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-The Project Gutenberg EBook of Four Hundred Humorous Illustrations, Vol 2
-(of 2), by George Cruikshank
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Four Hundred Humorous Illustrations, Vol 2 (of 2)
-       With Portrait and Biographical Sketch
-
-Author: George Cruikshank
-
-Illustrator: George Cruikshank
-
-Release Date: December 15, 2013 [EBook #44432]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK FOUR HUNDRED HUMOROUS ILLUSTRATIONS ***
-
-
-
-
-Produced by David Widger from images generously made
-available by The Internet Archive
-
-
-
-
-
-
-
-FOUR HUNDRED HUMOROUS ILLUSTRATIONS
-
-By George Cruikshank
-
-With Portrait and Biographical Sketch
-
-Second Edition
-
-London
-
-Simpkin, Marshall, Hamilton, Kent & Co Glasgow
-
-
-
-
-BIOGRAPHICAL SKETCH
-
-GEORGE CRUIKSHANK was born in London on the 27th of September, 1792.
-His parents were of Scotch nationality. The father, namely, Isaac
-Cruikshank, was an artist by profession, having considerable skill in
-water-colour painting and etching. The mother was a Miss Macnaughten,
-of Perth, a _protege_ of the Countess of Perth, and the possessor of
-a small sum of money. She was a person of energetic temper and strong
-will, and so thrifty that by saving she added considerably to her
-original pecuniary possession. She was also careful to bring up her
-children in a pious manner, being, along with them, a regular attendant
-at the Scotch Church in Crown Court, Drury Lane.
-
-The couple took up house in Duke Street, Bloomsbury, where two sons
-and one daughter were burn. The elder son was born in 1789, named Isaac
-Robert, and ultimately became an artist of considerable reputation,
-but of much less originality in character and design than his younger
-brother. George was born about three years later. In artistic work he
-struck out in a new line, and although the difference between his
-work and that of his father and brother was not in every case strongly
-marked, still it was always sufficient to enable experts to select the
-productions of the youngest from those of his two seniors, a distinctly
-new and original vein appearing in them from the first.
-
-While the three children were still quite young, the family removed to
-No. 117 Dorset Street, Salisbury Square, Fleet Street, where the parents
-let a portion of the house to lodgers. Here the father continued to
-work on his plates, while his wife coloured them by hand, soon, however,
-obtaining help in that respect from her sons. The boys went to school
-at Mortlake, and afterwards to Edgeware, but not for long, so that they
-owed little to school masters. The elder brother went to sea, and not
-returning when expected, was supposed to be lost, and mourned for as
-such. But after three years he suddenly re-appeared, and was welcomed
-home with joy,--resuming engraving for a livelihood Unfortunately for
-the family, the father died in 1811 Up to the time of his decease he
-appears to have had a steady and good business, having produced an
-immense number of sketches, coloured etchings, engravings, and designs
-produced in various modes, many of them in connection with the stage. At
-the time of his father's decease, the oldest son was twenty-two years of
-age, and George, the second son, nineteen. They were both well-advanced
-in their profession, and were quite capable of taking up and prosecuting
-their father's business connection.
-
-Previous to all this, there is no doubt that George began to draw when
-he was a mere child. Some of his productions of 1799 are still extant.
-"George's first playthings," says Mr. Bates "were the needle and the
-dabber;" but play insensibly merged into work, as he began to assist his
-hard-worked father. His earliest inclination, it is said, was to go
-to sea, but his mother opposed this. The earliest job in the way of
-etching, for which he was employed and received payment, was a child's
-lottery ticket. This was in 1804, when he was about twelve years of age.
-in 1805 he made a sketch of Nelson's funeral car, and whimsical etchings
-of the fashions of the day. His earliest signed work is dated two years
-later, and represents the demagogue Cobbett going to St. James's. His
-father's early death threw the lad on his own resources, and he quickly
-found that he must fight for a place in the world, as Fuseli told him
-he would have to do for a seat in the Academy. Anything that offered was
-acceptable--headings for songs and halfpenny ballads, illustrations for
-chap books, designs for nursery tales, sheets of prints for children--a
-dozen on the sheet and a penny the lot--vignettes for lottery tickets,
-rude cuts for broadsides, political squibs--all trivial records but now
-of the utmost rarity and value.
-
-While still very young, and before his father's decease, young George,
-with a view to becoming an Academy student, took specimens of his work
-to Fuseli for his inspection, when that, official told him that he would
-just have to "fight for his place," and at same time gave him permission
-to attend the lectures on painting. He attended two of the lectures and
-then stopped going, as his father held that if he was destined to be an
-artist he would become one without instruction, so that he never became
-a real student of that institution, nor had he a regular training in any
-way, so that his education, both so far as art and ordinary schooling
-was concerned, was very irregular and deficient. In fact, as a lad and
-young man he appeared to have been too full of animal spirits and too
-fond of sight-seeing to settle down to a hard course of study. The
-goings-on of the two brothers were severely condemned by their pious
-and strict mother. Occasionally she even went the length of castigating
-George when he returned home in the small hours from fairs and horse
-races, or the prize ring, and sometimes not quite sober.
-
-He is described at this early age as filled with a reckless love
-of adventure, emulating the exploits of Tom and Jerry, with wild
-companions. His field of observation extended from the foot of the
-gallows to Greenwich fair, through coal-holes, cider-cellars, cribs, and
-prize-fighters' taverns, Petticoat Lane, and Smithfield. Its centre was
-Covent Garden Market, where the young bloods drank, and sang, and
-fought under the piazzas in those days. Such was pretty much the sort of
-education the young men had, and luckily George had the sense and talent
-to turn it all to good account later on with his pencil.
-
-In course of time the artist was firmly established in business, and had
-numerous patrons among the publishers, some of whom were thriving to
-a considerable extent through Cruikshank's labours. After numerous
-isolated sketches, which brought him no small amount of fame, the first
-considerable series of designs by him appeared in Dr. Syntax's _Life of
-Napoleon_, consisting of thirty illustrations. Another long series was
-twenty-three illustrations to Pierce Egan's _Life_ in London. As also
-twenty-seven etchings to Grimm's _Popular Stories_. These were followed
-by numerous other lengthened series, such as _Mornings at Row Street,
-Three Courses and a Dessert, Punch and Judy, Gil Blas, My Sketch Book,
-Scott's Novels, Sketches by Boz, The Omnibus_, and very numerous others.
-In all, he appears to have produced the illustrations for no fewer than
-three hundred and twenty volumes, not to speak of an immense number of
-isolated sketches of all sorts.
-
-In 1847 and 1848 there came from his pencil his first direct and
-outspoken contribution to the cause of temperance in "The Bottle" and
-the "Drunkard's Children," although in some of his earlier designs
-he had satired the prevalent vice of drunkenness; he capped them all,
-however, in the eight plates of "The Bottle," in which he depicts the
-terrible downward march of degradation in the tragedy of an entire
-family, from the easy temptation of "a little drop" to the final murder
-of the wife. In "The Drunkard's Children," eight more plates, the
-remorseless moral is continued, the son becomes a thief, and dies in the
-hulks; the daughter, taking to the streets, ultimately throws herself
-over Waterloo Bridge. The two works had a great success. Moreover, they
-were dramatised in eight theatres at once, and were sold by tens of
-thousands. Hitherto Cruikshank had not been a strict abstainer, but now
-he became one with all the energy of his nature.
-
-In Cruikshank's later years he made a good many attempts at oil
-painting, and exhibited quite a number of paintings at the Royal Academy
-all with more or less success. But the larger and best known of these
-is the "Worship of Bacchus;" it is a work of inexhaustible detail and
-invention, and was received by the public with great favour; the size
-is 7 feet 8 inches high by 13 feet 3 inches long, and it is now in the
-National Gallery.
-
-However, to return to the affairs of the family. In time the brother
-Isaac Robert having got married, the whole family removed to King
-Street, Holborn. Soon afterwards the mother, George, and sister took a
-house in Claremont Square, Pentonville, at that period partially in the
-country. Later on, becoming married. George removed to Amwell Street,
-where he remained for thirty years. He afterwards resided in several
-suburban localities, but finally settled down at 263 Hampstead Road,
-where he died on the 1st of February, 1878, and in the following
-November his remains were finally deposited in the crypt of St. Paul's
-Cathedral.
-
-In person Cruikshank was a broad-chested man, rather below the middle
-height, with a high forehead, blue-grey eyes, a hook nose, and a pair of
-strong whiskers. In his younger days he had been an adept at boxing and
-all manly sports, as also an enthusiastic volunteer, ultimately becoming
-lieutenant-colonel of the 48th Middlesex Volunteers. He preserved his
-energy almost to the last day of his life. Even at eighty he was ready
-to dance a hornpipe, or sing a song, "he was," says one who knew him
-well, "a light hearted, merry, jolly old gentleman, full physically
-of humorous action and impulsive gesture, but in every word and deed a
-God-fearing, queen-honouring, truth-loving, honest man."
-
-The old school of caricaturists in which the names of Gilray,
-Rowlandson, Woodward, and Bunbury are most prominent, was noted chiefly
-for the broad, and in many cases, vulgar treatment of the subjects which
-were dealt with. The later school of caricaturists, in their mode
-of treating similar subjects, differed considerably from their
-predecessors. The leading member of the new school was George
-Cruikshank. He lived and worked during two generations, and may be
-considered as the connecting link between the old school and the new.
-At first Cruikshank to some extent followed Gilray and Rowlandson, but
-gradually fell off from their style of art, and in its stead produced
-work of a more serious and more artistic nature, which was the beginning
-of a new era in the history of caricature. His illustrations to
-innumerable works are of the highest order, and have made for him an
-everlasting reputation.
-
-
-
-
-
-
-
-End of the Project Gutenberg EBook of Four Hundred Humorous Illustrations,
-Vol 2 (of 2), by George Cruikshank
-
-*** END OF THIS PROJECT GUTENBERG EBOOK FOUR HUNDRED HUMOROUS ILLUSTRATIONS ***
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