Trepanning a Recruit

Painting and Sculpture of Europe

c. 1790

George Morland (English, 1763–1804)

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: George Morland
Title: Trepanning a Recruit
Place: England (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1785–1795
Medium: Oil on canvas
Inscriptions: Inscribed upper left: Cumberland / House / D. Irwin / from Carlisle (on sign)
Dimensions: 54 × 43.5 cm (21 1/4 × 17 1/8 in.); Framed: 71.5 × 62 × 9.6 cm (28 1/8 × 24 3/8 × 3 3/4 in.)
Credit Line: Gift of Mr. and Mrs. John W. Clarke
Reference Number: 1987.92.3
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/69139/manifest.json

William Collins, Memoirs of a Painter, Being a Genuine Biographical Sketch of that Celebrated Original and Eccentric Genius, the Late Mr. George Morland, vol. 2, London, 1805, p. 43.
J. Hassell, Memoirs of the Life of the Late George Morland; with Critical and Descriptive Observations on the Whole of His Works Hitherto before the Public, London, 1806, p. 94.
George Dawe, The Life of George Morland, with Remarks on His Works, London, 1807, pp. 73, 88-89, 235-26 (reprinted as The Life of George Morland, with an Introduction and Notes by J. J. Foster, London, 1904, pp. xxxi, 38, 46-47, 124, 155).
Ralph Richardson, George Morland: Painter, London, 1763-1804, London, 1895, pp. 42-52-53.
J.T. Nettleship, George Morland and the Evolution from Him of Some Later Painters, London, 1898, p. 16.
J.T. Herbert Baily, “George Morland: A Biographical Essay,” Connoisseur, extra number, no. 1 (1906), pp. 21, 126, 132.
Sir Walter Gilbey, Bt., and E.D. Cuming, George Morland: His Life and Works, London, 1907, pp. 75-76.
George C. Williamson, George Morland: His Life and Works, London, 1907, pp. 41-42, 113, 131, 175.
David Henry Wilson, George Morland, London and New York, 1907, pp. 73-75, 184, 195.
David Winter, “George Morland (1763-1804)”, Ph.D. diss. Stanford University, 1977 (Ann Arbor, Michigan, University Microfilms, 1981), pp. 38, 169, no. P25, fig. 17.
Joan W. H. Hichberger, Images of the Army: The Military in British Art, 1815-1914, Manchester, 1988, p. 133.

London, Royal Academy of Arts, Exhibition of Works by the Old Masters, and by Deceased Masters of the British School, 1880, no. 42.

Sold by the artist to Henry Hare Townshend (died 1827), Busbridge Hall, near Godalming, Surrey, and later Downhills, near Tottenham; sold Christie’s, London, June 9, 1827, no. 44, as a pair with The Deserter Pardoned, to Lake for 19 1/2 gns [according to annotated sale catalogue, Christie’s, London]. Sold Christie’s, London, May 7, 1842, no. 121, to Roe for 18 gns [acc. to annotated sale catalogue, Christie’s, London]. Samuel Addington, London, by 1880 [lent by him to London 1880]; sold Christie’s, London, May 22, 1886, no. 88, to Arthur Pemberton Heywood-Lonsdale (died 1897) for £320 5s, probably with Colnaghi as agent [according to letter from T. C. Heywood-Lonsdale, March 9, 2004 in curatorial file and annotated sale catalogue, Christie’s, London]; by descent to Henry Heywood-Lonsdale (died 1930) Shavington Hall, Market Drayton [letter cited above]; by descent to Lt. Col. Arthur Heywood-Lonsdale (died 1976), Shavington Hall, Market Drayton; sold Christie’s, London, October 24, 1958, no. 91, to the Fine Arts Society, London for £240 [according to annotated sale catalogue, Ryerson Library]; sold by the Fine Art Society to John Walter Clarke, Chicago, 1960 [according to letter from Andrew McIntosh Patrick, Director of the Fine Art Society, Jan. 24, 1993 in curatorial file]; given by Mr. and Mrs. Clarke to the Art Institute, 1987.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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