Two sketched works by George Morland, original frames and back boards with signatures and now all cleaned and refreshed, in the urban_archaeology collection

These came to us from Michael Allen Antiques who was responsible for dismantling Lesbia Dobson's life-long collection in Brisbane, recently. Her collection manifest had them as "emanating from Tasmania", numbered 92 a and b on the back of the frames, apparently they were also cleaned and mounted in the 1970s. Well, when we opened the frames and peeled back the mounts we found on the reverse - a title on one (My Son! My Son!) and a signature (Morland) on the other. The frames are all one piece with later gilded partial fillet and burr walnut veneers in the late 18th century style. Once I cleaned off all the adhesive tape I found three written Morlands with one, a heavily impressed Morland in his handwriting style. I hand-scraped off the 1970s brushed gold that had spilled onto the veneer and had then both museum mounted with UV glass. I waxed and buffed the frames also.

George Morland has a wonderful history be it both artistically 'hard working' and self obsessed "hard drinking" - do spend the time to click on the link. Morland was born 26 June 1763 in London and passed away in Brighton 29 October 1804, he was an important English painter of animals and rustic scenes. One great picture I have as a high-res version is in the Philidelphia Art Museum - here. It is easily evident that these are both from his hand, the original frames and signatures are also helpful as art history tells us he was heavily copied - although his output was also great in number even in his later life in and out of the poor houses . . .

Titled on the reverse - My Son! My Son!

Titled on the reverse is the Morland signature

A correct Morland signature in deep pencil on the pack panel of the frame, this is prior to removing the tape adhesive. These back panels are both roughly pit sawn panels.