George Morland Paintings

George Morland (1762-1804) The Farrier Signed and dated 'G Morland, 1793' lower left Oil on canvas Canvas Size - 27 5/8 x 36 in Framed Size - 35 x 43 in Geo...

George Morland (1763 London - 1804 Brighton). Sheltering from the Storm. Oil on canvas, relined, 37.5 x 29.5 cm (visible size), 53.5 x 45.5 cm (frame), signed and dated at lower left...

George Morland (1763-1804) A white horse sheltering from a storm Oil on canvas Painting Size 11 3/8 x 13 3/4 in George Morland was born in June 1763. An English painter, mainly of s...

A charming rustic scene with figures drinking outside a tavern. Painted on a lovely old oak panel with labels and a wax seal. George Morland (1763-1804) Figures outside an Inn Oil on panel With seal and labels to the reverse 7 x 6 inches 10 x 9 inches including the frame George Morland (26 June 1763 in London – 29 October 1804 in Brighton) was an English painter. His early work was influenced by Francis Wheatley but after the 1790s he came into his own style. His best compositions focus on rustic scenes: farms and hunting; smugglers and gypsies; and rich, textured landscapes informed by Dutch Golden...

A beautiful original oil on canvas by George Morland R.A. the important english landscape and figure painter who worked din the 18th century. This large canvas depicts boats heading ...

Barn Interior With Horses & Figures, circa 1800 by GEORGE MORLAND (1763-1804) sales to $190,000 Large 18th Century English Barn interior scene with farm workers and various horses entering at the end of the days work, oil on canvas by George Morland. Excellent condition for its age, signed top right on the rag covering the window. Leading example of the artists work, presented in a good frame ready to hand and professionally relined and restretched (will not need any conservation for another 50 years). Rare leading example of the artists work. Measurements: 46" x 36" framed approx GEORGE MORLAND 1763-1804 George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland and grandson of George Henry Morland. He began to draw at the age of three and at the age of ten his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777 before exhibiting again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child in a garret to make drawings from pictures and casts for which he found a ready sale. The boy on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others, he copied Fuseli's ‘Nightmare’ and Reynolds's ‘Garrick between Tragedy and Comedy’. He was also introduced to Sir Joshua Reynolds and obtained permission to copy his pictures and, all accounts agree, before he was seventeen he had obtained a considerable reputation not only with his friends and the dealers but among artists of repute. A convincing proof of skill in original composition, which he had then attained, is the fine engraving by William Ward after his picture of ‘Angler's Repast’ which was published in November 1780 by John Raphael Smith. Morland went to Margate where he painted miniatures for a while and then paying a short visit to France in 1785, where his fame had preceded him and he had no lack of commissions. Returning to London, he lodged in a house, at Kensal Green on the road to Harrow, near to his friend William Ward whose family seems to have had a steadying influence. It resulted in Morland's marriage to Miss Anne Ward...

George Morland (1763-1804) A gentleman shooting in a landscape Oil on canvas 17 7/8 x 24 1/8 in 45.5 x 61 cm George Morland was born in June 1763. An English painter, mainly of scen...

GEORGE MORLAND (BRITISH 1762/63-1804) Heading home with the days catch - Beach scene landscape Signed with initials lower right oil on canvas 28 x 36 in George Morland was the eldes...

George Morland (1763-1804) Bedtime Oil on Panel, 36 x 28cm / 60 x 52cm £9500 A touching subject matter and an excellent example of the work of one of Britain's most famous 18th ...

A wonderfully painted oil on canvas by George Morland depicting children playing outside a cottage on a snowy winter's day. Signed lower right. George Morland was the son of the pastel portraitist, dealer and restorer Henry Robert Morland and the grandson of the genre painter George Henry Morland. He was taught by his father and first exhibited at the Royal Academy at the age of fifteen. Until the age of twenty-one, he devoted his entire existence to his work, his only friend being the painter and engraver Philip Dawe. In 1784, George Romney offered him a position as his assistant, but Morland refused, because he wanted to enjoy his freedom. In any case, the young artist had already produced works that had met with great success, such as The Angler's Repast, which had been painted when he was barely seventeen years old and was reproduced by William Ward. At first Morland painted portraits in Margate and at St-Omer in France. In 1876 he went back to London, where he married the sister of the engraver William Ward. Shortly afterwards, Ward married Morland's sister, and this double alliance cemented a collaboration which provided the English School with a considerable number of attractive and interesting prints. At the start of his career, Morland was mainly a painter of childhood. He depicted an English ideal of childhood in all its prettiness, with a pleasant, even witty touch. He had the gift of working with great ease and produced a large number of paintings in this genre. In the years 1788 and 1789 alone, no less than 59 engravings after Morland appeared. They were mezzotints of elegant scenes of childhood, executed by the finest artists. From 1790, Morland broadened his range, painting a greater variety of subjects. Though children still appeared in some of his pictures, they rarely played the principal part in the way they had previously done. On the other hand, horses, sheep, pigs and poultry feature in a large number of canvases. It was also around this time that he produced his series of recruits and deserters, and his gypsies, fishermen, and scenes of inns and public coaches. He was earning a lot of money, but he was spending even more, and he was obliged to retreat to a country dwelling in Leicestershire. This stay in the country had a considerable influence on his talent and sharpened his taste for landscape. When Morland returned to London in around 1792, he suffered the consequences of his past follies, as his creditors had obtained warrants for his arrest, and he lived in hiding for several years in order to avoid imprisonment. In the end he grew tired of this and in 1799 he took refuge in a cottage near Cowes on the Isle of Wight, which had been lent to him by a friend. He remained there for almost a year, living among the sailors and fishermen, where he found many typical faces he could use in his paintings. His return to London early in 1800 was swiftly followed by his imprisonment for debt. Briefly released in 1802, he was imprisoned again following an apoplectic fit, which left him unable to work. His wife survived him by only a few days. Morland is an interesting figure in the English School, an artist full of charm and verve. He left a considerable body of work. According to his family, during the last eight years of his life, he produced around eight hundred paintings and more than a thousand drawings. Museum and Gallery Holdings Bath (Holburne Mus. of Art): Horse and Dog in a Stable (1791, oil on canvas); The Deserter Pardoned (1792, oil on canvas) Birmingham (Mus. and AG): Pigs (oil on canvas); Shooting Sea Fowl (oil on canvas) Bristol: Interior with Sheep Bristol (City Mus. & AG): Quarry Scene (two); Gypsies in a Landscape (oil on canvas); Man Grooming Horse; Boy Seated on a Drinking Horse Budapest: Pigsty Dublin: Landscape with Figures and Cattle Edinburgh: study Glasgow: Smugglers on the Shore; Storm and Shipwreck; Seascape Leeds (City AG): Coast Scene (oil on canvas) Leicester: Calm Sea off the Isle of Wight London (National Portrait Gal.): George Morland (c. 1775-1780, oil on canvas); Henry Robert Morland (pencil, father of the artist); George Morland (c. 1795, chalk) London (Tate Collection): Inside of a Stable (exhibited in 1791, oil on canvas); Outside the Ale-House Door (1792, oil on canvas); Door of a Village Inn (oil on canvas); Rabbiting (1792, oil on canvas); The Fortune Teller (oil on canvas) London (Victoria and Albert Mus.): Farmer Paying his Bill to the Innkeeper; Horses in a Stable; Fishermen; Fishing Boats with Figures; Girl Stroking a Pigeon; Johanny Going to the Fair; Hunting Scene; Farmyard; Cottage, Farm Cart and Dog London (Wallace Collection): A Visit to the Boarding School (1789, oil on canvas) Manchester: watercolours Montreal (Learmont Collection): Village Brewery New York: Town-Country Nottingham (Castle Mus. & AG): The Wreckers; The Artist in his Studio; Sportsman Resting; Two Horses in the Snow...

Travellers Resting Attributed to George Morland (British 1763-1804) oil painting on canvas, framed canvas: 28 x 34 inches framed: 34.5 x 40 inches Very fine antique English oil pai...

An original signed oil on canvas by English artist George Morland (1763-1804), titled "Gypsies Resting in a Forest", c. 1790. Bears original brass plaque with title and art...