Chambers's Journal of Popular Literature, Science, and Art, No. 742, March 16, 1878

No. 742.
Price 1½ d.
SATURDAY, MARCH 16, 1878.
A passing sigh of regret has noted the recent demise, at the good old age of eighty-six, of one of the most remarkable men of our time. Seldom has it been our lot to record in the pages of this Journal the story of one whose genius was of so wild and fantastic a character as that of this veteran artist, who won his maiden fame in the days of George III., and has passed away in the latter part of the reign of Queen Victoria.
George Cruikshank, who was of Scotch parentage, was born in London on September 27, 1792. His father was an artist of the caricature order, contemporary with Gilray; and his elder brother Robert was a draughtsman who, though of no great ability, had a strong Cruikshankian manner about him. George began to sketch at a very early age; and at the commencement of the present century he got a living by making etchings for the booksellers. His father had originally intended to train up his son for the stage; but perceiving that his inclinations lay in quite another direction, he allowed him to cultivate those artistic talents which were afterwards to be a source of delight to himself and to the public. In 1805 the lad sketched Lord Nelson’s funeral car; and his illustrations of the ‘O. P.’ riots at Covent Garden Theatre in 1809 attracted considerable attention at the time. Some of his earliest sketches depict characters who were the centre of interest at that period, but whose names have now quite an ancient ring about them.
Before the reign of George III. was over, the young artist had made a conspicuous name as a caricaturist and comic designer. His first designs were in connection with cheap songs and children’s books; and after that he furnished political caricatures to the Scourge and other satirical publications, besides doing a good deal of work for Mr Hone’s books and periodicals during several years. Indeed this famous publisher was the first to perceive the talents of the artist, and to introduce his rather eccentric sketches to the public. It is related of the young Cruikshank that, having a desire to follow art in the higher department, he endeavoured on one occasion to study at the Academy. The schools at that period were restricted in space and much crowded. On sending up to Fuseli his figure in plaster, the Professor returned the characteristic but discouraging answer: ‘He may come, but he will have to fight for a seat.’ Cruikshank never repeated his attempt to enter the Academy, although he afterwards became an exhibitor. His pencil was ever enlisted on the side of suffering and against oppression, and it is therefore not surprising to find that the cause of the ill-used Queen Caroline was greatly benefited by its scathing satire. Some special hits were made by the artist on this occasion, for it was a subject on which the public mind was very much excited, and one design which was entitled ‘The Queen’s Matrimonial Ladder’ ran through fifty editions.