Between 1837 and 1847, in addition to his work with Dickens and Ainsworth, and in his Omnibus and “Comic Almanac,” Cruikshank threw off some of his most popular minor drawings and etchings. Within this decade he etched many of his plates for the “Waverley Novels,” he illustrated “Peter Parley’s Tales about Christmas,” “Rambles in the Footsteps of Don Quixote” (1837), “More Hints on Etiquette” (1838), “Lympsfield and its Environs” (1838), “The Life of Mansie Waunch (1838) for Blackwood, “Land-Sharks and Sea-Gulls” (1838), “Rejected Addresses” (1838), “Out and About,” a boy’s adventures, by Hain Friswell (1840), John O’Neill’s poem of “The Drunkard” (1842), Dibdin’s Songs (1841-2), “Picnic Papers” (1841), edited by Dickens; Douglas Jerrold’s “Cakes and Ale” (1842), “Modern Chivalry, or a new Orlando Furioso” (1843); Martin’s “Vagaries,” a sequel to “A Tale of a Tub” (1843); “The Bachelor’s own Book, or the Life of Mr. Lambkin, gent” (1844); Harry Lorrequer’s “Arthur O’Leary” (1844); Maxwell’s “Irish Rebellion” (1845), “The Old Sailor’s Jolly Boat” (1845), “The Comic Blackstone” (1846), Mrs. Gore’s “Snow-Storm” and “New Year’s Day” (1845), “Our Own Times” (1845), the Brothers Mayhew’s “Greatest Plague of Life” (1847), “The Emigrant,’ by Sir Francis Head, Captain Chamier’s “Ben Brace” (1847), “Nights at Mess,” and Laman Blanchard’s “Sketches from Life.” He also began his capital illustrations to “The Ingoldsby Legends,” in Bentley’s Miscellany. To this period, also, his wellknown “John Gilpin” and “Lord Bateman” (1839) belong.
According to Mr. Walter Hamilton, the history of the “Loving Ballad of Lord Bateman” is, that George Cruikshank “sang the old English ballad, in the manner of a street-ballad singer, at a dinner of the Antiquarian Society, at which Dickens and Thackeray were present.
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The latter is reported to have remarked, “I should like to print that ballad, with illustrations.” But Cruikshank warned him off, saying that this was exactly what he himself had resolved to do. The original ballad was much longer than that which Cruikshank illustrated, and to which Charles Dickens furnished humorous notes; and was not comic in any respect. Mr. Sala’s version is the more vraisetnblant:—
“The authorship of the ballad itself, which has furnished the basis for no less than three theatrical burlesques—one by a forgotten dramatist at the Strand, another by Robert Brough at the Adelphi, and a third by Henry J. Byron at the Globe—is involved in mystery. George Cruikshank’s assertion, and one to which he doggedly adhered, was that he heard the song sung one night by an itinerant minstrel outside a public-house near Battle Bridge; and that he subsequently chanted and ‘performed’ (George was as good as any play, or as a story-teller in a Moorish coffee-house, at ‘performing’) the ditty to Charles Dickens, who was so delighted with it that he persuaded George to publish it, adorned with copper-plates. But internal evidence would seem to be against the entire authenticity of the artist’s version. That he had heard some doggerel sung outside a tavern, and relating to Lord Bateman, is likely enough. ‘Vilikins and his was immortalised by Robson in Jem Baggs. George Cruikshank’s error, it strikes us, was more one of omission than of commission. He may have lyrically narrated the adventures of the ‘Noble Lord of High Degree’ to Dickens; but he assuredly warbled and ‘performed’ them too in the presence of Thackeray, who in all probability ‘revised and settled’ the words, and made them fit for publication. Nobody but Thackeray could have written those lines about ‘The young bride’s mother, who never before was heard to speak so free,’ and in the ‘Proud Young Porter’ all Titmarshian students must recognise the embryo type of James de la Pluche.”
“Lord Bateman” was Cruikshank’s delight. The exquisite foolery expressed in his plates of this eccentric nobleman he would act, at any moment, in any place, to the end of his life. Mr. Percival Leigh remembers a characteristic scene at the Cheshire Cheese tavern, in Fleet Street, about 1842 or 1843. “This,” * he says, “was in G. C.‘s pre-teetotal period. After dinner came drink and smoke, of course; and G. C. was induced to sing ‘Billy Taylor,’ which he did with grotesque expression and action, varied to suit the words. He likewise sang ‘Lord Bateman,’ in his shirt-sleeves, with his coat flung cloak-wise over his left arm, whilst he paced up and down, disporting himself with a walking-stick, after the manner of the noble lord, as represented in his illustration to the ballad.”
Six-and-twenty years afterwards we find the bright-hearted old man still with spirits enough for his favourite part.