David Morier

David Morier (1705? – c. 8 January 1770) was a Swiss-born British painter who specialised in portraits, military subjects and historical scenes around and after the time of the War of the Austrian Succession and the Jacobite rising of 1745.

Equestrian portraits

Considered one of the most expensive paintings by David Morier ever sold at auction: The equestrian portrait of Prince Henry, Duke of Cumberland and Strathearn, wearing the Order of the Garter.[1]

When it came to portraits of kings and nobles, David Morier specialised in equestrian portraits. Morier painted equestrian portraits of some of the most famous aristocratic figures of his time, including King George II, King George III, Frederick, Prince of Wales, Prince William, Duke of Cumberland, Prince Henry, Duke of Cumberland and Strathearn, King Frederick II of Prussia, King Frederick V of Denmark, John Manners, Marquess of Granby, William Kerr, 4th Marquess of Lothian, John Ligonier, 1st Earl Ligonier, Henry Herbert, 10th Earl of Pembroke and Maurice de Saxe.

First notable painting

David Morier's first notable painting was an equestrian portrait of King George II, with a view of the Battle of Dettingen beyond. The painting was later engraved by Simon François Ravenet and published by the artist. This equestrian portrait is part of the Royal Collection. A copy of the engraving is in the British Museum.[2][3]

Early years

Little is known of David Morier's early life. Even his exact year of birth is unknown. Born in Bern, Morier initially trained as a miniaturist and portrait painter. Later, he gained prominence for his vivid and detailed depictions of military scenes. Therefore, Morier was predominantly considered a soldiers painter, influenced by the equestrian portraits of Jan Wyck, who, like Morier, made a career in England as a painter of sports and military scenes.[4][5][6][7]

An English career under royal patronage

David Morier's patron: Equestrian portrait of Prince William, Duke of Cumberland, by David Morier.

In 1743, David Morier was introduced to Prince William, Duke of Cumberland, by Sir Everard Fawkener, in Germany, where the Duke of Cumberland was on campaign. In the same year, Morier arrived in England, and obtained the patronage of the Duke of Cumberland, who was the effective commander-in-chief of the British Army in the 1750s. From 1752 until 1764 Morier was employed as limner (painter) to the Duke of Cumberland on an annual salary of GBP 100. However, his name also appears regularly in royal accounts from 1764 to 1767.[8][7][9][2][10]

Kings, dukes, earls, a smuggler – and the Godolphin Arabian

David Morier produced a number of equestrian portraits of his patron, the Duke of Cumberland, and other members of the Royal Family, including King George II and King George III. Some of these portraits were later engraved, such as the equestrian portraits of King George II and King George III by Simon François Ravenet and Peter Mazell respectively. Furthermore, some of the equestrian portraits of the Duke of Cumberland were engraved by John Faber the Younger and Louis-Simon Lempereur.[8][11][12][13][14][15][16]

It exists a Chinese reverse-painted mirror after the 1751 engraving by Louis-Simon Lempereur of the Duke of Cumberland's equestrian portrait by David Morier, which the duke commissioned around 1750 to commemorate his victory at the Battle of Culloden. This reverse-painted mirror forms part of the collections of the Metropolitan Museum of Art since 2024.[17][18]

An exotic element in David Morier's work is the portrait of John Pixley (birth unknown – in or after 1749), a smuggler and custom-house officer. John Pixley's portrait was later engraved by John Faber the Younger.[19][20]

David Morier also produced several small paintings for King George III for 10 guineas apiece. Furthermore, in the 1760s, Morier was commissioned by Henry Herbert, Earl of Pembroke, to paint several paintings, including eight paintings of the 15th light dragoons.[2]

The Godolphin Arabian

The Godolphin Arabian and the cat Grimalkin, engraved by John Faber the Younger in 1753, after David Morier (initials of the artists).

The most famous horse portrait by David Morier is that of the Godolphin Arabian. The horse, one of three stallions that founded the modern Thoroughbred, was named after his best-known owner, Francis Godolphin, 2nd Earl of Godolphin. Morier's portrait of the Arabian horse was engraved by John Faber the Younger in 1753 and copied by George Stubbs.

The painting shows the Godolphin Arabian, standing in profile, in a grassy yard enclosed by a high brick wall, with a stable to the right, the door open, and the stable cat, named Grimalkin, sitting on the ground looking at the horse. David Morier's portrait of the Godolphin Arabian is the only painting of this famous horse painted from life. The painting is on display at Houghton Hall.[21][22]

Soldier portraits

An Encampment of British Troops (Royal Artillery) under the command of the Duke of Cumberland in the Low Countries, by David Morer.[23]

David Morier is well known for his soldier portraits, where he placed great emphasis on accurately depicting the details of their uniforms, as well as he did in his equestrian portraits with the horse tack. In 1747, Morier accompanied the Duke of Cumberland to the Low Countries, where he painted portraits of soldiers of the Royal Artillery and a series of sixty paintings of the allied troops under the duke's command. Today, these paintings are all in the Royal Collection.[8][24][2]

The British uniform regulations of 1751

In 1751, the first British uniform regulations were issued by royal warrant and David Morier, commissioned by the Duke of Cumberland, began another series of portraits of soldiers, including the light dragoon regiments raised in 1759 and 1760. It was these soldier portraits, in particular the so-called Grenadier Paintings, for which David Morier became famous.[8][24][2][25]

The Grenadier Paintings

The Battle of Dettingen on 27 June 1743, showing King George II on horseback on a gray horse. The rider next to the king in the blue frock is most likely his son, Prince William, Duke of Cumberland. Painted by David Morier.

The Grenadier Paintings are large panels, depicting the uniforms and the equipment of each of the – at that time – 49 regiments of marching infantry, plus the three regiments of the Guards infantry. On each panel three grenadier privates of three different regiments are portrayed, in numerical order and in a variety of poses, from formal drill to route march order. Morier painted the Grenadier Paintings between 1751 and circa 1760. Once again, David Morier's care and attention to detail have provided a very valuable record of the British Armed Forces material culture in this period.[26][2][25]

A visual record for the Duke of Cumberland

When David Morier had finished the Grenadier Paintings, the Duke of Cumberland had a visual record of every regular British regiment that had ever come under his command. When the duke died in 1765, his second residence, Cranbourne Lodge, housed 106 of Morier's soldier portraits, including paintings of the allied troops that were once under the duke's command. The duke's appreciation for Morier's work went so far, that only paintings by David Morier hung in his picture gallery.[24][27][2][26]

An Incident in the Rebellion of 1745

An Incident in the Rebellion of 1745, by David Morier.

David Morier's most recognisable work is An Incident in the Rebellion of 1745. The painting depicts the Highland charge at the climax of the Battle of Culloden, when the charging Highlanders faced off against Col. Barrell's 4th Regiment of Foot.

Painted from life and possibly from the battlefield

David Morier accompanied the Duke of Cumberland's army to Scotland, and while he may have been an eye-witness at the Battle of Culloden, the subject of his famous painting, he did have the opportunity to make sketches of the clothing and arms of the Jacobite prisoners in the aftermath. The painting remains one of the best contemporary source on the material culture of both: the British and the Jacobite forces in this conflict. The painting now hangs in the King's Ante-Chamber of the Palace of Holyroodhouse.[28][29][30][7]

Later years and death

In 1757, the Duke of Cumberland's military career was ended by his disgrace following his defeat at the Battle of Hastenbeck and his subsequent signing of the Convention of Klosterzeven. After the duke lost his position, also David Morier's career went into decline. Morier appears to have lost his patronage either then, or at the duke's death in 1765. He was jailed for debt in the Fleet prison in 1769 and died there in January the next year. His colleagues of the Society of Artists paid to have him buried at St. James's Church, Clerkenwell on 8 January 1770.[8][7][31]

Exhibitions

A founder member of the Society of Artists, David Morier exhibited at its first exhibition in 1760, and again in 1762, 1765, and 1768, sending equestrian portraits, and in the last year a painting titled An Old Horse and the Farmer. [8][7][2]

Legacy

David Morier's legacy endures through his influence on the portrayal of military history in art. His contributions to military art are significant, as his works provide invaluable visual evidence of 18th-century warfare. His attention to detail and careful depiction of military uniforms and equipment have made his paintings important historical documents.[5]

Aside from his military works, Morier also painted landscapes and portraits. His works are held in various collections, including the Royal Collection and the National Army Museum.[5]

References

  1. ↑ Christie's: Equestrian portrait of Henry, Duke of Cumberland and Strathearn (1745-1790), by David Morier (1705-1770), Auction 7680 – Important and Fine old Master Paintings, 19 May 1993, New York, Park Avenue, lot 34. Estimate: US$ 50'000 – US$ 70'000
  2. 1 2 3 4 5 6 7 8 Christie's: H.R.H. William Augustus, Duke of Cumberland, full length, on horseback, wearing frock uniform of the First Guards with the ribbon and star of the Garter, holding a baton, a view of the Battle of Culloden beyond – by David Morier, Auction 18 March 2005, New York, Property from the Estate of Mrs. Charles W. Engelhard, lot 130. Estimate: US$ 20,000 – US$ 30,000. Lot essay with biographical details about the live and work of both: Prince William, Duke of Cumberland, and David Morier
  3. ↑ The British Museum – Print: Equestrian portrait of George II, The British Museum number: 1870,1008.2574, etching and engraving by Simon François Ravenet after David Morier. Description: Equestrian portrait of George II, on horseback to left, with truncheon in hand, with the battle of Dettingen in the background, after the painting in the Royal Collection; the royal coat of arms in the lower margin. A related painting is in the Stirling Maxwell Collection, Pollok House, Glasgow
  4. ↑ Rosebery's Fine Art Auctioneers & Valuers, London: An equestrian portrait of an officer of the first troop of horse Grenadier Guards on a bay charger with a trooper on the right – by David Morier, Auction 4 June 2020, lot 156, lot essay
  5. 1 2 3 Christie's:Portrait of a gentleman in red military uniform – by David Morier, Auction 21 November 1980, London, lot 97, lot essay
  6. ↑ Sikart: David Morier, Lexicon on art in Switzerland. Website retrieved on 5 April 2024
  7. 1 2 3 4 5 A Dictionary of Artists of the English School: David Morier, with notices of their lives and work, by Samuel Redgrave. New Edition revised to the present date. George Bell & Sons, York Street, London, Covent Garden, 1878, p. 296
  8. 1 2 3 4 5 6 Dictionary of National Biography: David Morier, Morehead–Miles, edited by Sidney Lee, Macmillan & Co., New-York – Smith, Elder & Co. London, Vol. XXXIX, 1894, p. 49
  9. ↑ Royal Collection Trust: David Morier, biography. Website retrieved on 5 April 2024
  10. ↑ Ryan R. Gale: A Soldier-Like Way – The Material Culture of the British Infantry 1751–1768, Track of the Wolf, Inc., USA, 2007, p. 2
  11. ↑ A Dictionary of Artists of the English School: David Morier, with notices of their lives and work by Samuel Redgrave. New Edition revised to the present date. George Bell & Sons, York Street, London, Covent Garden, 1878, p. 349
  12. ↑ Victoria & Albert Museum, London: Portrait of His Royal Highness William Augustus, Duke of Cumberland, Engraving by Louis-Simon Lempereur after David Morier. Website retrieved on 5 April 2024
  13. ↑ Metropolitan Museum of Art: Equestrian portrait of William, Duke of Cumberland (1721–1765), reverse-painted mirror, Canton, China, second half Qianlong Period. Signatures: Bottom left, D. Mornier pinxt., bottom right L. L'Empereur. Gilded and sanded softwood frame H 68, W 56,5 cm. Accession Number: 2024.124. Provenance: Hôtel Drouot, Paris (lot 1747); Rolleston Ltd., London; Metropolitan Museum of Art, New York (purchased from Rolleston Ltd, London, in 2024)
  14. ↑ Royal Collection Trust: His Royal Highness William Augustus Duke of Cumberland, engraving by Louis-Simon Lempereur, after David Morier, RCIN 604065
  15. ↑ The British Museum – Catalogue of engraved British portraits preserved in the Department of Prints and Drawings in the British Museum: John Pixley painted by David Morier in 1749, engraved (mezzotinto) by J. Faber jun., by Freeman O'Donoghue F.S.A., volume III (L–R), printed by order of the Trustees, London, 1908, p. 477
  16. ↑ The British Museum – Print: The portraiture of the Bay-Arabian, the property of the Right Honourable, the Earl of Godolphin, The British Museum number: 2010,7081.5278. Mezzotint (1753) by John Faber the Younger after David Morier. Description: Portrait of the Godolphin Arabian horse, standing in profile to right, in a grassy yard enclosed by a high brick wall, with a stable to right, the door open, and a cat sitting on the ground looking at the horse, after David Morier. The painting, which is the only painting of the Godolphin Arabian done from life, is at Houghton Hall, Norfolk
  17. ↑ National Trust Collections: The Godolphin Barb or The Godolphin Arabian (c. 1724 – 1753) with Grimalkin the stable cat (after George Stubbs after David Morier), Collection, Godolphin, Cornwall, NT 169581.3
  18. ↑ Ryan R. Gale: A Soldier-Like Way – The Material Culture of the British Infantry 1751–1768, Track of the Wolf, Inc., USA, 2007, p. 78
  19. 1 2 3 Royal Collection Trust: David Morier – The Grenadier Paintings, 114 Pictures of Military Costume (1ft 4in x 1ft 8in), recorded in the Upper Library at Buckingham Palace in 1819. Commissioned by William Augustus, Duke of Cumberland. Website retrieved on 5 April 2024
  20. 1 2 Carl Franklin: British Army Uniforms from 1751 to 1783 – Including the Seven Years War and the American War of Independence, Pen & Sword Military, Pen & Sword Books Ltd., 47 Church Street, Barnsley, South Yorkshire, UK, 2012, p. 4
  21. 1 2 Ryan R. Gale: A Soldier-Like Way – The Material Culture of the British Infantry 1751-1768, Track of the Wolf Inc., USA, 2007, pp. 3, 27, 34, 41, 46, 50, 57, 63, 69, 71, 72, 75, 79, 86, 93, 103, 120, 124,
  22. ↑ Royal Collection Trust: David Morier – Private (Cavalry), 114 Pictures of Military Costume (1ft 4in x 1ft 8in), recorded in the Upper Library at Buckingham Palace in 1819. Probably commissioned by William Augustus, Duke of Cumberland. Website retrieved on 5 April 2024
  23. ↑ Murray Pittock: Great Battles – Culloden, description and historical classification of the painting An Incident in the Rebellion of 1745 by David Morier, Oxford University Press, 2016, pp. 121, 125, 133
  24. ↑ Ryan R. Gale: A Soldier-Like Way – The Material Culture of the British Infantry 1751–1768, Track of the Wolf, Inc., USA, 2007, pp. 1 and 104
  25. ↑ Royal Collection Trust: David Morier – An Incident in the Rebellion of 1745, commissioned by William Augustus, Duke of Cumberland (RCIN 401243). Website retrieved on 5 April 2024
  26. ↑ Royal Academy of Arts, London: Bill of the funeral expenses of David Morier, 8 January 1770, Archive. Website retrieved on 5 April 2024
Attribution

 This article incorporates text from a publication now in the public domain: Cust, Lionel Henry (1894). "Morier, David". In Lee, Sidney (ed.). Dictionary of National Biography. Vol. 39. London: Smith, Elder & Co.

Further reading

  • Ryan R. Gale: A Soldier-Like Way – The Material Culture of the British Infantry 1751-1768, Track of the Wolf, Inc., USA, 2007 (includes the complete series of the Grenadier Paintings by David Morier)
  • Carl Franklin: British Army Uniforms from 1751 to 1783 – Including the Seven Years War and the American War of Independence, Pen & Sword Military, Pen & Sword Books Ltd., 47 Church Street, Barnsley, South Yorkshire, UK, 2012
  • Murray Pittock: Great Battles – Culloden, Oxford University Press, 2016
  • A Dictionary of Artists of the English School: David Morier, with notices of their lives and work, by Samuel Redgrave. New Edition revised to the present date. George Bell & Sons, York Street, London, Covent Garden, 1878, p. 296
  • Dictionary of National Biography: David Morier, Morehead–Miles, edited by Sidney Lee, Macmillan & Co., New-York – Smith, Elder & Co. London, Vol. XXXIX, 1894, p. 49
  • The British Museum – Catalogue of engraved British portraits preserved in the Department of Prints and Drawings in the British Museum: John Pixley painted by David Morier in 1749, engraved (mezzotinto) by J. Faber jun., by Freeman O’Donoghue F.S.A., volume III (L–R), printed by order of the Trustees, London, volume 3, 1908, p. 477
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