed with the country. He says :
" 'Tis a delightful country, no danger of robbing, and travelling
very cheap, and a person may live very well for thirty pounds
per ann., and many have not more; people who ran away in
the rebellion have continued here ever since." As to his clothes,
he says he bought a fine satin waistcoat for a quarter of the
price he would have paid for it in London; leathern breeches
he bought at half-a-guinea a pair; shoes at three shillings; and
cotton stockings at half-a-crown; worsted stockings, he says,
were "dear and very bad," made all in one piece, without any
distinction for the feet, the place for them having to be formed
by putting the stockings on. "The women," says he, "never
have any hats, and in the hardest rain they only throw their
gowns over their heads." The genteel people, he adds, "walk
out on foot, and there are only two coaches for hire, and there
is very little to be heard in the town except drums and bells,
and very little to be seen except priests and soldiers." The
church music astonished him, as in his opinion it consisted
only of country dances; and he could not understand the reason
that the bells rang on the occasion of the death of an inhabitant
of the place. For the friars whom he found in the streets he has
no complimentary remarks; but of the other residents in the
place he was never tired of saying everything good that he
could. His sojourn, however, in France, was a very short one.
He was back again for the winter at Margate, and then came
up to London to his old friends.
His entanglement with Mrs. Hill's maid seems to have
caused him some difficulty. In one letter to Dawe he says:
"Jenny writes letters every post; I shall be joined in about
three weeks; don't say anything about marriage." A few days
afterwards, in another letter, he says: "As for Jenny— but,
however, say nothing about that to anybody; I do not know

28 GEORGE MORLAND
what to do about it; if I marry her I am undone, by reason
Mrs. Hill must find it out; it cannot be avoided; her acquaint
ance in London would inform her of it in France; she would
then throw me aside; besides, many gentlemen would give my
acquaintance up if I performed my promise with her, and which,
as I certainly like her better than any other, I am determined
to perform after my arrival in London, if that should ever
happen. I might marry a lady rather in years, with money,
which I only got off of by declaring my aversion to the matri
monial state."
When Morland did get back to London, he appears to have
renewed his addresses to Jenny, and the banns of marriage were
published, but he still felt sure that the marriage would have
been an unsuitable one for him, an obstacle to his happiness,
and very likely the ruin of his life. How to avoid it, however,
he did not know, but he eventually arranged it by strategy.
One of his military friends called on the bride's brother to fix
the day of the marriage, and to tell him a story which they had
concocted together, to the effect that Morland was in a very bad
way with regard both to his health and his circumstances; but
that, nevertheless, he was at the Gray's Inn coffee-house, ready
to fulfil his engagement, the friend adding that, in his opinion,
the union ought not to take place, as it was a pity to throw the
girl away on a person so unworthy of her. That unpleasant
piece of scheming answered its purpose. The brother went
immediately to Morland, and, after severely reprimanding him
for his conduct to his sister, broke off the engagement. The
artist was, however, hardly out of this complication, before he
was in love again. This time his aff"ections were fixed upon a
servant-maid whose father was a tailor, and he tried to persuade
an intimate friend to call with him on the father, and ask for
his consent. His friend strongly dissuaded him from the pro
posed engagement, walking with him to the cottage where the
girl lived, and only succeeded in impressing Morland with the
wisdom of his counsel at the very door of the house, when he

PORTRAIT OF MRS. JORDAN

MARRIAGE AND HOUSEKEEPING 29
obtained from him the decision that he believed his friend was
in the right, and that he would think of this girl no more.
A httle while longer passed, and then, for the third time,
Morland was in love. He had become acquainted with Mr.
Wilham Ward the engraver, who was then in London, at
Kensal Green on the Harrow Road, and he was a frequent
visitor to the house, and eventually took lodgings in it. Here
it was that he met Ward's sister Anne, and he married her in
July, 1786, the wedding taking place at Hammersmith parish
church. As an example of the eccentric ways of the artist, his
biographer states that he insisted upon being married with a
brace of pistols in his belt. The connection between the artist
and the Ward family was still more emphasized by a marriage
which took place between William Ward and Morland's sister
Maria about a month afterwards, and the two young couples
took one house between them, and began their married life under
bright auspices.
Mrs. Morland is spoken of by contemporary writers as an
exceedingly beautiful girl. Collins says that no prettier couple
ever graced the interior of the church. It was most certainly a
love match, and it was productive of a great deal of happiness;
but Anne Ward little knew the habits of the person into whose
keeping she was giving her life.
They settled down in High Street, Marylebone, but it was
very soon clear that the two families could not get on well with
each other. Mrs. Morland and Mrs. Ward were both of them
beautiful women, and were jealous one of the other. Each lady
found a spirited supporter of her cause in the person of her
husband, and the two husbands took to threatening one another
and to resorting to horse-pistols loaded with slugs, with which
they determined to settle their dispute in a saw-pit. Their mur
derous intent, according to Collins, was diverted by the influence
of a friend, who arranged that the difference should be settled
over a bottle and a few long pipes charged with Dutch tobacco;
but it was perfectly clear that fresh domestic arrangements must

30 GEORGE MORLAND
be made, and accordingly Morland, with his wife and servants,
removed into lodgings in Great Portland Street. Here it was
that Collins first made Morland's acquaintance, and the two men
generally spent their evenings together.
While the artist was in High Street, Marylebone, he pro
duced six pictures known as the " Laetitia " series. They repre
sented the progress of a young lady from a state of innocency
in the country, where she had been carefully brought up, through
successive scenes of depravity and distress, till at last, having
lacked all prudence, she got into serious trouble, and then in
the final picture is received back penitent by her parents. The
series was a popular one, and the six pictures were engraved by
J. R. Smith, and published in London in 1811. The only other
important works which belong to this period of Morland's life
were the four which he painted whilst he was living with William
Ward just before his marriage. They were didactic works of
very much the same quality; one pair was called "The Idle
and Industrious Mechanic," the other " The Idle Laundress and
the Industrious Cottager," and the latter pair was engraved by
W. Blake, and published in London in 1803.
Morland and his wife continued in the lodgings in Great
Portland Street for some few months, and then moved nearer to
Kentish Town, taking a small house, with a very pretty garden,
in a place called Pleasant Passage at the back of Mother Black
cap's on the Hampstead Road. There it was that Mrs. Morland
had her only child, who was unfortunately stillborn. The artist
was dreadfully disturbed at the loss of his son, and a tedious
illness and very considerable diminution of his wife's good looks,
which followed her accouchement, seem to have started the
first jarring element in the household. The surgeon assured
Mrs. Morland that she ought never again to bring her life into
jeopardy from the same cause, and this piece of information
Morland overheard. From that time his affection for his wife
began to diminish, and as Collins tells us, the Britannia Tavern,
Mother Redcap's Tea-gardens, the Castle Tavern and the As-

WRECK OF AN INDIAMAN OFF THE NEEDLES

MARRIAGE AND HOUSEKEEPING 31
sembly Rooms at Kentish Town became more pleasant than his
own house. Naturally fond of riding and of music, these two ac
complishments led him away from his home. He was possessed
of a good voice, and was ready to sing in almost any company,
and his companions were men free-handed and jovial, who were
always ready to flatter him and to wheedle money from him.
"At this time," says Dawe, "one of his favourite amusements
was riding on the box of the Hampstead, Highgate or Barnet
stage coaches. This was the commencement of his acquaintance
with coachmen, postboys, and similar characters, to whom he
always behaved with liberality, and became at length so well
known among them, that he could have been conveyed to any
part of the kingdom free of expense." During all this time,
Collins tells us, " his reputation constantly increased, and, as
he was as yet the sole vendor of his own productions, his
expenditure was never beyond his income."
He soon became dissatisfied with the comfortable little
house at Kentish Town, and was determined to have a much
larger residence. He closed with a builder for a new house at
the corner of Warren Place, a very handsome residence, just
finished in a style which suited him, and into this house he
moved. By this time his income was over a thousand a year,
so Collins tells us, and his reputation very high. He therefore
determined to have his house magnificently furnished, and his
cellars well stocked with wine. He entertained large parties at
his table between 1787 and 1789, and kept up his establishment
with the greatest possible extravagance. He had ample credit,
especially from his wine merchant, and, notwithstanding all the
expostulations of his friends, he launched out into a career of
expenditure very far beyond his means, large as they undoubtedly
were. When he was lectured by one friend for his stupid
imprudence, he would burst from his house, hire a horse, and,
sacrificing his precious time, give up the whole day to drink,
returning home completely intoxicated, and quite unable to do
any more painting for some two or three days to come. His

32 GEORGE MORLAND
wife exerted all her influence to support the protests of his
friends, but, says Collins, " opposition to his extravagant folly,
instead of reclaiming, tended to exasperate him to some further
acts of frantic imprudence." He squandered the money he
received for his pictures, and having utter contempt of the
money which he earned, made no provision whatever for the
bills which he was constantly drawing, and when at length they
became due, he had no alternative but to submit to the terms
of the holder. These terms, however, he frequently anticipated
by a proposal which was far too advantageous to his creditors
to be rejected, namely, to paint a picture for the renewal of the
bill. For a while he took some pupils, three in succession, but
they were more his companions in idleness than his scholars in
painting, and at length he made the acquaintance of a young
man of genteel manners whose name was Irwin, and who was
very largely instrumental in Morland's ultimate downfall. This
new acquaintance was a person suited to his habits, of a gay
disposition, and willing to go anywhere with the artist, and he
took in hand the disposal of Morland's pictures.
"Whether from bashfulness or idleness," says Dawe,
" Morland never could bear to off'er his own works for sale, and
would rather take a quarter of what he might have obtained
than submit to that necessity." Irwin took advantage of this
mood, and arranged with the dealers to procure in advance
nearly the whole price of the pictures, as well as obtaining
loans from his own brother, who was a man of property, in
order that the extravagant expenditure might be kept up. The
connection with Irwin was productive of mutual injury. It
induced Morland to increase his expenditure, and encouraged
him to contract debts far beyond his means, while Irwin, on
the other hand, acquired from Morland habits of excess and
debauchery. For the dealers the results were equally dis
astrous, for when the money had been drawn for the pictures
in advance, nothing would induce Morland to finish the works,

THE DAY AFTER THE WRECK

MARRIAGE AND HOUSEKEEPING 33
and the paintings were often put aside and afterwards finished
by other artists.
Irwin was not Morland's only friend. He made the acquaint
ance of a shoemaker named Brooks, "who, having been brought
up," says Dawe, " in scenes of the lowest dissipation, and pos
sessing some acuteness, was well qualified to be agreeable to the
artist, and soon became his inseparable companion. . . . There
was scarcely any kind of depravity with which Brooks was unac
quainted, . . . and for him it was reserved to finish Morland's
education in vice, which seemed hitherto to have been only pre
paratory." Brooks used to assist the artist to escape from his
creditors, accompanying him in his country excursions, and was
entrusted by him with the secret of his retreat, and in return, the
portrait ofthis man was introduced by Morland into many of his
pictures. Dawe mentions that in a very well-known picture, called
"The Sportsman's Return," it was Brooks who was depicted in
the shoemaker's booth at the inn door. "A big man," says Mr.
Richardson, "with a rubicund face and broad grin, a somewhat
sensual John Bull in fact, who would rather drag young men
down than elevate them."

CHAPTER IV
WORK IN LONDON
WE are now entering upon the period of Morland's life
in which he executed the largest number of his best
pictures, and at the same time did his utmost to bring
himself to ruin, both morally and physically. His income had
increased considerably, and with it the ability to pursue the
prodigal line of conduct which so strongly appealed to him.
One of the sources of his expense and dissipation was, so Dawe
tells us, " the practice of giving suppers and entertainments to
a large circle of acquaintances, painters, colourers, engravers
and their apprentices," who frequently made large parties at his
house. He often took the chair at the Britannia Tavern in his
neighbourhood, where such supper-parties were held, and the
meetings generally terminated in vulgar excesses. On his
return home of an evening, says Dawe, "he would play various
kinds of frolics upon the inhabitants whenever he thought he
was likely to hear of them again. Indeed, mischief appears to
have been his principal amusement, in the contrivance of which
his mind was incessantly active, and to prepare a succession of
it, he endeavoured to make one piece of sport afford the occasion
for another. Then, if the neighbour that had been disturbed
taxed him with being the cause, when he could no longer conceal
it, he would deliver up his accomplices in hopes of enjoying the
result." As an example of this kind of frolic, Dawe tells us that
Morland one night returning from town armed with pistols, to
try the resolution of the watchman discharged them both close
to his ear, and immediately ran off". The enraged man pursued
34

cow AND CALF WORRIED BY A DOG

WORK IN LONDON 35
him with fixed bayonet, and threatened to fire upon him. Upon
another occasion he took it into his head to serve in the capacity
of constable, but he carried out the duties connected with the
position according to his accustomed habit, just when he chose,
and got all the affairs with which he was concerned into diffi
culties. He was reprimanded by the coroner, and complained of
by the jury, and, having taken up the position merely for the
fun of the thing, he gave no heed either to difficulties or to
reprimands, and was thoroughly tired of the position long before
the time of its expiration. He was seldom able to refrain from
his habit of drinking spirits, and was often quite unaware of
what he was doing in his drunken frolics. His extravagance in
keeping up his house was unbounded, and having always been
exceedingly fond of horses, he indulged his ideas to the utmost
extent, and the bills that came in for the extravagancies of the
stable, boots, breeches, bridles and saddles, amounted to a very
considerable sum. At times, when pictures had been commis
sioned, and he had no inclination to paint them, he would make
excursions with his companions on the Highgate and Hamp
stead coaches, paying all the expenses, and returning home,
having not only wasted the whole day, but put himself into a
condition which entirely prevented work for some time. He
often owned six or eight horses at a time, buying them at the
highest price, and selling them, when he had tired of them, for
almost anything that was offered. He kept two grooms as well
as a footman, and preferred not to wear the same breeches and
boots on two successive occasions. The wine that was sent into
his house often remained in open hampers in the yard, and the
colours which he bought so largely for his work he used as
much for pelting the drivers of the stage coaches and other
people who passed his house as for painting. He had a regular
menagerie in his house, as he bought any animal that attracted
his notice, with the idea of introducing them into his pictures or
amusing himself with them. He had an ass, foxes, goats, hogs,
dogs of all kinds, monkeys, squirrels, guinea pigs, dormice,

36 GEORGE MORLAND
fowls, and rabbits; and all these creatures needed attention, and
men to look after them.
In his eager desire to paint the objects in his pictures from
life, he stopped at no extravagance or absurdity. On one occa
sion, when painting a picture called "The Cherry Girl," he
introduced an ass with paniers into his sitting-room, and when
employed on stable scenes would scatter straw about his rooms,
and fill them with the appurtenances of the stable, taking no
trouble whatever after the picture was done as to whether these
things were removed or not. Once, when he was acting as
constable, he started a series of four pictures, to be called "The
Deserter," and a sergeant, drummer, and soldier on their way
to Dover in pursuit of deserters called upon him for instruc
tions as to where they were to be billeted. " Morland," says
Dawe, " seeing that these men would answer his purpose, accom
panied them to the Britannia, and treated them plentifully, while
he was eagerly questioning them on the modes of recruiting,
with every particular attending on the trial of deserters by court-
martial, and their punishments. In order that he might gain
a still better opportunity for information, he provided, his new
acquaintances with ale, wine, and tobacco, took them to his own
house, and caroused with them all night, employing himself
busily in sketching, and noting down whatever appeared likely
to suit his purpose; nor was he satisfied with this, for during
the whole of the next day, which was Sunday, he detained them
against their will in his painting-room, and availed himself of
every possible advantage which the occasion afforded." In this
way he was able to obtain professional advantage from his own
course of life; but as a rule, at the time of his drunken frolics,
he was quite unable either to paint or to make sketches for pro
posed pictures. Still, however, he never appears to have lost a
chance when amongst his jovial companions of obtaining ideas
for pictures. His paintings often contained the portraits of his
companions, and he would get one of them to stand for a hand,
another for a head, an attitude, or a figure, "according as their

FEEDING THE CALVES

WORK IN LONDON 37
countenance or character suited, " or to put on any dress he
might want to copy." For female models he seldom went
beyond his wife and sisters, and when painting juvenile sub
jects, Dawe tells us, he would ask all " the children of the
neighbourhood " to come into his house, and play about in his
rooms, and he made sketches of them " whenever any interesting
situations occurred."
On some occasions, he used models who came to him
casually, as, for example, Dawe tells us, if he wished to intro
duce a red cloak or any other garment of that sort, " he would
place a person at the window to watch till someone passed that
appeared likely to suit his purpose, on which he sent for the
passenger to come in, while he made a sketch and mixed his
tints, and he seldom failed to reward the person thus called
upon liberally. What he could not copy immediately from nature
was supplied by a retentive memory, and acute observation of
the scenes in which he mingled." As an example of his reckless
habits, Dawe tells us that when Morland was painting his first
picture of children, representing a game of blind man's buff, a
connoisseur called upon him, who engaged to purchase the work
for twelve guineas as soon as it was finished. So overjoyed
was he at this price, which was more than he had expected for
so simple a work, that he and his companion Brooks made a
resolution that, on receiving the cash, they would each drink
twelve large glasses of gin. He applied himself sedulously to
his task, finished the picture and received the stipulated sum ;
but, hardly waiting till the person who had brought the money
had quitted the house, he threw open the windows, and with
his companion gave three cheers, and they set off" to the public-
house and piously performed their engagement.
Another writer tells us that one of his habits of buffoonery
was connected with some satirical songs which he composed
about his companions, and he would hire ballad-singers and
blind fiddlers to sing and play these songs to vulgar tunes
under the windows of the subjects of them. In this way he so

38 GEORGE MORLAND
annoyed some of his companions, that they were forced to
change their place of residence, in order to avoid his well-paid
street singers. Gradually he cut himself off" from all decent
society, "on account of the restraint which it imposed upon
him, preferring to work for those only who were his intimates,
and with whom he could act exactly as he pleased. By such
conduct he became surrounded by a set of men who cut off all
intercourse between him and his real admirers, the consequence
being that the latter could procure none of his performances but
through their medium, and at length ceased to apply to him."
He raised money by means of promissory notes, which at first
he was very anxious to take up even before they were due; but
finding at last that the more he earned the more he was involved
in debt, he became careless as to whether his notes were
honoured or not. Sometimes, however, he was in great dis
tress as to the renewal of these notes, and then, having no
courage to speak for himself, he got his associates to obtain time
on the bills, which they were generally able to do to their own
advantage. On one occasion an important bill had been given a
chandler in his neighbourhood who was of a surly disposition,
and who could not be evaded, and what to do about the renewal
of the note he did not know. Eventually it was suggested, so
Dawe informs us, that a party at skittles should be formed, and
the chandler induced to join, in order if possible that, being
fond of the game, he should be caught in a good humour. It
was arranged that at the party Morland was to affect dejection,
which a friend was to notice, and the creditor was to be given
to understand that this dulness was in consequence of disap
pointment at not receiving money. The party was formed, and
it met at the Castle, Kentish Town, and in the height of the
play, Irwin, Morland's companion, appeared, informing the artist
that he had been quite unsuccessful in obtaining any money,
" for the gentleman had left town." Morland then became ap
parently sorrowful, his friends noticed it, the chandler inquired

FISHERMEN WAITING FOR THE EVENING BREEZE

WORK IN LONDON 39
the cause, and, on being told, said, " it could not be helped, and
should make no difference," and he agreed to put off" the pay
ment of the bill to a more convenient time. Morland's spirits
were at once restored, the evening was spent jovially, and the
party broke up in great disorder early in the morning.
The prodigal line of conduct which the artist was pursuing
could not, however, go on for ever. Certainly he never relaxed
his industry, and whenever he was able to paint, he was hard at
work producing picture after picture, and selling them by means
of his acquaintances as quickly as they were done; but there
was no limit to his expenditure, and his debts increased day by
day. He now began to quarrel with Irwin. They had often dis
agreed while they lived together, but their differences at last
rose to such a height that they strove to see who should turn
the other out of doors. Brooks the shoemaker fomented their
differences for his own advantage, and Morland, having been
introduced to a dealer who was ready to take his pictures, was
in little need of Irwin's assistance. The quarrels became, there
fore, more and more violent, Irwin being particularly jealous of
the man who had supplanted him in the favour of his patron.
At length he was entirely degraded, and Morland refused to see
him. He did not survive his dismissal many months, but fell a
victim to the excesses in which he had participated.
"After Irwin left him, Morland reflected how much he was
indebted to the brother of his late colleague for money advanced
on pictures, and began to fear his resentment." He felt he had
lost one resource, and he had added another creditor to the
already large number who were about him, all of whom had
now begun to be extremely impatient for money. He began to
fear that he was in danger of imprisonment, and he consulted
an attorney named Wedd. This man took lodgings for him in
a place which was considered as a sanctuary for debtors, and
recommended him to leave his large house. He was already
tired of it, and glad to do anything for a change, and delighted
especially at the idea of " giving the slip to the people of Camden

40 GEORGE MORLAND
Town." To pacify the furniture dealer from whom he had had
much of his furniture, he agreed that he should have the furni
ture of the house back again, while the pictures at which he was
at work, and the rest of his eff"ects, were " by the dexterity of
Brooks conveyed away before the neighbours had the least sus
picion of Morland's intention, so that nothing was left for the
landlord but several loads of cinders, in which were found many
public house pots, and he esteemed himself fortunate to get back
his premises on any terms before they were quite in ruins, which
doubtless would soon have been the case, as he had let them to
Morland in a half-finished state."
We learn from Collins that half-a-dozen gentlemen who
knew the artist proposed while he was living in sanctuary to
help him. It was suggested that they should buy up his debts
at as cheap a rate as possible, and take all the pictures he
painted at a fair price, till they should be reimbursed ; that he
should be provided with a good table for himself and his
wife, and have a convenient house, rent and taxes free, and
be allowed ;^200 a year for pocket-money and clothes; with
the use of a horse two hours in any part of every day he
chose. This offer, " liberal and great as it was, he is said to
have treated with the most sovereign contempt, and, remain
ing in sanctuary for about a month, he obtained in December,
1789, by the assistance of his attorney, a letter of license as to
his debts. He then set himself to clear them off", and was able
to work so rapidly and so well, that in fifteen months he had
satisfied every creditor." Whether he paid them in full is not at
all clear; Collins tells us that he paid gs. 5^. in the pound and
obtained his freedom, and that, probably, is an accurate state
ment. He now removed to Leicester Street, Leicester Square,
where he occupied a large first and second floor at a furrier's,
and was visited, says Collins, " by a greater number of idle
loungers than at any former period." His attorney did well
over the arrangement; he gathered together, says Dawe, "one

BARGAINING FOR FISH

WORK IN LONDON 41
of the largest collections of Morland's pictures, having had in
consequence of his connection with the artist an opportunity of
selecting many of his best performances." Morland's residence
in Leicester Street gave him the opportunity for increasing his
reputation, and painting better pictures than ever hitherto. We
are told that he could have sold any number of paintings at his
own price, and that he had an offer to paint a whole roomful
of pictures for the Prince of Wales, a commission which, for
some reason or other, he did not accept.
He quickly, however, launched out into expense, bought a
violin, a violoncello, and a harpsichord, and determined to give
more time to music. He also decided to paint more pictures
of English rural scenery, and in connection with his first pro
duction of this kind, the picture of gipsies kindling a fire, we
are told the following story: Colonel Stuart, who commissioned
this picture, and was to pay forty guineas for it, called one
morning with a friend to see the progress of the work, and asked
Morland when it would be finished, to which the artist replied
that by four o'clock it would be ready. The Colonel, seeing that
it was not nearly completed, expressed his doubts, but Morland
repeated the statement. After looking at the picture for some
time. Colonel Stuart, speaking in French to the companion who
was with him, expressed his great admiration for the picture,
but said he was sure it was not possible for it to be finished
that day. Morland, however, understood the remark that had
been made, and, being very anxious to fulfil his engagement, as
he had had nothing in advance for the picture, and was sorely
in need of money, determined that he would curtail the work,
and finish the painting. The moment his patron had gone, he
obliterated several figures which he had sketched into the pic
ture, and in their place introduced one in a carter's frock, put in
masses of shade and foliage, and by three o'clock finished his
work. He then began to fear lest Colonel Stuart would not
return, and in the meantime amused himself with a game of
shuttlecock. The Colonel arrived between four and five, and,
G

42 GEORGE MORLAND
after expressing great surprise at the expedition with which the
picture had been finished, gave him a cheque for the amount.
Morland feared, however, that he would not get the money that
evening before the bank closed, and he entreated a friend, who
had been waiting by appointment all day to have a picture
finished, to go for the money, faithfully promising to complete
his painting the next day. His friend obtained the money, and
returned for his own picture the next evening, but found it
untouched. He also found Mrs. Morland in great perplexity, as
she had not seen her husband since he had received the forty
guineas, and a gentleman, she said, had just been for a picture
which he had bespoken, and found that Morland had sold it to
another person. This was the way in which the artist treated
his patrons. He had little or no idea of honour, his great desire
being to indulge his own evil tastes.
He did not stay long in Leicester Street, but went to
Tavistock Row, where he remained for a very short time, and
afterwards moved to lodgings in Great St. Martin's Lane. Here
it was that his brother Henry found him out, and the two
brothers were brought together by William Collins, who after
wards wrote one of the memoirs of the artist. Henry Morland
had run away to sea at a very tender age, and had been absent
from England most of his life. At this time, however, about
1790, he had come back; and he seems to have remained in
England, and to have done his best to look after his brother.
The other brother, Edward, who also went to sea, was quite
lost sight of.
Morland soon, however, tired of living in London, and was
anxious to get into the country. He was fond of Paddington,
as it was a great thoroughfare for cattle, and he had every chance
of finding the class of person whom he delighted to introduce
into his pictures. The landlord of the White Lion was a jolly
fellow, and the place was much frequented by drovers. All
these were inducements to Morland to settle down in that part
of the world, and he took a cottage immediately opposite the

A SEAPIECE

WORK IN LONDON 43
White Lion, with a pretty garden in the rear. He furnished it
neatly, and made the front room on the first floor his painting-
room, in order that from the windows he might have a view of
everything that passed, and see the picturesque old inn, with
its yard filled with the kind of subjects which employed his
pencil. Collins gives us a striking picture of Morland's life at
Paddington. He says that there was not a room in the house
but was infested with guinea pigs, tame rabbits, or dogs of
various breed; and adds that, having one morning announced
his name, and being permitted to follow his guide to the paint
ing-room, he caught sight of two large hampers of wine, one
unpacked and the other full; while he found seven or eight
men in the room, who were professors of the pugilistic science,
and all were engaged at luncheon. The hour was eleven, many
of the bottles were uncorked, and the glass was going merrily
round. Bread and cheese, cold meat and fresh butter, were being
handed " from fist to fist," for there were neither table nor chairs
allowed in the painting-room; and in reply to a remark of aston
ishment made by Collins, one of the very muscular and deeply
scarred men made the remark, "This 'ere 's the vay we lives,
master, it's our luncheon time." Collins speaks of it as a bear
garden, and tells us that the last idea of Morland was to learn box
ing, and these men whom he met in his room were the professors
whom he was employing to teach him that fascinating amuse
ment. Not content, however, with this method of spending his
money, he took it into his head to buy horses, and to lend them
to his pugilistic friends, who took care never to return them ; one
of them on one occasion telling him that if ever he was troubled
again by a question respecting the missing horse, he would give
him " such a proper hiding as would prevent the best of his friends
from knowing him again for about a month of Sundays." He
had taken great delight in pugilism, had given prizes to the
combatants, and provided them with plenty of good cheer; but
the loss of this horse, which was worth about twenty guineas.

44 GEORGE MORLAND
made him change his mind as to further encouragement of prize
fighters. His expenses at Paddington were commensurate, as usual,
not with his earnings, but with his credit, and, encouraged by
the hope of obtaining a picture, every tradesman was earnest to
supply him with commodities.
" He attended all the sports in the neighbourhood, such as
bear and bull-baiting, and soon became surrounded by quack
doctors, publicans, horse-dealers, butchers, and shoemakers, all
of whom he converted into picture-dealers." It was at this time
that he had a wooden frame placed across his painting-room,
similar to that in a police office, with a bar that lifted up, allow
ing those only to pass with whom he really had business.
When residing at Paddington, he had a commission from
a namesake, a wealthy banker, to paint a large seapiece, and
this man gave him a general invitation to his house and table.
His old friend also, Mr. Sherborne, who had treated him so well
at Margate, tried both by letter and personal application to
renew his acquaintance with the artist, and to help him get rid
of his associates, but, with his accustomed negligence, he rejected
both his friends, and burnt Mr. Sherborne's letter unopened, to
save himself the bother of answering it.
His creditors became more and more persistent, and he made
many excursions farther out into the country, assuming a fic
titious name in order to evade them ; but wherever he went, he
appears to have been recognized, as his talent was so well known,
and his abilities were so unusual, that everyone contended for
his works, and submitted to any terms in order to procure them.
He had scores of invitations, and might have associated, had
he cared to do so, with the best people in the country, but he
rejected them all, and preferred his boon companions. Presently
he removed to a larger house in Winchester Row, Paddington,
and it was there that perhaps the summit of his extravagance
was reached. Just at that time he was advised to make his
claim to the baronetcy which was dormant in his family, and

EVENING

WORK IN LONDON 45
Mr. Wedd, the solicitor, made inquiries respecting the proper
course to pursue. Morland, however, hearing that there was no
emolument attached to the dignity, but that, on the contrary, he
would be at some expense in supporting his new honours, made
the following reply to his attorney: "Well, Bobby," said he,
" there 's more honour in being a fine painter than a fine sir, and
as for tacking sir to my name, I'll be damned if I stand a glass
of gin for it. Plain G. M. will always sell my pictures, and
secure them as much respect all over the world."
Collins tells us that he hardly ever saw Morland when he
was living at Winchester Row. He was either out riding, or
in bed, or else he refused to see his friend ; but he tells us
one anecdote of his life there. He says that Morland agreed
with him and one or two other friends to ride to Otter's Pool on
the ensuing Sunday morning. They were to start before twelve,
to have a long ride before dinner, and if the painter failed of
being ready to mount his horse when his companions arrived,
he was to forfeit half-a-dozen bottles of wine, while a similar
fine was to be the consequence if the companions did not attend
at the appointed hour. Upon the appointment being kept, the
servant at Morland's house stated that his master was poorly,
and Collins being shown into the parlour, saw Morland in his
nightgown and red slippers, playing on the harpsichord. After
amusing themselves for a few minutes, they took a turn in the
garden, where Morland with a grave face declared he had a great
secret to disclose which hung so heavy on his heart that, if his
friend would put his horse in the stable, he would unburden his
mind to him in the painting-room, and be greatly obliged to
him for his advice. The friend assented, thinking it was some
domestic difficulty, especially as Mrs. Morland was not to be
seen. On arriving in the painting-room, Morland, taking up a
plain canvas, said he would make a sketch for a large picture
while it was in his mind, and that would enable him to com
pose himself to narrate with coolness his present distress. He
gave his friend a volume of Swift with which to amuse himself.

46 GEORGE MORLAND
and, on being asked if he relinquished the idea of dining at
Otter's Pool that day, his answer was doubtful. However, he
set to work on the plain canvas, while his friend read Swift. An
hour later the friend left his book to go behind the painter's
chair. He was greatly astonished on beholding a picture more
than half finished, and with three figures in it, on what had
been but a short time ago a blank piece of canvas; and in the
course of two hours and a half Morland painted a complete
picture, representing two pigs lying down before a stye and
a man near by.
As soon as this was finished Morland made the following
characteristic statement. " I have been terribly despondent this
morning, for, recollecting our engagement, I put my hand in
each of my pockets without being able to find a guinea in one
of them. This made me so low-spirited that I flew to the harp
sichord, and thumped away till you came, without being able to
produce a single sound like the chink of a guinea. Now, my lad,"
continued the artist, " things look better, for some fool or other
will be here presently, and tip me a tenner for what I have just
brushed up, and this is the whole secret I had to tell you. Ha,
ha! But I say mum, we shall have a merry night after all."
The friend at once told Morland it was a pity that a fool
should possess such a treasure at that price, and he bought the
picture of him immediately. The two men then set off for their
dinner, equally pleased — the one with his purchase, and the
other with his guineas; the artist, however, informing his friend
that he was half-seas over, that he would not have thought he
had been such a flat as to be taken in by him.
On another occasion, the same author tells us, that Mor
land asked a dozen people to dinner with him, and determined,
to use his own expression, "to see them all completely sewed
up." He had the hampers of wine unpacked in the garden,
where they remained till the whole of it was drunk or taken
away by the servants or anybody who pleased ; and the expendi
ture was declared to be no less than one hundred and seventy

SHEPHERDS REPOSING

WORK IN LONDON 47
pounds, for which a bill was given to the wine merchant, and
renewed over and over again by the gift of pictures.
The objection he seems to have had to associating with
respectable people seems to have arisen from his fear that they
would give him orders and instruct him how they wished their
pictures painted. He never could brook interference, and, sooner
than expose himself to the whims and fancies of his patrons, he
declined to have anything whatever to do with them. There is
no doubt that at times he would have been subject to annoy
ance from people of little artistic intelligence, and Dawe gives us
one example of what the artist might have expected. "There,"
Morland once exclaimed, " is a picture which a man has returned
to me to have a fine brilliant sky painted in, saying he will allow
me five guineas for ultramarine — it will spoil the picture, and
the absurdity of it is, that he will not suff"er that tree to be
touched, but expects me to paint between the leaves."
His determination to avoid society lost him many a patron.
Blagdon tells us that on one occasion Morland was staying with
a friend when Lord Derby called to commission an important
picture, and at first declined to give his name. On being told
that the artist would not see him unless his name was first
taken up. Lord Derby complied with the not unreasonable
request, whereupon Morland from a garret window was heard
exclaiming, "Oh, damn lords! I paint for no lords. Shut the
door. Bob, and bring up Rattler and the puppy."
On another occasion, at the Rummer, Charing Cross, he
met the Duke of Hamilton, but the interview only led to a
boxing competition between the artist and the Duke, and then
to the Duke driving Morland part of the way home. From
what Hassell tells us, nothing could have persuaded the Duke
of Hamilton that a man who behaved to him as Morland did
could possibly be a painter of any eminence.
Life at Winchester Row was conducted on just as reckless
an arrangement as life with Morland had ever been conducted,
and it had the usual result. Unlimited expenditure exhausted

48 GEORGE MORLAND
every means of supply, and credit after a while came to an end.
The very last adventure in which the artist took part yielded
him a sufficient sum of money to engage in an extra long
escapade of folly, and then the career in Paddington came to
a close. A bun-baker sent his son with a large sum of money
that he might purchase a place of position under Government,
but for some cause or another payment had not to be made at
that time. On his way home to Paddington, the young man,
who had already drunk more than enough, called upon Mor
land, and, proud of having so much money in his possession,
displayed it. The artist was painting a fine landscape, which,
Dawe tells us, "was highly admired by the young bunman,
who had long entertained a wish to turn picture-dealer. Mor
land plied him with wine, and induced him to lend him the
money," on his giving him a note of hand, and the picture
when completed, as interest. The young man went home too
much intoxicated to tell what had happened, but, the next
morning, when the money was demanded, produced Morland's
note, and explained that the sum no doubt would be forth
coming when it was wanted, together with the picture, which
was worth at least f^S*^. The father was furious, and insisted
on the note being returned and on his son obtaining the money,
but it was too late. Morland had disappeared, and he was not
again seen in Paddington till all the money had been disposed
of. A small part of it had been applied to pay bills which were
then due, and the rest had been squandered away in his cus
tomary follies. After a while the matter was compromised by
his giving acceptances for the payment of the money, but they
were never taken up, and so indignant was the bun-baker with
the way in which his son had been treated, that the district
round about was made too hot for Morland, and after eighteen
months' residence he fled away. His debts exceeded four thou
sand pounds, and with Mrs. Morland he retired to a farmhouse
at Enderby in Leicestershire, keeping the place of his residence
a secret from his numerous creditors.

SUMMER 1795

CHAPTER V
DEBTS AND DIFFICULTIES
RESIDENCE on a farm was a most congenial life for a
while to Morland. In all his troubles he remained faith
ful to certain ideals. There was never any question
about the affection between himself and his wife, and none of his
numerous chroniclers give any hint of infidelity on his part or
on hers. Turbulent their married life certainly was, but they
were deeply attached to one another, and in his sober intervals
no one could have been kinder to his wife than was Morland.
Another of his enthusiasms was for children, and with them he
was always most popular. He delighted to take part in their
games, was lavish in his expenditure for them, and never happier
than when making them happy.
"Very little below his affection for children came the love
that he had for animals. It had sometimes a cruel side, as he
would set one creature against the other for the sake of fun and
excitement; but he really had a considerable amount of love for
the animal creation in his own way, and was always ready to
buy living creatures and take them into his house. Hassell
tells us that he met him one morning carrying a sucking-pig,
which he bore in his arms like a child. The author did not
recognize who the eccentric person was for some time, and was
only amused at the way in which the man carrying the pig was
behaving. On his journey through the streets of Marylebone
he frequently set down the pig, pitting him against the nearest
dog, and delighting in the chase that was sure to follow, and
then, gathering up the pig, made a great fuss of it, and treated
it as kindly as he could. When Hassell reached the friend's
H

50 GEORGE MORLAND
house where he was going, he found seated in the room the
eccentric person, still carrying and petting his pig, and he then
was given to understand that it was Morland the painter.
Collins speaks of meeting him on one occasion at the
Cavendish Square coffee-house at the corner of Prince's Street,
sitting in a little back parlour with a basin of rum and milk
beside him, a pointer who was sharing his meal by his side,
a guinea-pig in his handkerchief, and a beautiful American
squirrel he had just bought, on his shoulder.
During the time that he lived in Leicestershire he indulged
to the full his delight in animal life. There were several children,
says a contemporary letter-writer, at the farm, and with them
Morland was first favourite, but he divided his favours between
them and the animals, and at times the artist would be found
"seated on the floor of a large barn, surrounded by about a
dozen children and a score of animals; fowls, pigeons, and
ducks were close about him; he was fondling two rabbits, one
guinea pig, and half-a-dozen tiny puppies at the same moment ;
a young foal had hold of his hat, and a calf was nibbling at his
foot; while with one hand he was striving on a bit of rough
cardboard to make some sketches of the creatures about him;
with the other he was patting all his companions, and while all
this was going on, was striving to interest the children with a
fairy tale." The sight must have been an extraordinary one,
and as a contrast to the wild drunken scenes in which the artist
so often took part, it is pleasant to come upon so peaceful an
episode in Morland's life. The man must have had some extra
ordinary fascination about him. Children are, as a rule, satis
factory guides as to the character of a man, and with children
Morland was always happy, while it was their most eager desire
to be in his company. It has been said that no really wicked
man is fond of animals, and the more the affectionate side of
Morland's character is regarded, the more certain it seems to be
that his sins were those of carelessness and utter want of con
trol, rather than the result of any vicious nature. The same

GIPSY ENCAMPMENT 1795

DEBTS AND DIFFICULTIES 51
letters tell us that no farm in Leicestershire was so visited as
was this one at Enderby by proprietors of dancing dogs, by
gipsies, and by those who had to do with the wild life of the
country. It was quickly found out that the artist who loved animals,
and who painted them so well, was there, and it is said that the
reason why Morland made so short a sojourn in Leicester
shire, remaining only about nine months, was that all the cattle
of the district was brought there for him to see, and all the
gipsies for miles round congregated with their dogs and their
pet creatures, and made their encampments close up to the
house. While Morland was away, his attorney was doing his best
to make things comfortable in London. A letter of license was
agreed upon in 1791. Morland made the fairest of promises to
pay all his debts, and engaged to pay ;z^i20 per month. A house
was taken for him in Charlotte Street, Fitzroy Square, for the
rent of which two of his creditors became responsible, and then
came the conditions of the engagement. An endeavour was
made to induce him to paint for so many hours a day, to frequent
the society of eminent artists, and to associate himself with
respectable people. To this his reply was, " I would sooner go
to Newgate, by God!" It was, however, agreed that he should
live in a respectable manner, throw off his old Paddington
acquaintance, with the exception of one man with whom he
refused to part, and commence a new course of life. Meantime,
he left the farm, borrowed extensively without scruple or hesita
tion from many of his friends, and went to stay with a Mr.
Claude Smith in the same county, at whose house he painted
many pictures. No one knew where he was until all the arrange
ments had been completed, and he then came back to London.
The friend whom he had determined to retain was named Crane.
He had been a butcher, but had given up his business to follow
Morland, from whom he received a guinea a week for grinding
colours and doing the smaller duties of the studio. The man

52 GEORGE MORLAND
was, therefore, useful to Morland, and was his favourite com
panion in his frolics.
One of the first pictures he painted in Charlotte Street was
" The Benevolent Sportsman," which was executed for Colonel
Stuart, and had been ordered as a companion to the picture of
the gipsies three years before. For this he was paid seventy
guineas. He also painted two pictures for his attorney, Mr.
Wedd, called "Watering the Farmer's Horse," and "Rubbing
Down the Post-horses."
He had an excellent chance in Charlotte Street of turning
over a new leaf and devoting himself to his work. Most of his
creditors had been pacified, and some of the others might have
been arranged with, while his own abilities were so great that he
was able to earn a hundred guineas a week. It was not, how
ever, in Morland's nature to do without companions, nor was he
ever able to continue work steadily and free himself from his
embarrassments. He had certainly got rid of his Paddington
acquaintances, but he quickly acquired others of a similar
character. A vulgar Jew named Levi, who supplied him with
colours, a man who Dawe says was possessed of some humour
and jocularity, became associated with him, and for a while his
buffoonery amused the artist. He was not, however, disposed to
wait for payment of his colour account as long as Morland
thought he ought to wait, and he took steps to get the artist
arrested. Morland quickly got himself liberated, and proceeded
to the house of Levi to abuse his antagonist, and then, although
little more than half the size of his gigantic opponent, offered to
fight him ; a crowd quickly gathered, and Morland, spurred on
by their cries, reached over the colourman's counter, and " struck
him with all his might a desperate blow in the face." There
were too many supporting Morland for the Israelite to dare to
engage in a combat with the artist, and he contented himself
with threatening to take the law of him; but, as Blagdon tells
us, Morland was too profitable a customer for Levi to continue
the quarrel, and no more was heard of the fight.

LANDSCAPE 1794

DEBTS AND DIFFICULTIES 53
Another of the artist's companions was a watchmaker who
had a pretty taste in art, and greatly admired Morland's paint-
mgs. Morland, on his part, took a fancy to some of the jeweller's
watches, and, eager to acquire them, bartered for them the
pictures which ought to have been sold for considerable sums of
money. He was taken in by the watchmaker, as a matter of
course, and the bargaining only increased his embarrassment,
instead of reducing it.
Yet another companion whom Dawe mentions was a clever
ventriloquist, and on one occasion we are told that this man
accompanied the artist to Billingsgate, a place which Morland
was very fond of visiting, " as there," said he, " I hear jolly good
straight language, and see some first-rate fights." On this occa
sion the artist wanted to buy a salmon, but his companion,
smelling it, observed that it was not fresh. The fish-woman
swore it had not been out of the boat half-an-hour, but the
ventriloquist assured her that it stunk, and that the fish had
told him so. Her reply was that the man was a fool to say that
the salmon could speak. Morland now chimed in by observing
that if she would only hold the mouth of the fish to her ear, she
might hear it herself. " She did so, laughing, and calling a
neighbour to come and hear a salmon talk, but distinctly heard
these words, issuing, as she thought, from the salmon, 'You
know I stink, you lying creature.' " The woman was greatly
terrified by the clever trick of the ventriloquist, gathered a great
crowd around her, and in the confusion the artist and his friend
turned into a neighbouring public-house, and were lost sight of.
On another occasion, Morland purchased some mackerel in
the same place, which, however, he discovered, as soon as he
had bought them, were stale. He wondered what he should do
with his purchase, but, slipping it into his pocket, went off to a
public house in Francis Street, where he was well known, and
where, in a room called the mahogany room, he was in the
habit of entertaining his friends. The chairs in the room had
broad straps of webbing underneath them to support the seats,

54 GEORGE MORLAND
and into these straps Morland tucked the mackerel, and there
they stayed for a week or more. There were great outcries on
the part of the owners of the public house and the visitors, as no
one could understand whence the dreadful smell arose, some
attributing it to the drainage, and others to the beer-cellar,
which was under the mahogany room. Morland and his com
panions were loudest in their complaints, refusing to sit in the
room till they had lighted their pipes. The cause of the smell
was not discovered for a considerable time, nor in fact until the
servant, in dusting the chairs, perceived the mackerel, and
quickly guessed who had been responsible for the joke.
Of the fickleness and carelessness of Morland's disposition
Dawe gives many instances. On one occasion he says that he
determined to go to Derby, and arranged with his pupil Hand
to go with him. He had all his drawing apparatus packed up,
and away the two men went, proposing to remain in Derbyshire
for some considerable time, and paint. They spent one hour in a
public house in Derby, during which time they smoked several
pipes, and then they both of them came to the conclusion that
the place was dull, and away they came back to London, having
wasted their time and their money without any result whatever.
On another occasion he bought the head of a black ox, which
had a white muzzle, from the butcher. He paid a guinea for it,
and, admiring it greatly, determined to paint it, and went home
for the purpose, but put the head into his painting-room, and
forthwith forgot all about it, and started off" for a ramble in the
country. He did not return to Charlotte Street on that occasion
for a month, and, as this happened in the summer, and the
weather was particularly hot, the whole house, to the great dis
tress of his wife, was filled with a terrible odour, the cause of
which, as his painting-room was safely locked up, it was im
possible to discover until his return. He then had to pay a
crown to the dustmen to remove the head from his premises.
His waywardness was so extraordinary that, when taxed by
his patrons as to the completion of a picture, he would obstinately

FARMER, WIFE AND CHILD

DEBTS AND DIFFICULTIES 55
refuse to have anything more to do with it. Once, when hard at
work at a painting which he had faithfully promised to complete
that afternoon, and which, inasmuch as he had been sober for a
week, was nearly done, he received a visit from a well-known
pugilist, named Packer. He at once left the picture, persuaded
his friend to put on the gloves, and started boxing. In the midst
of the sport the patron arrived, and the following conversation
ensued. " Is the picture finished?" said the visitor.
" No, it will be done by-and-by."
" Is this the way to do it? A pretty way this of going on! "
"Don't you like it?"
" You know it 's past the time when I was to have had it."
" Don't you like my going on? — William, get my boots."
" Are you going to finish my picture? "
Morland made no reply, but continued dressing himself.
"You're surely not going out before it's completed?"
" I am! " said the artist, with a string of oaths; and he then
left the house immediately, swearing that it should be a very
long time before that picture should be completed.
During this first period of his life in Charlotte Street, he
executed a good many pictures, but he troubled very little about
the arrangements he had entered into for paying his creditors.
He only paid two or three instalments, and then disappeared,
visiting various parts of England, and wandering about wherever
stage-coaches could take him. A second letter of license, arrang
ing for the payment of ;^ioo per month, was obtained by his
attorney in 1792, but this was as little regarded as was the first;
and, after paying a few sums of money, the artist again disap
peared, roaming into the country, while his attorney for the third
time endeavoured to " compromise the matter on still more easy
conditions." In his excursions, Dawe tells us, he was accom
panied by Brooks the shoemaker, who has already been men
tioned; his pupil Hand, a man named Burn, and at times the
watchmaker Tupman, and these people brought the pictures up

56 GEORGE MORLAND
to London, sold them to great advantage, and kept secret the
place of Morland's resort. In all these excursions, Dawe tells us
that " the artist's chief amusements were to mix with the peasants
of the place where he made any stay, to visit their cottages, and
play with their children, to whom he often gave money, and
thus he procured frequent opportunities for observing their
manners, and occasionally assisted his memory by making slight
sketches of their attitude, dress, and furniture, and whatever
seemed likely to be useful in his art. He joined sporting parties,
went to races, and made friends of fishermen and sailors, but he
was always ready for frolic, and no one was proof a^'ainst his
pranks." On one occasion, Collins tells us that, obse— ':' r the nsher-
men bait their hooks and throw out their li-cs, ::ie ends of
which they made fast with tent-pegs cr =t=ir^ zn hie shore, he
determined to play a trick upon the —en -v'_z:-i whom he had
been associating. He collected toge:he_- i ziii^nr/ :f old wigs,
old shoes, tattered breeches, and uiz'-csHlZjI. incl raking up all
the lines and stripping the hooks of riif izir. he :h.=rened this
rubbish to the lines, putting on bcne= 2^1 laer weig-hts. that
they might sink out of sight, and the- -^vircr^w. ^Vaen the
fishermen were about to raise their ii-e? Ihinhnc ccsted him
self near enough to be a witness to their :'-- , h 1: iz 1 5,i=.riciitly
safe distance to avoid any retribution icr h:5 r:«:h:5^ mric. The
men were, of course, highly indignant, and the -. S5 :: then vv-as
considerable, but the only observation that the Jirrist ~ide \\-a.s
that he had prevented their being able to say, veth ethers of
their profession, " that they had toiled all the night, and had
caught nothing."
W^hen the third letter of license was procured Morland
wanted to return to his house in Charlotte Street, and Collins
tells us he tried to persuade a friend to go first to the house to
see that no one was in possession. He purposely omitted to
tell this friend that a number of dogs — pointers, bulldogs,
spaniels, and terriers — had been left behind in the house, and

THE WAGGONER'S HALT OUTSIDE THE BELL INN

DEBTS AND DIFFICULTIES 57
were hungry, and the poor man, who was a poet, and of some
what timorous nature, was frightfully alarmed by the attack
which these dogs made upon him the moment he opened the
door. He escaped from them with difficulty, having, in addition
to the fright which they caused him, the anxiety of believing
that the barking would inform Morland's creditors of the pre
sence of some one in the house, and that he, being taken for the
artist, would be put under arrest. Morland only laughed at the
story, pleading ignorance of any concerted plan, and told his
friend he had sold the dogs directly he heard of their attack
upon him, adding that " he would never keep a dog so void of
natural sagacity as not to be able to distinguish between the
smell of a poet and the smell of a bailiff."
Finding that he could not return to Charlotte Street, and
that money had come to an end, he started to make some
drawings in black chalk, tinted with crayons, as he appears to
have left behind him in the country the convenient box which
he had had made for his canvases and colours, and which
enabled him at the shortest notice to take all his impedimenta
with him into the country. These drawings, which were experi
ments on his part, were sold at once, and the publisher made
an immense profit by them. Morland was urged to etch and
publish them himself. He declared he would do so, and bought
copperplates, but Dawe tells us that the only use ever made of
them was to alarm the publisher, and induce him to give a
more liberal price.
One of his largest creditors at that time was a horse dealer,
from whom he had been jobbing horses, and with whom he had
got into difficulty over the loan of a horse. The man, whose
name was Dean, and who lived at Barnet, had lent Morland a
horse, but it was months before he got it back, and then it was
only through hearing of it in an advertisement, and paying very
heavy expenses. Morland protested that he had returned the
animal the day he borrowed it, giving a boy half-a-crown to
ride it to Dean's, and that the mistake had arisen from the
I

58 GEORGE MORLAND
horse having been taken to some stables at Soho, kept by a
man of the same name, instead of to Barnet. Morland, how
ever, always ready to sign papers, gave a note for the expenses,
and, when it became due, prevailed upon the horse dealer to
renew it. He paid for the renewal by the promise of a picture,
which at last he finished, but, as Mr. Dean neglected to take
it away at the moment of its completion, Morland sold it to
somebody else. This man was determined to have the money,
and he was successful in getting some of the proceeds obtained
from the sale of the picture. Meantime the artist kept out of the
way, and his solicitor persuaded the creditors that Morland was
too poor to keep by the terms of the letter of license, and in
December, 1793, got a third one granted, by which he was to pay
only;;^5o per month. Under this third agreement "he kept up
his payments less regularly than ever, he discharged a dividend
or two, and then neglected his creditors until they became cla
morous; he would then pay another, and thus continue to act
till . . . his letter of license became void. In November, 1794,
he made an agreement with his creditors to paint two pictures
per month, which were to be sold for their benefit, but, . . .
he never completed any upon these terms. In 1796 a fourth
. . . license was granted, which stipulated that he should pay
only ten pounds per month. This was signed by only a small
number of his creditors, and he made still fewer payments under
this than under any of his former engagements, which were
all made and broken in the course of five years, during which
time he had paid at the rate of 9/5 in the pound to his creditors
generally." All this time, however, he had been continually borrowing
money from new sources, and giving away his pictures in return
for the accommodations, while his debt to his attorney for legal
expenses had run up to fifteen hundred pounds. He was still
able to pacify a great many of his creditors by means of his
pictures, and these men were intrusted by him with the place
of his concealment, and bailed him out when he was arrested

IDLENESS

DEBTS AND DIFFICULTIES 59
by the more impatient creditors. It was never very easy to
seize Morland, as he was on excellent terms with all the bailiff"s,
and, instead of taking him into custody, they very often told
him of his danger. At other times he would treat his creditors
so well in a public house, that he would induce them to with
draw the writ, and set him free, and having a great horror of
imprisonment, he practised every kind of bribery in order to
avoid it. At this period of his life his constitution began very
naturally to yield to repeated assaults. " His countenance,"
says Dawe, "gradually assumed an unpleasant character. He
became bloated, his hands trembled, his eyes failed him, his
spirits flagged, and he became subject to almost every species of
nervous debility," frequently bursting into tears, and threaten
ing to put an end to his life. He experienced a slight attack of
apoplexy, and consulted the celebrated physician, John Hunter,
who warned him of his danger and of the source of his malady.
All the warnings in the world, however, would not stop George
Morland from his headlong career. When he was absent from
home Mrs. Morland resided with her parents, and the house
was left empty. When he came back again he was often there
for a while with only a boy to attend to him, and she knew
nothing of his return. At other times he would be sober for
some weeks together, conjugal felicity would reign, and he
would work hard all day, not leaving his painting room except
to retire to bed. On these occasions he would sometimes cook
his own food, and eat it by the side of his easel ; but as he had
grown too feeble to mount a horse, and had frequently to remain
in hiding from his creditors, his diseases speedily increased.
Dawe tells us that even during his best times, while living in
Charlotte Street, he would have at seven o'clock in the morning
purl, gin, or a pot of porter for breakfast, with beefsteaks and
onions, and that during the whole day he was swallowing all
kinds of strong liquors and quantities of spirits. Tea he would
never drink, and when invited to partake of it he would shake
his head and say he never drank it, for it was very pernicious

6o GEORGE MORLAND
and made the hand shake. He wrote out for his brother a little
document, stating what he drank one day at Brighton when he
had nothing to do, and the following is the list :
Hollands gin.
Rum and milk (all this before breakfast).
Coffee (for breakfast).
Hollands. Porter.Shrub.
Ale. Hollands and water.
Port wine with ginger.
Bottled porter (all this before dinner).
Port wine at dinner and after.
Porter. Bottled porter.
Punch.
Porter.Ale. Opium and water.
Port wine at supper.
Gin and water.
Shrub. Rum, on going to bed.
To this document he appended the sketch of a tombstone
with a death's head and crossbones, and under it put this epitaph,
" Here lies a drunken dog." It was perfectly clear, therefore,
that he recognized what his habits were, and to what they would
lead him. Up to this time in his life he had been careful in his
costume, and was reckoned rather a smart man; but now he
grew careless as to his appearance, and adopted the dress of a
jockey. On two occasions, when in company with a stable-
keeper, he was asked if he wanted a place as a groom by servants
whom he met.

DILIGENCE

CHAPTER VI
AT THE SEASIDE
WE now enter upon a period in Morland's life in which
he was constantly changing his residence, moving from
place to place to avoid his creditors, and yet busy paint
ing wherever he was, in order to pacify the most clamorous, and to
gain means to indulge his habits. Wherever he went he carried
with him not only his easel and colours, but some of his com
panions; and in his painting-room there were generally pigeons
flying about, and dogs, guinea pigs, and pigs gambolling on the
floor. In Chelsea, where first he went, he was arrested by an
old friend to whom he owed ;^300, and who, having pleaded
sympathy with him, got his address and the gift of a picture,
and then turned round and arrested him. Those of his creditors,
however, who were glad to take his pictures, bailed him out, and
he got away to Lambeth, and lodged in the house of a water
man. This house he never quitted till after dusk, when the man
rowed him across the river to Hungerford, where, during the
hours of freedom from arrest he visited various public-houses
about Charing Cross, and then returned to his lodging.
Not being satisfied, however, with this apartment, he re
moved to a greater distance, and took a furnished house at East
Sheen, where he remained for some time. There he started a
gig, and in it drove about the country. On one occasion he
called on Ward the engraver, and persuaded him and Collins to
come to dinner with him the next Sunday. They set off" to walk;
but the weather being very hot, and the way across the fields
difficult to find, they missed their road, and did not arrive till
past four o'clock, when they found that Morland had gone off" to
6i

62 GEORGE MORLAND
London, had never said a word to his wife and her sister about
the two visitors, and consequently the dinner had been eaten,
and the table cleared long before they arrived. Late in the after
noon, however, a friend of Morland's came in his chaise, deter
mined to see the artist, and for fear of disappointment brought
his provisions with him. These provisions he readily set before
Ward and Collins, and, as Mrs. Morland was able to provide
some ale and wine, a meal was made, and the party were in a
jovial mood by the time the artist got home in the evening.
Life at East Sheen, however, did not satisfy him. It was,
says Blagdon, a great deal too quiet, and the artist's brother,
who had by this time taken up the position of his guardian, so
far as any man could be a guardian for such an erratic person,
took lodgings for him in Queen Anne Street East, facing Port
land Chapel. Here he was close to his creditors, actually in the
very midst of them, and yet so well hidden that they had no
idea where he was, and one of them offered ten pounds for the
secret of his concealment. Being free from arrest in his own
house, he spent most of his time indoors; and, as his rooms
were opposite to the chapel, no one was able to look into his
windows. He was not badly off, and we are told that his rooms
were very well furnished, while he was able to keep a man
servant, who, Dawe tells us, was " a person of demure deport
ment, and of a peaceable and somewhat puritanic disposition,
whose peculiarity of manners amused our frolicsome artist in
his solitude." Even here, however, he was not safe, and his quondam
acquaintance, Brooks, is believed to have been treacherous, and
to have revealed his hiding-place for a sum of money. He was
once again arrested, and again got free, and he then set off" to
the Minories, where he lodged with a Scotch lady of the name
of Ferguson. There he was very much worried by a man and
his wife, who took up their station opposite to his windows on
two successive days, gazing at the windows steadily, as though
determined to find out who lived inside. Morland, who was in

LA HALTE

AT THE SEASIDE 63
a thoroughly nervous state of mind, could not be persuaded that
these two idle people were merely careless, and had no interest
in him ; and so, leaving those lodgings, to the great disgust of
the landlady, who objected to losing a person who paid her so
well, he took up his abode with Mr. Grozier the engraver,
who had engraved many of his pictures, and had the highest
admiration for his merits. He agreed to pay Grozier for his
lodgings; but his friend having on one occasion left town,
Morland, who was tired of the respectable life which he had to
live in that house, decamped, without paying for his board,
and, by the dexterity of his old friend Brooks, got off" with all
his baggage. Then he went to the house of his father-in-law,
Mr. Ward, at Kentish Town ; after that to his brother's residence
in Frith Street, Soho ; then back to Kentish Town, and a little
later to China Row, Walcot Place; then to Poplar Row, New-
ington ; and after that to Kennington Green, to a lodging with
a Methodist cobbler.
This man held very strong religious opinions, and he did
his utmost to persuade Morland to give up his evil habits and
become a religious man, but it was all to no purpose, and the
man's sermonizing so irritated him that he fled away.
His next place of shelter was with the carver and gilder
who had made frames for his pictures, and who was, so we are
told in the " Spectator," the only man he always paid. Dawe
says that this carver, whose name was Merle, and who re
sided in Leadenhall Street, was one of the " few sincere friends
who never took advantage of Morland's distress." Morland
appears to have been very much attached to Merle, and to have
treated him better than he treated anyone else, except perhaps
his wife, and Merle's influence upon the artist was always good.
During his stay in Leadenhall Street he was extremely indus
trious. He rose at six, and continued at his easel till three or
four in the afternoon, but nothing could persuade him to give
up drinking spirits, and he seldom retired to bed till two or
three o'clock in the morning, and was generally the worse for

64 GEORGE MORLAND
drink. He told Merle about the religious cobbler, describing
the man's horror when on one occasion Morland had given way
to swearing, and drawing a vivid picture of the entrance of the
puritanic shoemaker into his painting-room, holding a Bible in
his hand, and pointing with a very dirty finger to a text which
referred to the evil practice. With all his amusement, however,
he could not refrain from stating that the little shoemaker had
the gift of speech, and that never in his life had he heard a
more rational or better delivered discourse from the pulpit. He
made a rough sketch of the scene, which was exceedingly clever,
but he had decency enough left to consign this humorous picture
to oblivion, lest it should ever find its way into a caricature
printshop. Tired at length even of the companionship of Merle, he got
his brother, whom he had nicknamed Klobstock, and whom he
usually called " Klob," to find better lodgings for him, and
away he went to Hackney, and there for a while had a period of
quiet. No one knew him at Hackney, and he was a source of
great bewilderment to his neighbours. He worked exceedingly
hard, he kept himself fairly sober, and, determining to turn over
a new leaf, produced picture after picture, exquisitely finished,
and so pleased all his patrons, that his prices went up fully
forty per cent. He had a reasonable chance at last of satisfying
all his creditors, who would have been perfectly glad to have
accepted nine shillings in the pound, and he seems to have
determined to do this, when, owing to the inquisitive nature of
his neighbours, his life at Hackney came to an end. The people
in the street found out that he was receiving considerable sums
of money, and they saw he was spending it with profusion.
Quantities of wine and other extravagances were taken to his
lodgings, and they noticed that he went out very early in the
morning, or else very late at night, and some conversation
which he carried on with his brother, in which the words
"impressions" and "engraved plates" occurred, was overheard
by those who resided close to him. They were also puzzled at

CHILDREN PLAYING AT SOLDIERS

AT THE SEASIDE 65
his habit of frequenting the public houses, although he had
plenty to drink in his own house, and they could not under
stand why he entered his rooms secretly, returning home at all
hours of the night, going in at the back door, and sometimes
climbing over the palings of the garden. They felt sure that he
was a dangerous character, and at length it was determined that
the method by which he was making so much wealth could be no
other than by coining money or fabricating forged banknotes.
Information was lodged against him, and Messrs. Winter and
Key, solicitors for the Bank of England, took a party of Bow
Street officers over to Hackney, in order to secure the person
whom they believed was engaged in counterfeiting Bank of
England notes.
Morland saw the coaches coming, and he had also been told
that some people from the City were inquiring for a painter
living in Hackney, and therefore he concluded that the bailiffs
had found him out again, and he made the best of his way over
the garden wall, and got off" to London.
The officers entered his house, and, having been provided
by the Bank with full authority, they searched the whole place
from top to bottom. Nothing that his brother could say would
satisfy them that they were in the house of an artist, and every
drawer and box in the place large enough to hold a pack of
cards was broken open. One of the officers, however, had heard
of Morland, and he recognized a picture upon the easel, nearly
completed, as the work of that painter, and decided, therefore,
that they had come on a fool's errand. They did not, however,
leave until they had done considerable damage and caused great
annoyance. Mr. Wedd the attorney forthwith threatened to
commence an action of trespass against the Bank, but they were
well within their rights in the course they had adopted, although
the result had been so hard upon the artist. An ex gratid pay
ment, however, of twenty guineas was made to Morland by
Messrs. Winter and Key, and they sent him an apology for the
annoyance which had been caused. Allan Cunningham, in his
K

66 GEORGE MORLAND
account of the artist, tells this same story, but he states that the
directors of the Bank presented the artist with a couple of bank
notes of twenty pounds each, by way of compensation for the
alarm they had given him.
Morland was so disgusted with this disturbance that he
declined to remain in Hackney any longer, and, having been
there nearly six months, went back to his brother's house in
Soho, this time to Dean Street, Henry Morland having left
Frith Street a little while before. He then moved to Fountain
Place, City Road, and after a sojourn there, went back again to
the residence of Henry Morland, where he was really safer than
at any other place, as his brother looked after him, and took
charge of his pictures.
It was at this time, according to Dawe, that he came into
contact with Mr. Sergeant Cochill. Reference has already been
made to the way in which Morland refused to have anything to
do with persons of his own rank in life, but, with all his pecu
liarity in this way, the artist still retained a considerable amount
of legitimate pride, and, however poor he was and however
eccentric, he revealed the qualities of a punctilious gentleman in
certain of his transactions.
The Sergeant had for some years conceived a great wish to
meet Morland and to see him paint. He had always been on
terms of friendly correspondence with the artist, and it would
appear that Mr. Wedd, Morland's attorney, had at times interested
the Sergeant professionally in the difficulties of Morland's life,
so that even if he had not rendered the artist professional assist
ance, he had always offered to do so, and there was an under
standing between the two men. He possessed a picture which
by some accident had been injured, and he was very anxious
that Morland should touch it up, if possible doing it in the Ser
geant's own house, and allowing the owner of the picture to see
the work done. Morland protested very much against accepting
the invitation, but was eventually persuaded by his attorney to
accept it, making the condition, however, that no money was to

BOYS ROBBING AN ORCHARD

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AT THE SEASIDE 67
be paid him for whatever he did to the picture, inasmuch as he
did it as a personal friend, and not professionally.
In a few hours Morland set the picture right, greatly to the
satisfaction of its owner, who presented him forthwith with a
purse of guineas. No persuasion, however, would induce him
to accept it, but Dawe tells us that so much did he mistrust his
resolution, that he whispered to his attorney not to leave him,
lest in his absence he should be overcome by the temptation.
Mr. Wedd, therefore, informed Sergeant Cochill ofthe conditions
under which Morland had consented to come, and persuaded him
to withdraw his off'er. It had been a great temptation to the
artist, as he loved to hear the chink of guineas, and to know
that he had money in his pocket. Even though he would not
accept a fee, the Sergeant hoped that he would take some re
freshment in his house, but he could not be persuaded to touch
anything while either Mr. or Mrs. Cochill were present, for fear
that he should have to conform to the regulations of society, and
drink the health of his patron. His extreme confusion, embar
rassment, and awkwardness, were quite painful, and, abruptly
refusing an invitation to stay to dinner, he left the house as
swiftly as possible. It should be mentioned that he had taken
some slight refreshment in the form of a glass or two of Bur
gundy and some cake, but he only did so while the Sergeant and
his wife were out of the room, as nothing would induce him to
eat anything in their presence. He was, however, so proud of
himself for having refused the substantial fee, that he took off"
his attorney with him, and they had an extravagant dinner that
night at Old Slaughter's coffee-house.
Two years afterwards we hear that Morland and the Ser
geant met again. It was at the time when Morland was confined
in the King's Bench. He had been favoured by the Marshal of
the prison with what were called " the Rules," permitting him to
leave the prison for a certain length of time, provided he followed
certain regulations, one of which prohibited his entering any
public house or licensed place. This regulation Morland was

68 GEORGE MORLAND
constantly breaking, and one day, intoxicated as usual, he
quarrelled with a Mr. Clifton at a public house. A Captain
Cunningham, who was also confined for debt, and who, like
Morland, was out on a day's rule, took the part of the artist in
the quarrel. The dispute ended in blows, and Mr. Clifton brought
an action against the Captain, which Morland, " having been the
cause of it, felt himself bound to defend." Remembering his old
friend, he asked him to accept a brief in the case, but when the
matter came into court, it was proposed by counsel that it should
be settled by each party paying his own costs. In lieu of a fee,
Morland presented his counsel with a drawing, under which
were written the words indorsed on the brief, " Clifton versus
Cunningham, brief for the defendant, Mr. Sergeant Cochill,
Wedd attorney." The Sergeant was delighted with the picture
which Morland gave him, and declared it was the most valuable
fee which he had ever received.
During their residence in Hackney, Mrs. Morland had been
ill, and the constant changes of residence since they had left
Hackney had prevented her from getting much better. The
surgeon who attended her was a Mr. Lynn of Westminster, who
had been fascinated by the skill of the artist, and felt for him
very much. He tried to persuade Morland that he would be
much happier away from London, and that he would be able to
free himself from the companions who were doing him so much
mischief, and then, pointing out that Mrs. Morland needed a
complete change, offered them the use of his cottage at Cowes
in the Isle of Wight. Accordingly, in April, 1799, Mrs. Morland
and her servant went thither, and were soon followed by her
husband and his faithful servant, George Sympson, who for
several years, at different times, was his faithful companion.
Mr. Lynn wished to send a letter of introduction to a
medical friend of his at Newport, the object of this letter being
to request his friend to purchase for him whatever pictures or
drawings Morland might have for sale. The artist, however,
refused to bear his note, and would not be under an obligation

THE DOOR OF A VILLAGE INN

AT THE SEASIDE 69
to anyone. He was, however, very glad a few weeks afterwards
to avail himself of the offer of this medical man, as he found
money no less important in the Isle of Wight than it had been
in London. The Newport doctor, however, was not of an artistic
turn of mind, and was worried as to the value of the drawings
which Morland sold him for his friend. He wrote to Mr. Lynn
to say that he had been buying drawings for him to a consider
able amount, and that in his opinion he was paying very dearly
for them, as they were mere sketches with a pencil upon scraps
of paper, adding " that he could buy better for threepence each
at any of the shops in Newport, and that he wished to know
whether he was to continue his purchases." Mr. Lynn, knowing
their value, begged him to be quite easy, and by all means to
purchase as many as he could obtain. It would seem probable
that Mr. Lynn was not altogether disinterested in the offer
which he made to Morland. He lent him his house, it is true,
but, in his desire to purchase everything that Morland did
whilst he was in the island, he showed his appreciation of the
artist's work, his desire to acquire it, and his belief in its future
value. There is no doubt that, during the time that Morland
was in the island, he painted a great many excellent pictures
connected with sea life, fishermen, watermen, sailors and boats,
several of which appear to have passed into the possession of
the surgeon. The house was filled from morning till night with
sailors, fishermen, and smugglers; the quiet that Morland was
always seeking he never found, and he was no sooner free from
his disreputable companions in London than he gathered about
him in the Isle of Wight another set equally disreputable, but of
whom he made excellent professional use. His creditors, how
ever, were still on the look-out for him, and one of them soon
found out where he was.
About three days after Morland's departure from London,
his, brother by mere accident happened to drop into the White
Horse in Fetter Lane. He had not been long in the parlour,
where he sat down unobserved by one or two persons in another

70 GEORGE MORLAND
part of the room, when he heard, in a sort of exulting though
low voice, the following remark: " I have found out Morland's
retreat at last, and before three days more pass over his head
we shall fix him as fast as the bars in the cells at Newgate.
There is now a writ preparing, and I shall go down with the
officers to prevent all palming." Collins, who tells the story,
says that Klob, as Henry Morland was always called, without
losing time, set off" the same evening in the mail coach for South
ampton, and arrived at Cowes in time to warn his brother, who
fled at once with his servant to Yarmouth (I. W.), and took the
greater part of a house belonging to a man named George Cole,
who had been a smuggler, and had acquired a large fortune, and
who, Blagdon tells us, was a big, powerful man, whom no one
dared to attack. There the artist settled down for a while, but
he was to have no peace even at Yarmouth.
" One morning," says Dawe, "about six o'clock, when they
were making breakfast, a lieutenant with a file of eight soldiers
of the Dorset militia, entered the room, grounded their pieces,
and arrested them by an order from General Don, commander
of the district, as spies, declaring them all prisoners."
This dramatic and sensational arrest took place on account
of the conclusion which the militiamen had come to, that Mor
land was sketching the coast defences for the information of the
French Government, and assisting a French invasion. The
poor artist, who had all his life dreaded imprisonment, was in a
state of extreme confusion and agitation, and the suspicion of
his guilt was confirmed thereby, notwithstanding the efforts he
made to convince the lieutenant of his innocence. Off" he had to
go to Newport, and although the day was extremely hot, he was
ordered to carry with him all his heavy portfolios of sketches.
The bench of justices sat in Carisbrooke, and Morland was
brought before the magistrates. He had a very unpleasant ex
perience between Yarmouth and Newport, as he had been hooted
and pointed at by the people whom he passed, and by the in
habitants who came out of their houses to behold the traitors.

A QUARRY WITH PEASANTS

AT THE SEASIDE 71
Very fortunately the medical man who had been asked by
Mr. Lynn to purchase the sketches came forward and explained
the whole state of affairs. The justices, therefore, dismissed the
case, but they laid a strong injunction upon Morland that he
was to make no more sketches of the scenery. An amusing
piece of evidence is referred to by Collins. He says that one of
Morland's paintings, nearly finished, was explained by the
soldiers as an ingenious cipher which had a mystic interpreta
tion. It represented a farmer holding his purse, considering
what he would give the ostler, who stood with his hat in one
hand, and the bridle of a white horse over his arm. The white
horse, bridled and saddled in the stable, the lieutenant said,
represented the plan of the coast of England, which latter place
clearly was the stable. The ostler was the spy or draughtsman,
who would not give up his work till the money was paid him.
The farmer represented the French agent in the Channel, who
was reflecting upon the chance he had of escaping, and was loth
to part with all his money to the spy, as by that means he cut
off" all hope of his retreat.
This very absurd statement appears to have been made
before a Mr. Rushworth, a Justice of the peace, and although it
was received with roars of laughter by the painter and his com
panions, impressed the obtuse magistrate, and he it was who
ordered the three persons to walk for twelve miles on a melting
hot day into Newport, escorted by a strong body of soldiers.
The whole thing seems exceedingly absurd, but it was some
what serious to the artist and his two friends, as they had the
thankless task of walking back again to Yarmouth, although
they were able to choose their own pace this time, and were free
from the escort that had accompanied them. Morland does not
appear to have accepted the instructions of the justice, but he
remained in Yarmouth for some time longer, made several
sketches, and painted two pictures, one of the Needles, and the
other of Freshwater Gate, both of which passed into the pos
session of Mr. Wedd, his attorney.

72 GEORGE MORLAND
Allan Cunningham tells us that a friend once found Morland
at Freshwater Gate, the little hamlet on the seashore, near to
the more inland village of Freshwater, in a low public house
called the Cabin. He says that the sailors, rustics, and fisher
men were seated around him in a kind of ring, and the whole
place was full of laughter and song. Morland was called away
by his friend, but he left the society of these people with mani
fest reluctance. His friend was at a loss to understand why he
associated with such people, and "George," said he, "you must
have reasons for keeping such company." " Reasons, aye, good
ones," said the artist, laughing, "see, where could I find such a
picture as that, unless among the originals of the Cabin?" and
with that he held up his sketchbook and showed a correct de
lineation of the very scene in which he had so recently been the
presiding spirit.
Cunningham adds, that one of Morland's best pictures
contains an illustration of the taproom, with its guests and
furniture. Mr. Richardson states that Morland probably stayed
at the Mermaid Inn, the site of which is now occupied by the
Albion Hotel ; and he adds that he met an old fisherman who
assisted when a boy in pulling down the Mermaid, and whose
aunt broke up and burned the old sign, a mermaid carved in
wood, when she was once in want of firewood.

RABBITING

CHAPTER VII
THE END OF THE STORY
MORLAND remained at Yarmouth till November, 1799,
when he returned to London, and took lodgings at
Vauxhall ; but he was allowed no peace by his creditors,
and was soon arrested and sent off to King's Bench Prison.
He, however, very soon obtained " the rules " from the Marshal
of the prison, and was able to occupy a small house, ready fur
nished, in Lambeth Road, St. George's Fields, where his wife,
his brother, the manservant and a maid, formed his establish
ment. A garden behind was turned into a general receptacle for
animals and birds, and, as Collins tells us, he had in it asses,
goats, sheep, swine, rabbits, guinea pigs, eagles, hawks, calves,
dogs, and numerous other birds and beasts, of all of which he
made many sketches. His brother attended to his business
affairs, and for him he painted during these latter years most of
his pictures. Dawe says that Henry Morland's books show us that, for
him alone, he painted 492 finished pictures during the last
eight years of his life. Besides these, he executed perhaps 300
more for other persons, and more than a thousand drawings,
one of which he usually produced almost every evening for a
long time. Numbers of people were anxious to see him, and to
obtain his work, but, although a great many were aware that
he was somewhere in St. George's Fields, very few knew the
precise spot, or the number of the house, as the name of Pearce,
Coal Merchant, was engraved upon the brass plate of the door,
in order to prevent persons who came from motives of curiosity
finding him out. He lived here a more regular life, though
perhaps not a more temperate one, than he had ever done before.
L

74 GEORGE MORLAND
He kept open house, and every day sat down to a good table,
at which Mrs. Morland presided, and as he gave plenty of wine
and spirits, it was always well patronized.
We are informed by Dawe that Morland gave strict orders
that no one should ever carry him to bed when he was intoxi
cated, his idea being that in this way he would prevent himself
from drinking to excess. The consequence, however, was very
different, as the result of his rule was that he generally lay all
night on the floor of the dining-room. " Here the ruin of his
character and constitution was completed." The sums he received
were expended in profusion and drunkenness, and " his house
was a rendezvous for all the profligates who lived within the
rules, and who delighted in meeting with one so well suited to
their propensities." There was no intermission in his excesses,
and no opportunity for the use of exercise to counteract their
destructive effects. Gradually his frame became much weakened,
and often when he arose in the morning his hand trembled so
much "as to render him incapable of guiding the pencil, until
he had recruited his spirits with his fatal remedy, and so little
confidence had he in himself, that he feared to touch a picture,
lest he should spoil it."
Although Dawe speaks most clearly as to the evils of
Morland's life, he was in his book very anxious to contradict
the common report which Cunningham, quite regardless of his
statement, repeated in 1830, to the effect that Morland painted
best when he was intoxicated. Dawe tells us that, on the con
trary, when one morning a friend called upon him, and noticed
a picture in which the colours were particularly crude and
distracting, a medley without consideration or reflection, Mor
land begged him not to look at it, observing that he was half-
drunk when he did it, and that he was painting it all over again.
Dawe considered that Morland painted best when he was
exhilarated by the presence of company, and that he often re
quired in his later years a certain quantity of spirits to steady
his hand, but it would have been quite impossible for him to

THE END OF THE STORY 75
have painted finished pictures when he was intoxicated, and he
never himself tried to do so. His professional work was done
during the morning or quite early in the afternoon. In the
evening he was almost always intoxicated. Occasionally he was
allowed to go away and visit an old acquaintance, on the under
standing that he was back at a certain time. He always came
back to the time, but he was always completely intoxicated.
Directly opposite to his house there were some tea-gardens,
and he frequently spent his evenings there. With eight of his
friends he formed a sort of drinking club, which was called " The
Knights of the Palette," and " Sir George Morland " was hailed
as the founder. He took a palette and painted on it a bottle and
glass and cross pipes with a little tobacco burning in one of them,
and set it round with colours, and this was nailed to the wall in the
club-room near the President's chair. Under this palette every
new candidate, after paying for a bottle of wine, was dubbed a
knight. Collins was frequently present, and he says that he has
seen as many as eighty persons there with a band of music.
Very often the expenses of these gatherings were paid by Mor
land, as all the money obtained for his pictures went in ex
travagance. There was never any economy in his house, and
now, living in what was practically prison, he was more extrava
gant in dress than he had ever been before.
One day the Marshal of the prison observed him, says
Blagdon, in a public house, a privilege he was not supposed to
have when living according to the rules. The Marshal threatened
to recommit him to prison, but that very day, " Morland painted
a view of the taproom with portraits of the persons who were
in his company, and among the rest the Marshal was to be seen,
leaning in at the window in the act of taking a glass of gin from
the artist." After spending about two years in the rules of the King's
Bench, Morland was liberated under the Insolvent Act in 1802,
but the result of this liberation was that a certain group of his
creditors were free to trouble him again, and some of them, who

76 GEORGE MORLAND
cared nothing for his pictures, and did not realize that by means
of his pictures they could have obtained payment of their debts,
proceeded to attack him. He remained for a short time in the
house in Lambeth Road, doing his best to deal with these
clamorous persons, but at last he was seized by a second fit of
apoplexy, which, Dawe says, greatly alarmed him, and for a
short time rendered him incapable of following his profession.
His creditors then became more clamorous than ever, and in
order to get out of their way, he left Lambeth, and went to
Highgate, where he stayed at the Black Bull, which was then
kept by one of his old associates. Mrs. Morland accompanied
him, and he had with him a new manservant in the place of
honest George Sympson, who had been obliged to leave him
soon after he went to the King's Bench. In all his difficulties
Morland never relinquished his habit of keeping a personal
manservant, which was his link with respectability, and reminded
him, so one of his biographers says, of the life which he used to
lead in his father's house. He paid the man, according to
Collins, a guinea a week, and kept him always in his painting-
room, and at the time of the artist's life to which we are now
referring, the man was especially necessary, as Morland was in
such a weak condition of health by reason of his excesses that
he could not do without a personal attendant. He stayed at
Highgate two months, and then had a serious quarrel with the
landlord, which resulted in his returning to live with his brother
in Dean Street, where he came in November, 1802.
Collins gives us the story of the quarrel, and it would
appear to have arisen from some remarks which the landlord
made to him, which the artist considered were not sufficiently
respectful. Morland demanded his bill, but the landlord, being
doubtful as to whether he would receive payment, seized what
ever pictures and movables there were in the artist's room, and
the painter fled to his brother, " breathing nothing but venge
ance against his old friendly host the postboy, for thus unfairly
getting the whip hand of him."

THE END OF THE STORY 77
There is no doubt this landlord got the better of Morland.
He presented a very heavy bill, part of which Morland knew had
been paid, but unluckily the artist had just quarrelled with his
manservant, and dismissed him, and he alone could have proved
the payment. As he could not be found the whole bill had to be
paid, and it is said that hardly another event of the artist's life
gave him more continual uneasiness, both sleeping and waking,
than the imposition of his old friend, whom he now styled " a
despicable reptile."
Mrs. Morland was at this time in very poor health, and
had taken lodgings in Paddington ; and the biographers record
that it was greatly to the artist's credit that, in all his difficulties
and all his extravagances, he continued to provide sufficient
means for his wife to live in comfort, and while she was residing
in Paddington regularly allowed her two or three guineas a
week. He used upon occasion to go out and see her, and once
in her lodgings painted a curious picture of the garret with
himself at work at his easel, and his man Gibbs, who acted
as his cook, busily employed in frying sausages. He declared
that this picture was to be a companion to the one which Sir
Joshua Reynolds painted of the kitchen in the house in Leicester
Square, and recalled to his wife the circumstance that the very
residence where Sir Joshua painted his picture had once
belonged to Morland's father.
In January, 1803, another attack was made upon him by
his creditors, and he had to settle with them for ;^45. Collins
went bail on this occasion, and he assures us that, notwith
standing the poor condition of the artist's health, he went to
work and painted pictures which enabled him to clear off the
debt in less than a month. A little while after this, to avoid
some other creditors, he placed himself in the custody of Mr.
Donalty, a Marshalsea Court officer, who resided in Rolls
Buildings, Chancery Lane. While with this man, in a sort of
courteous custody, he was safe from everyone else, and he paid
his convenient friend by means of pictures which he painted for

78 GEORGE MORLAND
him. With the exception of occasional visits to his wife at
Paddington, he stayed in Rolls Buildings during the whole
summer of 1803, just occasionally going out to the Garrick Head
in Bow Street, which at that time was kept by a Mr. Spencer.
This man always reserved a room with a bed for Morland, and
the artist knew that he was always welcome, and that the com
pany which frequented the house rejoiced in his visits. It
seems to be probable, however, that he did very little work at
the Garrick Head, spending most of his time over the bottle.
Spencer had everything ready for him in the way of canvas,
easels and colours, but Morland was generally incapable of
doing more than a few hasty drawings.
He had one other friend, a Mr. Harris, of Gerard Street,
to whom he used to pay occasional visits.
It was during this year that Collins paid a visit to Morland,
and took with him one of his sons, a lad of about fourteen.
The boy was extremely anxious to see Morland paint, and
having some artistic genius, had eagerly looked forward to the
visit. Morland happened to be in a particularly good humour,
and he allowed the young student to stand behind for a couple
of hours, watching him at his work. He gave the lad several
pieces of useful instruction, and a month afterwards had him
again to his room for an hour, but never afterwards could he be
persuaded to renew his kindness.
Collins, in telling the story, was extremely anxious that all
the readers of his book should give him credit for having been
a disinterested friend to the artist for twenty years. He says
that this instruction for his son was the only favour which he
asked at the hands of Morland; and he makes a solemn
declaration that, " he never had directly from him either picture
or drawing during the whole twenty years." It is perhaps a
little unfortunate for Collins's credit that we know of the exist
ence of a room in his house which, after the death of Morland,
was discovered to contain very many of the artist's best works.
We may, however, accept his statement, and believe that he pur-

PORTRAIT OF MORLAND BY ROWLANDSON

'%•#

**>

.t

¦fe-

THE END OF THE STORY 79
chased all the pictures, although his contemporaries hinted very
strongly that the reverse was the case.
We are now approaching the last few months of this sad
story. The excesses in which the artist indulged became greater
than ever, and fits of an apoplectic nature became more frequent.
Dawe presents a pathetic picture of Morland's condition. " To
such a state of debility," he says, " was his nervous system at
last reduced, that a single glass of liquor would sometimes
intoxicate him, while a knock at the door, or shutting it sud
denly, would agitate him extremely; and he has been known to
fall off his chair, or be unable to remain in the house, on the
most trifling incident. He grew so hypochrondriacal that the
idea of being alone in darkness, though but for a moment,
became insupportable; and, if a light happened to be extin
guished, in a room where he was sitting, he would creep towards
the fire or the person next him." Dawe goes on to tell us that
at this time Morland was afraid after dark to venture out alone;
that he would not sleep without two lights in his room, fearing
lest one by some accident might be put out; and that he was so
little able to walk that more than once he had been discovered
lying in the snow, almost frozen. His sight also became ex
tremely dim, and he was obliged to employ spectacles of strong
magnifying powers, and often to be led by his man even from
the door of his house to a coach. "His paralytic affection,"
Dawe says, " deprived him for a time of the use of his left
hand, and rendered him incapable of holding his palette; he
was consequently reduced to the necessity of making drawings,
which his man sold for what he could get, and from mere
habit he became so expert at these sketches, that he would
often execute them at a public house, when half asleep, to raise
a little money."
His only amusement was riding in a coach, and he was so
feeble, that if he had to go from place to place, these rides were
really a necessity. We are told that his valise was once stolen
from behind the chaise, and in it he lost all his clothes. He

8o GEORGE MORLAND
did not care to buy a fresh stock, but declared that in the future
he would imitate a snail by carrying all his clothes on his back,
Dawe tells us that he literally observed this plan, and, "as
soon as his suit became shabby, he ordered a new one, giving
the other to his servant, hence, however dirty he might be, he
was seldom ragged. At that time he generally wore a coat of
a mixed colour, with long and square skirts, and breeches of
velveteen; these, with two or three waistcoats and a dirty silk
handkerchief round his neck, completed his appearance, which
was that of a hackney coachman. In other parts of his dress
he was equally mean and slovenly, seldom taking the trouble
to undress, and rarely that of going to bed."
It was in this condition that Collins saw him. He describes
how he was crossing the corner of Dean Street when he heard
his name called in a voice he knew, and "poor George, as dirty
as a scavenger, reeled out of a publichouse at the corner." He
immediately laid hold of his friend, and, taking him to a hackney
coach, the door of which stood open, he showed a chafing-dish
half full of charcoal burning away, and the seats and bottom of
the coach strewed all over with chestnut-shells, the roasting of
which, he said, had been fine amusement for Jimmy his man,
and himself, ever since six o'clock that morning. It was then
about ten. Collins inquired why the coach had been kept wait
ing for four hours, and Morland replied that Jimmy had been
sent for some canvases " which Klob, the scoundrel, had thought
proper to retain." While they were discussing the question, the
man arrived in triumph, with the canvases on his shoulder, and
deposited them in the coach. Morland was most anxious that
his friend Collins should accompany him in the vehicle, and he
endeavoured to push him into it, but Collins objected to what
he calls the smothering atmosphere of the coach, and as both
Morland and his servant were considerably the worse for gin,
they were unable to accomplish their purpose. Before the coach
drove off", Collins was requested to call on Morland in Fetter
Lane. He did so at nine o'clock that night, and found a harper,

ORIGINAL WATER-COLOUR OF J. R. SMITH BY MORLAND

¦c

THE END OF THE STORY 8i
a fiddler, and a bassoon player, waiting for the artist, having
been commissioned by him to come and play to him.
In July, 1804, Collins saw Morland again, this time at work
for Klob in Dean Street. Henry Morland had converted his
house into an hotel and tavern ; had made up his quarrel with
his brother, and had got him back to live with him, in order that
he might obtain all his work. Collins describes the appearance
of the artist. "He looked besotted and squalid; cadaverous,
hanging cheeks, a pinched nose, contracted nostrils, bleared and
bloodshot eyes, swelled legs, a palsied hand, and a tremulous
voice; all," says Collins, " bespeaking the ruin of what had once
been one of the soundest of frames, containing the brightest of
genius." The man's genius was so remarkable, and his ability so
extraordinary, that even though he was in such a helpless con
dition, he was able to paint so well and so rapidly that everyone
about him, eager to obtain the money which his pictures realized,
kept him at work unmercifully. His own statement to Collins
#was as follows: "The greatest trouble I have been cursed with
for some time past is that, whether sick or well, my mind easy
or distracted, these ignorant negro-driving task-masters expect
me to take a handful of pencils and a few bladders of paint, and
make them pictures faster than a man can make shoes. They
think," added he with an oath, "that I can strap to like a
paper-hanger, and fill their rooms with pictures as fast as he
can cover the walls." Even then, with all his complaining, he
seemed to think that he could do as good work as ever, could
he but find an assistant who would do the drudgery of back
ground and sky painting. Collins at once offered him the assist
ance of his son, the boy who has already been mentioned, and
showed him one of his juvenile works. Morland praised it, and
was disposed to think that he and his young pupil could work
together. Collins, who was eager to remove him from the society
where he was, offered him board and lodging, a comfortable
room, and no restraint in any particular, save as to gin, and
M

82 GEORGE MORLAND
Morland was disposed to accept the offer. He bound himself,
under the forfeiture of a ten-guinea picture, to carry out this
resolution, and the matter was so far settled. Three days after
wards, Collins again saw him. He was in a cheerful and loqua
cious state, his memory was excellent, and his health better
than usual, his pencil kept pace with his tongue, and for more
than two hours the friends were together, Morland working
steadily the whole time, but keeping himself going by constant
potions of gin. Nothing, however, would induce him to agree
to the proposition which had seemed so favourable a few days
before. He said he had been recommended sea bathing, and
that he intended to set off to Brighton next month. He was
reduced, he said, in means down to a single one-pound note,
but he was quite sure of earning more money before the day
was over. Collins never saw his friend after this, for, having a
threatening of gout, he determined himself to go to Brighton,
and with his son started at the latter end of July. He was back
in September, and went off to Dean Street to find the artist,
but was told by Klob that George had taken himself off "in
some of his airs," and was then living in Gerard Street. Early
in October Collins called at Dean Street, being very anxious
to show Morland some sketches young Collins had made at
Brighton. He found Henry Morland in a state of great annoy
ance respecting the wasteful conduct of his brother, who had
spoilt some expensive paper, for which Klob had had to pay
two guineas. " Now," said this enraged son of thrift, "I've
done with him for ever; he's gone to Gerard Street, there
let him stay, for here he shall never humbug me again; no,
never!" By the middle of October Collins was again attacked with
rheumatic gout, and so was unable to go and see his old friend
during that month, the last of his eventful life.
It was on the 19th of October, 1804, as Morland was turning
the corner of Gerard Street, that he was arrested by a publican
for a debt, which Collins says was £2, los., but which Dawe tells

DRAWING OF A DOG

i.*JW MBBJWW^'i* -"\

THE END OF THE STORY 83
us amounted with costs to ;!^io. He was conveyed to a sponging-
house in Eyre Street Hill, Coldbath Fields, at once, and the
next day, in attempting to make a drawing which could be sold
for the discharge of the debt, he dropped off his chair in a fit,
and never afterwards spoke intelligibly to any of those few
friends who knew of his situation. The drawing represented
a bank and a tree, with some cattle, and when the biographies
of the artist were written, it was in the possession of the
painter's mother, who was with him at the last, and who gave
to Collins the account of his death. The fit proved to be the
commencement of brain fever. For eight days Morland was
delirious and convulsed, in a state of utter mental and bodily
debility, and he expired on the 29th of October, 1804, in the
forty-second year of his age. His body was removed to the
house of his brother-in-law, Mr. W. Ward, Buckingham Place,
Fitzroy Square, and thence was conveyed to the new burying
ground at St. James's Chapel.
Collins was not able to attend the funeral, but his son was
present on the occasion. He wrote an epitaph for his friend as
follows : Ye sons of genius, pause one moment here.
And pay the tribute of a kindred tear.
A gifted brother rests beneath this stone.
Whom Nature smiled on, and proclaimed her own.
His magic touch could animation give.
And make each object on the canvas live :
To him was given the plastic art to trace
The rustic vigour of our peasant race.
The bleating sheep upon the mountain's brow.
The living pig, the calf, and lowing cow,
The rosy milkmaid, and the chubby youth,
None e'er portrayed with so much ease and truth!
The coming storm, which spreads a gloomy shade
Of partial darkness o'er the sunny glade;
The howling tempest, and the billows' foam,
Through which our hearty sailors dauntless roam ;
Or vet'ran smugglers, braving hardest gales.
Dashing through frightful serf, with tattered sails ;
These varied scenes 'twas thine, amidst the strife
Of warring elements to paint like life!

84 GEORGE MORLAND
Adieu, ill-fated Morland ! Foe to gain ;
Curs'd be each sordid wretch that caused thy pain,
Spite of detraction, long thy envied name
Shall grace the annals of memorial fame.
Notwithstanding all their domestic differences and separa
tions, Morland and his wife, Dawe assures us, were sincerely
attached to each other, "insomuch," he adds, "that the one
was extremely alarmed and affected whenever the other happened
to be indisposed." To the truth of this statement Ward bears
evidence. " Let it be clearly understood," said he, " there never
was a separation between Morland and his wife beyond his own
removals from her, and those longer or shorter, according to his
own irregular temper and according to the necessity of avoiding
his creditors." Mrs. Morland used to say, as Ward tells us,
" My friends think it would be a relief to me if George were to
die, but they do not know what they say, for whenever that
takes place I shall not live three days." The presentiment which
the husband and wife had, that neither of them would long
survive the other, led their friends to strive to keep secret the
death of Morland from his wife. She had, however, to be told,
but could not be induced at first to believe that the statement
was true. "At last, having obtained the assurance of her fears
from the servant, she gave a shriek, fell into convulsive fits, in
which she continued for three days, and expired on the 2nd of
November in her thirty-seventh year. Their remains were
interred together in the burying-ground of St. James's Chapel."

DRAWING OF LANDSCAPE WITH HORSES

CHAPTER VIII
MORLAND'S PUPILS
BY some writers Morland is said to have had only one
pupil, but Collins assures us that there were at least
five, and two of them, he adds, " were of considerable
service to him in all the inferior departments of laying on dead
colour, filling in outlines, and bringing several of their master's
designs to a state which only required the magic of his finishing
touch and manual signature."
The chief pupil whom Collins mentions was named Tanner.
He was the son of a master tailor, and his father gave Morland
a considerable premium for taking the lad into his studio. He
was a bony, tall youth of about nineteen, with a hard, unpre
possessing countenance, high cheekbones, very dark complexion,
and small gray eyes; his eyebrows were exceedingly thickly
covered with coarse black hair, and the whole of his face was
deeply pitted with smallpox. He received in the studio the
nickname of "The Mohawk," as he is said to have resembled
an American Indian. This man worshipped Morland with
much fervour, and, absolutely idolizing his master, was ready
to do any office of the meanest drudgery about the house that
he might be near him.
Another pupil was named Davis, and he was usually nick
named " Davey Brown." He was older than "The Mohawk"
and a far better artist; in fact, after some years of study with
Morland, he was able to copy his master's style with extra
ordinary excellence.
The third important pupil was named Thomas Hand, a
good-humoured, inoffensive, careless young man. He had a
85

86 GEORGE MORLAND
striking eye for colour, but was greatly lacking in skill of draw
ing, and was therefore only employed by his master in laying
in the colour for the backgrounds of the pictures.
We are not told the names of the other two pupils. They
were persons of small importance; Collins calls them "respect
able brushes, neither much above or below mediocrity."
It was owing, however, to the labours of these pupils that
Morland was able to execute so vast a number of finished
pictures, and we are assured that no work was signed by the
master until he had most carefully gone over every portion of
it with his brush, giving to it the magic of his own wonderful
inspiration. So great, however, was the demand for pictures
by Morland, that we are told of one picture dealer a story of
the ingenious method by which he increased the output of the
artist. He bound Morland down to paint about a dozen pictures
for him, and to work upon them at his own house every morning
up to twelve o'clock. Immediately, however, after Morland had
left, expert' copyists were called in and employed in making
accurate and elaborate repetitions of the day's work, which were
then carefully concealed. Returning to his work at the picture
dealer's house on the following morning, any changes which upon
reconsideration Morland might think well to make in his picture,
were in the afternoon transferred to each copy in progress under
the hands of his traitorous copyists. Thus at least four or five
pictures were carried on together to completion, the painter never
suspecting the trick that was played upon him, and each counter
feit bearing those marks of changes in design and alteration of
effect that would seem to give proof of its genuineness. It is
through such tricks as this that there are so many duplicates of
Morland's most attractive pictures.

THE LAETITIA SERIES
Plate i. Domestic Happiness

¦' ,,,/,„,,//,/ ¦ ,/.'/,„://,

CHAPTER IX
THE ART OF MORLAND
IN respect to his art, Morland occupies a place by himself.
Ever since the days of Gainsborough there has always
existed in English art a class of rustic subjects in which
the country and the country life of England have been depicted.
Such pictures are either pretty and sentimental, as were those of
Wheatley; melodious and full of the perfection of poetry, as were
those of Gainsborough; or simple, unaffected, straightforward,
as were those of Morland. Thoroughly English in every quality,
and full of unsophisticated portraiture of the people and animals
that were about him, his pictures, if not refined, are depicted
with a truth which is unimpeachable.
He has been compared with several other artists. The early
series of pictures, entitled "Laetitia," recall in their power of
telling a story the best efforts of that great painter Hogarth ; but
they are marked by an exquisite refinement of which Hogarth
was not capable, and the sad story which they tell is depicted
with a purity and simplicity very far removed from the coarser
ideas of the English portrait painter. This particular series of six
pictures constitutes the most graceful portraiture that Morland
ever executed. The colouring is exquisite, the drawing far more
careful than was Morland's wont, and there is a tenderness
about the manner in which the story of Laetitia is told which is
very attractive.
In later life the artist worked with such feverish speed that
he was quite unable to put into his pictures all the wealth of
careful detail which appears in the Laetitia series, and the strain
of production was so great that he contented himself with bolder
87

88 GEORGE MORLAND
and less highly finished work, in order that he might keep pace
with the demands of his creditors.
His colouring in its earliest days was low in tone, and ex
quisite in quality; later on his pictures are marked by much
grander, finer colouring, and by masterly execution ; but towards
the latter end of his life there is a heaviness about the shadows,
and all the signs of very rapid execution, in which effect was
striven for rather than careful detail.
Mr. Walter Sickert, in a comparison between the works of
the Barbizon painters and those of Morland, points out that all,
or nearly all, of Morland's works are restful or lazy in subject,
whereas those of Millet and Bastien Lepage are full of toil or
the sense of toil past and inevitably to come.
This is an illuminating criticism, and the same author goes
on to point out how little sense of motion there is in any of
Morland's pictures, and how invariably in the French artists
this quality of motion can readily be discerned.
Morland at his best had a " supreme power of observa
tion," says Mr. Nettleship, " an exquisite perception, and a fine
executive gift, and his great skill was that of his ability to select
the vital constituents of a scene, and to render them in fitting
terms." He was a realistic painter of lively humour, his common
place was always relieved by artistic grace, and the least interest
ing subject assumed under his brush a definite character which
appealed both to the eye and the mind. It is his power of
faithful representation which gives the charm to his works. He
can never, by any strain of expression, be termed a poetical
painter, and the melody which marks the works of Gainsborough
does not appear in his landscapes. His earliest paintings cer
tainly have somewhat of the Gainsborough refinement ; but the
bulk of his work is marked by a spirit and a dash combined
with a realism which is much more akin to the Dutch painters
than to his English contemporaries. He never sought inspira
tion in other countries, he had no sympathy with classic art, and
the paintings of the Italian, French, or Flemish schools do not

THE LAETITIA SERIES
Plate 2. The Elopement

^y////' 'I

'„,,,,, ,,//y.'./''.'i'l/''

THE ART OF MORLAND 89
appear to have attracted him. His pictures always represent
English scenes, and those in which the rougher side of life con
nected with agriculture, farming, or fishing were concerned.
Occasionally a little domestic episode slips in, a mother with a
child may be represented, a scene in a tea-garden, a girl at a
tavern serving a rider with drink; but all these are, strictly
speaking, accessories to the main representation, and serve but
to accentuate the truth of the scene from country life which the
artist desired to represent.
The unfortunate characteristic of the work of Morland is
carelessness. Had he but liked he could have drawn animals
thoroughly well ; but he would never devote the necessary time
to studying their anatomy, or to perfecting his own drawing.
He knew well that by a few rapid strokes he could present in
his picture forms that would be readily accepted as those of
pigs, sheep, and the like; and which bore a sufficient resem
blance to those animals to be recognized and even praised. He
often shrouded these creatures either in the straw of the stable
or the grass of the field, or else in deep shadow, so that the
imperfections of his drawing, of which he must have been per
fectly aware himself, should not be so noticeable. When he
selected horses as the subject of his pencil, he was on firmer
ground. He chose as a rule an old nag, not only on account
of its picturesqueness, but because it did not require the same
care in drawing as a younger horse, and the characteristics of
its form lent themselves to his style of painting. The angularities
of shape and the bony irregularities of form he was able to
represent, and the same old horses appear over and over again
in his favourite pictures.
His colouring is broad, liquid, and harmonious. The scenes
he depicts are never crowded, but have just the distinctive, vital
features about them which no one knew better than Morland
how to select. As a rule, a considerable part of the picture is
shrouded in shadow, and it is there that the greatest inequalities
in drawing are to be seen. He delighted in dark interiors, such
N

90 GEORGE MORLAND
as stables, cowhouses, inn-parlours, and the interiors of small
cottages, and he painted them with a force and directness which
left little to be desired. His lighting as a rule is eccentric, as
he contented himself with one strong light streaming in from
door or window, and, as a rule, losing itself in a mysterious
manner before it has extended to the other side of the picture.
He grouped the men and women of his pictures so close to the
animals they were tending that they mutually concealed the
inaccuracies of the drawing, and there are very few of his figures,
whether men, women, or children, which will bear careful scrutiny.
The feet are frequently seriously out of proportion, the forms are
often too squat, the head very often far too large, while the care
lessness of the drawing is generally concealed to a great extent
by a smock-frock, a large white apron, or a long coat with capes.
Such carelessness can be clearly exemplified in the well-known
picture, " Paying the Ostler," in which the feet of both men
are entirely inaccurate in drawing; but at the same time the
effect desired to be conveyed by the picture is clearly apparent,
and so clever is the grouping and so mellow the colouring that
the errors are readily overlooked.
When he came to deal with seaside scenes he was not so
successful. There is generally a woolliness about both water
and sky which is unfortunate, and the figures which appear in
the foreground, whether of men or dogs, are as a rule strikingly
inaccurate, and will not bear examination. There again, how
ever, it is effect which is aimed at, and the scene is presented
with a rapid, if a careless brush, in a manner that no critic can
fail to call masterly.
Although there is a close kinship between the art of Mor
land and that of certain Dutch painters, such as Teniers,
Brouwer, Cuyp and Ostade, yet we do not learn that Morland,
in his professional career, ever studied their works. We are told
that on one occasion he went, in company with Mr. William
Ward, to visit the collection of Dutch pictures belonging to the
Marquis of Bute, which was then at Luton Hoo, and is now at

THE LAETITIA SERIES
Plate 3. The Virtuous Parent

THE ART OF MORLAND 91
St. John's Lodge, Regent's Park, but having sauntered through
one of the rooms, he refused to look at any more pictures, de
claring that he would not contemplate another man's works,
for fear that he should become an imitator. As a young man,
however, there is no doubt that he did study the Dutch masters
rather closely, but towards the middle and latter part of his life
he strove to put aside every idea which he had gathered from
these painters.
There are marked divergencies between the works of Mor
land and those of the Dutchmen. Morland may have been
vulgar, but he was never indecent, and the indelicacies in which
some of the Dutchmen delighted never appear in his pictures.
The exquisite poetic refinement of Cuyp, the perfection of draw
ing which marks the works of Potter, the brilliant colouring of
Ostade, and the clearness of lighting and definite finish of
Teniers, can all be contrasted with the strong but careless work
of Morland. Yet there is a sympathy between Morland and the
Dutch masters which careful observation cannot fail to perceive.
Perhaps in the selection of subjects he was nearer to Brouwer
than he was to any of the others, and, had he but lived a more
careful life, devoted more pains to his work, and produced far
fewer pictures, he might have delighted us with the exquisite
perfection and glorious colouring which mark the Dutch school.
His personal characteristics, however, ran riot with his art, and
the huge demand for his works, partly in order that he might
pay his creditors, and partly that he might gratify his admirers,
who thought that every picture might be his last, very seriously
injured the quality of his work. As we have already shown, his
earlier pictures were marked by wonderful refinement, but the
chief characteristics of his later ones are happy conception, skilful
composition, mellow colouring, and faithfulness to truth. With
all, one can never get away from carelessness. If he paints the
rabbit and guinea pig in the foreground with unusual care, he
neglects the background. If he depicts some of the folds of a
red cloak with very careful drawing, he leaves the remainder of

92 GEORGE MORLAND
it in deep shadow to practically suggest itself. If he paints the
old white horse with all the attention to structural form which
he could give in his pictures, and if in the same stable the
broom and pail are cleverly drawn, he neglects all the atmo
spheric and aerial tints, arranges the lighting inaccurately, con
centrating it all upon one spot in the picture, and then hurriedly
brushes in the remainder, as though he were wholly indifferent
to its effect.
Composition by line was quite beyond him. He never built
up his pictures or arranged them, and he avoided all difficulties
in their execution. If embarrassed with a figure, he covered it
up with a smock-frock, or he hid the extremities of it with a
deep shadow. If perplexed about the drawing of an animal, he
would give a few minutes to the careful drawing of the head or
the legs, as the case might be, and would hastily put in the rest
and tone it with a thick glaze in order that the faults might not
be perceptible. His hand could perform whatever his mind dictated, but it
was not directed by judgement, and he was always in far too
great a hurry. He was quite unable to finish highly, and it was
only character of a broad and obvious kind at which he could
aim. It certainly never could be said of his pictures that they
smelt of the lamp. Everything appears to have been done in
great haste, careless, erratic, irregular, and as he grew older his
faults of gross carelessness became greater and greater, and his
want of variety more perceptible. He had no desire to correct
this fault, and, in fact, as Dawe tells us, he considered that his
own errors of judgement and carelessness would pass as the
proofs of a fiery genius. His life was so irregular, and his
characteristics were so extraordinary, that there is no doubt his
patrons accepted from him what they would not have taken
from another man, and the general survey of his works leads us
more than ever to regret that a genius so marked and so exalted
was allowed to be so desecrated by the evil habits and propen
sities that year by year increasingly marred the life of Morland.

THE LAETITIA SERIES
Plate 4. Dressing for the Masquerade

'.^'i^''!'.'^'^'^'-•'"^^'^'*'^i'::t^'^:^:^'-';'".'^^->^"^'^¦.*'^^

THE ART OF MORLAND 93
His earliest work shows us of what he was capable, and all
his successive paintings have the same stamp of genius upon
them. Their simplicity, their humour, and the ever-pleasant
affection for the subhuman creation and sympathy for English
country life which marks them, cannot fail to attract, while they
increase the regret that all must feel in considering the waste
of the artist's life, and the manner in which his incomparable
genius was ruined by careless indifference. He did so much that
one cannot fail to realize how much he might have done.
As representations of a rough form of life which has almost
entirely passed away his pictures have another value. They are
documents which reveal to us the Hfe of the country tavern, the
cottage, the stable and the postboy. They bring before us the
days of the press-gang and the deserter, the stage-coach and the
post-waggon. They reveal the inner features of cottage life, and
some of the less pleasant scenes of town life, and they bring
these before us in very vivid form, painted with fiery truth and
a brilliant sense of the picturesque. For all this we owe another
debt of gratitude to Morland, and therefore, despite his care
lessness and his culpable haste, we are grateful for the sometimes
trivial and unaffectedly simple pictures he has left behind him,
and for the position which he took in the range of English
landscape art.

CHAPTER X
MORLAND'S ENGRAVERS
THE popularity of Morland's works has been the result
to a considerable extent of the engravings made from his
pictures. They were eminently suitable for reproduction
either by mezzotint or etching, and both the weak colouring and
the careless drawing of the originals, which characterized so
much of Morland's work, were lost sight of when the pictures
were engraved.
Considerably over a hundred mezzotint engravings were
made of Morland's work during his life, and this number was
increased after his death. His brother-in-law, William Ward,
and Ward's younger brother James, were amongst the chief of
his engravers. William Ward executed the first mezzotint made
after a picture by Morland. It was entitled " The Angler's
Repast," and was issued in 1780, and re-issued nine years
afterwards. In 1786 Ward did the picture of "Tom Jones'
First Interview with Molly," in 1787 "Domestic Happiness"
and "The Coquette at her Toilet," and in 1788 he commenced
a long series of works, continued down to 18 14. Full informa
tion regarding all these works will be found in the Appendix.
Both the Wards were pupils of J. R. Smith, and perhaps
his best pupils. The elder brother engraved by far the largest
number of mezzotints, the work of James Ward not appearing
in the list until 1793, and the engravings for which he was
responsible numbering perhaps not more than half-a-dozen
altogether, whereas those by William were about seventy in
number. In the case of both brothers the plates were engraved
very quickly, and in such a manner as to give the greatest
94

THE LAETITIA SERIES
Plate 5. The Tavern Door

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MORLAND'S ENGRAVERS 95
eff"ect with as little effort on the part of the engraver as pos
sible. William Ward was an Associate Engraver of the Royal
Academy, and mezzotint engraver to the King, the Prince
Regent, and the Duke of York.
James Ward was a Royal Academician, entering the mystic
circle in 1811. The student of mezzotints is always particularly
grateful to James Ward, as he kept the working proofs from
his various plates and presented them to the British Museum,
where they constitute a most instructive series of illustrations
of mezzotint engraving. The Wards lived at No. 6, Newman
Street, and there it was that they published most of the
engravings. A considerable number of Morland's pictures were engraved
by John Raphael Smith. His first work appears in 1788, when
he engraved "Delia in the Country" and "Delia in Town."
In 1789 he published his six plates of the "Laetitia" series;
in 1791 "African Hospitality" and "The Slave Trade" and
"A Christmas Gambol." Two very popular pictures, "Feeding
the Pigs " and " The Return from Market," were his work in
1793, and " Fighting Dogs " in 1794. He did " The Corn Bin "
in 1797, and "The Horse Feeder," "The Milkmaid and Cow
herd," in 1798, and five pictures in 1799. Another picture of
"Feeding the Pigs" was engraved by him in 1801, and he
executed five others in 1803. Morland's own portrait was
engraved by Smith in 1806, and five pictures in 1807, while
in 181 1 he re-issued the "Laetitia" series of 1789, and in 1814
the two African pictures originally issued in 1791.
Smith, who was one of the foremost mezzotint engravers
England ever produced, was well acquainted with Morland, and
shared many of his pleasures and adventures. Towards the latter
part of his life, he fell into habits of intemperance learned from
his friend, and was compelled to relinquish the practice of the
art in which he was so successful. It is, however, to him that
we owe some of the finest of the mezzotints after Morland, and,

96 GEORGE MORLAND
as he was the master of both James and William Ward, lovers
of mezzotints owe a still further debt of gratitude to him.
Rather more than a dozen plates after Morland were en
graved by Samuel William Reynolds, who issued the wonderful
series of three hundred and fifty-seven mezzotints after all the
then known paintings by Sir Joshua Reynolds, and will also be
ever remembered by reason of the fact that the illustrious David
Lucas was his pupil. The earliest work bearing the name of
S. W. Reynolds is the " Rustic Ballad," engraved in 1795. This
was followed by "The Bear Hunt" and "The Kennel," in 1796;
" Playing at Dominoes " and " Playing with a Monkey," in 1797;
"A Land Storm," in 1798; "Setters," in 1799; "The Fisher
man's Dog," "The Butcher" and "The Millers," in 1800; "The
Mail Coach," in 1801; "Fishermen Going Out " and "Paying
the Horse Seller," in 1805; and "The Emblematic Palette," in
1806. In addition to these, there are three plates by him not dated:
"Four Men Towing a Boat Ashore," "The Pointer," and "A
Landscape with the Carrier's Cart."
The celebrated "Deserter" series, in four plates, was en
graved by George Keating the Irish engraver, who studied under
W. Dickinson, and executed several plates after Reynolds, Rom
ney and Gainsborough. We meet with his name first of all in
1788, when he engraved " Children Playing at Soldiers." In 1789
he did "A Party Angling"; in 1791, his celebrated "Deserter"
series, and in the same year " Nurse and Children in the Fields."
Philip Dawe, to whose son, George Dawe, we are indebted
for the most interesting life of Morland, engraved " Love and
Constancy Rewarded" in 1785, and two very popular pictures
called "Children Fishing," and "Children Gathering Black
berries." He also engraved "Anxiety," and "Mutual Joy," a
pair of pictures representing a ship at sea and a ship in harbour,
in the same year.
Another engraver who is responsible for some of Morland's
popular pictures was T. Gaugain, a Frenchman who came to

THE LAETITIA SERIES
Plate 6. The Fair Penitent

"l'/L-,.U 1/ r/- ^/"'¦/¦"•'^

V///' r>

MORLAND'S ENGRAVERS 97
England in about 1760, studied under Houston, and died in
1805. His first two works were executed in 1785 and published
by himself. They were entitled "How Sweet's the Love that
meets Return" and "The Lass of Livingstone." In 1789 he
engraved two companion plates, both entitled " Louisa " and one
called " Guinea-pigs." The very popular " Dancing Dogs " was
engraved and published by him in 1790, and he engraved a
portrait of Morland in 1804, the year of the artist's death.
This was published by J. Stephens.
James Fittler, the line engraver, who was an Associate
Engraver of the Royal Academy in 1800, and executed the plates
in Forster's "British Gallery," Bell's "British Theatre" and
the portraits in " Dibdin," engraved five pictures after Morland
in 1790. They were entitled " Pedlars," "Travellers Reposing,"
"Sliding," "The Bell," and "Virtue in Danger." In that same
year we find the work of Henry Hudson, a man of whose life
and career absolutely nothing is known. He engraved a picture
called "Affluence Reduced," and a pair called "The Miseries of
Idleness" and "The Comforts of Industry."
Another engraver who executed pictures in that same year
was George Graham, the man who produced most of the illustra
tions for Campbell's " Pleasures of Hope." He was responsible
for a pair called "The Soldier's Farewell" and "The Soldier's
Return," but does not appear to have engraved any other
pictures until 181 3, when he was responsible for another pair
called "The Angry Boy and Tired Dog" and "The Young
Nurse and Quiet Child."
A French line engraver named Suntach executed four
animal plates, one in 1790, and the other three in 1791. They
are almost the only works by this engraver after English sub
jects, and practically nothing is known of the career of this man.
The four pictures are called "Snipe," "Duck," "Woodcock"
and " Hare."
Peltro Tomkins engraved a well-known chalk illustration
by Morland in 1792, called "Children Feeding Goats."
o

98 GEORGE MORLAND
Joseph Crozer, the mezzotint engraver, who was born about
1755, and died before 1799, was responsible for some plates
himself, and for the publication of others which were engraved
by Edward Bell. The first plate, engraved by him in 1789, was
called " Youth diverting Age." We then meet with his name in
1793 in connection with "The Happy Cottagers" and "The
Gipsy Tent." A second plate of " Youth diverting Age " was
produced in 1794, and in the following year he issued " Morn
ing, or the Benevolent Sportsman," and " Evening, or the
Sportsman's Return." "A Litter of Foxes," in 1797, was his
work; and two plates, published for Bell in 1796, were called
"Mutual Confidence, or the Sentimental Friends," and "Delicate
Embarrassment, or the Rival Friends." Bell was also respons
ible in 1793 for a plate called " Cows." In 1800 he did the four
hunting scenes called " Going Out," " Going into Cover," " The
Check," and "The Death." In 1801 he produced "Selling
Peas "and "Selling Cherries"; in 1804, "The Rustic Hovel"
and "The Cottage Stye"; and in 1805, "The Frightened
Horse." An engraver named Thomas Williamson, who is better
known for his very minute work and for such a triumph of skill
as the engraving of the Lord's Prayer in the size of a threepenny
piece, was responsible for fourteen pictures after Morland. He
engraved in 1803 "The Woodcutters at Dinner"; in 1804,
"Lazy Shepherds," "The Young Dealer," and " First Love";
in 1805, " Morland's Cottager " and " Morland's Woodman,"
which were executed in chalk; the five plates called "Travellers
Reposing," "Rustic Cares," "Tired Gipsies," "Summer's
Evening," and " Winter's Morning." In the next year he pro
duced "Woodcutters" and "Cottagers in Winter"; and in
1817, the well-known picture of "The Land Storm," published
by Falser. John Dean, the pupil of Valentine Green, scraped seven
mezzotint plates. His first two were in 1787 — "Valentine's
Day," and "The Happy Family." In the following year he

FEEDING THE PIGS

MORLAND'S ENGRAVERS 99
executed a pair called "The Power of Justice" and "The
Triumph of Benevolence," and a single picture called "The
Widow"; while "The Tomb," in 1789, and "The Happy
Family " of 1794, were also his work.
John Young, keeper of the British Institution and one of
the active promoters of the Artists' Benevolent Fund, put his
name to four pictures, " Seduction " and " Credulous Inno
cence " in 1788; "Travellers" in 1802, and "Villagers" in
1803. Another man responsible for six mezzotints, and, like
Young, keeper of the British Institution, was William Barnard;
and his " Summer " and " Winter," which he produced in 1802,
were perhaps the best plates he ever executed. His name is also
attached to the "Brown Jug," "The Flowing Bowl," "The
Country Butcher," and " The Cottage Fireside."
Robert Mitchell Meadows, who worked for Boydell's
" Shakespeare Gallery," engraved " Gathering Wood " and
"Gathering Fruit," in 1795; also another plate of "Gathering
Wood," in 1799, and a second one of "Gathering Fruit," in
1816; and he was also responsible for a picture called "Pigs,"
issued in 1806.
One or two other foreign engravers besides Monsieur Sun
tach executed plates after Morland.
There are two which bear the name of E. J. Dum6e, "The
Fair Seducer" and "The Benevolent Lady;" two, called "In
dulgence" and "Discipline," by Prattent; two entitled "The
Squire's Door " and " The Farmer's Door," by Duterreau ;
and three by Soiron, "St. James's Park" and "The Tea-
garden," issued in 1798, and a re-issue of "The Tea-garden"
in 1889. Another foreign engraver who must not be overlooked is
Prestel, who engraved "The Country Girl at Home" and "The
Country Girl in London," in 1792.
Amongst the minor men whose names appear in connection
with Morland's prints, we may mention E. Dayes, who engraved

loo GEORGE MORLAND
"Children Nutting" in 1783, and a fresh plate of it in 1788;
John Pettitt, who engraved " Harley and old Edwards " in
1787; W. Nutter, who did "The Strangers at Home" in 1788;
C. Josi, who was responsible for "The Labourer's Luncheon"
and "The Peasant's Repast" in 1797; R. Clamp, who in that
same year executed two fishermen subjects ; W. Humphrey, who
engraved "Temptation" in 1790; E. Scott, who did "Boys
Robbing the Orchard" and "The Angry Farmer" in that same
year; J. Hogg, who was responsible for "Changing Quarters"
and "The Billeted Soldier" in 1791 ; S. Aiken, who engraved
the well-known picture of "Evening" in 1792, and the com
panion ones of "The Rabbit Warren " and "Sportsmen Refresh
ing" in 1801. J. Jenner did two in 1792; G. Shepheard pro
duced "The Fleecy Charge" in 1798; R. S. Syer engraved
"The Alehouse Door" and "The Alehouse Kitchen" in 1801;
and amongst other names may be mentioned those of E. Jones,
Mango, W. T. Annis, T. Burke, T. Hodgetts, W. Hilton, Blake,
Jakes, Dodd and Bond.
Of etchings after Morland, perhaps the best known series
was that etched by T. Rowlandson and produced in aquatint
by S. Aiken in 1790; the four scenes are " Pheasant Shoot
ing," " Partridge Shooting," " Duck Shooting," and " Snipe
Shooting." J. Baldrey did several etchings of studies of animals in
1792, and J. Wright was responsible for a series of half-a-dozen
works in 1794. The same man did the etchings of " Huntsmen
and Dogs " and " Fox-hunters and Dogs " in 1795; and a series
of a dozen etchings were executed by T. Vivares in 1800. In
addition to these, there were a great many etchings by J. Baldrey,
J. P. Thompson, J. Wright and T. Vivares published by Harris
and by Orme in 1792-3-4-5-6 and 1799; and in 1801 by J. P.
Thompson; while in other years etchings after Morland were
issued by Orme, to which no engravers' names are attached.
Altogether it will be seen that most of the celebrated
engravers of the eighteenth century produced plates after pictures

BREAKING THE ICE
From the engraving by J. R. Smith, Jun.
1798

MORLAND'S ENGRAVERS loi
by Morland, some of which, notably the works by Ward,
Raphael Smith, Barnard, S. W. Reynolds and Dean, are
amongst the best of English mezzotints.
In 1895 there was a remarkable exhibition of engravings
after Morland at Colnaghi's Gallery, and a large number of the
coloured engravings were exhibited. In the present year (1904)
there has been a similar exhibition of fine mezzotints at the same
gallery. Some of the finest of the coloured stipple engravings at
the present moment in such great demand are the work of
J. R. Smith; but many of the works of Ward, Dean, Bond,
Gaugain, Soiron, Graham, Jenner, Burke, Williamson and Bell,
were also issued in colour.

APPENDIX I
LIST OF PICTURES EXHIBITED BY GEORGE
MORLAND

SOCIETY OF ARTISTS

DATE.

NUMBER.

TITLE.

1777

254

Sketch in Black Lead.

JJ

255

)) )) )j )j

ii

256

)j j» )) JJ

))

257

ij ij J) IJ

))

258

JJ JJ JJ JJ

)J

259

JJ JJ J) _ JJ

n

260

A Stained Drawing.

1783

193

A Hot Mist.

)j

194

Forest Gale on a Rocky
Shore.

})

19s

Fog in September.

)j

196

Moonlight.

»j

197

A Stained Drawing.

a

198

JJ JJ JJ

T790

191

Landscape with Gipsies.

))

192

Landscape with Children
Bird's-nesting.

))

193

An Ass Race.

)i

194

A Mad Bull.

a

195

A Sow and Pigs.

n

196

Calf and Sheep.

J)

197

Landscape and Figures.

1)

198

Fording a Brook.

>j

199

European Shipwreck on
Coast of Africa.

)j

200

A Storm.

ji

201

Encampment of Gipsies.

}}

202

The Cottage Door.

I)

203

A Shipwreck.

))

204

A Small Snow Piece.

))

205

A Large Snow Piece.

jj

206

Fording a Brook.

jj

207

Returning from Market.

JJ

208

Gipsies Dressing Dinner.

1791

143

Sea Storm and Shipwreck.

»

144

Land Storm — its Com
panion.

»

145

Shooting.

FREE SOCIETY OF ARTISTS

DATE.

NUMBER.

TITLE.

1775

189

A Sketch, painted in chalk.

))

190

II II II II 11

1776

171

AConference, stained draw
ing.

JJ

172

A Conference, stained draw
ing.

JJ

173

A Corn Loft, stained draw
ing.

JJ

174

A Cow Farm, stained draw
ing.

JJ

175

A Washerwoman, stained
drawing.

JJ

176

A Farmhouse in a Wood,
stained drawing.

1782

17

Landscape: A Shower of
Rain on a Heath.

JJ

21

Landscape in the manner
of Vangoyen.

JJ

33

Boy's Head (a drawing).

JJ

35

Girl's Head (manner of
Piazette).

JJ

47

Thatched Cottage.

JJ

48

Cornfield, with windmill.

JJ

53

Landscape with a farm
house.

JJ

55

Sunset, with cattle and
figures.

IJ

56

Burst of Lightning with
wind and rain.

JJ

58

Moonlight, with gipsies by
a fire.

JI

62

A Fog in September.

II

63

Landscape, with watermill.

JI

68

A Windmill.

JJ

78

Winter Piece (a drawing).

JI

79

A Landscape in Black Lead.

II

80

Two Landscapes in Black
Lead.

II

87

Country Peasants Dancing
in a Barn.

103

I04

APPENDIX I

DATE. NUMBER. TITLE.
1782 89 Dancing Peasants.
„ 93 Chalk Cliffs, with a Man
and Horse.
„ 95 A Paper Mill, with gipsies
resting.
,, 96 A Girl attending Pigs.
,, 97 A Stained Drawing.

102"5168

Travellers Resting on a
Summer's Afternoon.

1773

ROYAL ACADEMY OF ARTS
Master George Morland.
357 Sketches.
Master G. Morland.

1778 373 Two Landscapes (stained
drawings).
George Morland, Junior, 4, Millbank Roiv.
1779 202 A Drawing with a Poker.
George Morland, Junior, 14, Stephen Street,
Tottenha'm Court Road.
1780 463 Landscape (a drawing).
G. Morland, 14, Stephen Street,
Rathbone Place.
1 781 404 Hovel with Asses.
1784 26 A Fog in September.
„ 42 " Vicar of Wakefield," vol.
i., chap. viii.
1785 132 Sketch.
II 134 II
„ 150 Maria Lavinia and the
Chelsea Pensioner (see
" Adventures of a Hack
ney Coach," vol. i.).
„ 166 Sketch.
I. 167178
JJ 179 JI
1786 126 "The Flowery Banks of
the Shannon."
1787 Morland did not exhibit.
G. Morland, 9, Warren Place,
Hampstead Road.
1788 201 'Execrable Human Traf-

DATE. NUMBER. TITLE.
fick, or The Affectionate
Slaves."
1789 Morland did not exhibit.
1 790 Morland did not exhibit.

1791

G. Morland, 20, Winchester Road,
Edgware Road.
58 Inside of a Stable.

G. Morland, 63, Charlotte Street,

Rathbone Place.

23

Benevolent Sportsman

63

Goats.

145

A Farmyard.

324

A Shipwreck.

460

A Farmer's Kitchen.

1792

1793 Morland did not exhibit.
G. Morland, 5, Gerrard Street, Soho.
1794 52 " Bargaining for Sheep."
„ 169 Interior of a Stable.
„ 186 A Farrier's Shop.
1795 Morland did not exhibit.
1 796 Morland did not exhibit.
G. Morland, 28, Gerrard Street.
1797 130 Landscape and Figures.
,, 218 Thirsty Millers.
,, 690 Landscape and Figures.
691 Pigs.
,, 708 Sea Beach.
„ 724 Landscape and Figures.
„ 805 Sand Cart.
1798 Morland did not exhibit.
G. Morland, 28, Red Lion Square.
1799 178 Landscape and Figures.
II ¦'¦93 JJ JI JJ
„ 265 Christmas Week.
1800180118021803

Morland did not exhibit.

G. Morland, 19, Rolls Buildings, Fetter Lane.
1804 252 Saving the Remains of a
Wreck.
„ 279 The Fish Market.
„ 630 A Landscape with Hounds
in Full Chace.

APPENDIX II

PICTURES EXHIBITED IN PUBLIC GALLERIES

NATIONAL GALLERY.
1030. THE INSIDE OF A STABLE. 57 in. X
79¥ in.
Said to be that of the White Lion at
Paddington. Exhibited at the Royal
Academy in 1791, purchased from the
exhibition by the Rev. Sir Henry Bate
Dudley, Bart., and presented to the
National Gallery by his nephew, Mr.
Thomas Birch Wolfe, in 1877. Engraved
by Willia'm Ward in 1792.
1067. A QUARRY WITH PEASANTS. 7 in. X
9 in.
Sold at Mr. Jesse Curling's sale in
1856. Purchased at the Anderdon sale
in 1879.
1351. DOOR OF A VILLAGE INN. 4 1 in. X 49 in.
Bequeathed by Sir Oscar M. P. Clay
ton in 1897.
1497. RABBITING. 34in. X46in. Bequeathed
by Mr. Joseph Travers Smith in
1897.
WALLACE COLLECTION, HERTFORD
HOUSE.
574. THE VISIT. 23! in. X 29 in.
VICTORIA AND ALBERT MUSEUM,
SOUTH KENSINGTON.
THE RECKONING.
JOHNNY GOING TO THE FAIR.
A GIRL FONDLING A DOVE.
HUNTING SCENE.
A FARM YARD.
NATIONAL PORTRAIT GALLERY.
GEORGE MORLAND, by himself. 10 Jin.
X 9 in. Presented by William Smith,
Esq., 1876.
Another of the Artist, by himself, drawn
in chalks, i8Jin. x 13 in. Purchased
by the Trustees, 1899.
BIRMINGHAM ART GALLERY.
178. PIGS. 28in. X37f in. Exhibited at the
Royal Academy, 1797. Presented
by Mrs. Luckock.

GLASGOW ART GALLERY.
555. LANDSCAPE. AN INLAND STREAM. 1 1 in.
X 14 J in.
556. SEACOAST SCENE. SMUGGLERS. I2iin.
xi5in. Dated 1793. M'Lellan col
lection.
557. SEACOAST SCENE. STORM AND WRECK.
igj- in. X 24. in. Euing collection.
558. SEAPIECE. 12 in. X 16 in. Euing col
lection.
N.B. All the above four are signed.
NATIONAL GALLERY OF IRELAND.
206. LANDSCAPE WITH FIGURES AND CATTLE.
25^ in. X 2i_in. Signed. Purchased
in '1883.
MANCHESTER ART GALLERY.
92. THE farrier's FORGE. 28 in. X 36 in.
Signed and dated 1793. Presented
by John Greaves, Esq., 1835.
PORT SUNLIGHT EXHIBITION.
162. THE MANCHESTER coach. The property
of J. H. McFadden, Esq.
164. THE stable door. The property of
Joseph Beausire, Esq.
NATIONAL GALLERY OF SCOTLAND.
132. the stable door, a study. 15 in. X
13 in. Signed. Purchased at the
Gibson-Craig sale, 1887.
THE LOUVRE, PARIS.
1814. the halt. 62 metres x 74 metres.
BoughtattheJohnWilsonsale, 1881,
and presented by the proprietors of
"L'Art" in 1881. Engraved by Rajon.
ROYAL HOLLOWAY COLLEGE,
EGHAM.
THE CARRIER PREPARING TO SET OUT.
34 in. X 46 in. Signed and dated
1793- From the Earl of Dunmore's col
lection.

io6

GEORGE MORLAND

ROYAL HOLLOWAY COLLEGE,
EGHAM — continued.
JACK IN THE BILBOES. 14 in. X 18 in.
Signed and dated 1790. Engraved
by W. Ward, 1790, also by R. Clamp,
1797.
THE CONTENTED WATERMAN. I4 in. X
18 in. Signed and dated i7'90. En
graved by W. Ward, 1790, also by
R. Clatnp, 1 •]<)'], Companion picture
to " Jack in the Bilboes."
LEICESTER ART GALLERY.
CALM OFF THE COAST OF THE ISLE OF
WIGHT. ii|- in. X i6|- in. Signed.
Painted on a mahogany panel.
SHEFFIELD ART GALLERY.
THE VILLAGE INN. 2 3in. X3oin. Signed.
WOLVERHAMPTON ART GALLERY.
THE COMING STORM. (Isle of Wight).
THE CORCORAN GALLERY, WASH
INGTON, UNITED STATES.
THE FARMHOUSE. 35 in. X 44 in.
THE METROPOLITAN MUSEUM,
NEW YORK.
THE MID-DAY MEAL. 28 in. X 36 in.
Presented by Mr. George A. Hearn.
THE ASIATIC SOCIETY'S GALLERY,
CALCUTTA.
THE farmer's STABLE. 30 in. X 40 in.
Signed.
OXFORD UNIVERSITY GALLERY.
106. LANDSCAPE. i7|- in. X 21 in. From the
Archbant sale, 1839. Bequeathed by
Dr. Penrose, 1851.
A HUNTING SCENE. l6|- in. X 22 in.
WINTER EXHIBITIONS, BURLING
TON HOUSE.
1871.
25. PORTRAIT OF A LADY. I7|- in. X I4i in.
Oval. Lent by Rev. John Abiss.
26. FEEDING THE PIGS. 14I in. X 1<)\ in.
Lent by the same.
28. FIRST OF SEPTEMBER. 25 in, X 30 in.
Lent by the same.
57. A CALL AT THE RED LION. 28 in. X 36 in.
Lent by the same.

1872.
4. THE CATASTROPHE, l^j; in. X 35|- in.
Lent by Haskett Smith, Esq.
43. THE PIGGERY. i7|^ in. X 23^ in. Lent
by the same.
141. THE WRECKERS. 38 in. X 52 in. Lent
by the same. 1873-
7. MILKMAID AND COWHERD WITH COWS.
20 in. X 26 in. Lent by W. A. Tolle-
mache, Esq.
36. GROOMING A WHITE HORSE. Iljin. X
14I- in. Lent by the same person.
37. AN INTERIOR. THE PEASANT'S HOME.
i4|- in. X 12 in. Lent by the same
person. 1875-
39. THE HORSE FAIR. 28 in. X 35|- in. Lent
by H. W. F. Bolckow, Esq., M.P.
67. LANDSCAPE AND GIPSY ENCAMPMENT.
1790. Signed. 2 7iin. x 35-i-in. Lent
by A. Levy, Esq.
69. A WRECK ON THE COAST. 28 in. X
3S|^ in. Lent by General G. H. Mac-
kinnon.
95. THE postboy's RETURN — EVENING. 27
in. X 35|- in. Lent by A. Levy, Esq.
102. THE ostler. Signed and dated 1792.
ii\m. X 15 in. Lent by J. W. Adam-
son, Esq.
216. A GIRL FEEDING PIGS. 27^ in. X 35X in.
Lent by the Baroness Gray.
221. TWO SHEEP. 27 in. X 35 in. Lent by
the same. 1876.
94. A RUSTIC COTTAGE. 15 in. X 13I in.
Lent by Joseph Robinson, Esq.
268. A WOOD SCENE. 1 1 J in. X 15 in. Lent
by the same.
276. THE ROADSIDE INN (unfinished). 38X
in. X 54^ in. Lent by Sir W. G. Arm
strong. 1878.
77. GIPSIES. 9|in. xii^in. Signed. Lent
by J. E. Fordham, Esq.
8r. FISHERMEN. 8 in. X 13 in. Signed and
dated 1793. Lent by J. H. Ander
don, Esq.
292. A GIRL SEATED. 9 in. X 8 in. Lent by
the same person. 1879.
2. THE FISH-GIRL. 24 in. X 29X in. Signed
and dated 1792. Lent by Haskett
Smith, Esq.

APPENDIX II

107

6. THE CHERRY-SELLER. 27 in. X 36 in.
Signed. Lent by the same person.
21. LANDSCAPE AND FIGURES. I9|- in. X 25^
in. Signed. Lent by the same person.
242. THE carrier's WAGGON. 9I in. X Il|^
in. Signed. Lent by the Rev. E.
Hale. 1880.
I. A LADY WITH A LETTER. Io| in. X 8 J
in. Oval. Lent by Samuel Denton,
Esq.
2. COAST SCENE WITH FIGURES. 1 1|^ in. X
14!^ in. Signed and dated 1795.
Lent by T. Goddard Williams, Esq.
5. THE PLEDGE OF LOVE. loj in. X 8| in.
Lent by Samuel Denton, Esq.
18. HORSES ENTERING A STABLE. 1 8 in. X
23 in. Signed. Lent by Antony
Gibbs, Esq.
42. TREPANNING A RECRUIT. 200 in. X 160
in. Lent by Samuel Denton, Esq.

LANDSCAPE. i7i in. X 23 in. Signed
and dated 1790. Lent by Henry C.
Ames, Esq.

15-16.17-18.
19.
24.

The five pictures of "Laetitia," each
17 in. X 1 3|- in. Lent by Adam Mac-
rory, Esq.
TRAVELLERS AT AN INN. 1 8 in. X 24 in.
Signed and dated 1792. Lent by
Stanley Boulter, Esq.

5. A LANDSCAPE. Signed. ii|-in. X i4i-in.
Lent by Archdeacon Burney.
25. THE FRUIT SELLER. I^^ in. X I3|- in.
Lent by Wm. Lee, Esq.
26. GIPSIES. Signed and dated 1791. Lent
by W. Gilbey, Esq.
267. HUNTING SCENE. 54 in. X 73 in. Lent
by J. Page-Darly, Esq.
270. WRECKERS. Signed. 58 in. x 80 in.
Lent by W. Gilbey, Esq.
273. A THUNDERSTORM. 27 in. X 36 in. Lent
by E. Cock, Esq.
1883.
227. A GIPSY ENCAMPMENT. 33 in. X 43 in.
Signed and dated 1789. Lent by the
Earl of Normanton.
271. THE SURPRISE. IO in. xii|-in. Lent
by A. T. Hollingsworth, Esq.
284. THE TURNPIKE GATE. 24 in. X 29^ in.
Signed and dated 1793- Lent by
John Fleming, Esq.

1884
30. GIRL WITH CALVES. 14 in. X 17 in. Lent
by Rev. F. P. Phillips.
39. FARMYARD. 28 in. X 35 in. Lent by the
same.
48. A FARMYARD. 58 in. X 90 in. Signed
and dated 1794. Lent by Rev. H.
West. 1885.
7. IDLENESS, iijin. xgjin. Oval. Lent
by Charles Tennant, Esq.
14. DILIGENCE. Companion picture to
" Idleness." Lent by the same
person.
30 DANCING DOGS. 29 in. X 24 in. Lent by
Frederick Davis, Esq.
31. TWO PIGS. 7in. X9iin. Signed. Lent
by R. G. Millns, Esq.
36. LANDSCAPE AND FIGURES. 7 in. X g^ in.
Signed. Lent by the same person.
1886.
23. THE TEA-GARDEN. i6in. XI9in. Oval.
Lent by Frederick Fish, Esq.
1887.
32. LANDSCAPE AND FIGURES. 38 in. X 48
in. Lent by C. T. D. Crews, Esq.
N.B. — This picture was painted by
J. Ibbetson on April 29th, 1793, and
his signature is upon it, but the figures
in it were put in by Morland.
42. SEASHORE. 39 in. X 55 in. Lent by
C. F. Fellows, Esq.

2. OLD COACHING DAYS. $3^ in. X 45^ in.
Lent by H. B. Arnaud, Esq.
14. LANDSCAPE WITH PIGS. 10 in. X Il|- in.
Lent by Martin H. Colnaghi, Esq.
16. SOLDIERS ON THE MARCH. 29 in. X 38
in. Lent by Colonel R. H. Rosser.
25. MOUNTAIN SCENE, NORTH WALES, g^
in. X I li in. Lent by Major Corbett-
Winder.
29. SNOW SCENE. 9^ in. X 12 in. Lent by
the same person. 1889.
137. INTERIOR OF A STABLE. 24|- in. X 29I-
in. Signed and dated 1791. Lent
by H. J. Tollemache, Esq.
148. THE FARMHOUSE DOOR. 26J in. X 29|-
in. Signed and dated 1792. Lent
by the same person.
1890.
II. A FARMYARD. 27^^ in. X 35 in. Signed
and dated 1791. Lent by the Rev.
B. Gibbons.

io8

GEORGE MORLAND

WINTER EXHIBITIONS, BURLING
TON 'ilOIJ^i'E— continued.
27. THEPiGSTYE. igj- in. X 2 5^i- in. Signed.
Lent by Stephenson Clarke, Esq.
59. THE MASK. I if in. X 9X in. Lent by
James Orrock, Esq.
1891.
25. LANDSCAPE. 19 in. X 25 in. Lent by
Martin Colnaghi, Esq.
1892.
13. THE STRAWYARD. 39 in. X 55 in. Signed
and dated 1792. Lent by the Rev.
Sir Talbot Baker, Bart.
16. LANDSCAPE, gf in. X 9|- in. Lent by
C. C. Barton, Esq.
26. LANDSCAPE WITH FIGURES. I3in. Xl6|
in. Lent by the same person.
31. SEASHORE. 39I in. X 55-| in. Lent by
the Rev. Sir Talbot Baker, Bart.
104. SMUGGLERS. 39 in. X 53-| in. Lent by
the same person.
136. A STABLE. 40 in. X 53X in. Lent by
the same person. 1893.
9. THE FARMYARD. 58 in. X 80 in. Lent
by Martin Colnaghi, Esq.
1894.
41. FARMYARD WITH PIGS. 30 in. X 2/^^ in.
Signed. Lent by Samuel Montagu,
Esq. 1895.
35. THE FARMYARD. 27iin. X36in. Signed
and dated 1791. Lent by Martin
Colnaghi, Esq. 1896.
41. A FISHING PARTY. 24 in. X 29 in. Lent
by Sir Charles C. Smith.
45. A LUNCHEON PARTY. 24 in. X 29 in.
Lent by the same person.
1903.
17. THE FARMYARD. 27|in. X 3sjin. Signed.
Lent by T. J. Barratt, Esq.

GUILDHALL EXHIBITIONS.
1895.
80. AN APPROACHING STORM. 36 in. X 56 in.
Lent by Lord Hillingdon.
1899.
182. THE STABLE YARD. 28in. X36in. Signed
and dated 1 791. Lent by G. Harland-
Peck, Esq.

186. CHILDREN FISHING.
Lent by the same person.
190. FEEDING TIME. i3in. xi8in. Lent by
James Orrock, Esq.
1902.
63. LANDSCAPE: SNOW SCENE. I2in. XIO
in. Lent by Martin Colnaghi, Esq.
69. A HILLY LANDSCAPE. IO in. X 12 in.
Lent by C. D. T. Crews, Esq.
76. LANDSCAPE WITH GIPSIES. IO in. X 12
in. Formerly in the collection of
Dr. Franks. Lent by Mrs. Martin
Colnaghi.
GUELPH EXHIBITION.
1891.
284. PORTRAIT OF MORLAND BY HIMSELF, with
a bottle and glass by his side. 29 in.
X 24 in. Lent by W. P. Boxall, Esq.

NEW GALLERY EXHIBITION.
1899.
197. A LANDSCAPE. 27J in. X 3s|- in. Lent
by Lionel Phillips, Esq.

GROSVENOR GALLERY.

5-

FIRST OF SEPTEMBER — EVENING. 28 in.
X 35i in. Lent by W. FuUer-Mait-
land, Esq.
10. STABLE. 28 in. X 35 in. Lent by R.
Rankin, Esq.
39. THE STABLE. 1 1 ¦! in. X 1 4|- in. Lent by
B. Dobree, Esq.
43. THE INN PARLOUR. 11^ in. X 14^ in.
Lent by the same person.
44. THE keeper's home. 14^ in. X 12 in.
Lent by James Orrock, Esq.
48. OLD WATER-MILL, WITH FIGURES. 27
in. X 35|- in. Lent by R. Gibbs, Esq.
52. THE CORN-BIN. 2sin. X3oin. Lent by
B. Dobree, Esq.
58. sheep in a BARN. 27^^ in. X 35^^ in.
Lent by the same person.
67. idleness. 1 Both lent by Sir Charles
73. industry, j Tennant.
8 1 . landscape with soldiers on a bridge.
11^ in. X 13J in. Lent by R. Gibbs,
Esq.
99. the white horse. 20J in. X 27 in.
Lent by L. Huth, Esq.
176. the interior OF A STABLE. 24I in. X
30 in. Lent by W. Garnett, Esq.
181. THEPIGSTYE. 23^ in. X 29 in. Lent by
Mrs. Ford.

APPENDIX II

109

191.
207. 212. 219.
227.238. 240. 242. 248.249. 265.300.341-342.

THE ARTIST IN HIS STUDIO. 24!- in. X
29I in. Lent by W. H. Matthews,
Esq.
THE soldier's RETURN. 7 in. X 10 in.
Lent by W. W. Lewis, Esq.
gipsies. 6i in. x 9 in. Lent by the
same person.
A landscape. 51 in. x 8 in. Lent by
the same person.
winter. 41 in. x 7 in. Lent by the

Lent by B.

ii|^ in. X 14! in. Lent

same person.
PIGS. i9-| in. X 25^ in,
Dobree, Esq.
RETURNING FROM WORK. 9 in. X 1 1^^ in.
Lent by A. Andrews, Esq.
OLD CLOTHES.
by John Cleland, Esq.
THE FIND. ) Each 10 J in. x 15 in.
IN FULL CRY. ) Lent by Sir Charles
Tennant.
A WOODLAND COTTAGE. 17^ in. X 23^
in. Lent by John Cleland, Esq.
LANDSCAPE AND FIGURES. 12 in. X 15
in. Lent by Richard Gibbs, Esq.
THE BONNY FISHWIFE. I Each 17 in. X
SELLING FISH. J 21 in. Lent
by Thomas Hardcastle, Esq.

GROSVENOR GALLERY.
1889.
THE KITE ENTANGLED. 20^j in. X 26^ in. Lent
by Mrs. Thwaites.
PARTRIDGE SHOOTING. Two pictures, each
io|^ in. X 15 in. Lent by Colonel Hollway.
BELINDA, OR THE BILLET DOUX. 9^ in. X 1 1 J
in. Lent by A. T. Hollingsworth, Esq.
THE MINIATURE. 9^ in. X 1 1-|- in. Lent by the
same person.
CAROLINE OF LICHTFELD. g^ in. XIl| in.
Lent by the same person.
THE POACHERS, g^'m.x ii^w. Signed. Lent
by J. P. Crush, Esq.
YOUTH DIVERTING AGE. 9J in. X ii| in. Lent
by W. Simpson, Esq.
THE carrier's STABLE. i9|- in. X 2^^ in.
Signed and dated 1791. Engraved by W.
Ward. Lent by A. T. HoUingsworth, Esq.
COTTAGERS. Including portraits of Morland
and his wife. i9^|- in. x 2 5^|- in. Engraved
by W. Ward. Lender's name not stated.
NURSE AND CHILDREN IN THE FIELDS. 20^|
in. X 2 6|- in. Lent by Mrs. Thwaites.
THE artist's portrait. \g\ in. x 2 3|- in.
Lent by J. W. Knight, Esq.

APPENDIX III
{^Contributed by Ralph Richardson)
PROPRIETORS OF PAINTINGS BY GEORGE MORLAND

Abraham, Walter J., iia. King Street, St.
James's Square, London.
shepherds reposing (octagonal). Eft-
graved by W. Bond, 1803. 12 in. x 15^
in. Signed. (From the late C. F. Huth's
Collection.)
Anderson, Robt. W., 93, Mulgrave Street,
Liverpool. THE INTRUDER: three dogs meet on a
country road. 15 in. x 18 in. Unsigned.
(Said to have been painted at a village ale
house by Morland.)
Andrews, S. and Sons, Art Gallery, Glyn-
y-Weddw Hall, Llanbedrog, Pwllheli, North
Wales. I. WINTER scene: skating. 9 in. x
12 in.
2. INTERIOR OF A STABLE: white horse
in stable, two goats, two dogs, and boy
leaning at open door. 21 in. x 26 in.
3. FEEDING THE PIGS. I9 in. X 22 in.
Armitage, Benjamin, Sorrel Bank, Pendle
ton, Manchester.
the woodcutter (upright canvas).
Engraved by W. Ward, 1792. 2oin. X36
in. Signed. (Cf Oldham and Peck.)
Arnold, Howard Payson, 156, Beacon
Street, Boston, Mass., U.S.A.
Half-length portrait of Morland's Land
lady, Mrs. Dunscombe, who was reported
to have confined him in an attic room
until he had painted off his score for liquor.
(Panel.) sj in. x 7^ in. Unsigned and un
dated. Has never been engraved.
AsHTON, Mrs., Widow of Charles Ellis Ash-
ton, Woolton Hall, Lancashire.
the sportsman's return. Engraved
by W. Ward, 1792. 25 in. x 30 in. Signed.
1792.

Asiatic Society, Calcutta.
the farmer's stable: A man leaning
against a horse eating at a stall, beneath
which are two dogs. An amorous couple
to right among straw. 30 in. x 40 in.
Signed. (Cf Huth, Louis, No. 3.)
Baker, Miss, Endcliffe Edge, Sheffield.
farmer's boy with Cart-horses, Pigs,
etc." 30 in. X 36 in. Signed. Undated.
Baker, Rev. Sir Talbot, H. B., Bart.,
Ranston, Blandford.
I. A stable. 39I in. X 54|- in. Signed.
1792. 2. FARMYARD. 39|-in. -f 54-|in. Signed.
1793- 3. smugglers. 39|-in. X 55|-in. Signed.
1792. 4. wreckers. 39^ in. X 551 in. Signed
1793- All exhibited at Old Masters, 1892.
No. 2 is considered one of Morland's best.
Bamford, H. B., Hawthornden Manor,
Uttoxeter. two sheep, one standing, the other lying
down. 271 in. X 35 in. Signed. Undated.
Bought at Lord Parker's Sale in 1895.
Barratt, Thomas J., Bellmoor, Hampstead
Heath, London.
I. BELINDA. Engraved by Burrows,
1794. 2. the PLEDGE OF LOVE. Engraved by
W. Ward, 1788.
3. CAROLINE OF LICHTFELD. Engraved
by F. R. Smith.
4. THE FARMYARD (horizontal.) Farm
outhouse under a spreading tree. On left,
beside a wheelbarrow, donkey suckling
foal. Pigs. A farm man converses with
woman leaning over gate. A dog at his
feet. 28 in. x 35 in. Signed. Undated.
5. CONSTANCY (upright.) Girl in large

no

APPENDIX III

III

hat and feathers leaning on rock by sea
shore, weeping and looking out to sea.
Engraved by W. Ward, 1788. 10 in. X
\x\ in. Unsigned. Undated.
A portrait of Mrs. Ward. Companion
picture to "Variety."
6. SETTERS (horizontal). One black-
marked standing; one red-marked couch
ing. 9f in. X ii|^in. Unsigned. Undated.
Barrow, Alfred, Ulverscroft, Barrow-in-
Furness. STABLE AMUSEMENT. Engraved by W.
Ward, 1801. Unsigned. Undated. 17 in.
X 22 in.
Barton, Chas., Hartford Villa, 2, Evelyn
Terrace, Queen's Park, Brighton.
I. SELLING FISH. 2oin. X 34in. Initialed.
1786. (Cf. Egerton and MacDougall.)
2. MOUNTAIN SHEEP. Sketch on paper.
Male and female sheep with two lambs,
amid rocky scenery. 12 in. x i5-|in. Signed.
1793-
Barton, C. A., 44, Fitzjohn's Avenue,
Hampstead, London.
Mr. C. A. Barton's Collection was sold at
Christie's on 3rd May, 1902, and fetched
the prices named below.
I. THE shepherd's MEAL. Engraved by
F. R. Smith, 1803. 24 in. x 30 in. Signed.
1793. 920 guineas (Falcke). (Cf. Ussher.)
2. the carrier's stable. Engraved by
W. Ward, 1792. 19 in. X25 in. Signed.
1790. 1,100 guineas (Falcke).
3. THE BULL inn. 1 9 in. X 25 in. In
itialled. 820 guineas (Falcke).
4. A HUNTING SCENE. 1 9 in. XI2 in.
Initialled.
Beardsley, Amos, Surgeon, Grange-over-
Sands, Lancashire.
TWO SHEEP UNDER A TREE (oak panel).
g\ in. X 13 in.
Bell, T. J., The Old Hall, Cleadon, via
Sunderland. two shepherds, seated under an oak,
one cutting a twig. A dog lying down,
while another puts its paws on a shepherd's
knee. Sheep and a farmhouse in back
ground. Painted on wood. i6 in. x i8 in.
Signed. Dated 1790 or 1796. (The phy
siognomies of the peasants are not such as
Morland usually depicts. The picture cor
responds in details to No. 42 of Canon
Phillips's Collection.— R. R.)
Birch, Claude C, Granville House, Gran
ville Place, Portman Square, London, W.

THE WOODLAND COTTAGE. Same as Mr.
Cleveland's (p. 97). i9|- in. x 22 in.
Signed. 1779.
BiRKETT, James, 37, Heaton Park Road,
Newcastle-on-Tyne. BLACK AND WHITE PIGS FEEDING. l\ in.
X 9 in.
Birmingham, City of. Museum and Art
Gallery.
pigs (on canvas). 28in. x 37f in. Signed.
Undated. Exhibited by Morland at R.A.
Exhibition of 1797.
Black, James Tait, 33, Palace Court,
London. peasant and pigs. Engraved by J. R.
Smith, 1803. 19 in. X 24 in. Unsigned.
Undated. (Cf. Richardson, etc.)
Blackburn, G. A., Northgate, Halifax.
WINTER SCENE: Oak-tree; farmer; young
man with hay under his arm, going towards
three sheep. 17 in. x 26 in. Signed.
Blathwayt, Mrs. E., Huntspill Rectory,
Bridgwater. I. THE RUTLAND FENCIBLES. Interior of
a stable. To right, a man in red jacket,
tight breeches, and pigtail sits, mug in
hand. Another leans against a stall. A
stableman forks up straw, and a fourth
man leans against a cornbin. 28 in. X 38 in.
Signed (on cornbin). 1795.
This painting was purchased by Mrs.
Blathwayt's husband's father off Morland's
easel. Her husband was the Rev. C. W.
Blathwayt. 2. Morland's Last Sketch (that of a
bank and a tree). Pencil,
Morland's mother gave this sketch to
the grandfather of Rev. Mr. Blathwayt,
Rector of Huntspill, Bridgwater, who pur
chased from Morland " The Rutland Fen
cibles."
Blathwayt, Rev. R., 7, De Vere Gardens,
Dover. ST. James's park (sketch in oils on
paper). Engraved by F. D. Soiron, 1790.
BoussoD, Valadon and Co., 5, Regent
Street, London.
I. WOMEN drawing WATER FROM A
POND. 2. THREE MEN CHATTING, Seated On
large stones. (Panels, a pair.) 7 J in. x
10 in. Signed. 1795.

112

GEORGE MORLAND

BoYES, Edward, 26, Delauney Road, Crump-
sail, Manchester. Oil Paintings.
I. the SHEPHERDS. (Very fine.) En
graved by W. Ward, 1806. 19 in. X 251 in.
Signed. Undated.
2. THE THATCHER. (Faded.) Engraved
by W. Ward, 1806. 18 in. x 24 in. Signed.
3. RETURN FROM MARKET. (In gOOd
condition.) A woman on left with mob-cap
and red cloak, kettle in left hand, jug in
right. A man (lifting latch of door) in light
brown long coat carries a small tree over
his right shoulder. Boy with dark ruby
coat. Both man and boy wear broad-
brimmed hats. Dog near cottage door.
On right a thatched roof and old oak.
Snow-clad winter scene behind. 18 in. x
22 in. Signed. 1793.
Water Colours.
4. DRAWING OF GROUP. Child on donkey.
Man, woman and child lighting fire under
pot on crossed-sticks. 5^ in. x 8 in. In
itialed. Sold at Christie's, in 1868, for .;^i3,
frofn Hanbury Collection, of Stamford.
5. DRAWING OF GIPSIES. A man leads a
pack-horse. io| in. x 13 in. Signed.
6. DRAWING OF SCENE IN WOOD. (Fine.)
A group of haymakers resting. Thatched
cottage and water. lof in. x 14 in. Signed.
7. RUSTIC SCENE WITH WOMAN AND
CHILDREN. Damaged.
Sketch in Oil (on panel).
8. MAN, with broad-brimmed hat and
red coat, looking at pigsty. 6i in. x 1 2 in.
Initialed.
Bridport, Viscount.
A storm. Sold at Christie's, 13th July,
1895, for 600 guineas.
Brown, Mrs., 24, Murton Street, Sunder
land. LANDSCAPE, with horse and cart and
figures in foreground. 23 in. x 30 in.
BuNBURY, Hamilton J., Slindon, Arundel.
I. white HORSE AND CART. 26 in. X
3oJin. Signed. 1795.
2. GAMEKEEPERS IN A PUBLIC HOUSE
WITH DOGS. 24 in. X 3o|- in. Unsigned.
Undated. 3. A GIRL with TWO PIGS, which drink
at a trough. 14 in. x 17 in. Unsigned.
Undated. 4. A GIRL FEEDING CALVES. 1 4 in. X
17 in. Unsigned. Undated.

3 and 4. Engraved by W. Ward, 1802,
entitled " Girl and Pigs " and " Girl and
Calves." 5. SPORTSMAN WITH DOGS, with cottage
and landscape. i6 in. x 23 in. Unsigned.
Undated. All the above painted on canvas.
Calcutta. {See Asiatic Society.)
Chancellor, Edward, Murieston, Mid-
calder, N.B.
I. GIPSY ENCAMPMENT. (On Oak.) A
number of figures, including an old woman
washing clothes. Linen hangs on a tree to
dry. 5|- in. X 61 in. Initialed. 1798.
2. COTTAGE. Female figure in red cloak,
with boy. Two horses, one feeding. (On
canvas.) 11 in. xi3f in. Signed. Dated,
but illegible.
Clegg, Samuel, Rye Hill Close, New Sawley,
Derby. A PIGSTY (oblong panel). 17 in. x 2 1 in.
Signed. 1792.
Clyma, W. j., St. Nicholas Street, Truro.
PIGS FEEDING. Man and girl and farm
house. 19! in. X 231 in. Unsigned.
Coats, Sir Thomas Glen, Bart., Ferguslie
Park, Paisley.
two portraits of children. Engraved

by Appleton, 1896. 14 in. x 16 in.
signed. Undated.

Un-

CoLLiNS, Ernest, The Gables, Wedderburn
Road, Hampstead, London, N.W.
I. the gleaners. 9 in. X II in.
2. vagrant in a wood.
3. peasant and pigs. Engraved by F.
R. Smith, 1803. (Cf. Heatherley, Mather,
McClintoch, and Richardson.)
Collins Wood. See Wood.
Colnaghi, Martin H., Pall Mall East,
London. farmyard. 27^ in. x 36 in. Signed.
1791. (Exhibited Winter Exhibition, 1895.)
LANDSC.'^PE (snow scene.). Canvas. 10 in.
X 12 in. (Exhibited at Guild Hall, 1902.)
Colnaghi, Mrs. Martin H.
LANDSCAPE WITH GIPSIES (panel). IO in.
X 12 in. (Exhibited at Guild Hall, 1902.)
Cole, W. G., 63, North Street, Guildford.
OLD ROADSIDE INN, with figufes. Horses

APPENDIX III

113

at trough, pigs, dogs, etc., and a large tree.
16 in. X 20 in. Signed. TJndated.
Corcoran Gallery, The, Washington,
U.S.A.
the farm house. 35 in. x 44 in. (One of
the first pictures acquired by Mr. Cor
coran.)
Cornish, John R., 187, St. Ann's Road,
South Tottenham, London, N.
ISLE of WIGHT COAST SCENE, In back
ground, a ruin on a lofty cliff. In fore
ground, to left, three men, with their coats
off, pulling something ashore. 20 in. x
24 in. Unsigned. Undated.
Crews, C. T. D.
A HILLY LANDSCAPE (panel). IO in. X
12 in. (Exhibited at Guild Hall, 1902.)
COURCELLES, ReV. J. HeCTOR DE, M.A.,
Oxon, 24, Arundel Gardens, Kensington
Park Road, London.
TWO DOGS, about to quarrel over a stick
brought out of water in background.
2 7iin. X35in. Unsigned. Undated.
Dawe, in his "Life of Morland," 1807,
(p. 236) states that this picture was then in
the Collection of Mr. H. H. Townsend, of
Busbridge, near Godalming, Surrey. It was
afterwards acquired by Sir John St. Aubyn,
grandfather of the present proprietor's wife.
Crosse, E. Meredith, Newhouse Park, St.
Albans. I. RABBITS. Engraved by W. Ward,
1806, and F. R. Smith, 1807. 2o|- in. x
26 J in. Signed. Undated.
2. GUINEA PIGS. (Cf. Lowther.) (Replica
of painting engraved by T. Gaugain, 1789.)
2o|- in. X 263- in. Signed. 1792.
" Rabbits " and " Guinea Pigs " were
engraved as a pair by W. Ward, 1 806, and
by J. R. Smith, 1807.
3. TWO FISHERMEN LANDING fish. Other
two fishermen and dog resting on beach.
Dog looking out of boat. 25 in. x 381 in.
Signed. Undated.
Daniel, George A., Nunnery Court, Frome,
Somerset. the hard bargain. Engraved by W.
Ward, 1800. 21 in. X 26 in. Unsigned.
Denman, George, 8, Cranley Gardens, Lon
don, S,W.
I. A WOODLAND GLADE. A woman in

a mob-cap turning away from spectator
watches a man kneeling, while he prepares
a fire under some crossed sticks. A boy in
red waistcoat is seated on the ground to
right with a linen bundle, tied to a walk
ing stick, by his side. Two large oaks to
right (autumnal tints). Blue sky and clouds
in background. On oak panel. 8|^ in. x
loj in. Signed. 1791.
2. SPORTSMEN AND DOGS. A man in red
coat, wide-brimmed hat, knee breeches and
gaiters, looks towards the spectator with a
gun on his right arm. Another sportsman
in blue coat with brass buttons is walking
towards him on the other side of a low
bank of turf, also carrying a gun. A brown
and white dog to left. Woody landscape
and blue sky. Painted on a piece of iron,
apparently a portion of a tea-tray. (Cf.
Sir Chas. Hamilton.) 4J in. x 6 in.
Donovan, Mrs. Alexander, the late.
The Drive, Hove, Brighton.
I. STABLE with WHITE HORSE. 23 in. X
28 in.
2. DOG WORRYING A BOAR. (Small
picture.) These were sold at Brighton 3rd March,
1897, by Messrs. Jenner and Dell, Auc
tioneers, Brighton.
Dowdeswell and Dowdeswell, Limited,
160, New Bond Street, London.
I. sow and LITTER. IO in. X 12 in.
Signed. 1791.
2. GIPSY SCENE. 8f in. X 12^ in. In
itialled. 3. landscape (sketch). 10 in. X12 in.
Signed. 4. BEACH SCENE. II in. X 14J in. In
itialled. 5. THE WRECK. 40 in. X 50 in. Un
signed. 6. SMUGGLERS. Engraved by James
Ward, 1793. i2|- in. X i4t in. Un
signed. 7. RUSTIC COURTSHIP. i6|- in. X 2o|.
Signed 1794.
8. CAVERN SCENE, Isle of Wight. 20 in.
X 26 in. Initialled.
9. GIPSY ENCAMPMENT. I 7f in. X 24 in.
Signed. 10. COAST SCENE. 1 7 in. X 23 in. Un
signed. II. morland's SUMMER. Engraved by
W. Barnard, 1892. 20 in. x 24 in.
Signed. 12. SMUGGLERS CAROUSING. 12 in. X
i4-|- in. Signed.

Q

114

GEORGE MORLAND

Drake, T. Clayton, Elm Grove, Dawlish,
Devon.
EVENING; or, THE POST-BOY'S RETURN.
Engraved by D. Orme, 1796. 22 in. X 30 in.
Unsigned. Cf. Rankin and Montagu.
Supposed to be a replica of that sold at
Christie's, 14th May, 1898, to Sir S. Mon
tagu for 1,250 guineas (Agnew), and which
was exhibited at Burlington House, 1875.
Eastwood, C, Scotton Grange, Knares-
borough. I. SEAPIECE. Storm. Wreck off Isle of
Wight (canvas). 23^^ in. x 28|^ in. Un
signed. Dated 1796.
2. GRAY HORSE IN STABLE. Dog Under
manger. 12 in. X 15 in. Signed. 1795.
(No. 2 exhibited at Leeds, 1868.)
Egerton, J. M., Hendersyde, Torquay.
SELLING FISH. Engraved by F. R. Smith,
1799. 25 in. X 30 in. Unsigned. Undated.
Cf Chas. Barton and MacDougall.
This painting is represented in an illus
tration opposite p. 71 of Mr. Richardson's
"Life of Morland." Its history is related
in a footnote, p. 62. A sketch for this
painting was sold at Dowell's, Edinburgh,
November 14th, 1896.
Fine Art Society, 148, New Bond Street,
London. LA FLEUR AND THE DEAD ASS. Sccne
from Sterne's " Sentimental Journey." (In
oil.) Exhibited October, 1896.
FiTZWiLLiAM Museum, Cambridge.
I. GIPSIES AND GENTLEMAN WITH DOGS.
2. PIGS AND DONKEY (small). Signed.
3. SHEPHERD ASLEEP, with calf, sheep,
and dog (small).
4. SEASHORE WITH FISHERMEN (small).
Signed. 5. PEASANTS TRAVELLING (small).
Signed. 6. LANDSCAPE, with Stream and figures
(very small).
Firth, Joseph, 2, Greenmount Terrace,
Beeston Hill, Leeds.
I. PEASANT AND PIGS (canvas). 25 in.
X3oin. Signed. (Cf Richardson, etc.)
2. YARMOUTH ROADS (panel). io| in. x
1 2\ in. Unsigned. Undated.
Feret, Charles J., 3, Norfolk Road, Mar
gate. I. BARN AND GATE, with two hogs, one
feeding and one resting (canvas). io|x
13 in.

2. RUSTIC LANDSCAPE, with villagers,
sheep, and dogs. In foreground the artist
is seated at his easel, painting. (Canvas.)
g\ in. X 1 1 in. Signed.
Flamank, Henry, 153, Kensington, Liver
pool. I. smugglers. 21 in. X 3i|-in. Signed.
2. mussel gatherers. 17 in. x 22.
Signed. 1797. (Sold at Christie's, January
4, 1896, for £8'^ \s.
3. land storm. i4i in. X 18 in.
4. FISHERMEN GOING OUT. l8in. X 25 in.
Signed. (Sold at Christie's, January 4, 1896,
for ^39 i8j.)
5. SHIPWRECK. 2 7iin. X35in. Signed.
(Sold at Christie's, January 4, 1896, for
£\A- 2S.)
6. BOATWRECK. i8 in. X 25 in. Signed.
Fleming, John, 83, Portland Place, London,
W. I. THE TURNPIKE GATE. (Oblong. En
graved by W. Ward, 1806. (Cf Knight, J.
W.) 24 in. X 29 in. Signed. 1793. (Exhi
bited some years ago at Burlington House
at an Exhibition of Old Masters.)
2. MARE AND FOAL. (Oblong.) I2in. X
14I- in. Signed. 1792. (Belonged to a
partner of Overend, Gurney and Co.)
3. WAGGONER BUYING VEGETABLES FROM
A WOMAN WITH TWO CHILDREN. (Upright.)
24 in. X 29 in. Signed. 1797.
Waggon loaded with full corn sacks, on
one of which, in red, is signed, " G. Mor
land." The woman is very good-looking,
and the waggoner evidently admires her.
4. FOXHUNTERS LEAVING A WAYSIDE INN.
(Oblong.) 31 in. X 41 in. Signed. Un
dated. Five horsemen and pack and a small
dark terrier with light-brown muzzle (the
original fox-terrier). A rustic on horseback
looks on, and holds another horse at the
door of the inn, on sign of which is painted
a horse. (Companion to No. 5.)
5. THE DEATH. (Oblong.) 3iin. X4iin.
Signed. 1803.
The hounds are killing the fox, and the
huntsman (in pink) is whipping them off.
The small terrier is near the hounds.
Hunters are arriving.
Mr. Fleming acquired Nos. 4 and 5 about
thirty years ago. He has also a fine paint
ing by Morland's brother-in-law, James
Ward, R.A., representing a scene on the
beach (fisherman, fishwoman, etc.).
George Morland used to paint and hunt
in Leicestershire with Charles Loraine

APPENDIX III

115

Smith, a great Foxhunter, and known as
"the Enderby Squire." He was the second
son of Sir Charles Loraine, third Bart, of
Kirke Horle, Northumberland.
Freeman, G. Broke, 30, Bassett Road,
Netting Hill, London, W.
I . winter. Very dark sky. Boys snow
balling. 12 in. X 15 in. Signed. Undated.
2. AUTUMN. Gipsy encampment. 12 in.
X 15 in. Signed. Undated. Both painted
on canvas.
Garle, Herbert, Fox Hall, Enfield.
selling fish on beach (canvas). 27 in.
X 35 in. Signed. Undated.
Man and woman in foreground on rock
with basket and Newfoundland dog. Two
men in a cart with white horse receiving
fish in basket from a man. (Was for seventy
years in possession of Rev. — . Harman,
Eagle House, Enfield Highway.)
Gilbey, Sir Walter,'Bart., Elsham Hall, Essex.
I. THE FOX inn. 54 in. X 63 in. Signed.
1790. 2. DEATH OF THE FOX. 56^ in. X 92f in.
Signed. Undated.
3. DUCK SHOOTING. 9f in. X iif in.
Signed. Undated.
4. PARTRIDGE SHOOTING (.An'
5. PHEASANT SHOOTING j ^
154 in. X 20 in. Unsigned. Undated. (Cf
Huth, C. F.) Nos. 4 and 5 Etched by T.
Rowlandson, 1790.)
6. SETTERS. Engraved by W. Ward.
1806. iifin. X i4f in. Signed. Undated.
7. THE weary SPORTSMAN. Engraved by
W. Bond, 180^. iifinxisfin. Signed.
Undated. 8. WINTER (Cattle), iif in. X i4f in.
Signed. Undated.
9. WINTER (Skating).
Signed. Undated.
10. GIPSY ENCAMPMENT. 24^|- in. X 29^|
in. Signed. 1791.
1 1 . GIPSY ENCAMPMENT. 1 7f in. X 24 in.
Signed, G. Morland, J. Rathbone. 1791.
12. WRECKERS. 58in. x8oJin. Signed.
Undated. 13. SAND CARTING. i8| in. X 25 in.
Signed. 1791.
14. POST BOYS AND HORSES REFRESHING.
19 in. X 25 in. Signed. 1794-
15. THE DRAM. Engraved by W. Ward,
1796. 24|- in. X 29I in. Signed. Undated.
16. THE deserter's FAREWELL. l6-|-in.
X2i|in. Signed. 1792.
17. THE effects OF YOUTHFUL EXTRA-

\g\ in. X 25I in.

VAGANCE AND IDLENESS. Engraved by W.
Ward, 1789. 24^ in.X29|in. Unsigned.
Undated. 18. THE MERCILESS BAILIFF. I3f in. X
18 in. Unsigned. Undated.
19. THE COTTAGE DOOR. 33^ in. X 45|-in.
Unsigned. Undated.
20. INNOCENTS ALARM'd'; OR THE FLASH
IN THE PAN. Engraved by F. R. Smith,junr.,
1803. 2 7|-in. X36in. Unsigned. Undated.
21. BOY TENDING SHEEP. l8|- in. X 25 in.
Signed. Undated.
22. GATHERING STICKS. 1 1| in. X i5|-in.
Signed. 1791.
23. THE FALL. g\ in. X iij in. Signed.
1794. 24. THE DIPPING WELL. I \\ in. X 14^^ in.
Signed. Undated.
Glasgow. The Corporation Galleries of
Art. I. landscape. An Inland Stream. 11
in. X 14I- in. Unsigned. Undated.
Sketch of a landscape with stream spanned
by a bridge, near which are a cottage and
some figures.
2. SEACOAST SCENE. Smugglers. i2|-in.
X 15 in. Signed. 1793.
A rocky seacoast, with boat containing
barrels, which men are unloading in a creek,
where stands a man with white horse.
3. SEACOAST SCENE. Storm and Wreck.
19!^ in. X 24 in. Signed. Undated.
Rock-bound seacoast, with stormy sea
and ship wrecked near the shore. Men
launch a boat from shore, whilst man and
woman in foreground look on.
4. SEAPIECE. 12 in. X 16 in. Initialed.
Undated. A seashore with high cliffs and calm sea.
Several boats drawn up on shore. Figures
in foreground. (All the above on canvas.)
Gray, Hon. Morton Stuart, Kinfauns
Castle, Perth.
WOODLAND SCENE. Women, Man, Boy
and Donkey. 38^^ in. x 5o|- in. Signed.
Undated.
Grice Hutchinson, G. W., The Boynes,
Upton-on-Severn. seascape (Isle of Wight.) 36 in. x 38 in.
Initialed. Undated.

Hamilton, Duke of. The late.
STABLE scene. 2o in. X 26-J in.
A postilion in a hay-loft caresses a very
pretty girl seated on his knee. A man peeps

ii6

GEORGE MORLAND

Hamilton, Duke of, The late — continued.
from behind a truss of hay. (Beautifully
painted.) Previously belonged to Mr. Louis
Huth.
Hamilton, Lieut.-Col. Sir Chas. E. Bart.,
82, Cadogan Square, London, S.W.
I. THE CORNISH PLUNDERERS. 54 in. X
78 in. Signed. Undated. (Descnbed by
J. Hassell in his " Life of Morland.")
This picture belonged to Louis Philippe,
and hung for years in the Louvre. It then
came into the Standish collection, on the
sale of which Sir Chas. Hamilton obtained
it. In 1 89 2 ^840 was bid for it at Christie's,
but it was not sold, but withdrawn. It re
presents an animated scene on a beach,
with " Cornish wreckers " ransacking ship
wrecked goods.
2. shrimping off THE ISE OF WIGHT.
30 in. X 48 in. Unsigned.
3. COTTAGE WITH DONKEY AND BOY
(Snow Scene). 19 in. x 28 in. Unsigned.
4. SHEEP, cow AND BOY. 1 8 in. X 24 in.
Unsigned. 5. SEA-COAST, MEN AND BOAT. 18 inX
24 in. Unsigned.
6. ALEHOUSE KITCHEN. Engraved by R.
S. Syer, 1801. iiin. X24 in. Unsigned.
(Referred to by Hassell.)
7. DONKEY AND PIGS IN FARMYARD.
19 in. X 25 in. Unsigned.
8 and 9. rustic scenes, painted on iron
tea-trays, each 18 in. x 24 in. Unsigned.
(Painted by Morland when under nineteen,
when he was trout-fishing on the borders of
Lancashire and Yorkshire). (Cf Denman.)
Mr. R. Dyson Nutt, 2, Westfield Terrace,
Loftus-in-Cieveland, has a painting done
on a tea-tray, and signed " G. Morland,"
representing sheep and lambs in a barn,
with two children looking in. The family
has possessed the picture for a very long
time. 10. portfolio of sketches by Mor
land.
Hargreaves, Mrs. Arborfield, Hall,
Reading. I. GIPSY SCENE.
2. RURAL SCENE.
Hatherley, H., 23, Brunswick PI., Brighton.
PEASANT AND PIGS. Engraved by F. R.
Smith. 17 in. X 24 in. Unsigned. (Larger
than Mr. Richardson's picture, but un
signed.) (Cf Mather, McClintock and Collins.)

Hawkins, C. H., io, Portland Place, London.
TWO landscapes, each about lo in x
10 in.
Hearn, Arthur H., 20, West 14th Street,
New York.
forester's home. \(i\ in. x 24^. in.
Hearn, George A., 20, West 14th Street,
New York.
I. WEARY wayfarers, 1 6 in. X 21 in.
2. noonday rest. 17 in. X 19 in.
3. SHEPHERDS REPOSING. 15 in X 18 in.
4. BLISSFUL PIGS. IO in. X 12^^ in.
Hogarth, D., Union Bank of Scotland,
Dundee. I. GIPSIES. Engravedby W. Ward, 1792.
27I- in. X 36 in. Signed. 1792.
(Cf McClintock, Baton, and Peck.)
2. YOUNG MAN COURTING young woman.
A girl on white pony. Dogs, donkey, etc.
19 in. X 2 3|- in. Unsigned.
3. SHEEP. 9^ in X 13 in. Unsigned.
4. farmer's stable. 17 in. x 21 in.
Unsigned.
Hogg, John, 13, Paternoster Row, London.
two pigs in a sty, one standing, the
other lying down. 26f in. x 33^ in. Un
signed. Undated.
Hohenlohe, Prince, Castle Duino, near
Trieste. " There are two pictures here that I am
convinced are by Morland." — Princess
Mary of Thurn and Taxis in "Travels in
Unknown Austria " (Macmillan and Co.,
London, 1896, p. 19.)
HoLBURNE (of Menstrie), Art Museum, Bath.
I . DEAD DOG. 1 Small unattractive pic-
2. LIVING DOG. j tures.
3. portrait of GEORGE MORLAND (sO
catalogued). (This does not resemble contemporary
portraits of Morland, and "Hogarth" is
printed on its frame. Hogarth died when
Morland was a year old, and this portrait
is of a middle-aged man.)
Holloway College, Royal, Egham.
I . the carrier preparing to set out.
34 in. X 46 in. Signed. 1793. (From the
Earl of Dunmore's Collection.)
2. jack in the BILBOES. Engraved by
W. Ward, 1790, and R. Clamp, 1797. 14
in.XiSin. Signed. 1790.
3. THE CONTENTED WATERMAN. Eu-

APPENDIX III

117

graved by W. Ward, 1790, and R. Clamp.
1797. 14 in. X 18 in. Signed. 1790. (The
two last are companion pictures.)
Huth, Charles Frederick, The late.
I. visit to the child at nurse. En
graved by W. Ward, 1788. (Sold at
Christie's, July 6, 1895, for 1,050 gs.)
2. partridge shooting 1 A pair. (Cf
3. pheasant shooting j Gilbey.)
Nos. 2 and 3 etched by T. Rowlandson,
1790. (Sold at Christie's, July 6, 1895, for
480 gns. the pair.)
4. a cottage door. (Sold at Christie's
July 6, 1895, for 710 gns.)
5. the strangers at home. Engraved
by W. Nutter, 1788. (Sold at Christie's,
June 25, 1898, for 150 gns.)
Sale of the late C. F. Hutlis Morlands at
Christie's, March 19, 1904.
I. the travellers' repast; or, the
travellers. Engravedby W. Ward, i^gi,
33° gns.
2. THE travellers' HALT, I30.gnS.
3. A SHEPHERD REPOSING, 2IO gnS.
4. "LOUISA." Engraved by T. Gaugain,
1 7891 330 gns.
Huth, Louis, Possingworth, Cross-in-Hand,
Plawkhurst. I. interior of alehouse. 9!^ in. x 11^
in. Unsigned. Undated.
A tired sportsman, in green coat, sitting
astride a chair, and resting his head and
arms on back, asleep. Two dogs at his feet,
also his hat. Two men in background sit
ting at a window.
(Thinly painted, silvery and harmonious.)
2. MAN IN BLUE COAT AND RED COLLAR,
leaning against a tree in middle of a wood
and talking to two seated women, one of
whom suckles a baby. Setter in foreground.
9I in. X iif in. Unsigned. Undated.
3. INTERIOR OF STABLE. Engraved by
W. Ward. 20 in. x 26|- in. Unsigned.
Undated. White horse (much admired by Sir E.
Landseer). A man leaning on same look
ing at man and woman romping in straw
(mentioned by Hassell, p. 14). (Cf Asiatic
Society.) 4. TWO DONKEYS, One with cropped ears.
A pig with collar lying down. ii|^ in. x
i4f in. Unsigned. Undated.
5. WINTER PIECE. 27^ in. X 35^ in.
Signed. Undated.
Cottage and oak-tree covered with snow.
Three donkeys, dog, and woman in red

cloak. Children sliding on small pond, one
of whom has fallen.
6. RUSTIC SCENE. 13I in. X 15 in. Un
signed. Undated.
Cottage and oak-tree on bank. Pigs
donkey, and group of Gipsies.
7. morning; or, the higlers pre
paring FOR MARKET. Engraved by D.
Orme, i^gS. 27^ in. x 35I- in. Signed. 1791.
8. snow PIECE. 2 7|-in. X 35jin. Signed.
1790. Cottage and oak-tree. Two ponies. Two
lads snowballing an old woman, who shakes
her fist at them, whilst a dog barks at her.
9. THE PERCH FISHER. Sold at Christic's
May 7, 1898, for 250 gns. (Colnaghi.)
IcHENHAUSER, J., Berkeley Galleries, Bruton
Street, London.
I. THE VILLAGE PUMP.
2. THE CHARCOAL BURNERS.
Both reproduced in "The Sketch" of
November 27, 1895.
Jewell, Mrs. C. S., 27, Lansdowne Crescent,
Cheltenham. THE TURNPIKE GATE. l8 in. X 24 in.
Signed. 1793.
(Cf Fleming and Knight.)
Johnston, Mrs. Rose, Broomfield, Stanmore.
WINTER scene, with Cottage and figures
on a Road. Signed.
Johnston, Robert, B. L., Leahurst, Hoole,
Chester. A BUTCHER BARGAINING IN A BARN WITH
A FARMER FOR A CALF, a man in scarlet coat
sitting on manger with a dog at his feet.
(Canvas.) 2o4 in. x 26| in. Signed. Un
dated. (Has never been engraved, although
another very similar picture has. It was
originally purchased by Mr. Bainbrigge of
Woodseat, near Uttoxeter, who died fifty
years ago. Mr. Johnston inherited it from
his Grandfather, General J. H. Bainbrigge
of Guernsey.)
Joule, A. J., 45, Montreal Street, Victoria,
British Columbia.
WOODLAND SCENE, with COW, sheep, and
goat in right foreground. 13 in. X15 in.
Initialed. Undated.
Kelly, F. A., South Street Brewery, Shef
field. I. A SCENE IN DERBYSHIRE. Cottage

ii8

GEORGE MORLAND

Kelly, F. A. — continued.
door. Man and gray horse. 34 in. X 50 in.
Signed. 1792.
2. THE DEAD PORKER. Farmyard with
butcher, peasants looking on, dog, etc.
25 in. X 30 in. Initialed. Undated.
No. 2 from John Raphael Smith's col
lection. See Hassell's " Life of Moriand."
Kensington. {See South.)
Knight, E. A., Esq., Wolveriey House,
Kidderminster. THE waggoner's HALT OUTSIDE THE
BELL INN. (A superb picture.)
Knight, J. W., 33, Hyde Park Square,
London, W.
I. GEORGE morland's PORTRAIT, done
by himself when a boy. 19^ in. x 23^ in.
Unsigned. (Cf. Millard and National Por
trait Gallery.) Grosvenor Gallery, 1888-9.
2. THE gypsies' tent. Engraved by J.
Grozer, 1793. 36in. X4iin. Unsigned.
(Cf Rutherfurd.)
3. A FARMYARD. A farmer on gray horse
faces a brown horse, whose near foreleg is
examined by a man. A brown horse in
loose-box. Dog in foreground. Landscape
and farm building. 27jin. x 35|in. Signed.
1789. 4. THE TURNPIKE GATE. Engraved by
W.Ward, 1806. 24|in. x 29|^in. Signed.
(Cf Fleming and Jewell.)
5. THE HORSE FEEDER. Engraved by
J. R. Smith, T-igg. i6|^in. X 21 in. Signed.
(Cf Rankin.)
6. GIPSY ENCAMPMENT. 1 1 j in. X I4|- in.
Unsigned. 7. SHIPWRECK. 15^ in. X 19 in. Un
signed. 8. LANDSCAPE WITH GIPSIES. Iljin. X
I if in. Signed. 1795.
9. LANDSCAPE WITH GIPSIES.. 6\ in. X
8|- in. Signed at back on Panel.
10. FEMALE PORTRAIT. (Oval.) 6 in. X
4|in.
Lawrie and Co., 15, Old Bond Street,
London. MR. LYNN'S cottage AT COWES, ISLE OF
WIGHT, with portrait of Mr. Lynn looking
at his horse. 34 in. x 42 in. 1799. (Dawe's
" Life of Morland," page 231.
Lawson, Rev. F. P., Sudborough Rectory,
Thrapston. VILLAGERS. Woman, child and dog cross
ing a bridge. (Panel.) Engraved by John
Young, 1803. 19I in. x 23^ in. Signed.
Undated.

Leake, P. D., Church House, Weybridge
Village, Surrey.
Two paintings by John Rathbone (born
1750, died 1807), containing groups by G.
Morland. Both 12 in. x 15 in. Signed "J.
Rathbone," " G. Moriand." They are not
dated. Their subjects are :
I. WOOD scene, with groups of gipsies
round a fire with cauldron ; red-cloaked
woman and dog.
2. TREES AND WATER. A red-cloaked
woman with basket on arm, walking through
a wood; cattle on banks of stream.
Both are in excellent preservation, and
were probably bought about 1829 at Lord
Blandford's sale at Whiteknights Park,
Reading. 3. PIGS IN STY. (Panel.) 12 in. x 17 in.
Initialed. 1792.
Leicester Art Gallery.
calm off the coast of the isle of wight.
(Painted on a mahogany panel.) iijin. x
1 6 J in. Signed. Undated.
Lenox Library Gallery, New York.
I. PIGS in a fodder yard. 20 in. x
26 in.
Bought at Christie's, 21 June, 1850.
2. revenue CUTTER IN CHASE OF A
SMUGGLER OFF ISLE OF WIGHT. 20 in. X
2 6 in.
Bought at Christie's, ii March, 1848.
Louvre, The, Paris.
LA HALTE. Scene outside an inn. En
graved by Rajon, Paris.
Lowther, Captain Francis, R.N., 73, Pont
Street, London, S. W.
I. GUINEA PIGS. Engraved by T. Gau-
gain,i']8g. 25in. X29iin. Unsigned. Un
dated. (Cf. Crosse.)
2. DANCING DOGS. Engraved by T. Gau-
gain,i']go. 25in. X29iin. Unsigned. Un
dated. No. I engraved (with " Rabbits ") by W.
Ward, 1806, and J R. Smith, 1807.
MacDougall, G. R., Manhattan Club, New
York. I. SELLING FISH. Engraved by J. R.
Smith, iigg. 20 in. X 24 in. Signed. 1791
or 1797. (Cf Barton and Egerton.)
2. cottage INTERIOR. Blue-coated man,
seated, with pipe and jug; another man,
standing, leaning against door-post.
(Panel.) n in. x 14 in. Initialed. Un
dated.

APPENDIX III

119

Macturk, G. G., Ry eland Hall, South Cave,
Yorkshire. INTERIOR OF A STABLE. Two farm lads,
two asses, a dog, some straw, a horse
collar.
Mahaffy,W. Truru, Ward Villa, W., Bangor,
Co. Down.
LADY, IN WHITE DRESS RECLINING IN
LEAFY BOWER, and a man with red vest and
blue stockings near her. 10 in. x 12 in. Un
signed. Undated.
Manchester Art Gallery.
THE farrier's FORGE. 28 in. X 36 in.
Signed. 1793.
Presented by John Greaves, of Irlam
Hall, 1835. A white horse is brought by a
smocked swain, with a bull-dog, to a red-
jacketed farrier, who kneels down and points
to the horse's fore-leg : forge and inn behind,
with four figures; an oak to right.
Mappin Art Gallery, Sheffield.
THE VILLAGE INN. 23 in. X 30 in. Signed.
Undated.
Marshall, George W., LL.D., Sarnesfield
Court, Weobly.
PIGS in a sty. Woman looking over
gate at them. 24 in. x 30 in. Initialed.
Undated.
Mason, W. H., 41, Handsworth Road, Black
pool. PIG sty. Two men look into it, in which
are a sow and three piglings. 18 in. x
20 in.
Mather, Dr. George H., i i, Annfield Place,
Dennistoun, Glasgow. (Died, Nov. 29,
1895-) peasant and pigs. Engraved by J. R.
Smith, 1803. 12 in. X 15 in. Signed. Un
dated. (Cf. Hatherley, Collins, and Mc
Clintock.) Same as Mr. Richardson's picture except
that the little girl has a brown frock. The
canvas also is smaller.
Mawson, John, 44, Railway terrace. South-
port. gipsy ENCAMPMENT. (Incrayons.) 15 in.
X 19 in. Signed.
McClintock, Major H. S., Kilwarlin House,
Hillsborough, Co. Down, Ireland.
I. PAYING THE HORSELER. Engravedby
S. W. Reynolds, 180^. (On canvas.) 23 in.
X 32 in. Initialed. Undated.

2. THE PUBLIC-HOUSE DOOR. Engraved
by W. Ward, 1801. (On canvas.) i8in. x
2 1 in. Unsigned. Undated.
3. GIPSIES. Engraved by W. Ward,
1792. (On canvas.) 2iin. X24in. Signed.
Undated. (Cf Hogarth, Paton, and Peck.)
4. PEASANT AND PIGS. Engraved by
J. R. Smith, 1803. (On canvas.) i8in. x
24 in. Signed. 1791. (Cf Hatherley,
Mather, Richardson, and ColUns.)
Mee, Rev. Dr., The Chantry, Westbourne,
Emsworth, Hants.
I. LANDSCAPE. Village inn, with figures.
(On Canvas.) 2o|^ in. x 25 in.
2. LANDSCAPE. Cattle and figures. (On
panel.) 15 in. x 2o|-in.
3. WINTER SCENE. (On panel.) ii|in.
Xi5in. 4. LANDSCAPE AND CATTLE. (On panel.)
12 in. X 14!^ in.
No dates or signatures on above.
Metropolitan Museum, New York.
MID-DAY MEAL. 28 in X 36 in.
Presented by Mr. George A. Hearn.
Michaelis, Max, Tandridge Court, Oxted,
Surrey. I. TEMPTATION. A repUca of painting
engraved by W. Humphrey, 1790. 25 in. X
30 in. Signed. 1792.
2. SELLING CHERRIES. Engraved by E.
Bell, 1801. 20 in. X 36 in. Signed. Un
dated. 3. THE DEATH OF THE FOX. Engraved
by J. W-right, T.'^g/^. 20 in. x 26 in. Signed.
1794.
Millard, Henry, 52, John Street, Barns-
bury, London.
I. THE artist's PORTRAIT. Half length.
When a lad of 12 or 13. (Cf Knight, No. i,
and National Portrait Gallery.)
2. TWO PIGS IN a sty.
Montagu, Sir Samuel, Bart., M.P., 12,
Kensington Palace Gardens, London.
I. FARMYARD WITH PIGS. 25in. X3oin.
Signed. Undated.
Bought at J. M. Eager's sale at Christie's,
1883. Exhibited at R.A. Exhibition of Old
Masters, 1894.
2. evening: or THE post-boy's return.
Engraved by D. Orme, 1796. 25 in. x
25 in-
Exhibited at Burlington House, 1875.
From the collection of G. H. Morland.
Albert Levy, 1876; F. Fish, 1888. Bought

I20

GEORGE MORLAND

Montagu, Sir Samuel — continued.
by Sir S. Montagu at Rankin's sale at
Christie's, May 14, 1898, for 1,250 gns.
(Cf Drake and Rankin.)
Morland, Captain George, 2 2, St. Steph en's
Square, Bayswater, London. (Grand-
nephew of George Morland.)
GIRL with doll. 7 in. X 8\ in.
Never engraved.
Nathan, J., Burlington Gallery, 27, Old Bond
Street, London.
LANDSCAPE WITH GIPSIES. 28^ in. X
36^ in.
New York. {See MetropoKtan Museum of)
National Gallery, London.
I. THE farmer's stable. Engraved by
W. Ward, 1792. 57 in. X 79^ in. Signed.
Undated. Two horses and a pony are being led by
a boy into a stable. To the left a man is
stooping and collecting together some straw.
(On canvas.)
Considered Morland's masterpiece.
2. A quarry, with peasants. 7 in. x
9 in. Unsigned. Undated.
Broken ground, with a high gravelly bank
studded with scrub. (On panel.)
3. DOOR OF THE RED LION COUNTRY INN.
[No. 1 35 1.] 4iin. X49in. Signed. Un
dated. Farmer on white pony at inn door. Land
lady offers him a mug of ale. Children at
door. Two dogs. Youth burns brushwood.
Distant hills and meadows. (On canvas.)
Bequeathed by Sir Oscar M. P. Clayton,
C.B., in 1892.
The original, or a replica, was sold in
June, 1896, by Messrs. Colnaghi to Mr.
Orrock, q. v.
This painting is described in the new
official catalogue, published in 1896, where,
however, some errors occur in the bio
graphical notice of George Morland. (i.)
Maria Morland was married to William,
not James, Ward. (2.) George Morland's
wife never separated from him, for they
were always a most affectionate couple.
(3.) The portrait of Moriand by Muller,
engraved by Edwards, is unreliable, being
unlike other contemporary portraits, includ
ing those by Morland himself (4.) The
" Drawing with a Poker " was not Morland's
first exhibit at the Royal Academy.
4. rabbiting. [No. 1497.] (Canvas.)
34 in. X 47 in. Unsigned. Undated.

A bequest of Mr, Joseph Travers Smith,
added August, 1897.
Man, woman and boy watching a man
slipping a greyhound at a rabbit leaving a
hole in a warren, the other holes being
netted. Dead rabbits in foreground. A
thatched cottage in left background.- A
spreading oak behind the warren.
National Gallery of Scotland, Edin
burgh. THE STABLE DOOR: A STUDY. (CanvaS.)
13 in. X 15 in. Signed. Undated.
Two horses drinking at a trough. Two
men, one in a blue coat with a glass in his
hand, stand beside door of thatch-covered
stable. A poor example of Morland.
National Gallery of Ireland, DubHn.
LANDSCAPE, WITH FIGURES AND CATTLE.
(On canvas.) 2o|- in. X 26 J in. Signed.
Undated. The Registrar of the Gallery (Mr. Strick
land) remarks : " This is an undoubted and
genuine work of Morland, although the
signature is not quite above suspicion."
National Portrait Gallery, London.
PORTRAIT OF ARTIST WHEN A BOY. 12 in.
X 14 in. Unsigned. Undated.
Morland is represented with long brown
hair and blue eyes. He wears a brown coat
and white neckerchief The picture is care
fully painted.
Presented May, 1876, by William Smith,
F.S.A. (Morland as a boy was represented
with fair hair in portrait exhibited by Mr.
Knight, q. V.)
Oldham, John, St. Vincent's Presbytery,
13, Hardy Street, Liverpool.
THE WOODCUTTER. Engraved by W.
Ward, I J g2. 23in. X27fin. Unsigned.
(Cf. Armitage and Peck.)
Orton, Dr. Charles, Ochiltree, near Hast
ings. SHEEP AND SHEPHERDS IN A STORM.
25in.X3oin. Signed. 1790 or 1796.
Orrock, James, 48, Bedford Square, London,
W.C. DOOR OF THE RED LION COUNTRY INN.
The original, or a replica, of painting in
National Gallery, q. v.
Mr. Louis Huth thinks Mr. Orrock's is
the finer in tone.

APPENDIX III

121

Paton, James, Superintendent of the Cor
poration Galleries of Art, Glasgow.
I. Gipsies. A group of four figures
under an oak tree. Engraved by W. Ward,
1792. igin. X24iin. Unsigned. Un
dated. (Cf Hogarth, McClintock, and Peck.)
2. HILLY LANDSCAPE, SUSSEX. A slight
sketch (injured), sjin. X7in. Unsigned.
Undated.
Peck, George Harland-, 9, Belgrave Square,
London, S.W.
I. THE WOODCUTTER. Engraved by W.
Ward, 1792. 20 in. X 26 in. Signed. Un
dated. (Cf. Armitage and Oldham.)
A woodman lops the branches off an
oak, whilst two children play with a donkey.
In background gipsies beside a fire. In
foreground dog asleep and baskets.
2. WASHING DAY. 20 in. X 26 in.
Cottage Scene. A woman pours water
from a kettle into washing-tub. On right a
man dips up water from a pond. In fore
ground two children play with dolls. To
left, a woman hangs up clothes to dry.
3. THE QUARRY. 16 in. X 20 in. Signed.
Stone quarry near roadside. Two men
work whilst three pull up with ropes a
trolley laden with stone. A cart waits to
receive it.
4. COAST SCENE. loin. xi2in. Initialed.
Sea coast, with high ground, and a cottage
on right. Four figures on shore.
5. FOREST SCENE. i3|-in. X 1 7 in. Signed.
Outskirts of a wood, with man, woman
and child seated on a bank in foreground.
A rather stiff, early work, very carefully
painted. 6. THE fisherman's toast; or, fisher
men ASHORE. Engraved by W. Hilton,
1806. 19 in. X 22 in.
In centre a fishwoman with a basket on
her head. Two fishermen sitting on right
hold up their glasses to her health. Behind,
a view of sea and a ship. On left, a dog.
On right, an inn.
7. market CART. 17 in. X 2 2|- in.
Initialed. A country lane, down which passes a cart
with a man driving, a red-cloaked woman
and white dog following. A spreading oak
to right and some felled timber.
A bad copy of a part of this picture is in
the Foster Gallery at the South Kensington
Museum. 8. PIGSTY. 2 7|in. X35|in. Signed. Un
dated. On the left, a sow and two little pigs.

Carrots and turnips in foreground. On
right, a trough, against which rests a broom.
A man with carpenter's basket leans against
the rails of the sty, dressed in a white
smock, and without a hat. (Cf Roe.)
9. GIPSIES. Engraved by W. Ward,
1792. 17 in. X 23|in. (Cf Hogarth, Paton,
McClintock.) 10. LOUISA. (Oval.) Engraved by T.
Gaugain, i']8g. 1 2^ in. X 15^ in. Signed.
1782. Louisa is listening to the voice of her
lover, which she seems to hear through the
storm which is raging on the sea coast,
where a vessel being wrecked is seen in the
distance. A very beautifully finished work. Soft
colouring. One of the pair engraved to illustrate a
poem by Mrs.  , of Bath.
II. THE LABOURERS' LUNCHEON. En
graved by C. Josi, 1797. io|in. X i3jin.
Signed. 1792.
In foreground, two labourers, one seated
on the ground with a mug in his hand,
whilst the other, holding a knife, stands
with his back turned. A dog looks up at
the standing figure.
12. CHILDREN FISHING. Engraved by P.
Dawe, 1788. 10 in. XII in. Signed. Un
dated. Two children on the bank of a stream.
The boy holds a stick which has a string to
it, from which hangs a small fish he has
caught. The girl is seated, but turns to
wards the boy to try and secure the fish.
Her hat lies on the ground beside her. She
wears a white dress and scarlet shoes.
This picture is an exquisite gem, both in
finish and colour, and forms one of the
finest examples of Morland's combined
breadth and finish, with lovely colour,
especially in the painting of the children
and of the dress of the girl. The old oak
behind the figures, and the bank, grass and
water are also beautifully painted. ( Vide
Remarks under Sir Charles Tennant, No.
I, as to Morland as a painter of children.)
13. FOREST GLADE. 7|-in. X loin. Signed.
1791. A small (rather dark) view in a wood.
In the foreground, a man wearing a red
jacket, and a dog. In the distance, another
figure and dog.
Picture in bad condition.
14. A STABLE YARD. 28 in. X 36 in.
Signed. 1791.
Exterior of a turf-thatched stable-hut.
Two men at door, one in a red vest, the

R

122

GEORGE MORLAND

Peck, George Harland — continued.
other holding a bag. An old brown horse,
harnessed, is about to enter stable. Three
pigs in foreground. In background a preci
pice, and two small waterfalls to right hand.
An excellent picture.
Peynton, Rev. Francis J., Rector of Kel-
ston, near Bath.
A farmyard. 27 in. X 36 in.
Philadelphia Public Gallery, U.S.A.
landscape, 15 in. X 18 in.
Phillips, F. Abbiss, Esq., Manor House,
Stoke d' Abernon, Cobham, Surrey.
This collection is known as the " Abbiss
and Phillips Collection," and its nucleus
appears to be the collection of "William
Phillips, Esq., of Gloucester Place," men
tioned at page 233 of Dawe's " Life of
Morland." I. wreck of boat. ii| in. X 14I in.
Signed. Undated.
Sailors climbing up a rock. (Oblong.)
2. THE storm (off Black Gang Chine).
36in. X54jin. Signed. 1790.
Sea breaking over a rocky coast. Men
drawing up a boat and bales of goods.
Ship under double-reefed sails. Small lugger
under shelter of the land. (Oblong.)
Exhibited at Dowdeswell's in 1894.
3. THE BLIND WHITE HORSE. 2 7|-in. X
35 in. Signed. Undated.
Man driving horses to water from stable.
(Oblong.) Exhibited at Dowdeswell's in 1894.
4. PORTRAIT OF MORLAND AND HIS DOG.
ijiin. xi5in. Unsigned. Undated.
Morland rests at table and talks to fisher
men with nets. (Upright.)
Exhibited at Dowdeswell's in 1894.
Bought from a pubhc-houseatCarshalton.
5. MAN IN snow. (Upright.) 10 in. X
1 2 in. Signed. Undated.
6. MILLER AND HIS MEN. Iliin. XI4^
in. Signed. 1797.
Sacks of corn. (Upright.)
Exhibited at Dowdeswell's, in 1894.
7. SEAPIECE. 27|in. X 36in. Signed.
Undated. Wreck of boat. Sailors climbing up a
ock. Dismasted ship in distance. (Oblong.)
8. BARGAINING FOR FISH. 2 7^| in. X 36 in.
Signed. Undated.
Fishermen in boat returning from fishing.
Selling fish on shore. (Oblong.)
9. THE DISCONSOLATE AND HER PARROT.
9nn. xiiiin. Signed. Undated.
Portrait of Mrs. Morland. (Upright.)
Exhibited at Dowdeswell's in 1894.

10. PEASANTS TRAVELLING. I7| in. X
2 4 in. Signed (on donkey's pack). Undated.
Figures outside building. Donkey laden.
Dog. The woman is a portrait of Morland's
sister-in-law. (Oblong.)
II. SELLING FISH. 24in. X3oin. Signed
(on a rock). Undated.
Figures sitting in foreground with fish
and basket and dog. Cart with white
horse. (Oblong.)
Exhibited at Dowdeswell's in 1 894.
12. THE COTTAGE DOOR. 2l\v!\. X 35 in.
Signed. Undated.
Summer. Family group. Man cutting
wood in foreground. Church in the dist
ance. (Oblong.)
Exhibited at Burlington House, 1870.
Exhibited at Dowdeswell's in 1894.
13. WOMAN FEEDING PIGS. I4^|in. Xl9j
in. Signed. Undated.
Donkey and child with dog. (Oblong.)
Exhibited at Burlington House, 1870.
14. FARMER, WIFE AND CHILD. I4in. X
1 9^ in. Unsigned. Undated.
Lad asks for work. Donkey saddled.
(Oblong.) Companion to No. 13.
15. WOOD-GATHERERS INTHESNOW. I3I
in. X 1 7|- in. Signed. Undated. (Upright.)
Exhibited at Burlington House, 1870.
16. GAMEKEEPER (OR POACHEr) WITH
DOGS. i4in. X i7|-in. Unsigned. Un
dated. Portrait of Morland's servant Simpson.
(Upright.) Exhibited at Burlington House, 1870.
Exhibited at Dowdeswell's in 1894.
17. FRIEND. Engraved by W. Ward.
39 in. X 49 in. Signed. Undated.
Portrait of the Newfoundland dog which
saved Mr. William Phillips from being
drowned whilst bathing in the sea at Ports
mouth, October 4, 1789. (Oblong.)
Exhibited at Guildford, May, 1884. Ex
hibited at Dowdeswell's in 1894.
18. THE SHEPHERD ASLEEP. I7^in. X-
30 in. Unsigned. Undated.
Dog keeping watch over sheep. (Up
right.) Exhibited at Dowdeswell's in 1894.
19. FISHERMEN SELLING THEIR FISH ON
SHORE. 27jin. X36in. Signed. Undated.
Storm brewing. (Oblong.)
Exhibited at Dowdeswell's in 1894.
20. THE RED LION INN. 27^ in. X 36 in.
Signed. Undated.
Man on chestnut horse is drinking, whilst
landlord and landlady talk to him. Pigs in

APPENDIX III

12'

foreground.' Man leaning over fence. (Ob
long.) Exhibited at Burlington House, 1870.
The Red Lion is also depicted in No. 3.
National Gallery.
21. YARMOUTH FORT. Seapiece. 2^^
in. X 36 in. Signed (on sail). 1803.
Stormy day. Boat with sailors. (Ob
long.) 22. WOOD GATHERERS IN SAVERNAKE
PARK. 2 7fin. X36in. Unsigned. Un
dated. Donkey laden. (Oblong.)
Exhibited at Burlington House, 1870.
23. WATERING HORSES. I9|in. X2Si
in. Signed. Undated.
Farm men seated outside barn. Boy on
chestnut horse. Dog. (Oblong.)
24. 1ST SEPTEMBER. 29iin. X3oin.
Unsigned. Undated.
Lyndhurst, in the New Forest. Sports
men and dogs in foreground. (Oblong.)
Exhibited at Burlington House, 1870.
Exhibited at Dowdeswell's in 1894.
25. 1ST OCTOBER. 27|in. X36in. Un
signed. Undated.
Pheasant-shooting in Savernake Forest.
(Oblong.) Exhibited at Burlington House, 1870.
Exhibited at Dowdeswell's in 1894.
26. WINTER. 24 in. X 30 in. Signed.
Undated. Snow scene. Woman and girl at door
ajar. Horses and dogs. (Oblong.)
Exhibited at Dowdeswell's in 1894.
27. THE STABLE YARD. 9i in. X 1 1| in.
Signed. Undated.
Man in red jacket enters stable. Horses,
one lying in straw. (Oblong.)
Exhibited at Dowdeswell's in 1894.
28. GIPSY ENCAMPMENT. 6|in. X9|-in.
Signed. 1795.
Man, woman and child in a wood. (Ob
long.) 29. PORTRAIT OF MRS. JORDAN. I4in.
X 1 7 in. Unsigned. Undated.
Actress, mother of first Earl of Munster.
(Upright oval.)
Exhibited at Burlington House, 1870.
Exhibited at Dowdeswell's in 1894.
30. WRECK OF AN INDIAMAN (off the
Needles, Isle of Wight.). 24 in. x 29iin.
Signed (on a package). Undated. (Oblong.)
Exhibited at Burlington House, 1870.
Exhibited at Dowdeswell's in 1894.
31. THE DAY AFTER THE WRECK. 24 in.
X29in. Signed (on a package). Undated.
Hauling in and gathering up wreckage.
(Oblong.)

Exhibited at Burlington House, 1870.
Exhibited at Dowdeswell's in 1894.
32. cow AND CALF WORRIED BY DOG.
14 in. X 1 61- in. Signed. Undated. (Up
right.) Exhibited at Burlington House, 1870.
Exhibited at Dowdeswell's in 1894.
33. FEEDING THE CALVES. I4in. X17
in. Unsigned. Undated.
Cowhouse. Woman standing by door.
(Oblong.) Exhibited at Dowdeswell's in 1894.
34. WAYFARING MAN IN THE SNOW. 10
in. X 12 in. Signed. Undated.
Dog running beside him. (Upright.)
35. FISHERMEN WAITING FOR EVENING
BREEZE. 22I in. X 30 in. Signed (on boat).
Undated. Background of chalk cliffs. Men resting
on shore. Women standing. (Oblong.)
36. MORNING. 28^in. X 38iin. Un
signed. Undated.
Sheep. Shepherds resting. Peasants
talking to shepherds. Cottage with water.
Engraved. (Oblong.)
Exhibited at Dowdeswell's in 1894.
37. EVENING. 28 in. X 36 in. Unsigned.
Undated. Man driving cow and sheep. Figure of
boy behind. Castle on wooded height.
(Oblong.) 38. GIRL ON SEASHORE IN A GALE.
io|- in. XI2 in. Signed. Undated. (Ob
long.) 39. THE HERMIT. 9|in. xi2in. Signed.
1795. (Upright.)
Exhibited at Dowdeswell's in 1894.
40. CROSSING THE BROOK. I3|^in. Xl6|-
in. Unsigned. Undated.
Figures and donkey. (Oblong.)
41. THE SMUGGLERS. i6in. X24in.
Signed. Undated.
Band of smugglers hauling up a boat
carrying bales and casks. A woman, loaded
horses, etc. (Oblong.)
42. SHEPHERDS REPOSING. I5|-in. X20
in. Signed. Undated.
Two shepherds and dogs. Sheep. Even
ing. Farm-house in distance. (Upright.)
Exhibited at Burlington House, 1870.
Carefully finished. A fine work.
43. LANDSCAPE. 9|-in. xi2in. Signed.
1794. Figures and donkey in foreground. (Ob
long.) Exhibited at Dowdeswell's in 1 894.
44. THE, FERRY. IO in. X 14 in. Un
signed. Undated.
Men waiting for the boat. (Oblong.)

124

GEORGE MORLAND

Phillips, F. Abbis, Esq. — continued.

g\ in. X 1 2 in. Un-

45. landscape.
signed. Undated.
Cows resting under trees. Two figures
(Oblong.) 46. SHEEP IN THE SNOW. 12 in. X 1 4 in.
Signed. 1793. (Oblong)
47. SHEEP IN THE SNOW. 12 in. X 15 in.
Signed. Undated. (Oblong.)
(Companion to No. 46. The same sheep,
but in different positions.)
48. SUMMER. 24 in. X 29 in. Signed.
1795- Waggon and horses descending hill.
Guide-post. Waggoner directing a woman
sitting beside a pond and pointing to guide-
post. (Oblong.)
Exhibited at Burlington House, 1870.
Exhibited at Dowdeswell's in 1894.
49. MENDING THE NETS. II in. X 1 6 in.
Signed (on boat). 1796.
Two fishermen mending nets; other men
painting boat. (Oblong.)
50. SEASHORE. loin. X i4in. Unsigned.
Undated. Men and boats. (Oblong.)
51. A WINTER NIGHT. 8Jin. xiijin.
Unsigned. Undated.
Farmer and his man driving sheep home
from market. Snow on tree. (Oblong.)
52. BREAKING COVER. 5f in. x 7 in.
Signed. Undated. (Upright.)
53. FULL CRY. Engraved 1824. 6^ in.
x8iin. Unsigned. Undated. (Oblong.)
(Cf Richardson.)
Platt, Mrs. T., 716, Country Road, Small-
heath, Birmingham.
THE STARTLED HORSE. (Sepia drawing.)
i8in. X24in. Signed. 1780.
A wild horse startled by a lion.
Porter, Rev. Alfred S., F.S.A., Vicar of
Claines, Canon of Worcester and R. D.
Full-length portrait of Morland's friend,
Thomas Wilkinson of York, who died 1 1
August, 1826. 13^ in. X 18 in.
Most beautifully painted. Left to Canon
Porter by Mrs. Davies, his aunt, who married
Mr. Robert Davies, F.S.A., nephew of
Mr. T.Wilkinson, who is represented seated
at table with his hair powdered, and wear
ing a scarlet coat. He was a great dandy,
and nicknamed " Count " Wilkinson.
Pratt, Robert, Crow Trees, Killinghall
Road, Bradford.
Mr. Pratt kindly prepared this descrip
tion of his extensive collection of Morlands.
I. WHITE HORSE AND BLACK HORSE. 26

in. X 31 in. Signed in two places, "G. Mor
land, 1 791."
Man standing between the two with a
hayfork in his hand, setter dog with lemon-
coloured ears, lemon spot on body. Man
sitting on sacks of straw with smock and red
handkerchief round his neck.
2. OUTSIDE THE BELL INN. 24 in. X 32 in.
Signed, " G. Morland."
Man on white horse drinking beer out of
a bowl which the landlady has handed him.
Brown horse in front of him with four white
legs, a saddle, and white nose, two liver-and-
white coloured spaniels looking atthe brown
horse. Cobbler at his work and another
man, with his shoe off, sitting in front of
him having it mended.
3. MAN AND DROVER, with three sheep
inside a yard, hayrack, and a boy dressed
in red coat bringing hay for the sheep. A
shepherd's dog looking out of the doorway.
The snow is coming in in the crevices of
the palings while the shepherd stands by
the doorway. Snow on the heels of the
drover and the boy. i5^in. x 22|in. Signed,
" G. Morland, 1791." Painted on tin tray,
supposed to be in payment of account for
ale. (Cf Denman and Hamilton.)
4. MAN AT A FARM DOOR. I9 in. X 24-| in.
Two pigs, a donkey, and a donkey foal,
a cow looking out of the mistel door. Oak
trees behind, man in a smock and unkempt
hair, and a hayfork in his hand.
5. TWOMENjAWOMANAND CHILD SITTING
AT A TABLE. i4in. X i9in. Signed, above the
heads of the man and woman, " G. Morland."
The outside of an inn, light coloured, a
donkey fastened to a stone post.
6. A GOAT AND TWO MEN. 20 in. X 24I in.
Rocky coast scene. Man with fish bas
ket on head. A boy and girl, donkey, and
white spaniel dog.
7. GEORGE MORLAND AT A WAYSIDE INN.
21 in. X 24!^ in.
Red coat, white buckskin trousers, top
boots. A woman with white dress and blue
underskirt, in slippers, with white stockings,
a white cap with blue ribbons. An old man
seated on a seat with a pint measure in his
hand. The landlady standing with bottle
and a wine-glass in her hand. Pointer dog
sitting at foot of old man.
8. BOY AND GIRL GOING TO MARKET.
7^in. X9|in.
The boy with a red jacket on, the girl with
a basket on her head. Boy leading a horse;
horse chestnut-coloured, with white face
and three white stockings. A sheep slung
across the horse's back and a spaniel dog.

wCff

APPENDIX III

125

9. WHITE HORSE, foal and dog standing
by building in a yard. Boy in red jacket
serving a pig. 11 in. x 13 in.
^ Very good example of Morland. This
picture is portrayed in Hassell's work, 1 806.
10. skating SCENE. 28^ in. X 37!- in.
Man skating with stick and arms crossed,
with a big wideawake hat, woman with a
very fascinating bonnet of the olden style,
and child similarly dressed. One man
down, two other men putting skates on.
Very rustic-looking men. Rustic old cot,
covered with snow, and two old oak trees
such as Morland was noted for painting. A
spaniel dog.
1 1. A TRAVELLER CALLING AT A WAYSIDE
COUNTRY INN. 2 0 in. X 24^ in. Signed
"George Morland, 1793." "He has with
him a saddled horse which is dark brown,
with one foreleg white half-way to the knee,
white nose. A man is sitting at a table on
which there is a large portion of a leg of
mutton. Near the table is a bull-dog with
brindled ears, also brindled spot on the
body. The landlady, who is dressed in a
blue and drab dress (this dress is blue on
the front and drab sides and back), is serv
ing a man with a drink out of a bottle into a
wine-glass. Just over the table is a window,
half of which is open, and a curtain is hang
ing out. Behind the inn are some oak trees.
12. MAN IN GREEN VELVET COAT, SOft
hat, white shirt, sitting on mile-post, marked
" XVI E R." 10 in. X 14 in. Initialed, " G
M." Donkey with saddle grazing behind.
Woman kneeling down, leaning on knee of
man with white handkerchief on head, child
behind, red hood on, also pointer dog with
head outside. Man, dirty-coloured red
breeches and top boots.
Price, James.
I. THE labourer's home. Very Small.
Sold at Christie's on June 15, 1895, for
320 guineas.
2. mutual CONFIDENCE. Very small.
Sold at Christie's on June 15, 1895, for
940 guineas.
Rawlinson, James, 124, Granby Street,
Liverpool. WATERING THE CART HORSE. Engraved
by J. R. Smith, 1799.
"Watering the Cart Horse" is errone
ously attributed to Gainsborough by Ernest
Chesneau in his " English School of Paint
ing" (Cassell and Co., London, 1887, page
116), showing how the occasional simi
larity of style in both artists may deceive
Art-critics.

Rankin, Robert, the late.
I. EVENING, OR THE POSTBOY'S RETURN.
27 in. X 35 in.
Sold at Christie's, 14 May, 1898, for
1,250 guineas. Bought by Agnew.
2. THE HORSE FEEDER. 27 in. X 35 in.
Signed. 1792.
Sold at Christie's, 14 May, 1898, for
400 guineas.
3. CAUGHT IN A STORM. (Oval.) 8 in. X
10 in.
Sold at Christie's, 14 May, 1898, for
40 guineas.
4. A COAST SCENE WITH FIGURES. Sj in.
X l\ in.
Sold at Christie's, 14 May, 1898, for
20 guineas.
Rayner, George Herbert, 29, Vernon
Road, Leeds.
PORTRAIT OF THE ARTIST'S WIFE. (Oval
on oak.) 8 in. x 10 in. Signed.
Mrs. George Morland is seated at an
open window with a letter in her hand.
She is dressed in white, with short sleeves
and open neck. Her hair is in ringlets,
with a fillet round the crown. Very care
fully painted.
Read, J. H., 48, Wilbury Road, West
Brighton. LANDSCAPE AND PORTRAITS OF DR. LYNN
AND HIS MANSERVANT. 33 in, X 44 in.
A horse, dog, and two pigs. Painted at
Cowes, 1797. Sold, on Mr. Read's behalf,
by P. and D. Colnaghi for ;^35o. Present
owner unknown.
Revell, Frank F., 130, Belmont Road,
Liverpool. THREE PIGS IN A SHED. 9 in. X 12 in.
Richardson, Ralph, F.R.S.E., F.S.A. Scot.,
10, Magdala Place, Edinburgh.
I. peasant and pigs. Engraved by
J. R. Smith, 1803. (Canvas.) i6 in x 20 in.
Signed. 1791.
A boy leans against the outside of a
thatched pigsty. Beside him is a little girl
in a blue frock. Two pigs, one black, one
yellow, drink out of a trough. A white and
brown spaniel looks into it.
(Cf Mather, McClintock, Hatherley, and
Black.) An indifferent example of this painting
without the little girl was sold at Dowell's,
Edinburgh, November 14, 1896.
2. FULL CRY. Hunting scene. Engraved
1824. 5^ in. X 7 in. Unsigned. Undated.
A red-coated huntsman on gray horse

126

GEORGE MORLAND

Richardson, Ralph, F.R.S.E., F.S.A., Scot.
— continued.
is followed by a blue-coated huntsman on
a brown horse. Other huntsmen in dis
tance. (Cf Phillips, No. 53, which represents
the same scene.)
3. returning from work. 9I- in. x
1 1|- in. Signed. Undated.
A woman in a red cloak carries a bundle
of faggots over her shoulder and a car
penter's basket in her left hand. A boy
and hairy dog follow her.
Exhibited at Grosvenor Gallery, 1887-88.
4. stormy weather. i6|- in. x 2o}t in.
Signed. Undated.
In foreground, preceded by a white dog,
a red-cloaked woman carrying a vegetable
basket is followed by a blue-cloaked little
girl. Behind, a man on an ass holds on his
hat, while his hand also grasps a stick.
In background, a thatched cottage and a
stormy sky.
5. BURNING brushwood. 9I in. X 14 in.
Unsigned. Undated.
A smock-clad man, a woman, and two
children round a fire. In background a
cart with two men, followed by woman and
child. This water-colour drawing belonged to
Mr. Billington (the celebrated singer's hus
band) in 1789.
RiDPATH, Thos., 12, Church Street, Liver
pool. I. INTERIOR OF A STABLE. 20 in. X 24 in.
Unsigned. Undated.
To left, two horses standing at stall. To
right, sheep, poultry, etc.
Formerly in collection of late Dr. Whittle,
Liverpool. 2. THE PENNILESS WAGGONER. 12 in. X
18 in. Signed. Undated.
An oil painting purchased at sale of the
house of an old Cheshire family in August,
1900. Its colouring is very fine.
Roe, Robt. H., 68, Ommoney Road, New
Cross, London, S.E.
CONTENTMENT. 13^ in. X 2o| in. Ini
tialed. 1787.
A man looks into a pigsty in which re
clines a sow. Beside her are three littie
pigs, one standing. A pail, crossed by a
broom, to right.
Mr. Roe is etching this picture on
copper. (Cf Peck, No. 8.)

RusTON, J. S., Monk's Manor, Lincoln.
I. GIPSIES. 7 in. X 9 in.
2. MOUNTAIN SCENE, with sunset glow
and figures, one a friar in red, and a don
key. II in. X 14 in.
Rutherford, Mrs. Andrew D., 9, Prince's
Terrace, Dowanhill, Glasgow.
the gipsies' tent. Engraved by J.
Grozer, 1793. 22 in. x 28 in. Signed.
1791. (Cf Knight.)
Salting, George, 86, St. James's Street,
London. I. GIPSY ENCAMPMENT. 20 in. X 26 in.
Signed. 1789.
3. cowherd and milkmaid. {En
graved.) 20 in. X 26 in. Signed, 1792.
3. COUNTRY inn ("The Grapes"). 20
in. X 26 in. Signed. 1790.
Group of gipsies reposing in foreground
to right. White horse led to stable. Two
travellers on horseback leaving the inn.
4. THE "bell" inn: Summertime. 20
in. X 26 in. Signed. Undated.
Hay-wain and group of haymakers regal
ing themselves in front of the inn. Land
lady and little girl appear at inn-door.
5. THE ALEHOUSE DOOR. Engraved by
R. S. Syer, 1801. (Upright.) 11 in. x 14 in.
Signed. 1792.
Two labouring men, the elder one seated
with pipe and pot of beer, the younger
standing and talking to him.
(Cf Ussher.)
Sanderson, Arthur, 25, Learmonth Ter
race, Edinburgh.
I. THE "dolphin" alehouse DOOR.
27 in- X 3S| in.
(A fine example.)
2. COTTAGERS. Engraved by W. Ward,
1791. 19|- in. X 25^^ in.
3. STABLE SCENE. 32^ in. X 42^ in.
4. gipsies. i7in. X23|in.
5. morland's "GAINSBOROUGH." 9|-in.
X ii-^r in.
6. morland's "sir JOSHUA." gi in. X
ii|^ in.
The last two pictures (ovals) are said to
have been painted as the result of Morland
wagering he could paint as well as either
Gainsborough or Reynolds.
Sargeaunt, John, Burton Latimer, Ketter
ing, Northamptonshire.
an evening landscape. (On wood.)
9in. xiiiin. Unsigned. Undated.

APPENDIX III

127

In the foreground stands a white horse,
and behind it a peasant boy seated.
Scott, Alex, Queen Mary's House, Jed
burgh, N.B.
I. winter scene. 18 in. X 26 in. Un
signed. Undated.
Three sheep in snow near a snowclad
tree. Bareheaded lad with bundle of hay.
Man with pole.
2. sow AND litter OF PIGS. 14 in. X
18 in. Initialed. Undated.
Scott, Col., C. H. S., 17, Eccleston Square,
London, S.W.
PORTRAIT, said to be of the artist's wife.
(Oval.) 25 in. x 30 in. Unsigned. Un
dated. Mob cap with blue ribbons. Dark eyes;
long dark curling hair. White muslin dress,
blue sash. Background, blue hill and trees.
ScoTT, E. Erskine, Linburn, Kirknewton,
Midlothian. interior of A stable. 26.7 in. x 33 in.
Signed. Undated.
Sheffield. {See Mappin Art Gallery.)
Smith, H. Haskett, Trowswell, Goudhurst
(deceased). I. SELLING cherries. Engraved by E.
Bell, 1801. 20 in. X 36 in. Signed.
This picture was sold at Christie's,
May 9, 1896, for 1,000 guineas; bought
by McLean.
2. THE DEATH OF THE FOX. Engraved
by E. Bell, 1800. Signed. 1794.
Sum offered at Christie's, May 28, 1864,
41 guineas, when the picture was exposed,
but bought in.
This picture was sold at Christie's, May 9,
1896, for 300 guineas; bought by Dowdes
well. 3. LANDSCAPE, wlth gipsies round a fire.
19 in. X 25 in.
This picture was sold at Christie's, May
9, 1896, for 380 guineas; bought by Agnew.
4. RETURN FROM MARKET. Original en
graved by J. R. Smith, 1793. 25 in. x 30 in.
Signed. 1795.
Sum offered at Christie's, May 28, 1864,
62 guineas, when the picture was exposed,
but bought in.
This picture was sold at Christie's, May
9, 1896, for 130 guineas; bought by Philpot.
5. TEMPTATION. Original engraved by
W. Humphrey, 1790. 25 in. x 30 in.
Signed. 1792.
This picture was sold at Christie's, May

9, 1896, for 410 guineas; bought by Dow
deswell. 6. THE PIGGERY. i8in. X24in. Signed.
This picture was sold at Christie's, May
9, 1896, for 320 guineas; bought by Dow
deswell. Exhibited at Burlington House, 1872.
7. THE CATASTROPHE. 20 in. X 20 in.
Signed. 1 791.
Sum offered at Christie's, May 28, 1864,
36 guineas, when the picture was exposed,
but bought in.
This picture was sold at Christie's, May 9,
1896, for 320 guineas; bought by Wilson.
Exhibited at Burlington House, 1872.
8. INTERIOR OF STABLE, with two peas
ants, dog and donkey. 15 in. x 20 in.
Sum offered at Christie's, May 28, 1864,
45 guineas, when the picture was exposed,
but bought in.
This picture was sold at Christie's, May 9,
1896, for 100 guineas; bought by Price.
9. THE WRECKERS. 41 in. X 54 in.
Signed. 1791.
Sum offered at Christie's, May 28, 1864,
161 guineas, when the picture was exposed,
but bought in.
This picture was sold at Christie's, May 9,
1896, for 520 guineas; bought by Frazer.
Exhibited at Burlington House, 1872.
10. FISHWIFE BUYING FISH ON BEACH.
27 in. X 35 in. Signed. 1794.
Sum offered at Christie's, May 28, 1864,
121 guineas, when the picture was exposed,
but bought in.
This picture was sold at Christie's, May 9,
1896, for 240 guineas.
The foregoing details are given to show
the advance in the prices of Morlands
which has taken place of late years. Mr.
Max Michaelis is now owner of " Tempta
tion," " Selling Cherries," and " The Death
of the Fox."
Smith, Sir Chas. Cunliffe, Bart., Suttons,
Romford. I. A PARTY ANGLING. Engraved by G.
Keating, 1789. 24 in. x 29 in.
2. THE angler's repast. Engravedby
W. Ward, 1780. 24 in. x 29 in.
Both exhibited at Winter Exhibition,
1896.
South Kensington : Victoria and Albert
Museum. I. THE RECKONING. (Oblong ; fine.)
29 in. x 39 in.
2. horses IN A STABLE. (Obloug.) 34 in.
X 46 J in. Signed. 1791-

128

GEORGE MORLAND

South Kensington : Victoria and Albert
Museum — continued.
3. SEASHORE. Fishermen hauling in a
boat. (Oblong ; fine.) 33! in. x 46|- in.
Signed. 1791.
4. COAST SCENE. Boats and figures on
the beach. (Panel, oblong.) 8 in. x i2|-in.
Signed. 1792.
5. A girl seated in a Landscape and
fondling a Dove. (Oval.) 7f in. x 9 in.
Signed. 6. valentine's day; or johnny going
TO THE FAIR. Engraved by J. Dean, 1787.
(Upright, fine.) i3|- in. x 18 in.
7. WINTER SCENE, with woman and don
keys. Sketch. (Panel, upright.) 5 in. x
efin. 8. LANDSCAPE AND COTTAGE, with mar
ket cart, dog, etc. (Oblong.) i6in. xi7fin.
Said to be a copy of Mr. Peck's, No. 7.
9. BEACH SCENE, with boats, boatmen,
and dogs. (Oblong.) 19^ in. x 25^ in.
(By or after Morland.)
10. A HUNTING SCENE. g\ in. X ii-| in.
Signed. II. A FARM yard. 14 in. X i8J in.
A portrait in this gallery by John Russell,
R.A., said to be of George Morland, was
the subject of letters by Mr. Richardson
in the " Times " of 7th and 20th November,
1895. He maintained, and Mr. Arthur N.
Gilbey supported his contention, that it
was not a portrait of George Morland, as
it bore no resemblance of contemporary
portraits of him, such as those by Mor
land himself, or by his friend T. Rowland-
son.
Tennant, Sir Charles, Bart., of The Glen,
Innerleithen, N.B.
I. CHILDREN PLAYING AT SOLDIERS. En
graved by G. Keating, 1788. Painted for
Dean Markham of York. (Canvas.) 28 in.
X 35 in. Unsigned. Undated.
Woody landscape; children looking on.
From the collection of Joseph Strutt.
Exhibited at Manchester, 1857.
Although Morland is facile princeps as
the English painter of children, none of
his paintings of children were exhibited in
the recent "Fair Children" Exhibition in
the Grafton Gallery. (See Peck, No. 12.)
2. BOYS ROBBING AN ORCHARD. En
graved by E. Scott, 1790. 27 in. X 35 in.
Unsigned. Undated. Bolckow Collection.
Four boys stealing apples, a farmer ap
pears with a bulldog. (Canvas.)
Exhibited at Glasgow in 1889.

3. THE FIND. lo^in. xisin. Unsigned.
Undated. A spirited scene in the hunting-field.
(Canvas.) Exhibited at the Grosvenor Gallery,
1888. 4. FULL CRY. io|in. xisin. Initialed.
Undated. A spirited scene in the hunting-field.
(Canvas.) Exhibited at the Grosvenor Gallery,
1888. 5. LANDSCAPE WITH RIVER. 12^ in. X
171^ in. Unsigned. Undated.
A horseman going down a road, and a
peasant talking to a woman in a red cloak,
seated, holding a baby. To the right a
man fishing. (Panel, oval.)
6. TWO DONKEYS, MARE AND FOAL, Stand
ing in a landscape. (Canvas.) lo in. x 12
in. Signed. Undated.
7. LANDSCAPE WITH FIGURES. 12 in. X
i6 in. Signed. 1792.
A stage-coach going down a road. Cattle
and a horse in foreground. Sheep on grass
to right. (Canvas.)
Formerly in collection of J. H. Ander
don, Esq.
8. HILLY LANDSCAPE, with river and
figures. (Canvas.) 12 in. x 15 in. Un
signed. Undated.
g. IDLENESS. Engraved by C. Knight,
1788. (Canvas, oval.) g\ in. xiii in.
Unsigned. Undated.
Exhibited at Burlington House, 1885,
and at the Grosvenor Gallery, 1888.
10. DILIGENCE. Engraved by C. Knight,
1788. (Canvas, oval.) 9|-in. x ii|in. Un
signed. Undated.
Exhibited at the Old Masters' Exhibi
tion, 1885, and at the Grosvenor Gallery,

Thwaites, Mrs., Addison Lodge, Addison
Road, London, W.
I. THE KITE ENTANGLED. Engravedby
W. Ward, 1790. 2oi in. x 26|- in. Un
signed. Undated.
Exhibited at Grosvenor Gallery, 1888-
1889. 2. THE FAMILY PARTY. Unsigned. Un
dated.
Trotter, Coutts, 17, Charlotte Square,
Edinburgh. FARM STABLE, with two horscs. 28| in.
X 36 in. Unsigned. Undated.
A youth sits on ground. A girl hands
him a mug of beer.

APPENDIX III

129

(Belonged to Mr. Trotter, of Dreghorn,
owner's grandfather.)
The physiognomies seem rather too re
fined for G. Morland.
Turner, Thomas, 42, Mill Hill Road, Nor
wich. I. outside an inn. Man with white
horse in conversation with a woman. (On
canvas.) ii^in. xi6in. Unsigned. Un
dated. 2. three SHEEP under stunted pollard
oak. (On canvas.) 12 in. x 14^ in. Un
signed. Undated.
3. exterior OF a farmhouse, with
figures, carts and animals. (On panel.)
iiin. xi3in. Initialed. Undated.
4. coast scene, with figures. A storm
coming up. (On panel.) io| in. x 13 in.
Unsigned. Undated.
Ussher, Rev. R., Vicar of Westbury, Brack-
ley. I. THE shepherd's MEAL.
(Cf. Barton.)
2. THE ALEHOUSE DOOR.
(Cf Salting.)
These have been in the vicar's family for
about one hundred years.
Vernon, J. Y. V., Strathallan, Southbourne,
Hants. girl AND PIGS. (On panel.) 14 in. x
17 in. Signed. Undated.
Walker, Rev. George, B.D., The Manse,
Castle Douglas, N.B.
the nag's head, or tooting inn,
SURREY. 28 in. X 36 in. Signed. 1791.
On sign, head of black horse with white
face. A stable-boy holds a white pony,
from which a blue-coated rustic has alighted.
The landlady hangs clothes on a line. Two
dogs eye each other.
Wallace Collection, Hertford House,
Manchester Square, London, W.
A visit to the boarding school. En
graved by W. Ward, 1789.
Waller, J. G., 68, Bolsover Street, London,
W. SCENE OUTSIDE COTTAGE. Farmer in
conference with woman and child. Two
horses, one white, one bay, held by a youth.
A woman hangs out clothes. Oak-tree be
fore cottage. i8|-in. X 24in. Signed. Un
dated.

Walling, John, 24, Holland Road, New
Brighton, Cheshire.
THE COUNTRY BUTCHER. Engraved by
T. Gosse, 1802, and W. Barnard, 1810.
(Painted on mahogany or teak.) i6|- in. x
2 1 in. Signed. Date indistinct.
Wallis and Son, 120, Pall Mall, London,
S.W. I. THE STORM. 28 in. X 36 in. Signed.
2. A GIPSY CAMP. 18 in. X 24 in. Signed.
3. WINTER. 25 in. X 30 in. Signed.
4. THE STAGE-COACHMAN. 12 in. X 15 in.
Signed. 5. THE SHEPHERD. 25 in. X 3oin. Signed.
6. THE SHEPHERD. I if in. X 15 in.
Signed. 1793.
7. THE GENTLE ART. IO in. X 12 in.
Initialed. 8. SHELTERING FROM THE STORM. 12 in.
X 14 in. Unsigned.
A man holding on his hat, and mounted
on a rough white pony, takes shelter under
an oak-tree, beneath which are seated a
woman in a red cloak, with a basket on
her left arm, and a little boy dressed in
a blue coat and wearing a Scotch blue
bonnet. A sketch for this painting was sold at
Dowell's, Edinburgh, November 14, 1896.
Walters, Mrs. Caer Llan, Cwmcarvan,
near Monmouth.
I. AN OLD WHITE HORSE Standing at a
manger in an open shed, a brown horse
lying down behind. A snowy landscape
seen through the open door. 8 in. x 10 in.
Signed. 2. A MASTIFF (with collar) defending a
dead sheep from another dog. A cottage
in the distance. 1 2 in. x 1 5 in. Signed.
Mrs. Walters inherited above from her
maternal grandfather, the late George Boyd,
Esq., Chief Clerk of the Treasury, who
resided at 11, Chesham Place, London,
S.W.
Warren, E. B., 2013, Spruce Street, Phila
delphia, U.S.A.
A STORM. (Fine oil painting.) 34 in. x
45|- in. Signed. Undated.
Sold by Lord North's trustees to Mr.
L. C. Delmonico, New York, through
Messrs. Agnew and Sons, London, and
acquired by Mr. Warren, October, 1895
Warren, Rev. B. J., SS. Peter and Paul
Vicarage, Upper Teddington.
winter scene, a snowclad barn and
tree stump. Children skating and sliding

I30

GEORGE MORLAND

Warren, Rev. B. J. — continued.
on a pond, and a dog drinking where ice
broken. 30 in. x 36 in. Signed. 1787.
(Left to Mr. Warren's father ninety years
ago by a gentleman who bought it from
Morland himself Never engraved.)
Washington, U.S.A. (See Corcoran.)
White, Lieut. -Col. F. A., Castor House,
Northampton. I. BOYS bathing. Engravedby E. Scott,
1804. (Canvas.) 26 in. x 35 in. Unsigned.
Undated. 2. BLIND man's buff. Engraved by W.
Ward, 1788. (Canvas.) 26 in. x 35 in.
Unsigned. Undated.
3. CHILDREN BiRDNESTiNG. Engraved
by W. Ward, 1789. (Canvas.) 24 in. x
30 in. Unsigned. Undated.
4. JUVENILE NAVIGATORS. Engraved by
W. Ward, 1789. (Canvas.) 24 in. x 30 in.
Unsigned. Undated.
Whitehead, T., Down's House, Cedars
Road, Clapham, London.
THE FISHERMAN. (Never engraved.) 20
in. X 26 in.
Williams, Romer, 58, Great Cumberland
Place, Hyde Park, London, W.
I. THE BELL INN. 15 in. X i8 in.
Outside inn. Landscape. Horses, one
white. Figures reclining on seat round a
tree in front of inn-door.
2. YOUTH DIVERTING AGE. Engraved by
J. Grozer, 1789 and 1794. ii|^in. x 14 in.
3. THE STARTLED MILKMAID. 12 in. X
i4|in. Young milkmaid sits by cow with over
turned milk-pail, she being startled by
young man coming up suddenly behind
her. {Engraved.)

Wilson, John, 272, Sauchiehall Street, Glas
gow. THE FIRST OF SEPTEMBER : MORNING.
Engravedby W. Ward, 1794. 20 in. x
24 in.
THE FIRST OF SEPTEMBER : EVENING.
Engravedby W. Ward, 1794. 20 in. x
Wolseley, Field - Marshal the Right
Honourable the Viscount, etc.. War
Office, London.
Several drawings by G. Morland.
Wolverhampton Art Gallery.
the coming storm (Isle of Wight).
Wood, Edward Collins, Keithwick, Coupar
Angus, N.B.
r. THE COMFORTS OF INDUSTRY. En
graved by H. Hudson, 1790. 12 in. x 15 in.
Unsigned. 2. THE MISERIES OF IDLENESS. Engraved
by H. Hudson, 1790. 12 in. x 15 in. Un
signed. Presented by George Morland to Mr.
Wood's grandfather, E. Collins, Esq., of
Maize Hill, Greenwich.
Wood, Richard, Cattal, York.
I. ROADSIDE inn OR COTTAGE, with man
seated on a bench holding his horse, while
a woman pours something into a wineglass.
A basket containing a leg of mutton on
bench, and a dog on ground. 18 in. x
23 in. Unsigned. Undated.
2. COTTAGE BY SEASIDE, with boat Con
taining two men and dog. Man and woman
on shore, the latter holding a barrel and
pouring something into a quart pot. 18 in.
X 23 in. Unsigned. Undated.
(Mr. Wood has had above for twenty-five
years, and the person he got them from
possessed them for forty years.)

ADDENDUM

The following picture is in the possession of
Lord Iveagh.
A WAYSIDE INN. By G. Morland. Size
of picture, 40 in. x 57 in. (Painted on
canvas.) Landscape, with figures at the door of
an inn. A covered cart drawn by two
horses under a large tree ; a boy feeds one
of the horses. On a seat round the foot of
the tree a gamekeeper and a woman hold
ing a child; two children stand near her.
At the door of the house three men, one
holding a dead hare, three sporting dogs
near the tree, some pigs on the right; on
the left the inn sign on a post near a well;
the sign bears the artist's signature, "G.
Morland."

The following pictures by Morland are in the
possession of Mrs. Carleton Cowper,
Carleton Hall, Penrith.
I. A SPORTSMAN. (On canvas.) 12 in.
X 15 in. Unsigned. Undated.
Man in a red coat holding gun. Brown
pony behind him. Two spaniels ; dead
game in front; large tree on left. Wood
land scenery.
2. COTTAGE AND FIGURES. (On canvas.)
28 in. X 36 in. Signed on door lintel, " G.
Morland, 1790."
Two men standing talking to woman in
front of an inn. Sign of Bull's head. Two
men standing at door, one with pipe. A
dog in foreground. Overhanging trees.
3. HORSES AND FIGURES. (On canvas.)

28 in. X 36 in. Signed "G. Morland" on
front of cart. Undated.
Brown horse' in cart, white horse in
chains as leader. Some men sitting, one
cutting a loaf of bread; another pouring
beer out of a barrel into a tin. Two dogs,
white and brown. Quarry or gravel pit
with trees.
4. HORSES DRINKING. (On canvas.) 18
in. X 24 in. Unsigned. Undated.
Man in red coat on white horse, no
saddle, rope halter, drinking. On left a
brown horse also drinking. Brown and
white dog standing in stream. Moorland
with crags.
5. GYPSIES. (On canvas.) io|^ in. x 13
in. Unsigned. Undated.
Man and a woman in red cloak, stand
ing in front of fire. On right donkey with
panniers. Woodland scenery.
6. LANDSCAPE AND FIGURES. (On Can-
vas.) 8 in. X 12 in. Unsigned. Undated.
Thatched cottage in foreground. Man,
woman and child, all standing. Dog; cot
tages and church in distance.
7. GYPSIES. (On panel.) 8in. xii^in.
Unsigned. Undated.
Two thatched cottages. Man on white
horse. Man in red coat with dog. Wood
land scenery with stream in foreground.
8. PENCIL DRAWING, tinted. (On paper.)
14! in. xi7i in. Signed, " G. Morland,
del. 1794."
Cottage with porch, thatched roof, and
lattice window, and gable end ; overhang
ing tree. Man standing holding pony;
woman pouring liquor out of jug into
glass. Dog on left.

\To face page 130

APPENDIX IV
(Contributed by Ralph Richardson)
CHRONOLOGICAL CATALOGUE OF ENGRAVINGS, ETCHINGS, ETC.,
AFTER GEORGE MORLAND, SHOWING THE YEARS OF THEIR
PUBLICATION, ETC. (aLL WERE PUBLISHED IN LONDON)
ABBREVIATIONS.
M. = Mezzotint.
C. = Chalk, or stipple.
A. = Aquatint.
L. = Line engraving.
Col. = Coloured copies published.
B.M. = In British Museum Collection.
A brace connecting engravings signifies that they form a pair or series.
The prices marked are those obtained, during recent years, at public auctions in London.

1780.

ENGRAVER.

PUBLISHER.

OWNER OF ORIGINAL

PAINTING.

¦ The Angler's Repast, B.M.

M. {re-issued 1789) . .
W. Ward.
J. R. Smith.
Sir Charles Cunliffe
A Party Angling. 1789
Smith, Bart.
;^99 ISJ-. (Bulteel sale
. 1904) 
Ditto.
Ditto.
1783-
Children Nutting, M. (/-«-
issued 1'] 88). 6 gs. . .
1785-
How Sweet's the Love that
meets Return, B.M., C.
13 ^"¦•f 
The Lass of Livingstone,
B.M., C. £7 17s. 6d .
Love and Constancy re
warded, B.M., M., A. . .
Scene from "The Gentle
Shepherd," C, B.M. . .
1786.
Tom Jones' First Interview
with Molly Seagrim, M.
£5 1°^  1787.
Harley and Old Edwards
(from " Man of Feeling "),
B.M. £2 I2S. 6d. . .
E. Dayes.
T. Gaugain. Ditto.
P. Dawe.
Wm. Ward.
John Pettit. 131
Ditto.
T. Gaugain.Ditto.
W. Hinton.
T. Merie and
R. Dodd.
Wm. Holland.
Ditto.
132

GEORGE MORLAND

1787.
Valentine's Day, B.M., col.
M. 2 gs 
Domestic Happiness, col. M,
3^-f  -
The Coquette at her Toilette,
col. M. £(). The pair.
coloured, £76 . . .
The Happy Family, B.M.
The Delightful Story, B.M.

OWNER OF ORIGINAL

ENGRAVER.

PUBLISHER.

PAINTING.

J. Dean.
W. Ward.

J. Dean.
W. Dickinson.

South Kensington Museum

Ditto.
J. Dean.
W. Ward

Ditto.

1788.
A Visit to the Child at Nurse,
col. M. {for companion see
first entry, 1789). ZZk g^-
(9 May, 1900); with com
panion, 18 gs., 88 gs., and
120 ^j- 
The Power of Justice, B.M.,
M- .;^I9 
The Triumph of Benevolence,
B.M., M. ;^i6. . . .
Sportsman's Hall, B.M. . .
The Widow, B.M., M.
£l I7-S-- 6^- 
Blind Man's Buff, col. M.
6 g^-i £7 17-5'- 6^-1 a,nd
proof, ro gs 
Children playing at Soldiers,
B.M., M. ^8, 13 ^.f., and
Z(>gs 
The First Pledge of Love, C.
Suspense, M. xx gs. . .
Delia in the Country, B.M.,
C, col. £x6 5 J'. 6d. . .
Delia in Town, B.M., C, col.
£28 7 s. The pair, coloured,
178 .fJ 
Anxiety; or. The Ship at Sea,
B.M., M 
Mutual Joy; or, The Ship in
Harbour, B.M., M. The
pair, ggs 
The Fair Seducer, C. . .
The Discovery, C. A pair
in bistre, 2X gs. . . .
Variety, B.M., C, col.
£3 17-f- 6^- and;^33 .
Constancy, B.M. , C, «/. In
bistre, £^ xos. The pair.
coloured, ;^66 ...
The Pledge of Love, B.M.
col.M 
Children Nutting, col M. 71
gs. {v. 1783) ....
Morning Reflection, B.M.

Ditto.

J. R. Smith.

J. Dean.

J. Dean.

Ditto.
W. Ward.

Ditto.
W. Holland.

J. Dean.
J. Dean.
W. Ward.
J. R. Smith.
Col. F. A. White.
G. Keating.
W. Ward.
Ditto.
Ditto.
T. Prattent.
Sir Chas. Tennant, Bart
J. R. Smith.
J. R. Smith.
Ditto.
Ditto.
P. Dawe.
W. Dickinson.
Ditto.
E. J. Dumfe.
Ditto.
J. R. Smith.
Ditto.
Ditto.
W. Ward.
Ditto.'
W. Dickinson.
T. J. Barratt.
Ditto.
Ditto.
Ditto.
E. Dayes.
G. Graham.
E. Jackson.
3;raved by Bartolozzi,
B.M., p. 142.
APPENDIX IV

133

1788.
Children fishing, col. M. . .
Children gathering Black
berries, col. M. The pair,
17 gs.; " Blackberries "
alone, xo\ gs. (5 May,
1900) 
The Strangers at Home,
B.M., C 
Spring, C 
Summer, C 
Autumn, C 
Winter, C 
The Idle Laundress, C. (w.
1803) 
Indulgence, C 
Discipline, col. C. Oval,
coloured, ^^5 loj-. . . .
The Agreeable Surprise, M.
On the Wings of Love, M. .
Seduction, B.M., M.
£d, 145. dd. and 6 gs.
(5 May, 1900) ....
Credulous Innocence, B.M.,
M. £2 17s. 6d. . . .
Idleness. 8 gs 
Diligence 

ENGRAVER.

PUBLISHER.

OWNER OF ORIGINAL
PAINTING.

P. Dawe.

W. Dickinson.

G. Peck.

Ditto.

Ditto.

W. Nutter.
W. Ward.
Ditto.Ditto.Ditto.

E. M. Diemar
T. Prattent.
Ditto.
Ditto. Ditto.

W. Blake.
J. Prattent.

J. R. Smith.
J. Brydon.

Ditto.

Ditto.
C. Bowles.
R. Sayer.

John Young.

Ditto.
C. Knight.
Ditto.

\i

The late CF. Huth.

Sir Chas. Tennant,
Bart.

1789.
A Visit to the Boarding
School, col M. (for com
panion see first entry, 1788).
With companion, coloured,
88 gs., X20 gs., ^115 IOJ-.
(Bulteel sale, 1904) . .
A Party angling, col. M. . .
The Angler's Repast, col. M.
The pair, coloured, ;^2 9,
£SA, and 140 ^,y. (19 Nov.,
1900) {v. 1780) ....
Youth diverting Age, M. £(>
{v- 1794) 
A Mad Bull, B.M., A. . .
An Ass Race, B.M., col. M.
A 
Juvenile Navigators, B.M.,
col. M. ;^ii OS. 6d.,
£x2 xos. {proof) .
Children Birds'-nesting, B.M.,
col. M. The pair, coloured,
;i^26 55. and ^90 . . .
\^o\nssi{two companion plates),
B.M., col. C. The pair,
coloured, ;!^2 7 (8 March,
i9o°)j £3^, £39 Si-. . .
The Pleasures of Retirement,
B.M., M. 6 ^.f. ...

W. Ward.
G. Keating.

J-

R. Smith.
Ditto.

Wallace Collection,
Hertford House.
Sir Charies Cunliffe
Smith, Bart.

W. Ward.

Ditto.

J. Grozer.
R. Dodd.

W. P.

Dickinson. Cornman.

R. Williams.

W. Ward.

Ditto.
Ditto.
J-
R. Smith.
Col. F. A. White.
Ditto.
Ditto.
Ditto.
T. Guagain.
W. Ward.
J-
Ditto.
T. Smith.
One of the pair,
George Peck.
134

GEORGE MORLAND

1789.
'' Guinea-pigs, B.M., C, col. .
V. Dancing Dogs, 1790, a
pair. The pair, coloured,
;^36ji^4i (27 June, 1903),
. £(>3 
The Laetitia Series, viz. :
Plate I. Domestic Happiness,
C, col. ....
2. The Elopement, C.,
col. 
3. The Virtuous Parent,
C, col. ....
4. Dressing for the Mas
querade, C, col.
5. The Tavern-door, C.,
col. 
6. The Fair Penitent, C,
col. 
The first three plates, col
oured, ;^25 45.; the six
plates, ;^30 gs.; the six col
oured, ^60 ; separate plates,
£8 xos., £g xos.

The Tomb, B.M., C, col.
Refreshment, A., B.M. .
The Fruits of Early Industry
and CEconomy, B.M., M
col. Coloured, .;^ii 15.?.
The Effects of Youthful Ex
travagance and Idleness
B.M., M., col. The pair,
coloured, ;^is, ;^3o, ^33
(»¦ 1794) 
The List'ning Lover, B.M
Farmer's Visit to his Married
Daughter in Town, C.
col. B.M. £g . . .
The Visit returned in the
Country, C, coL B.M. The
pair, £s x^s., £x7 17^.,
^30 

ENGRAVER.
T. Gaugain.

PUBLISHER.
T. Gaugain.

J. Dean.
W. Ward.

Ditto.

Ditto.
T. Rowlandson.

W Bond.

Ditto.

OWNER OF ORIGINAL
PAINTING.
Capt. F. Lowther, R.N.

J. R. Smith.

J. R. Smith

Ditto.

Ditto.

Ditto.

Ditto.

Ditto.

Ditto.

Ditto.

Ditto.

Ditto.

Ditto.

J. Dean.
P. Cornman.

T. Simpson.

Sir Walter Gilbey, Bart.

1790.
A Rural Feast, B.M., M
£l 17^- 6^- 
The Kite entangled, M. £¦1,
' Jack in the Bilboes, col. M
£x 2s. (cf 1797) . .
The Contented Waterman
col. M. 4 ^.f. ...
The Squire's Door, B.M.^
C, col. 
The Farmer's Door, B.M.,
C, col. The pair, coloured
^60 x8s. and ;^94 105,
(Bulteel sale, 1904). .

J. Dean.
W. Ward.

J. Dean.
J. R. Smith.

Mrs. Thwaites.

Ditto.Ditto.

P. Cornman. Ditto.

Royal Holloway
College, Egham

B. Duterreau.

J. R. Smith.

Ditto.

Ditto.

APPENDIX IV

135

1790.
St. James's Park C, col. .
A Tea-garden, B.M., C, col.
Thepair,coloured,;^49 1^-
£si,£(>^ss;£7^,£^^
;^92, and 136^5. (4 June
1901) 
Temptation, B.M., M. .
Dancing Dogs, B.M., C, col.
(See Guinea-pigs, 1789, a
pair.)

Shooting Series — etched by
T. Rowlandson; aquatint
by S. Aiken; published by
J. Harris and T. Merle :
, Pheasant-shooting . . .
, Partridge-shooting ^ .
. Duck-shooting ....
. Snipe-shooting "...
I and 2,^2435.; 3 and 4,
£^A 3-f-

Morning; or. Thoughts on
Amusements for the Even
ing- £8 
Affluence reduced, M- £¦3, y.,
£S loj- 
The Soldier's Farewell, C,
col. 
The Soldier's Return, B.M.,
<^^^- £7 1 1^- ("^- The pair
in brown, 4gs.; coloured,
40 gs 
Pedlars, B.M., L. {v. 1805) .
Travellers reposing, B.M., L.
Sliding, B.M., L 
The Bell, L 
Virtue in Danger, B.M., L. .
The Miseries of Idleness,
B.M., col M 
The Comforts of Industry,
B.M., col. M. The pair,
coloured, £^ x7s. 6d.,
£6 6s 
La Chasse de la B^cassine
(Snipe), B.M., L. . . .
Boys robbing an Orchard,
B.M., col M 
The Angry Farmer, B.M.,
col. M. These two, with
"Boys bathing" and "Boys
skating" (1804), in colours,
_;^i6 55. 6d. 
The Amorous Ploughman,
B.M. {v. 1792) ....

ENGRAVER.
F. D. Soiron.

Ditto.'
W. Humphrey.
T. Gaugain.

H. Hudson.
G. Graham.

Ditto.
J. Fittier.
Ditto.Ditto. Ditto. Ditto.
H. Hudson.

Ditto.
A. Suntach.
E. Scott.
Ditto.
I. Jenner.

PUBLISHER.
T. Gaugain.

Ditto.
W. Dickinson.
T. Gaugain.

OWNER OF original
PAINTING.
Rev. R. Blathwayt.

Max Michaelis.
Capt. F. Lowther,

R.N.

I and 2
Sir Walter Gilbey,
Bart.

M. Colnaghi and Co.
J. R. Smith.
T. Simpson.

Ditto.
J. Fittier.
Ditto.
P. Cornman.
J. Fittier.
P. Cornman.
J. R. Smith.

Ditto.

E. Collins Wood.

Ditto.

Sir Chas. Tennant,
Bart.

T. Jones and
I. Jenner.

' Also engraved by Mile. Rollet, B.M., p. 142.
^ Also engraved by C. Catton, Jun., B.M., p. 142.

136

GEORGE MORLAND

1791.
'Cottagers, B.M., M. x$gs.
Travellers, B.M., M., col
£6, and coloured, 31 gs.
The pair, 66 gs 
The Recruit, or Deserter,
Series :
Plate I . Trepanning a Recruit,
B.M., M., col. . .
„ 2. Recruit deserted,
B.M., M., col . .
„ 3. Deserter taking leave
of his Wife, B.M.,
M., col. ....
,, 4. Deserter pardoned,
B.M., M., col . .
The four plates, ;!^2 2 loj-.,
;^3o; and in colours, ^^54,
£61.
African Hospitality, M. .
Slave Trade, M. The pair,
£4 15-f-j -^5 15-f- 6d.; V.
1814 
AChristmas Gambol, M. $gs.
The Benevolent Lady, C.
( Changing Quarters, C.
< The Billeted Soldier, C, col.
{ ;^ 3 1 05., and coloured, 8 ^i-.
Girl and Calves, M. {v. 1802)
Nurse and Children in the
Fields, M. col Coloured,
;^45 
The Sportsman Enamour'd;
or. The Wife in Danger,
B.M., M 
La Chasse du Canard (Duck),
B.M., L 
La Chasse de la Becasse
(Woodcock), B.M., L. . .
La Chasse du Lievre (Hare),
B.M., L 

ENGRAVER. W. Ward.
Ditto.

A. Suntach.
Ditto.Ditto.

PUBLISHER.
T. Simpson. Ditto.

OWNER OF ORIGINAL
PAINTING.
Arthur Sanderson.

G. Keating.

J-

R. Smith

Ditto. s

Ditto.

Ditto.

Ditto.

Ditto.

Ditto.

J. R. Smith.^

Ditto.

Ditto.'Ditto.
E. J. Dumee.
J- Hogg.

Ditto.Ditto.
T. Prattent.
T. Simpson.

Ditto.
W. Ward.

Ditto.
Collins & Morgan
Moore & Kirton.

G. Keating.

J. R. Smith.

1792.
The Woodcutter, M. 7 gs. .
The Carrier's Stable, M.
22^5 
The Country Girl at Home,
A., B.M. 4gs 
The Country Girl in London,
A., B.M 
The Country Stable, B.M.
£4 X4S. 6d. 

W. Ward.
Ditto.
M.e. Prestel and
E. M. Diemar.
Ditto.
W. Ward.

Thos. Macklin.
E. M. Diemar.
Ditto.
D.OrmeandCo.,E. Walker, and
J. F. Tomkins.

C. A. Barton.

' Also engraved by Mile. Rollet, B.M., p. 142.

APPENDIX IV

137

ENGRAVER.

PUBLISHER. OWNER OF ORIGINAL

1792.

PAINTING.

The Barn-door, M. 4 gs. .

W. Ward.

T. Simpson;

The Sportsman's Return, M.,

Darhng and

col. £8 x8s. 6d. {proof).

Thompson.
and ;^i7 coloured . . .
Ditto.
Thos. Macklin. Mrs. Ashton.
The Shepherd's Boy, B.M.
.^3 5^ 
Ditto.
D.OrmeandCo.,
The Farmer's Stable,' B.M.,
E. Walker, and
M. col Coloured, £g and
J. F. Tomkins.
;^37 (Bulteel sale, 1904).
(Original in National Gal
lery, London) ....
Ditto.
Gipsies, B.M., M. 6 gs. . .
Ditto.
T. Simpson.
' Morning: Hunters starting,
A 
S. Aiken.
J. Vivares & Son.
Evening : Sportsmen refresh
ing, A. {cfxSox). . . .
Ditto.
Ditto.
Coursing, A. (Etched by G.
Morland) 
J. Read.
¦ Children feeding Goats, C,
col 
P. W. Tomkins.
D. Orme and Co.
Children feeding Chickens,
and E. Walker.
C, col The pair, coloured.
, 33 gs- (8 March, 1900) .
Ditto.
r The Amorous Ploughman,
J col M. {v. 1790) . . .
J. Jenner.
T. Jones and
1 Gipsy Courtship, col B.M.
Is. Jenner.
I The pair, ^^13 105. . .
Ditto.
Ditto.
Rubbing down the Post-horse,
B.M. {v. 1794 and 1799 ')
Duck-shooting, B.M. . . .
T. Rowlandson.
Studies of following, etched
by J. Baldrey; B.M. :
Pigs, Sheep, etc.
Men, Donkey, etc.
Horses, Sheep, etc.
Cart, Wheelbarrow, etc.
Men, Children, etc.
Ditto.
Dog, Ass, etc.
Cart-horses.
Studies of following, the etch
ings published by J. Harris;
B.M.:
Men.
Horses, etc.
Sheep, etc.
Man at Watering-trough,
a woman seated near.
1793-
A Carrier's Stable, B.M. . .
W. Ward.
T. Simpson.
Feeding the Pigs, M. col
xogs., £x6, and coloured.
40 gs 
J. R. Smith.
J. R. Smith.
Return from Market, B.M.,
M. i3^.f.,24^5.,;^i9 8s.6d.
Ditto.
Ditto.
' Same title but different subject, 179S-
' The companions to this print have been "Fighting Dogs," 1794, and "Watering the Cart-horse," 1799.
138

GEORGE MORLAND

1793-
f The Happy Cottagers, B.M.,
M 
The Gipsies' Tent, B.M., M.
The pair, 14^ gs. (5 May,
1900); separate, 6 gs. and
£4 15-f 
I Smugglers, B.M., M. £2 8s.
I Fishermen, B.M.,M. £2x6s.
Burning Weeds, M. col. Col
oured, 42 ^,f 
Cows, M 
" Original Sketches from Na
ture " Tide-page, B.M.
Etching published by T.
Simpson.
Woman and Child, Goat, etc.
Etching published by T.
Simpson.
Sunset: A Scene in Lanca
shire^ 
Two Country Boys. Etching
published by T. Simpson.
Two Boys, Girl's Head, etc.
Etching published by T.
Simpson.
Boy at Pump. Etching pub
lished by T. Simpson.
Cart passing Wooded Scenery,
B.M. Etching published
by D. Orme.
Studies of following, the etch
ings published by J. Harris;
B.M.: Horses, etc.
Children, etc.
Harrowing a Field.
Greyhounds, etc.
Fisherwomen, etc.
Men, etc.
Children, etc.
Two Men.

ENGRAVER.

J. Grozer.

Ditto.
J. Ward.
Ditto.
Ditto.
E. Bell.

PUBLISHER.

B. B. Evans.

Ditto.
J. R. Smith.
Ditto.
B. Tabart.
E. Bell and J. Dixie.

OWNER OF ORIGINAL
PAINTING.

J. W. Knight.
Dowdeswell.

J. Ward.

1794.
The Effects of Youthful Ex
travagance and Idleness,
B.M., M. {cf 1789) . .
Fighting Dogs, B.M., col. M.
4 gs., in colours ....
The Happy Family, M. £2 4s.
The First of September:
Morning, col M. . . .
The First of September:
Evening, B.M., col M.
The pair, coloured, ^20,
;^3i xos., £^6 x^s. . .
A Man asleep, B.M.

W. Ward.
J. R. Smith.
J. Dean.
W. Ward.

Ditto.

T. Simpson. Sir Walter Gilbey,
Bart.
J. R. Smith.

T. Simpson John Wilson.
and W. Ward.

Ditto.

Ditto.

This represents a scene at the door of the Red Lion Inn.

APPENDIX IV

139

Heads,

Dogs in a
Etching by
Etching by

Studies of Horses'
etc., B.M.
Foxhunters and Dogs leaving
the Inn, B.M. Etching by
J. Wright.
Foxhunters and
Wood, B.M.
J. Wright.
Full cry, B.M.
J. Wright.
Fox about to be Killed, B.M.
Etching by J. Wright . .
Boy and Pigs, B.M. Etching
by J. Wright.
Shepherds, B.M. Etching by
J. Wright.
Country Lads at a Gate, B.M.
Etching published by J. D.
Orme.
Belinda; or. The Billet Doux,
C, col., B.M 
Studies of follovriing, the etch
ings published by J. Harris;
B.M.: Pigs, etc.
Group of Goats.
Rabbits eating a Carrot.
Boy and Girl.
Sheep.
Men.Men and Horse.
Dogs.
Church and Milkman.
Youth diverting Age, B.M.,
M. (z). 1789). £6. . .
Rubbing down thePost-horse,
B.M., M. {p. 1792 and
1799) 
Children feeding Goats, B.M.
{v. 1792).

ENGRAVER.

PUBLISHER.

OWNER OF ORIGINAL
PAINTING.

Max Michaelis.

Burrows.

J. Read.

T. J. Barratt.

J. Grozer.
J. R. Smith.

Romer Williams.

1795-
Morning; or. The Benevolent
Sportsman, B.M., M. col.
1 gs 
Evening; or. The Sportsman's
Return, B.M., M. coL
£xs 2S. 6d., ^20 (fine)
The pair, proofs, in colours,
;^42 
f The Farm-yard, B.M., M

7 gS:

£^6.

The Farmer's Stable, B.M
M. X4gs. {cf 1792) .
The Rustic Ballad, M. £5
Hunting: Full Cry, B.M.
Women going up Ladder
B.M.

J. Grozer.

J. Grozer.

Ditto.

Ditto.

W. Ward.

J. R. Smith

Ditto.
S.W.Reynolds.

Ditto.
J. Read.

140

GEORGE MORLAND

1795-
Scene :

ENGRAVER.

PUBLISHER.

OWNER OF ORIGINAL
PAINTING.

Rustic Scene: Cattle, etc.,
B.M 
Huntsmen and Dogs, B.M.
Etching by J. Wright . .
Foxhunters and Dogs at Blue
bell Door, B.M. Etching
by J. Wright.
Studies of following, the etch
ings published by J. Harris;
B.M.: Men and Girl.
Sloop in a Creek.
Boat Ashore.
Friendship, B.M.
Gathering Wood, B.M. {cf
1799)  R. M. Meadows.
Gathering Fruit, B.M. The
pair, £x 6s. . . . Ditto.
The Lucky Sportsman, B.M. F. D. Soiron.

M

1796.
The Fleecy Charge,
£^ ^s 
Mutual Confidence; or. The
Sentimental Friends, M.
A Bear Hunt, B.M., M
£i i6j 
The Dram, B.M., M. 1 1 gs.
The Storm, B.M., M. £^ 5,^,
The Turnpike, L., B.M. .
Delicate Embarrassment; or.
The Rival Friends, M.
The Kennel, M. . . ,
Woodland, B.M. Etching
published by J. Harris.
Ruined Tower, B.M. Etch
ing published by J. Harris
Ruined Church, B.M. Etch
ing published by J. Harris
The Lovers' Retreat, B.M.,
M.
The Bell, B.M., L. . . .
The Turnpike, B.M., L. . .
Morning: or. The Higlers pre
paring for Market, B.M.,
C, col 
Evening; or. The Post-boy's
Return, B.M., C, col The
pair, coloured, ;^26,
;^36 15s.; "Morning"
alone, coloured, ;^35 . .

G. Shepheard. E. Bell.

B. Tabart.
T. Macklin.
J. Grozer.

S. W. Reynolds. S. W. Reynolds.
W. Ward. J. R. Smith.
Ditto. Ditto.
J. Fittier. J. Fittier.
E. Bell. J. Grozer.
S. W. Reynolds. S. W. Reynolds.

Sir Walter Gilbey, Bart.

J. Fittier.
Ditto.

D. Orme.

Ditto.

D. Orme.

Ditto.

Louis Huth.

Sir S. Montagu, Bart.

M.

1797.
Playing at Dominoes,
£3 lo-f 
Playing with a Monkey, B.M.,
M. £3 15s 

J. R. Reynolds. T. Ladd and
Wm. Atkins.
Ditto. Ditto.

APPENDIX IV

141

1797,
Inside of a Country Alehouse,
B.M., M.^ ;^36 (Bulteel
sale, 1904) {v. 1800) . .
The Labourer's Luncheon,
B.M., C. £2 xos. . . .
The Peasant's Repast, B.M.,
C. 6 gs. and £xo xc,s.
(fine) 
The Corn-Bin, col. M.
£^ T-os  .
A Litter of Foxes (Animals
by C. Loraine Smith, Land
scape by G. Morland), M.
Giri and Pigs, M 
Man, Woman and Boy on
Road, B.M. Etching by
T. Vivares.
Tree, B.M. Etching by T.
Vivares.
The Horse-Feeder, B.M., M.
£^1 {(/¦ 1799) - - - -
( Jack in the Bilboes, B.M. .
< The Contented Waterman,
( B.M 

ENGRAVER.

PUBLISHER.

OWNER OF ORIGINAL
PAINTING.

W. Ward.

W. Ward.

C. Josi.

J. R. Smith.

George Peck.

Ditto.

Ditto.

J. R. Smith.

Ditto.

J. Grozer.
W. Ward.

J. Grozer.
Collins and Morgan ;
Moore & Kirton.

J. R. Smith.
R. Clamp.
Ditto.
1798.
Breaking the Ice, B.M., M.
col. 5 gs., and 1 7 gs. col
oured  J. R- Smith, jun.
MilkmaidandCowherd,B.M., M. col. 4 gs., and ;^24 3^-.
coloured 
A Land Storm, B.M., M. .
J. R. Smith.
S. W. Reynolds.
cf W. Ward,
1790.
J. R. Smith.
Ditto.
Royal Holloway
College, Egham.
1799.
The Fisherman's Hut, B.M.,
M. 1 1 ^,f 
Selling Fish, B.M., M.
£xx OS. 6d. 
Gathering Wood, C. (c/^ 1795) R. M. Meadows.
The Horse-Feeder, col. M.
".f-f 
The Fern Gatherers, col M.
Watering the Cart-horse,
B.M., M 
Rubbing down the Post-horse,
M 
Old and Young Man and
YoungWoman,B.M. Etch
ing published by D. Orme.
Setters, B.M., col. M. £x xs.
(Setters by Ward, 1806) .
J. R. Smith.
Ditto.
J. R. Smith.
Ditto. Ditto.Ditto.
S. W. Reynolds.
Ditto. Ditto.
Ditto. Ditto. Ditto.Ditto. Ditto.
J. W. Knight.
Jas. Rawlinson.
1800.
The Fisherman's Dog, B.M.,
M 
Ditto.
S. W. Reynolds.
' For outside scene, see "The Publichouse Door," 1801.
142

GEORGE MORLAND

1800.
The Poacher, M. £2 xos. .
The Last Litter, B.M., col M.
1 2 gs. coloured (fine), ;^i 5
and ;^42 (Bulteel sale,
1904) 
The Hard Bargain, B.M.,
col. M. ;^i3 15,^. coloured
(fine) 
Woodland Scene, B.M. Etch
ing published by J. P.
Thompson.
River Scene, B.M. Etching
published by J. P. Thomp
son.
Ruined Church, B.M. Etch
ing published by J. P.
Thompson.
Tree and Cottage, B.M.
Etching published by J. P.
Thompson.
Ruined Tower, B.M. Etch
ing pubhshed by J. P.
Thompson.
Coast Scene, M 
Ditto.
Cattle crossing a Bridge,
B.M. Etching published
by J. P. Thompson.
Two Pointers, B.M. Etching
by T. Vivares.
Kennel of Dogs, B.M. Etch
ing by T. Vivares.
Woman Washing, B.M.
Etching by T. Vivares.
Study of Cat, B.M. Etching
by T. Vivares.
Two Dogs in Kennel, B.M.
Etching by T. Vivares.
Woman and Child at a Door,
B.M. Etching by T.
Vivares.
Ass, B.M. Etching by T.
Vivares.
Man and Woman in Wood,
B.M. Etching by T.
Vivares.
Two Dogs, B.M. Etching
by T. Vivares.
Dog, B.M. Etching by T.
Vivares.
Dog with Bone, B.M. Etch
ing by T. Vivares.
Cattle crossing Bridge, B.M.
Etching by T. Vivares.
The Millers, B.M., M. 165.
Fishermen, B.M., M. £x xs.
Inside a Country Alehouse,
B.M., coL M. {v. 1797) .

ENGRAVER.

PUBLISHER.

S. W. Reynolds. W. Jeffryes & Co.

OWNER OF ORIGINAL
PAINTING.

W. Ward.

Ditto.

J. L. Cartwright.

Ditto.

G. A. Daniel.

Hill.
Ditto.

Random Stain-
bank and Sayer.

S. W. Reynolds.
John Young.
W. Ward.

APPENDIX IV

143

J 800 ENGRAVER.
Hunting Scenes :
Going Out, col. M  E. Bell.
Going into Cover, coL M. . Ditto.
The Check, col. M. . . . Ditto.
The Death, col. M. . . . Ditto.
The set, ;^22 ioj'. ; in
colours, 24 gs., £$2.

1801.
The Shepherd, M 
(Selling Peas, M. col. £x2 .
Selling Cherries, M..C0I. £x4.
The pair, in colours,
;^56 14^ 
Alehouse - door, B.M., M.
£^ 14s 
Alehouse Kitchen, B.M., M.
;^2 45 
Alehouse Politicians, B.M.,
M. ;^i2 i.f. 6d. and ;i^49
(Bulteel sale, 1904). . .
The Mail-coach, M. £^ ^s.
The Publichouse-door, col.
M. 10 gs., £4 (proof)
(See note, 1797) . . .
Stable Amusement, B.M., M.
£9 
Returning from Labour, col.
M.. £1 2S 
The Rabbit Warren, B.M.,
A. x6s 
Sportsmen refreshing, B.M.,
A. {cf 1792) 
Coast Scene, M 
Ditto.
Two Boys fishing, B.M.
Etching published by J. P.
Thompson.
Three Portraits of Country
men, B.M. Etching pub
lished by J. P. Thomson.
Two Portraits of Stablemen,
B.M. Etching published
by J. P. Thompson.
Feeding the Pigs, B.M., M.
col. In colours (proof),
;^i4 145. {v. 1793) . .
1802.
Sailors' Conversation, B.M.,
col. M. ^11 ....
The Country Butcher, B.M.,
M. £3, £S ^°s. {v. 1810)
The Flowing Bowl; or. Sailors
returned, B.M 
The Brown Jug; or, Wag
goner's Farewell, B.M.
The pair, 7 gs 

PUBLISHER.

OWNER OF ORIGINAL
PAINTING.

W. Barnard.
E. Bell.

W. Barnard.
T. Ladd.

Ditto.

Ditto.

Max Michaelis.

R. S. Syer.

J. R. Smith.

Geo. Salting.

Ditto.

Ditto.

Sir Chas. E.
Hamilton

W. Ward.
S. W. Reynolds.

Wards and Co.
R. Ackerman.

W. Ward.
Ditto.

J. R. Smith.
Ditto.

Major H. J.
McClintock
Alfred Barrow.

T. Burke.

H. Macklin.

S. Aiken.

J. R. Smith.

Ditto.
I. Bailey. )
Ditto. J
Ditto.
Random, Stain-
bank and Sayer.
J. R. Smith.
W. Ward.
T. Gosse.
W. Barnard.
Ditto,
J. R. Smith.
Ditto.
W. Barnard.
Ditto.
John Walling.
144 GEORGE MORLAND
o ENGRAVER. PUBLISHER.
I002.
( Morland's "Summer," B.M.,
\ colM. 
( Morland's " Winter," col M. W. Barnard. W. J. Sargard.
Giri and Pigs, B.M., M. . . W. Ward.
' Giri and Calves, B.M., M.
( The pair, £2 6s. {v. 1791) Ditto.
Travellers, B.M., M. . . . John Young.
Dogs, B.M., col. .... G. Shepheard.
1803.
Shepherds reposing, B.M., C.
£x X4S  W. Bond. H. MackUn.
Shepherd's Meal, B.M., M.
£2 6s  J. R. Smith. J. R. Smith.
( A Conversation, B.M., M. . Ditto. Ditto.
< Peasant and Pigs, B.M., M.
( £5 ^°s  Ditto. Ditto.
A Visit to the Donkeys, M.
£2 xos., 5 gs  W. Ward. H. Macklin.
Peasant Family, C., col.^ 5 gs. J. Pierson. J. Pierson.
Giles, the Farmer's Boy,B.M.,
col. M. ^52 xos. (Bulteel
sale, 1904)  W. Ward. H. Macklin.
Woodcutters at Dinner, B.M. Thos. William-
Girl, Boy, and Sheep, B.M., son.
M  J. R. Smith.
Villagers, B.M., M. £xi5s. John Young.
The Weary Sportsman, B.M.
{v. 1805)  W. Bond.
A Cottage Family, M. £6 . J. R. Smith. J. R. Smith.
( Industrious Cottager, B.M. . W Blake.
\ The Idle Laundress, B.M.
I {v. 1788)  Ditto.
Innocence alarm'd, B.M., col.
M. ;^i4 105. and 48 gs. . J. R. Smith, jun. H. Macklin.
1804.
George Morland (died 1804),
Etching, B.M. £x xs. . T. Gaugain. J. Stephens.
( The Rustic Hovel, B.M. . . E. Bell. E. Orme.
^ The Cottage Spy, B.M. The
{ pair, £4  Ditto. Ditto.
Morland's Ass, M. £2 . . Malgo. Ditto.
Man, Woman, Ass and Dog
in Stable, B.M  John Young. John Young.
Lazy Shepherds : " Go, mind
them," B.M  Thos. William-
The Young Dealer: "Well, son.
what will you give? " B.M. Ditto.
First Love: "Well, I shall
have my mother after me,"
B.M  Ditto.
Ass and Pigs, with Boy, B.M.
Etching by T. Vivares.
Conversation, B.M. Etching
published by D. Orme. ' The companion to this is " Pedlars," 1805.

OWNER OF ORIGINAL
PAINTING.
Dowdeswell.
H. J. Bunbury.
Ditto.

W. I. Abraham.
C. A. Barton.
Ralph Richardson.

Rev. F. P. Lawson.
Sir Walter Gilbey, Bart.

Ditto.

APPENDIX IV

145

jgQ. ENGRAVER. PUBLISHER.
Duck-shooting, I. and II.
B.M.
Woodcock and Pheasant
Shooting, B.M.
The Setters, B.M.
f Boys bathing, B.M., col. M.' E. Scott.
\ Boys skating, col. M. . . . Ditto.
1805.
George Morland, Etching,
B.M. £x xxs  ^ ..-. _ ^
The Weary Sportsman, C. ^- ^'^^'^^'- ^- ^™'^-
Fisf ermfn goin|°out,^' B.M.," W. Bond. H. Macklin.
Pa^tridie^-s'hoofing, m! S- W. Reynolds. J. R. Smith.
^8 IOJ-. (proof) .... „ -r -r r-
I The Attentive Shepherd, col ^- J°"^'- J" "^^"^y-
( Shephferd, Dogtnd Ass, b'.m'. ^- ^'''f^^' ^- ^ff ^lin.
' Moriand's Cottager, C, col ^'"°- ^'"°-
Moriand's Woodman, C., 'col'., ^- WiUiamson. | T. Williamson
B.M. £x X2S  „.,, ( T 1, ^5
The Frightened Horse, col D^"°- ^ J°^" ^^"°^-
M 2 <^,f
Pedlars,' C.,'«/. B.M. (v. 1790 ^- 2'="- ^- '^''^^¦
PayhiVS Horsekr, ' P.M.] J" Shepherd. J. Shepherd.
colM. ^18 10.. (5 May, g. W. Reynolds. H. Macklin.
1900)  ¦' „
Frost-piece, B.M., C. . . . r^, „,.„. J^'- ^™<^«^e.
Travellers reposing, B.M. . Thos. William-
Rustic Cares: "Chuck, chuck, ^?°'
chuck," B.M. . . . : °! °-
Tired Gypsies, B.M. . . . ^"'°-
Summer's Evening, B.M., col. j.-
£2 iss  ' °'
Winter's Morning, B.M., col. y-.- .
;^5 ioj'.,and;^ioincolours
George Moriand, B.M. Etch
ing by T. Vivares from the
Drawing by G. Morland. t 9 tt
Pointer and Hare, B.M., L. . n>t°
The Farm-yard, B.M., L. . ^"'^°-
Winter Scene, B.M.
1806.
The Female Pedlar ... R. H. Heath. Thos. Tegg.
The Disabled Soldier . . . Ditto. Ditto.
George Moriand, M. . . . J. R. Smith. J. R. Smith.
Morland's Emblematical Pa
lette, B.M  S. W. Reynolds. J. Linnell.
The Turnpike-gate, B.M., M.
19 gs. and ;^23 .... W. Ward. Ditto.
Pigs, C  R. M. Meadows. W. T. Strutt.
' Also engraved by Bartolozzi, B. M.
^ The companion is "Fishermen on Shore," 1806.
' The companion is " Peasant Family," 1803.
u

OWNER OF ORIGINAL
PAINTING.

Col. F. A. White.

Sir Walter Gilbey, Bart.

Major H. J.
McClintock.

146 GEORGE MORLAND
OWNER OF ORIGINAL
ENGRAVER. PUBLISHER. PAINTING.
Rabbits, b!m°, M  W.Ward. J. Linnell. E. Meredith Crosse.
Guinea-pigs, B.M., M. The
'£%s.il (;o°of) '." ' Ditto. Ditto. Capt. F. Lowther
The Warrener, B.M., M. ^^ n>T , ^
J 3^^  Ditto. Henry Morland. ,
Fishermen on Shore, B.M., M.
:L^£llt 6ihlloonn W. Hilton. J. R. Smith. George Peck.
SeSs^'B.M., M. col £5 1 5^- W. Ward. J. Linnell. Sir Walter Gilbey
and^2 1 coloured (c/: 1 799) W. T. Annis. H. Macklm. Bart.
Boy and Pigs, M  „,,,, t-jjtj
The Thatcher, B.M., M. Wm. Ward. G. Morland. Edward Boyes.
£x4 ss. 6d. 
Coast Scene, B.M.
Studies of Dogs, B.M. T. Williamson.
Woodcutters, B.M. . . . Ditto.
Cottagers in Winter, B.M. .
Men in Cart, Child, etc.,
B.M. Etching published
by D. Orme
Donkey and Boy, B.M. Etch
ing published by D. Orme
The Contented Waterman, Wm. Ward.
B.M., M  .^.
The Shepherds, B.M., M. Ditto. Ditto.
£x 35. and £6 los. . .
1807. J. R. Smith. T. Falser.
The Pigsty, M. £x x6s. . Ditto. Ditto. Capt. F. Lowther,
Guinea-pigs, M  R.N.
Ditto. E. Meredith Crosse.
Rabbits, M. {v. 1806)' . .
Girl with Bottle and Glass,
B.M. Etching pubhshed
by D. Orme.
Dog following a Man, B.M.
Etching published by D.
Orme.
Donkeyand Girl, B.M. Etch
ing published by D. Orme. j r Smith.
Boy and Pigs, B.M., M. . . ' jjjtto.
Rabbits eating, B.M., M. . Ditto.
Guinea-pigs eating, B.M., M.
1808.
Rest from Labour, B.M., C. r,^ ^ , T^ t 1
/-J j-^ T. Burke. R. Lambe.
Puss alarmed, M. ". '. ". ". ^- ^^'^^- Di"°-
1810.
The Country Butcher, M.
{v. 1802)  W. Barnard. J. Higham. John Walling.
Puss, B.M., M  T. Hodgett. H. Morland. Companion.
' Guinea-pigs, engraved by T. Gaugain, 1789. Dancing Dogs, 1790.
,, ,, W. Ward, i8o6. Rabbits, 1806.
,1 ., J. R. Smith, 1807. ,, 1807.

APPENDIX IV

147

1811.
The Cottage Fireside, M. .
{Fishermen preparing to go
out, A 
The Fishermen returning, A.
Snipe-shooting, B.M.
The Laetitia Series of 1789
republished, B.M. . . .
1812.
Tottenham Court Road
Turnpike, and St. James's
Chapel, B.M.
1813.
The Angry Boy and Tired
Dog, B.M., C 
The Young Nurse and Quiet
Child, B.M., C 
Vocal Music, B.M., C. £x
1814.
Bathing Horses, B.M., M. .
I African Hospitality, B.M., M.
\ Slave Trade, B.M., M. . .
Coursing, B.M., C.
1816.
Gathering Fruit, C. . . .
1817.
Morland's Land-Storm, C.
x6s  1824.
Hunting Scene, B.M.
1889.
A Tea-garden {originally pub
lished 1790), C, col.

ENGRAVER.
W. Barnard.
— Jakes.
Ditto.

J. R. Smith.

G. Graham.
Ditto.
J. Baldrey.

W. Ward.
J. R. Smith.
Ditto.

R. M. Meadows.

T. Williamson.

F. D. Soiron.

PUBLISHER.
Thos. Falser.
J. Deeley.
Ditto.

OWNER OF ORIGINAL
PAINTING.

T. Falser.
Ditto.Ditto.

R. Lambe.
Originally pub
lished 1 791.

T. Falser.

Ditto.

Supplement of
"The Graphic"
of March 23,
1889.

Ralph Richardson.

INDEX

ALKEN, S., engravings by, loo.
Angerstein, Mr., 9, 10.
Angler's Repast, The, the first mezzo
tint after Morland, 94.
Annis, W. T., engravings by, 100.
Baldrey, J., etchings by, 100.
Barnard, William, engravings by, 99, loi.
Bell, Edward, engravings executed and pub
hshed by, 98, loi.
Benevolent Sportsman, The, 52.
Blagdon, F. W., his George Morland's Pictures,
quoted, 7, 47, 52, 62, 70, 75.
Blake, W., engravings by, 30, 100.
Bond, William, engravings by, 100, 10 1.
Brooks, the shoemaker, his acquaintance with
Morland, 33, 37, 39, 40, 55, 62, 63.
Burke, T., engravings by, 100, loi.
Burn, an acquaintance of Morland, 55.
Bute, Marquis of, his collection visited by
Morland, 90.
Cherry Girl, The, 36.
Clamp, R., engravings by, 100.
Clifton, Mr., his quarrel with Morland, 68.
Cochill, Sergeant, Morland and, 66, 67, 68.
Collins, William, his Sketch of George Mor
land, quoted, 2, 6, 7, 8, 9, 29, 30, 31, 32,
40, 43) 45j 5°j 56j 70j 7Ij 75j 7^, 80, 81,
82, 85; acquaintance with Morland, 30;
brings Henry and George Morland together,
42; anecdote referring to, 61, 62; Mor
land's kindness to his son, 78; his descrip
tion of Morland at the end of his life, 81;
his epitaph on Morland, 83.
Colnaghi, Messrs., exhibitions of engravings
after Morland, by, loi.
Crane, Morland's man, 51, 52.
Crozer, Joseph, engravings executed and pub
lished by, 98.
Cunningham, Captain, takes Morland's part
in a quarrel, 68.
Cunningham, Allan, quoted, 65, 72, 74.

Davis, a pupil of Morland, 85.
Dawe, George, his Life of Morland, quoted,
ij 4, 6, 7, 8, 10, II, 12, 14, 15, 16, 17, 19,
20, 21, 32, 33, 34, 36, 37, 38, 40, 47, 54,
55, 56j 57j 59j 62, 63, 67, 70, 73, 74, 76,
79, 80, 84, 92.
Dawe, Philip, i; engravings of G. H. Mor
land's pictures, by, 2-; Morland's friend
ship with, 1 1 ; letters from Morland to, 1 7-
19, 22, 24, 27; engravings of Morland's
pictures by, 96.
Dayes, E., engravings by, 99, 100.
Dean, a horse dealer, Morland and, 57, 58.
Dean, John, engravings by, 98, loi.
Derby, Lord, story of Morland and, 47.
Deserter, The, 36 ; engraved by Keating, 96.
Dodd, R., engravings by, 100.
Dum^e, E. J., engravings by, 99.
Dutch painters, the, Morland compared with,
90, 91.
Duterreau, engravings by, 99.
Fittier, James, engravings by, 97.
Flaxman, John, a friend of Henry Morland,
II.
Forster, Mr., a friend of Henry Morland, 11.
Gainsborough, Thomas, 87, 88.
Garrick, David, portrait of, as Richard III.,
by Henry Morland, 3.
Gaugain, T., engravings by, 96, 97, loi; por
trait of Morland, by, 97.
George III, portrait of, by Henry Mor
land, 3.
Graham, George, engravings by, 97, loi.
Gress, Mr., his proposal refused by Morland,
14.
Grozier, the engraver, Morland lodges with,
63-
Gunning, the Misses, portraits of, by Henry
Morland, 3.
Hamilton, Duke of, story of Morland and, 47.

'49

I50

INDEX

Hand, Thomas, a pupil of Morland, 54, 55,
85-
Harris, Mr., a friend of Morland, 78.
Harris, etchings published by, 100.
Hassell, J., his Life of Morland, quoted, 9,
10, 15, 17, 47, 49-
Hill, Mrs., her friendship with Morland, 17-
20; goes with Morland to France, 25.
Hilton, W., engravings by, 100.
Hodgetts, T., engravings by, 100.
Hogarth, William, Morland compared with,
87.
Hogg, J., engravings by, 100.
Houston, Richard, engraving by, 3.
Hudson, Henry, engravings by, 97.
Humphrey, W., engraving by, 100.

Ldle Laundress, The, 30.
Idle Mechanic, The, 30.
Indtistrious Cottager, The, 30.
Industrious Mechanic, The, 30.
Irwin, his connection with Morland, 32, 38;
quarrel with Morland, 39; death of, 39.
Jakes, engravings by, 100.
Jenner, J., engravings by, 100, loi.
Jones, E., engravings by, 100.
Josi, C, engravings by, 100.
Keating, George, engravings by, 96.
"Knights ofthe Palette, The," 75.
Laetitia (six pictures), 30, 87 ; engraved by
J. R. Smith, 95.
Levi, Morland's attack on, 52.
Loughborough, Lord, portraits of, 20.
Lynn, Mr., the surgeon, lends Morland his
cottage at Cowes, 68; buys Morley's pic
tures, 69.

Mango, engravings by, 100.
Meadows, Robert Mitchell, engravings by,
99.
Merle, a carver, Morland and, 63, 64.
Millet, J. F., Moriand compared with, 88.
Morland, Mr., a banker, 44.
Morland, Edward, brother of George, 42.
Morland, George, birth of, i; his family, 2-
6; his early talent, 6, 7; studies at the

Academy Schools, 7; apprenticed to his
father, 8 ; copies Dutch and other pictures,
8, 10; hard-worked by his father, 9; his
illustrations to Spenser, etc., 10; his re
pugnance to educated society, 10; his
friendship with Philip Dawe, 11; rejects
Romney's offer, 12; falls into bad habits,
12, 13; compared with his father, 14; ad
ventures at Chatham, 15; engaged to work
for a dealer, 16; goes to Mrs. Hill at Mar
gate, 17; letters from Margate, 17-19; at
tracted by Mrs. Hill's maid, 18-19, 20; his
friendship with Mr. Sherborne, 2 1 ; his tastes,
21 ; experiences as a jockey, 22-24; journey
to France, 24, 25; impressions of France,
25-27; entanglement with Jenny, 27; frees
himself by a strategem, 28; again in love,
28; marries Anne Ward, 29; domestic
difficulties, 29; moves to Kentish Town,
30; his companions and habits, 31; his
acquaintance with Irwin, 32; and with
Brooks, 33; stories of his follies and ex
travagance, 34 et seq.; many animals kept
byj 35j 36j 43j 73; the objects in his pic
tures painted from life, 36, 37; in money
difficulties, 38, 39; quarrels with Irwin,
39; hides from his creditors, 39, 40; moves
to Leicester Street, 40; story of Colonel
Stuart and, 41 ; his treatment of his patrons,
42, 55; his life in Paddington, 43; his
method of learning boxing, 43; stories of
his eccentricity, 45, 46; reason for his ob
jection to associating with respectable
people, 47; story of Lord Derby and, 47;
the Duke of Hamilton and, 47; story of
the bun-baker and, 48; flees from his
creditors to Enderby, 48 ; his affection for
his wife, 49; his love of children and
animals, 49, 50; his arrangements with his
creditors, 51, 55, 58, 77; returns to Lon
don, 5 1 ; his quarrel with Levi, 5 2 ; Billings
gate stories of, 53, 54; wanders about the
country, 55, 56; his trick on the fisher
men, 56; his failing health, 59; list of
drink taken on one day, 60; his frequent
change of residence, 61 ; his acquaintance
with Merle, 63; life at Hackney, 64; his
house entered by the Bank authorities, 65;
lives with his brother, 66; goes to Cowes,
68; flees to Yarmouth, 70; arrested as a
spy, 70, 71; released, 71; paintings at
Freshwater, 71, 72; returns to London,

INDEX

151

73; arrested, 73; his life in "the rules"
ofthe King's Bench, 73-75; liberated, 75;
goes to Highgate, 76; quarrels with his
host and returns to his brother, 76; places
himself in the custody of Mr. Donalty, 77 ;
his kindness to Collins's son, 78; his de
bility and nervousness, 79; Collins's de
scription of, 81 ; his last days, 81-83 > death
of, 83; epitaph on, 83; his pupils, 85-86;
fraudulent copies of his pictures, 86; char
acteristics of his art, 87-93 j compared
with Hogarth, 87; compared with the Bar
bizon painters, 88; his kinship with the
Dutch school, 90, 91; his engravers, 94-
loi; portrait of by Gaugain, 97; exhibi
tions of engravings after, loi.
Morland, Mrs. George, marriage of, 29; Mrs.
Ward and, 29; has a stillborn child, 30;
her relations with her husband, 49, 59, 77,
84; illness of, 68; in lodgings in Padding
ton, 77; death of, 84.
Morland, George Henry, grandfather of
George, 2; pictures by, 2.
Morland, Henry, brother of George, 3 ; deals
in his brother's pictures, 4 ; returns to Eng
land and finds out George, 42; becomes
George's guardian, 62; nicknamed "Klob
stock," 64; George lives with, 66; gives
George warning at Cowes, 70; pictures
painted for, 73; dealing with George in his
last years, 80-82.
Morland, Henry Robert, father of George,
i; character of, 2, 9, 13; works by, 2;
George apprenticed to, 8; sells George's
copies as originals, 8; intimate with Rey
nolds, 10 ; failure of his treatment of George,
12, 13.
Morland, Maria, mother of George, Ward's
description of, 3; pictures by, 4.
Morland, Maria, sister of George, 4 ; marries
William Ward, 29.
Morland, Sophia, sister of George, 3.
Morland, Sir Samuel, account of, 4-6.
Morland, Rev. Thomas, 4.
Nettleship, J. T., his Morland, quoted, 88.
Nutter, W., engraving by, 190.
Orme, etchings published by, 100.
Paying the Ostler, 90.

Pettitt, John, engraving by, 100.
Prattent, engravings by, 99.
Prestel, engravings by, 99.
Redgrave's Dictionary of Painters, quoted,
2, 3-
Reynolds, Sir Joshua, his Garrick between
Tragedy and Comedy, copied by Morland,
8, 10; relations between the Morlands and,
10.
Reynolds, Samuel William, engravings by, 96,
101.
Richardson, Ralph, his George Morland,
quoted, 13, 33, 72.
Romney, George, offers to take Morland into
articles, 12.
Rowlandson, T., etchings by, 100.
Rubbing down the Post-horses, 52.
Scott, E., engravings by, 100.
Shepheard, G., engraving by, 100.
Sherborne, Mr., Morland and, 21, 44.
Sickert, Walter, his comparison of Morland
and Millet, 88.
Smith, Claude, Morland's visit to, 51.
Smith, J. R., engravings by, 30; engravings
by, 95, 101.
Soiron, engravings by, 99, loi.
Spencer, Mr., the landlord of the Garrick
Head, 78.
Sportsman's Return, The, 33.
Stephens, J., portrait of Morland pubhshed
byj 97-
Stuart, Colonel, story of Morland and, 41 ;
picture painted for, 52.
Suntach, M., engravings by, 97.
Syer, R. S., engravings by, 100.
Sympson, George, Morland's servant, 68, 76.
Tanner, a pupil of Morland, 85.
Thompson, J. P., etchings published by, 100.
Tomkins, Peltro, engraving by, 97.
Tupman, a watchmaker, Morland and, 53,
55-
Vivares T., etchings by, 100.
Ward, Anne. See Morland, Mrs. George.
Ward, James, the Conversations of Northcote
and Ward, quoted, 3, 9, 10, 84; engrav
ings of Morland's pictures by, 94, 95.

152

INDEX

Ward, William, marries Morland's sister, 29;
anecdote relating to, 61, 62; engravings
of Morland's pictures by, 94, 95, 100, loi.
Watering the Farmer's Horse, 52.
Watson, T., engraving by, 2.
Wedd, Morland's attorney, 39, 45, 65, 66,
67, 68, 71.

Wedderburn, Mr. See Loughborough, Lord.
Westminster, Duke of, collection of, 17.
Williamson, Thomas, engravings by, 98, loi.
Winter and Key, Messrs., 65.
Wright, J., etchings by, 100.
Young, John, engravings by, 99.

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