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G.Cruikshank
George Cruikshank

One of three great names in the caricature area (with Gillray and Rowlandson). He was taught by his father, Isaac, and by 1805 was assisting his father with some of the simpler bits of the copper plates that were being etched. Within a few years, he was producing his own splendid work. The ten years from 1810 on, see him at his best. After 1820 he increasingly turned to illustration (for Dickens, and others), and at roughly the same time his bucolic life style changed and he became committed to the cause of teetotalism.

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George Cruikshank. The Phoenix of Elba resuscitated by Treason.
Gcruiae thumb

Published May 1st by W. N. Jones Newgate St.
14 x 9¾. Original colour, trimmed onto/within the plate mark and with the usual folds as this is a satire from the ‘Scourge’.
An elaborate image combining the return of Napoleon with an attack on Castlereagh for his supposed conduct at Vienna.
In the centre Napoleon emerges from the cauldron. A grotesque and skinny hag, representing Fury says, "Rise Spirit that can never rest…..French generals cheer and applaud".
Around this central image are smaller vignettes. On the upper left, the Regent looks apprehensively at Castlereagh, to counter this image, Wellington on the right, rides 
furiously towards Napoleon. He is about to pass Louis XVIII, who flees on a donkey. 
In the top right the monarchs of Europe are squabbling over a large ‘cake’.
B. M. 12537

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George Cruikshank. Odds & Ends for February (sic) 1816.
Gcruiac thumb

Published February 1 1816 by M. Jones Newgate St
19½ x 8½. Original colour as this is an image from the ‘Scourge’ thus it has the usual folds.
The central image is of Kean, and underneath is A Kean Manoeuvre to Pay Old Debts – or – Drury is itself again. John Bull holds a goblet, which is overflowing with guineas, and many of the miniature figures below him are holding out bills for payment.
On the left is William Curtis and on the right is Augustus Barry and the sermon and the other allusions derive from him being a rake in orders.
The small image upper left relates to the elopement of Braham and Mrs Wright, and the one in the top right corner shown a gouty Regent, who was at this time laid up with gout in Brighton, thus the Chinoiserie. There is a very small repaired paper loss in the upper section of this image.
B. M. 12714.

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George Cruikshank. PRINCELY PIETY, OR THE WORSHIPPERS AT WANSTEAD.
Gcruie thumb

Published December 1st 1811 by M Jones 5 Newgate St.
15½ x 8. Original colour with the usual folds. As usual trimmed within the plate mark and on the left fractionally inside the image.
Miss Tylney Long, the very wealthy heiress is on the fantastic throne. Suitors come before her including the Duke of Clarence, who is having a chamber pot emptied over his head by Mrs Jordan with whom he had lived for twenty years.
B. M. 11744.

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G. Cruikshank. …. THIS PRINT OF HUNTING A MAYOR (altered to MARE) IS HUMBLY PRESENTED TO HIS L-D-P ON HIS RETIRING FROM OFFICE ‘GOOD RIDDANCE’
Gcruia thumb

Published October 15th 1819 by T. Tegg 111 Cheapside. 
13¾ x9½. Original colour, trimmed onto/within the plate mark. An old fold at the bottom of the image.
An ass with the head of the Mayor, John Atkins, gallops away from Henry Hunt and his followers. He had over reacted to Radical protests, which he described as, “an incitement to fire the Metropolis and murder the inhabitants.” Thus the words, “I smell a plot,” issuing from the ass’s mouth.
One trial instigated by Atkins saw Samuel Waddington found innocent. He then published a report of his trial ‘A whip for the hors, a bridle for the ass and a rod for the fool’s back.’
B. M. 13273.

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G. Cruikshank. Dignity!
Gcruih thumb

Published by G. Humphrey. 27 St. James’s St. 1820.
7½ x 5½. Uncoloured with good margins. 
In June 1820 Humphrey published ‘La Gloire Des Honnettes Gens’ which had four sections, Modesty, Dignity, Chastity and National Love. These were then divided and printed off as separate images. 
Caroline and Bergami frown angrily at a naval officer, who says, “…. I shall not degrade myself & the Service by sitting at the table with such a fellow as that.”
See B. M. 13731.

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G. Cruikshank. Chastity!
Gcruii thumb

Published by G. Humphrey. 27 St. James’s St. 1820.
7½ x 5½. Uncoloured with good margins. Slight creasing.
In June 1820 Humphrey published ‘La Gloire Des Honnetters Gens’ by Cruikshank, which had four separate images on one plate. These four sections, ‘Modesty, Dignity, Chastity and National Love’ were divided and printed separately.
Bergami and Caroline are embracing each other. 
Under the image the text starts, “Chaste as the Icecle….”
See B. M. 13731.

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G. Cruikshank. THE OPERA BOXES, DURING THE TIME OF THE GREAT EXHIBITION !
Gcruil 2 thumb

Published by D. Bogue 86 Fleet St.
11 x 8½. Uncoloured on India paper.
One of the images published by Bogue in 1851.

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George Cruikshank. POKER, TONGS & SHOVEL or an Ironical Consultation about Murdering the Bootmakers Maid!!!
G.crui.poker tongs shovel thumb

Published January 1812.
9¾ x 14½. Original colour with reasonable margins, a horizontal central fold, slight marks and a tear at the top but not reaching the words “A Fouler deed was never done.” A watermark of 1809.
In the top section the central figure says, “Don’t you hear the Cry of Murder!!!”and in the lower section the young women who is being attacked cries out “Murder Murder.”
Not in the B. M. Douglas 1059.

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George Cruikshank. LE RETOUR DE PARIS or, the Neice presented to her Relatives by her French governess.
G.crui.le retour de paris thumb

Published by H. Humphrey St. James’s St. January 3rd 1817.
15 x11. Original colour with a small margin at the top and good margins elsewhere.
The aunt on the left says, “In the name of all that’s Christian speak & say what you are & where you come from, you Hottenpots, - Aye don’t talk to me of Turpuschore & Green-Owls or any of your Hocus-pocus nonsense – Speak plain English you Mountebanks do – or I’ll make you answer before my Husband one of his Majesty’s Justice—I will.” This was one of the items later reprinted, and with a date of 1835 in ‘Cruikshankiana’.
B. M. 12922.

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G. Cruikshank. GIANT GRUMBO & THE Black Dwarf, or, Lord G - & the Printers Devil.
G.crui.giant grumbo thumb

Published by G. Humphrey 27 St James’s St. July 24th 1819.
10 x 8. Original colour with small margins.
Discoloration of the paper and some marks. Lord Grantham wields the club of Hercules. He towers above the small black imp who is surrounded by copies of the‘Black dwarf’.
In June the ‘Black Dwarf’ carried an article saying that the Yeomanry regarded themselves as the means by which ‘one position of society’ was ‘arrayed against the other’. Grantham had demanded an apology from Wooler which the latter then made the subject of his weekly letter in the ‘Black Dwarf’, which included the words“I was a Dwarf! alone, unarmed, in the presence of a gigantic lord.”
B. M. 13250.

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George Cruikshank. ALLS RIGHT A FARCE AS PERFORMED AT THE HAYMARKET !!!
G.crui.alls right a farce  thumb

May 1828 Drawn & Published by D. Smith 8 Castle Street Licester (sic) Square.
12 x 8¾. Original colour and reasonable margins with a watermark of 1827. A small stain at the top right.
A rather dubious alcoholic mix is being put into the large cask. This satire is probably a comment on the wines provided for, ‘the Grand Masquerade at the Italian Opera’ on April 21st at the Haymarket theatre. Charles Wright who is punningly alluded to by the figure with the wine bottles, and who was an important supplier of Champaign, was reported to have purchased the catering rights for £250.
B. M. 15594.

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George Cruikshank. A VIEW IN GREEN STREET WITH A ROLAND FOR A BLAKE !
G.crui.a view in green stre thumb

Published March 22nd 1822 by Fores, Panton St. Haymarket.
13¾ x 9¾. Original colour with very small margins and loss of paper lower right but not into the image. Overall light browning and some marks.
According to a pencil note on the B. M. example this print was supressed and is rare. It relates to an unexplained scandal, apparently concerning persons called Rowland, Blake and Miekel (?) and set in Green Street in Greenwich.
B. M. 14421.

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George Cruikshank. THE TRIP-HELL ALLIANCE.
G.crui.the trip hell allian thumb

Published March 21st. 1813 by S. Knight 3 Sweetings Alley Rl. Exchange.
13¾ x 9¾. Original colour with thread margins at the sides and trimmed within the plate mark at the top and bottom.
Napoleon says, “I’m in a Devil of a scrape between you both. We had better forgive each other & make a Triple alliance against England & all the World.”
The devil says, “Kiss his Holiness’s toe friend Boney to shew your sincerity, & carry your sins to my account.”
The Pope says, “You have sold yourself to the Devil & trod upon the Cross. You have worshipped Mahomet, & even the Polish Jews have forsaken you – Now forsooth! You would liberate me to give you Absolution !!!”
Not in the B. M.

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George Cruikshank. SNUFFING OUT BONEY !
G.crui.snuffing out boney thumb

Published May 1st 1814 by T. Tegg. No. 111 Cheapside.
9¼ x 13¾. Original colour and trimmed onto/within the plate mark at the top and bottom and almost to the border-line at the sides. Slight marks and soft creasing.
A famous image which is frequently reproduced in reference works.
B. M. 12254.

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George Cruikshank. A PARTY OF PLEASURE - Dedicated to the Funny Club.
A party of pleasure   g. cr thumb

 Published June 25th 1822 by G. Humphrey 27 St. James’s Street.
14¾ x 10¼. Original colour and trimmed onto/within the plate mark and set into a McLean album sheet.
An overladen cockney picnic party.  A ‘funny’ was a narrow clinker-built pleasure boat. Apart from the mast the one in the image resembles a funny.
B. M. 14447.

 

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George Cruikshank. A WHIMSICAL COURTSHIP & MARRIAGE OR THE GOLDEN CALF !!
A whimsical courtship   mar thumb

Published at Bath & sold in Cheapside London.
13¼ x 9. Original colour and trimmed just outside the image and slight creasing.
On the left Miss Clayton is being offered love by the golden calf which has a large purse dangling from his pocket. On the right the elderly minister is Clayton and he and his three sons are dancing with glee as the amount of money that Miss Clayton will bring into the family.
B. M. 1388.

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George Cruikshank. MONSTROSITIES OF 1816, scene, Hyde Park.
Monstrosities of 1816 scene thumb

Published by H. Humphrey 27 St James’s St – March 12th 1816.
13½ x 9¼. Original colour and trimmed and neatly set into an album sheet.
A satire on attitudes as well as fashion. In regard to the fashions some of the men depicted here are wearing clothes associated with the dandy in caricature although the name was not current until 1818.
B. M. 12840.

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George Cruikshank. DANDIES – OR – MONSTROSITIES OF 1818.
Dandies or monstrosities of thumb

Published October 3rd 1818 by G. Humphrey. 27 St. James’s Str. 
13½ x 9½. Original colour and trimmed and set into an album set. Paper loss top right. 
Another scene set in Hyde Park. Alterations from the previous image include a fashion for walking on tip toe and the ladies stoop is less pronounced and the dresses are less exposing. 
1818 was the year when caricatures of dandies were at their height. 
B. M. 13055.

 

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George Cruikshank. MONSTROSITIES OF 1819.
Monstrosities of 1819 thumb

Published November 29th 1819 by G. Humphrey 27 St. James’s Street. 
13½ x 9½. Original colour and as the above carefully set into an album sheet. Mark in the centre of the sky. 
Again a scene in Hyde Park showing the changes in fashion over the year. Unlike the previous examples some of the figures are recognisable. Lord Petersham drives a high gig and the Persian ambassador is shown riding. 
B. M. 13445.

 

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George Cruikshank. MONSTROSITIES OF 1821.
Monstrosities of 1821 thumb

Published by G. Humphrey 27 St. James’s St. London May 20th 1821. 
13¾ x 10. Original colour and like the above carefully set into an old album sheet. Marks top left. 
A sequel to the above fashion/dandy images. 
B. M. 14310.

 

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George Cruikshank. MONSTROSITES OF 1783 & 1823.
Monstrosities of 1783   182 thumb

Published by G. Humphrey, 27 St James’s St. London – January 1st 1823. 
13½ x 5. Original colour and from the same album as the above items. 
The ‘Monstrosities’ from different years stare at the others in amazement. The earlier ones show the 1785-6 vogue for projecting busts, inflated derrieres and gigantic muffs and hats. The centre group are moderns and on the right the lady in the vast hooped petticoat is copied in reverse from a scene by Rowlandson in 1784.  On the extreme right the lady in back view is taken from a Gillray image of 1782. 
B. M. 14595.

 

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George Cruikshank. MONSTROSITES OF 1824.
Monstrosities of 1824 thumb

Published by G. Humphrey 24 St. James’s St. – July 8th 1824 –
14¼ x 9½. Original colour and trimmed and set into an album sheet as the above items are.
This scene is probably set besides the Serpentine and shows the progress of fashion from the earlier images.
B. M. 14725.

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George Cruikshank – GOING TO HOBBY FAIR.
Going to hobby fair. thumb

Published August 1st 1835 by Thos. McLean 26, Haymarket.

7¾ x 5½. Later colour as this is a later printing. Good margins, some staining in the top right hand corner not into printed area.

Interesting hobby scene at a park with other hobbies in the background.

Not in B. M.

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George Cruikshank – THE IMPOSTER OR OBSTETRIC DISPUTE, [Vide –Johanna Southcott – and the Public Disputations –
The imposter or obstrtric d thumb

Published September 1814 by T. Tegg 111 Cheapside London. A Tegg number top right of 338.

13¾ x 9¾. Original colour, with reasonable margins. Old glue marks on verso as it was stuck into an album.

A scene outside Bethlehem Hospital (Bedlam). Joanna Southcott, grotesquely pregnant, bestrides a dog wearing clerical gown and bands, its collar inscribed 'Tozer'. The boot maker who stands in front of her yells with outspread arms, “I say, your prophecies are d—d lies & Old Touzler the father of 'em I'll expose you I will you Old Brimstone you're a Cheat!—& a faggot! & a bag of Deceit! Out upon you! out upon you! you Blasphemous old Hag.”

B. M. 12332.

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G. Cruikshank. ANGLO-GALLIC Salutations in LONDON – or Practice makes perfect ___”Gode a morning Sare, did it rain towMorrow?____”Yase it vas” ______
Anglo gallic salutations thumb

Published June 6th 1822 by G. Humphrey 27 St. James’s Street London.

13 x 9½. Original colour and trimmed to the border, with a small hole in the bear stomach.

Two newly arrived Frenchmen meet on the pavement outside the door of the White Bear (Piccadilly). Their speech and appearance amuse two girls, who have just passed and a groom and coachman. They wear supposedly English dress: breeches and boots, top hats with small high crowns, reversing the shape of the prevailing bell-shaped topper. Through the window of the Inn can be seen a list of the dishes, ‘Hashed Tongue, Soup Meagre, Hotch Potch, and Mock [Turtle].’

B. M. 14440.

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George Cruikshank. THE BLESSINGS of PAPER MONEY, or KING a BAD SUBJECT.
The blessings of paper mone thumb

Published August 1st 1811 by M. Jones 5 Newgate Street.

15¾ x 8. Original colour, trimmed to the plate mark top and bottom small margins at the sides, with the usual folds as this is from the ‘Scourge’.

John Bull sits in an armchair-commode, attended by two doctors, Lord Stanhope and Perceval. He is in his shirtsleeves, and his chest is bare to allow four leeches, one with a human head, to drain his blood. The lean and angular Stanhope rams down his throat a roll of 'Bank Paper', and holds a similar roll inscribed 'Ld Stanhops R[?emedy]'. Perceval, diminutive and shambling in his Chancellor of the Exchequer's gown, holds the patient's left wrist, and a large ball inscribed 'Legal Tender a Bolus for John Bull'. Behind John's chair stands Lord King, flourishing rolled documents inscribed 'Lord Kings Leases', threatening Perceval, whose scraggy pigtail he holds up derisively. Napoleon, in uniform and wearing a crown, kneels behind Perceval to draw from under the commode a large pan overflowing with guineas evacuated by John Bull. On the left two men are being cooked in a big pot inscribed 'The Combustible Knight [Sir R. Phillips] and his Esquire in Hot Water'. Under the pot are flames presided over by two demons, one using bellows, while a judge (Ellen-borough) applies a red-hot poker to papers which constitute the fuel. The victims say "D—n it—it is as hot as Crown Court" and "Yes! but not quite so hot as your house at Leicester." In the background stands Britannia with her spear and shield pointing to a high pyramid of confused papers lying upon the dead or moribund 'Credit' whose head and arm project from under the pile; she says: "Alas, poor Credit!"

A satire on the currency controversy, which was brought to an issue by Lord King. The resolutions of the Bullion Committee were rejected by Parliament on 10 May after prolonged debate, and on 15 May, Vansittart's rival resolutions were passed, asserting that the high price of bullion was not due to an over-issue of paper. Because of King's action, Stanhope introduced his Bill and on 2 July, King defended his action; the Government supported Stanhope and his Bill was passed. Bank notes became virtually though not technically legal tender.  Napoleon appropriates English gold presumably to show that the adverse exchange and lack of bullion are due to the demands of the British army in Portugal and to the exclusion of British commerce from the Continent. The plight of 'Credit' indicates the commercial and financial crisis and relates it to an over-issue of paper money; the Bank is blamed. John Whitmore was the Governor of the Bank of England who gave evidence to the Bullion Committee in 1810. Sir R. Phillips had procured accommodation bills purporting to be drawn in Cork by one O'Sullivan; bankers took proceedings, and though non-suited were informed that the defendants might be indicted for a conspiracy to defraud.

B. M. 11723.

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George Cruikshank. QUADRUPEDS; Or, The Managers Last Kick. last scene.
Quadrupeds thumb

Published 1st September 1811 by M. Jones 5 Newgate Street.

15¾ x 7¾. Original colour with thread margins and the usual folds as this is from the, ‘Scourge’.

A wild affray between tailors, some mounted on asses or on miserable horses, the design being filled with a confused medley of figures, only one being a woman; she rides a donkey and flourishes a toy sword. The weapons and missiles show that the men are journeymen tailors; they are shears, cabbages, and flatirons, with bludgeons, turnips, a broom, &c. There are three banners: on two are three frothing tankards, on one a pair of shears.

 On 18 July 1811, a 'heroic, tragic, operatic drama' with the title of the print was played for the first time by the English Opera Company at the Lyceum. A manager informs his creditors that he is unable to pay his debts, since he has not been able to introduce on his small theatre the quadrupeds that are all the rage. He proposes therefore to produce '"The Tailors, A Tragedy for Warm Weather" adapted to the present taste'. In the last scene, here depicted, the rival bodies of the (London) tailors, the Dungs and the Flints, appear mounted on donkeys and horses created by the machinist and armed with brooms, crutches, &c. A tremendous discharge of cabbages closes the scene. The two most prominent actors are probably Raymond and Lovegrove. This was a satire on the horses appearing at Covent Garden.

B. M. 11762.

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George Cruikshank. The CORONATION of the NAIRS ---
The coronation  of the empr thumb

Published 1st September 1819 by W. M. Jones No. 5 Newgate Street.

19½ x11. Original colour, trimmed to plate marks, with the usual folds as this is from the, ’Scourge’. With some old repaired tears, possibly some loss.

The Nairs (or Nayars) were a military caste of Malabar who practised polyandry. Lady Hertford reclines in an ornate bath, into which water gushes from the jaws of a monster that decorates the pedestal of a Venus. The bath is raised on a triple dais and backed by the pillars and canopy that frame the Venus forming the centre of the design. The Regent, in royal robes, ascends the steps of the dais, poised on his toes like a ballet-dancer, and places a crown like marquis's coronet on the head of Lady Hertford who leans towards him, her enormous breasts appearing over the edge of the bath. She says, "I proclaim the Freedom of the Sex & the Supremacy of Love." Lord Hertford, who bestrides the pedestal, looks down delightedly from behind the statue of Venus. In the foreground on the extreme right a buxom young woman puts her arms round the Duke of Cumberland, saying, "I'll go to Cumberland"; he walks off with her, to the fury of an admiral just behind who clutches his sword and is seemingly her husband. Cumberland wears hussar uniform. A young woman, (? Mrs. Carey), puts her arms round the Duke of York, saying, "And I to York." The Duke, who wears uniform with a cocked hat and no sword, looks down quizzically at her. Behind him a tall thin officer in hussar uniform bends towards Princess Charlotte, taking her hand, he says, "Sure & I'll go to Wales." She runs eagerly towards him.

A satire on the scandals relating to the Regent, his brothers, and the Hertfords.

B. M. 11899.

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