The Dictionary of British Book Illustrators and by Simon Houfe

By Simon Houfe

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The ninety-six drawings had belonged to the Carrington Bowles family, who were Dighton's publishers, and had been bound together in about 1830. The drawings were early, spirited, with both historical and literary content and 29 They in mint condition with their colours protected for a hundred and fifty years. covered the whole range of his work from the least caricatured of his groups 'Pheasant Shooting' and 'Snipe Shooting' to the macabre half skeletal watercolours of 'Life and Death Contrasted'.

The most important figure after Gillray was probably George Cruikshank, 1792-1879. He came from a caricaturing stable, the son of Isaac Cruikshank, and completed Gillray's last work for Miss Humphrey in 1811 and was the dying artist's natural successor. Satire became extraordinarily fierce again in the closing years of the Napoleonic campaign. 32 with Figure 12. 'John Bull in the Council Chamber' by George Cruikshank. Engraving. particularly in the turmoil surrounding the King's illness, Princess Caroline's misdemeanours and the Prince's extravagance; Cruikshank's eye was a match for all this.

Bain, 1975. 6. 34 20. 21. 22. 23. 24. 25. iii. 4. ibid. 8. ibid. p. 10. ibid. p. 1 2. Malcolm, op. cit. p. 1 57. Draper Hill, Mr. 136. 26. 27. 28. 29. 30. 31. Malcolm, op. cit. p. 54. op. cit. p. 135. Francis Grose, Comic Painting, Hill, 1 788, p. 2. on 23 February 1978 made a total of £50,960 and established caricatures as major works of art. Malcolm, op. cit. p. 1 57. According to a note in the Bodleian Library Record, Vol. 8, No. 3, February 1969, states that all but the picture of the whole gallery were Sneyd's works, the exception being Lady Morley's.

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