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Dictionary of painters and engravers, biographical and critical online

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which were sold in England. Some of his pictures
are in the Stadel Gallery at Frankfort.

MORGHFjN, Antonio, engraver, and younger
brother of the famous Rafaello Morghen, has
engraved :

The Transfiguration ; after Saphael.

Winter ; after Michau.

A Holy Family ; after Raphael.

A,dam and Eve ; after Eeni.

MORGHEN, FiLiPPO, who was born in Italy
about 1730, distinguished himself as a designer
and engraver. After having studied for seven years
at Rome, he was employed at Naples, where he
carried on a trade as printseller, and received the
title of engraver to the King of the Two Sicilies.
The date of his death is unknown. He was the
father of Rafaello, and the brother of Giovanni
Blia, Morghen. He executed a considerable number
of plates for the 'Antiquities of Herculaneum,'
published at Naples in 1757, but his most important
plates are :

A set of the Twelve Apostles, after the statues by
Baccio Bandinelli at Florence.

Thirty-one Landscapes and Views of Buins in the
Environs of Naples.

MORGHEN, Giovanni Elia, was born at
Florence in 1721, and was for a time a scholar
of D. Ferretti. He engraved for the Marchese
Gerini the greatest part of the plates of ' Pitture del
Salone Imperiale del Palazzo di Firenze,' after the
paintings of Giovanni Manozzi, Balthasar Frances-
chini, and other artists. In 1767 he published six
plates of the 'Antiquities of Psestum,' after
Antonio Joly. He signed his works G. M. R.
(Regius) d. ; Oio. Morg, B. dis. or a monogram.

MORGHEN, Rafaello, one of the most celebrated
engravers of modern times, was born at Florence
in 1768. By his father, Filippo, and his uncle
Giovanni Elia, who were both engravers, he was
very early instructed in the first principles of his
art, and even in his twelfth year he executed a
plate after tlie Prophets of Baccio Bandinelli, at
Florence. His first engravings, however, of con-
sequence, were seven plates from the Masks of
the Carnival of 1778, the Pilgrimage of the Grand
Signior to Mecca ; a work of such extraordinary
merit for a youth of twenty, that his father was
desirous he should receive the best instruction
that could be procured, and sent him accordingly
to Volpato, at Rome. His first employment was
copying a print of E. Sadeler, 'Christ and Mary
Magdalene in the Garden,' and shortly after Gavin
Hamilton's allegoric figure of ' Painting,' for the
brothers Hackert. In 1781 he engraved Raphael's
figures of ' Poetry ' and ' Theology,' in the Vatican.
In this same year he married Volpato's only
daughter, Dominica, and afterwards worked in
conjunction with his father-in-law, assisting him in
his ' Parnassus,' after Raphael. In 1787 he en-
graved the ' Aurora ' of Guido, in the Rospigliosi
Palace, which for some time was considered his
finest plate. Many other important works followed,
among which, 'The Last Supper,' after Leonardo
da Vinci ; ' The Transfiguration,' and the ' Madonna
della Sedia,' after Raphael ; the ' Duke de Moncada,'
after Van Dyck ; the Portraits of Raphael, the
Fornariua, Leonardo da Vinci, the Five great Writers
of Italy — Dante, Boccaccio, Petrarch, Ariosto, and
Tasso — are brilliant examples. The whole of his
works have been fully described by his scholar.
Palraerini, to whom it was his custom to give an
174



impression, in every state of the plate, from the
first outline to the finished proof. The whole of
this collection was purchased bj' the Duke of
Buckingham for £1200. In 1793 Morghen was
appointed Professor of the Academy at Florence,
by the Grand Duke Ferdinand III. He was a
member of several academies, and a ooiTesponding
member of the French Institute. Morghen died
at Florence in 1833. The following list is taken
from Palmerini :

PLATES EXECUTED AT NAPLES.

1. A Youth Praying.

2 & 3. Two plates ; after Londonio (Shepherds and

Flocks).
4-11. Eight figures of Prophets ; after B. Bandinelli.

12. II giuco di Pallone.

13. Statue of Isis.

14. View near the Temple of Venus Genitrix, at Baise.

15. „ of Lava beds at Herculaneum.

16. „ of two Hexastyle Temples.

17. „ of a Temple.

18. „ of a Temple.

19. Caligula's Bridge.

20. La Grotta del Cane.

21. Portrait of Ferdinand IV., King of the Two S'cilios ;

after Fr. Liani.

22. Portrait of Maria Carolina, his queen ; after the same.
23-34. Scenes from the Masquerade at I^aples in tLe

Carnival of 1778.

35. Arms of the Duke of Cassano Serra.

PLATES EXECUTED IN EOMB.

36. Christ appearing to Mary Magdalen.

37. St. Mary Magdalen ; after Guido.

38. ' Painting ; ' after Gavin Hamilton

39. ' Poetry ; ' after the same.
40-41. ' Mater Dolorosa.'

42. Sea View ; after du Cros.

43-46. Illustration to the Story of Germanicus ; after
Grandjean.

47. ' Poetry ; ' after Raphael's lunette in the Vatican.

48. ' Theology ; ' after the same.

49. ' Jurtsprudence ; ' after the same.
50-58. Nine Views of Padua.

59-62. Portrait of the Princess della Boccella, and three
illustrations for her works ; after F. Fischietii.

63. The Miracle of Bolsena ; after Raphael.

64-5. Two sheets of heads from Raphael's frescoes in
the Vatican.

66. Unknown Portrait; after Mierevelt.

67. * Philosophy ; ' after Raphael's lunette in the Vatican.

68. ' Justice ; ' aftei^ the same,

09-70. Two plates of Bacchus (?) engraved in collabor-
ation with Volpato ; after P. F. Mola.
71-77. Seven Views of Terui.
78-113. The Study of Design, in thirty-six plates.

114. Parnassus ; after R. Mengs.

115. Diana Hunt-ng ; after Domenichino.

116. Portrait of Stanislaus Augustus, King of Polaud ;

after D. Cardelli.

117. Portrait of the Cavaliere Gaetano Filangieri ; after

Tofanelli.

118. St. John the Baptist ; after Guido.

119. Holy Family ; after Rubens.

120. Vignette.

121. Nozze di Germauico ; after Domenico del Frate.

122. Theseus ; after Canova.

123. St. Philip Neri.

124. Madonna ; after Andrea del Sarto.

125. Aurora ; after Guido.

126. His own portrait, from his own design.
127-129. Three Landscapes.

130. Lot and his Daughters ; afer Guido.

131. Riposo ; after Nicholas Poussin.

132. Dance of the Seasons ; after the same.

133. Angelica and Medora ; a/ter Teod. Matteini.

134. Funeral of Pius VI. ; after Tofanelli.
135-6. Two Vignettes with portraits.
137. Portrait of Charles III. of Naples.

138-9. Two Medallion portraits of Charles IV. and
Ferdinand IV. of Naples.



Morghen



PAINTERS AND ENGRAVEIIS.



Morin



140. Head of Augustus ; from an antique marlle.

141. The Comic Muse ; after Angelica Kauffmarm.

142. Head of Jupiter ; from an antique Cameo.

143. Portrait of Filippo Morghen.

144. S. Pius V.

145-157. Portraits of Count Francesco AJgarotti.

158. Tomb of CieraentXIII. ; after Canova.

159-161. Suor Maria dell' Incarnazione ; after Matteini.

162. Portrait of General Francesco di'Moncada; after

Van Dyck.

163. ' II Presepio ; ' after E. Mengs.

164. Madonna della Seggiola ; after Ratphael.

PLATES EXEODTED AT FLOEENCE.

Madonna della Seggiola ; after Raphael.
' Charity ; ' after Gorreggio.
Portrait of Alfieri ; after Fr. Xav. Falrre.
The Holstein Beek Family; after Angelica Kauffmann.
Portrait of Domenica Valpato Morghen ; c^ter the
same.
'. Portrait of Fortunata Sulgher Fantastic! ; after the
same.
Portrait of Maccbiavelli ; after A. Bronzino.
Portrait of Ovid in a Medallion.
Head of a Nun.
Portrait of Madama Fu'ger.
La Madonna dell Sacco ; after Andrea del Sarto.
The Transfiguration ; after Raphael.
The Virgin with the Sleeping Christ ; after Titian.
Visiting Card for Senator Bartolini.
Venus ; from an antique Cameo.
The Last Supper ; after Leonardo da Vinci.
Portrait of Deodato Turchi ; after Fr. Vieira.
Madonna ; after Caravaggio,
Card Plate.
Card Plate for Murat.
The Archangel Gabriel ; after L. Sabalelli.
Portrait of Giovanni Valpato ; after A ng. Kauff-

mann.
Portrait of Giorgio Jonas Mayer ; after Ettlinger.
Penitent Magdalen ; after Muriilo.
Portrait of Attilio Zuocagni ; after Santarelli.
St. Philip Neri ; after Tofan.lU.
Portrait of Raphael Sanzio.

„ „ Dante ; after Tofan Hi.
■4. „ „ Louis XVIII. ; after the sa,me.
Medallion portraits of the King and Queen of
Etruria.
'. Book plate for the King of Etruria.
. Portrait of an Austrian Prince (?)
. Madonna ; after Lo'J. CaiTacci.
Mary Magdalen ; after Ermini.
Portrait of Petrarch ; after Tofonelli.
ilDsculapius ; from an antique marble.
Portrait of Canova; after A. d'Este.

„ „ Dante.
Head from the ' Transfiguration ; ' said to be that

of the Foruarina ; after Raphael.
Portrait of Tasso ; after Ermini.

„ „ Napoleon ; after Tofanelli.
Head of Christ.

Portrait of Ariosto ; after Tofanelli.
The ' Transfiguration ; ' after R-iphael.
Card plate.

Napoleon on the Great St. Bernard ; after David.
Portrait of Jacopo Trivulzi.

Madonna del Cardellino ; after Raphael. »

Medallion portrait of the Grand Duke Ferdi-
nand III.
The Fornarina (?) ; after Raphael {Seb del Pirnnbo).
Portrait ef Elisa Bonaparte Baciocohi ; after Counts.
The Child Christ ; after Carlo JDolci.
Portrait of Leo X. ; after Raphael.
Madonna del Latte ; after Garofalo.
Portrait of Louis XVIII. ; after Augustin.

„ „ Alessandro Volta.
Christ appearing to Mary Magdalen; after Bar-

oceio.
Portrait of Mr. Denison.

„ Leonardo da Vinci ; after Baroccio.
„ Costanza Foruari ; after S. Panario.
„ Michelangelo ; after A. Santarelli.
„ Count o'BIci.
„ Cav. Giovanni degli Alessandria.



165.
166.
167.
168.
169,

170,

171,
172,
173,
174
175,
176.
177.
178.
179.
180.
181.
182.
183.
184.
185.
186.

187.
188.
189.
190,
191.
192
193-
195

196
197
198.
199.
200.
201
202.
203.
204.

205.
206.
207.
'208.
209.
210.
211.
212
213!
214.

215.
216.
217.
218.
219.
220.
221.
222.

223.
224.
225.
226.

227.
228.



229. Portrait of Prince Metternieh.
?o?' The Head of Christ ; after Leonardo da Find.
231. Salvator Mundi ; ' after Carlo Dulci.
232-3. Portraits of Francis I. of Austria

234. ' Madonna Laura ; ' after 8. Memmi.

235. Portrait of Fr. Guicciardini.

236. „ „ Lorenzo de' Medici ; after Vasari

237. Portrait of Ferdinand III. of Tuscany ; after jjmnn

Ender.

238. The Ages of Man ; after Gerard.

239. Portrait of Giovanna d'Aragona ; aftir Raphael

240. „ „ Carlo Goldoni.

241. Portrait of Ferdinanda, Grand Duchess of Tuscany ;

after Gozzini.-

242. Portrait of Gioacchino Rossini ; after Bartolini.



243
244.
245.
246.
247.
248



„ Boccaccio ; after Bartolini.

„ the Principessa di Ventimiglia.

„ Cellini: after Vasari.

„ Antonio Pittaro ; after Atoche.

„ Lord Byron ; after Bartolini.

„ ,) Giov. Fantoni ; after Fr. Tenderini.

249.- La Maddalena del Vaso ; after Carlo Bold.

250. II Morbetto di Rafl'aello ; after Raphael.

251. La Madonna del Granduca ; after the same.

252. Portrait of Canova ; after P. Benvenuti.

(Besides these Morghen exemted four plates in conjunction
with Aug. Nail., F. Bartolini, and Antonio Mason.)

MORIER, David, was born at Berne, in Switi^er-
land, in 1706. He came to England in 1743, soon
after the battle of Dettingen, and was presented
by Sir Edward Faulkener to the Duke of Cumber-
land, who settled on him a pension of two hundred
pounds a year. He distinguisbed bimsell: as a
painter of battles, horses, dogs, &o., and also of
portraits, on which he was extensively employed.
The first two Georges both sat to him. He died in
London in 1770, and was buried in St. James's,
Clerkenwell. He was a member of the Incorporated
Society of Artists.

MORILLAS, Cecilia. See Sobkino.

MORIN, Jean, a French painter and engraver,
was born in Paris about the year 1609, and died
in the same city in 1666. He was a disciple of
Philip de Champagne, and for some time practised
painting, which he afterwards abandoned, to apply
himself entirely to engraving. His plates are
executed in a mixed style, being partly burin-work
and partly etching; but they produce a very pleas-
ing efieot. His best prints are his portraits in the
style of Van Dyck, many of which are executed
in a masterly manner. His landscapes in the
style of Plattenberg are of equal repute. We
have 108 plates by Iiim ; the following are the
best:

POBTEAITS AlfTER PHILIPPE DE OHAMPAIGNE.

Louis XIII. King of France ; octagon.

Anne of Austria, Regent ; octagon.

Cardinal de Richelieu.

Jean Baptiste Amador, Abb6 de Richelieu.

Cardinal de Mazarin.

Cornelius Jansen, Bishop of Ypres.

Jean Paul de Gondy, Cardinal de Retz.

Fran9ois de Sales, Bishop of Geneva.

S. Carlo Borromeo, Cardinal, and Archbishop of Milan.

Jean Pierre le Camus, Bishop of Bellay.

Jean du Verger, Abbe de St. Siran.

Michel de Morillac, Keeper of the Seals.

Michel le Tellier, Secretary of State.

Jacques Tuboeuf , President of the Chamber of Accounts.

Rene de Longueuil, President a Mortier.

Henri de Lorraine. Comte d'Harcourt.

Nicolas de Neufville, Marquis de Villeroy.

Charles de Valois, Due d'AngoulSrae.

Robert Arnauld, Seigneur d'Andilly.

Vincent Voiture.

Jacques le Mereier, Architect to the King.

Antoine Vitr6, Printer.

175



IVIorin



A BIOGRAPHICAL DICTIONARY OP



Morland



PORTRAITS AFTER VARIOUS MASTERS.

Jacques Augusts de Thou, President of the Parliament ;

after Ferdinand.
Fran9ois Augustin de Thou, President ; after the same.
Philip II. ; after Titian.

Guide, Cardinal de Bentivoglio ; after Vandyek.
The Countess de Bossu ; after the same.
Margaret Lemon ; after the same.
Charles de Mallery, Engraver and Printseller ; after the

same.
Jerome Franck, Painter ; se i^se ^inx.

SUBJECTS AFTER VARIOUS MASTERS.

The Adoration of the Shepherds ; after Fhil. de
Champai^ne.

The Virgin and Infant Jesus ; after the same.

The Crucifixion, in three sheets ; after the same.

The Taking down from the Gross ; after the same.

The Assumption of the Virgin ; after the same.

Two half-lengths of St. Peter and St. Paul ; after the
same.

The Virgin, with the Infant Jesus on her knee, holding
a bouquet of flowers, inscribed, Dilectus mens mihi;
after liaphael.

The Virgin adoring the Infant Christ ; after Titian.

The Virgin, with the Dead Christ ; after Carracci.

A Landscape, with Ruins ; after Claude Lorrain.

A Landscape, with a Man driving two Cows; after
Fouquieres.

Another Landscape, with figures ; after the same.

A set of tour Landscapes, with iluins and Figures;
after Corrtelis Poelemhurg.

A Landscape, with Kuins and a Fountain ; after J. B.
Corneille.

MORIN, Robert. In 1506 an artist of this name
painted a pavilion in the Chateau Gaillon for the
Cardinal d' Amboise.

MORINA, GlULlo, according to Malvasia, was a
native of Bologna and a scholar of Lorenzo Sabba-
tini ; but he owed his best improvement to an
attentive study of the works of the Carracci. He
painted history, and there are many of his works
in the churches at Bologna, of which the most
worthy of notice are, the ' Crucifixion,' ia SS.
Sebastiano e Rocoo ; the ' Visitation of the V irgin
to St. Elisabeth,' in Sant' Uomobono ; and the
'Presentation in the Temple,' at the Servi.

MORINELLO, Andrea, a native of Genoa, and
pupil of Lodovioo Brea. He flourished at the
beginning of the 16th century. The church of
San Martino di Albaro at one time contained an
altar-piece by him, dated 1516, which Soprani
commends. The Scottish National Gallery possesses
a picture of a ' Piping Shepherd ' by him, and the
catalogue asserts that he was born in 1490. The
date of his death is unknown.

MORINI, Giovanni, an obscure Italian painter,
a native of Imola, and a pupil of Giuseppe Maria
Crespi. He died about 1780.

MORIOT, Nicolas Marie, a French miniature
painter, and native of Versailles, where he was at
work in 1788. He was a pupil of Soiron pere.

MORIS, R., a scholar of Godfried Schaloken,
has left a cabinet picture, representing an old
Man holding a small Owl in his hand. He died
young.

MORISON, Douglas, an English water colour
painter, born about 1820. He studied under F.
Tay'ler, and was elected an Associate of the Water
Colour Society in 1843. He died in 1847. He
published the following works :

' Views of Haddou Hall.' 1842.

' Views of the Ducal Palaces of Saxe Coburg.' 1846.

MORITZ, Lonis, born at the Hague in 1773, at
first studied science, which he subsequently
deserted for painting. His instructor was Dirk

176



van der Aa, but he was largely indebted to his
observation of nature. He was a member of the
Dutch Institute and of the Academy at Brussels,
and distinguished himself also as a modeller,
sculptor, and machinist. He died in 1850. Among
his best works are :

The Imprisonment of Cleopatra by Proculus.

The Battle at Nieuwpoort.

The Council of War of the National Guard at

Amsterdam.
The Death of Antoninus Pius {^Amsterdam Museum).

Moritz's wife, Anne Reyermans, was a painter
of flowers and fruits.

MORLAND, George, painter, was bom in
London 26th June, 1763. He was the son of
Henry Robert, and the grandson of George Henry
Morland (q. v.). There was a tradition in his family
that it was in the line of succession to a baronetcy
created in the time of Charles II., and some of
Morland's biographers go so far as to say that
there could be no doubt as to his pedigree, and
that he had only to claim the title to get it. The
usual tales of youthful precocity are told of the
painter's childhood. He drew on dusty tables
when he was three. At four he was surprised at
work in the parental studio by Benjamin West,
when his father sent him ofE with a kick, and the
remark that he would either be hanged or a genius.
At ten he had mastered the anatomy of mice and
various other small animals. At twelve he modelled
ships. At eighteen he taught himself the violin.
His father, who was a stern man, like the fathers
of most prodigals, gave him a fair general educa-
tion, and then, when his artistic powers began to
unmistakably show themselves, did his best to
turn them to his own advantage. He shut the boy
up in an attic, first to paint and draw from pictures
and oasts, afterwards to make copies, which the
father sold to the dealers. Even then, however,
the son managed to trade on his own account. He
used to make bargains with friendly Jews, and
paint pictures for them on boards, which he con-
cealed during the day in a drawer of his colour-
box, and at nightfall lowered by a string to the
waiting clients below. To the rigour of his youth-
ful discipline Morland owed, no doubt, much of the
extraordinary facility which distinguished him in
later life, and the inevitable rebound from such a
state of tension may also count for something in
the influences that made of him the debauchee into
which he had degenerated at the time of his death.
It is said that at the expiration of his apprentice-
ship to his father, Romney offered to take him into
his own house in Cavendish Square, with an annual
salary of £300, on condition of his signing articles
for three years. This offer Morland refused. He
had probably had enough of apprenticeship I He
how removed to an independent lodging at the
house of a picture-dealer, where he first fell into
idle and dissipated habits, and became the prey of
his unscrupulous landlord. Escaping at last, he
went to Margate, where he painted miniatures for
a time, and thence to France. Returning to London,
he settled at Kensal Green, and here he painted
the pair of pictures by which his name was first
brought prominently before the world. These
were ' The Idle ' and ' The Industrious Mechanic,'
afterwards engraved by John Raphael Smith.
Here too he made the acquaintance of William
Ward, the engraver, whose sister Anne or Nancy
he married in 1785. William Ward not long after-
wards married Morland's sister Maria, and for a



IVEorland



PAINTEES AND ENGRAVERS.



Morolini



time they all lived together, but disputes arising
between the wives, the friends agreed to part, and
Morland established himself first in Great Portland
Street, and afterwards in Camden Town. Here,
we are told by his friend William Collins, he lived
beyond his means, spending large sums on dress,
on expensive wines, and other luxuries. From
this time forth he seems never to have been free
from pressing difficulties. He continually changed
his home to elude his creditors. Surrounded by a
body-guard of boon companions, and by a gang of
unscrupulous dealers, who paid him a small fixed
rate a day, and took their chance of what they could
get for their money before the carouse of the
evening began, he flitted from one haunt to another,
working as hard as ever in the intervals of hard
drinking. About this time he lived successively
at Lambeth, East Sheen, Queen Anne Street, the
Minories, Kennington, and Hackney. At Hackney
a strange adventure befell him. The neighbours
had their suspicions aroused by his secluded habits,
and made up their minds that he was a forger of
bank-notes. They reported his proceedings to the
Bank directors, with the result that presently some
ofScers from Bow Street came and overhauled the
premises, the painter,. who had taken them for
sheriff's ofScers, making off across the fields at the
back. When the matter was cleared up, the
directors sent Morland two notes for £20 each as
a solatium.

Many of Morland's best pictures were painted in
-the " rules " of the King's Bench prison. In these
circumstances he generally received four guineas
a day and his drink from the dealers who exploited
him. One spunging-house keeper fitted up a regu-
lar studio for him in the attic of his house, and at
one time the collection of "Morlands "he, was thus
enabled to accumulate was reputed the best in
London. It is probable, however, that many of
the stories told of Morland's dissipation are either
untrue or grossly exaggerated. No man who was
perpetually drunk could have turned out such a
mass of good work as Morland produced in his
short life. His best period was about the year
1790. His worst excesses seem to have been com-
mitted after that date. Before then he appears to
have been a spendthrift rather than a drunkard ; a
weak, sanguine, shy, and vain man rather than a
hopelessly vicious one. In 1804 he was arrested
at the suit of a publican, and taken to a spunging-
house kept by a man named Atwell, in Byre Street,
Clerkenwell. There he died on the 29th October,
in his forty-second year. His much-tried wife
died three days later, and they were laid in one
grave in the burial-ground attached to St. James's
Chapel, in the Hampstead Road.

It is difficult to understand the extraordinary
popularity of Morland's work during his lifetime.
The demand for it must have been almost inex-
haustible, for, if one may believe the stories told by
his intimate friends, he was able not only to get
whatever he wished for his pictures, and that at a
moment's notice, but also to abuse the patience
of his clients in the most outrageous fashion with-
out driving them away. More than one dishonest
dealer found it profitable to keep a staff of copyists
at work, multiplying the pictures Morland would
dash off at a sitting, and completing their daubs
with the initials " G. M." Morland's good work
now stands very high in the estimation of con-
noisseurs, and especially for those qualities of
technique to which the buyers of his pictures
VOL. II. N



eighty years ago must have been, for the most
part, blind. Among his pictures of animals, the
Stable,' in the National Gallery, is perhaps the
finest. Among his scenes from the life of his time,
the series of six pictures known as 'Letitia' de-
serves, perhaps, the first place. To make an ex-
haustive list of his works would be impossible.
Those mentioned below are in public collections :
Glasgow. Gallery. River Scene.

» „ Three Sea-coast landscapes.

London. Nat. Gall. Interior of a Stable. {Said to be
that of an old inn, the " White
Lion," at Paddington.)
„ South Kensington ) mi. t> i

Museum, j The Reckoning.

A Stable.

Coast scene with figures.

Ditto.

Girl in a landscape, with a dove.

CoHelS) } "^°^°°'® Soing to the Fair.

A very large number, not far short of two
hundred and fifty, of Morland's pictures have been
engraved. Among those who executed plates
after him, the most notable were William Ward,
his brother-in-law, John Raphael Smith, and S.
W. Reynolds. ■',if /^

MORLAND, George Henry, painter, was born
early in the eighteenth century. He was the
grandfather of George Morland. His art was
popular in its time, but in 1760 he was assisted by
a grant from the Incorporated Society of Artists.
He died in 1789. lu the Glasgow Gallery there is



Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 46 of 201)