At this time Rowlandson still continued to work for Fores, but before the end of the century we find him working for Ackermann, of the Strand, who continued to be his friend and employer during the rest of his life, and is said to have helped him generously in many difficulties. In these, indeed, he was continually involved by his dissipation and thoughtlessness. Ackermann not only employed him in etching the drawings of other caricaturists, especially of Bunbury, but in furnishing illustrations to books, such as the several series of Dr. Syntax, the “New Dance of Death,” and others. Rowlandson’s illustrations to editions of the older standard novels, such as “Tom Jones,” are remarkably clever. In transferring the works of other caricaturists to the copper, Rowlandson was in the habit of giving his own style to them to such a degree, that nobody would suspect that they were not his own, if the name of the designer were not attached to them. I have given one example of this in a former chapter, and another very curious one is furnished by a print now before me, entitled “Anglers of 1811,” which bears only the name “H. Bunbury del.,” but which is in every particular a perfect example of the style of Rowlandson. During the latter part of his life Rowlandson amused himself with making an immense number of drawings which were never engraved, but many of which have been preserved and are still found scattered through the portfolios of collectors. These are generally better finished than his etchings, and are all more or less burlesque. Our cut No. 233 is taken from one of these drawings, in the possession of Mr. Fairholt; it represents a party of antiquaries engaged in important excavations. No doubt the figures were intended for well-known archæologists of the day.
Thomas Rowlandson died in poverty, in lodgings in the Adelphi, on the 22nd of April, 1827.
Among the most active caricaturists of the beginning of the present century we must not overlook Isaac Cruikshank, even if it were only because the name has become so celebrated in that of his more talented son. Isaac’s caricatures, too, were equal to those of any of his contemporaries, after Gillray and Rowlandson. One of the earliest examples which I have seen bearing the well-known initials, I. C., was published on the 10th of March, 1794, the year in which George Cruikshank was born, and probably, therefore, when Isaac was quite a young man. It is entitled “A Republican Belle,” and is an evident imitation of Gillray. In another, dated the 1st of November, 1795, Pitt is represented as “The Royal Extinguisher,” putting out the flame of “Sedition.” Isaac Cruikshank published many prints anonymously, and among the numerous caricatures of the latter end of the last century we meet with many which have no name attached to them, but which resemble so exactly his known style, that we can hardly hesitate in ascribing them to him. It will be remarked that in his acknowledged works he caricatures the opposition; but perhaps, like other caricaturists of his time, he worked privately for anybody who would pay him, and was as willing to work against the government as for it, for most of the prints which betray their author only by their style are caricatures on Pitt and his measures. Such is the group given in our cut No. 234, which was published on the 15th of August, 1797, at a time when there were loud complaints against the burthen of taxation. It is entitled “Billy’s Raree-Show; or, John Bull En-lighten’d,” and represents Pitt, in the character of a showman, exhibiting to John Bull, and picking his pocket while his attention is occupied with the show. Pitt, in a true showman’s style, says to his victim, “Now, pray lend your attention to the enchanting prospect before you,—this is the prospect of peace—only observe what a busy scene presents itself—the ports are filled with shipping, the quays loaded with merchandise, riches are flowing in from every quarter—this prospect alone is worth all the money you have got about you.” Accordingly, the showman abstracts the same money from his pocket, while John Bull, unconscious of the theft exclaims with surprise, “Mayhap it may, master showman, but I canna zee ony thing like what you mentions,—I zees nothing but a woide plain, with some mountains and molehills upon’t—as sure as a gun, it must be all behoind one of those!” The flag of the show is inscribed, “Licensed by authority, Billy Hum’s grand exhibition of moving mechanism; or, deception of the senses.”
No. 234. The Raree-Show.
No. 235. Flight across the Herring Pond.
In a caricature with the initials of I. C., and published on the 20th of June, 1797, Fox is represented as “The Watchman of the State,” ironically, of course, for he is betraying the truth which he had ostentatiously assumed, and absenting himself at the moment when his agents are putting the match to the train they have laid to blow up the constitution. Yet Cruikshank’s caricatures on the Irish union were rather opposed to ministers. One of these, published on the 20th of June, 1800, is full of humour. It is entitled “A Flight across the Herring Pond.” England and Ireland are separated by a rough sea, over which a crowd of Irish “patriots” are flying, allured by the prospect of honours and rewards. On the Irish shore, a few wretched natives, with a baby and a dog, are in an attitude of prayer, expostulating with the fugitives,—“Och, och! do not leave us—consider your old house, it will look like a big wallnut-shell without a kernel.” On the English shore, Pitt is holding open the “Imperial Pouch,” and welcoming them,—“Come on, my little fellows, there’s plenty of room for you all—the budget is not half full.” Inside the “pouch” appears a host of men covered with honours and dignities, one of whom says to the foremost of the Irish candidates for favour, “Very snug and convenient, brother, I allure you.” Behind Pitt, Dundas, seated on a pile of public offices united in his person, calls out to the immigrants, “If you’ve ony consciences at a’, here’s enugh to satisfy ye a’.” A portion of this clever caricature is represented in our cut No. 235.
No. 236. A Case of Abduction.