George Paston Collection

Masquerades and operas, 1724. Artist: William Hogarth
Masquerades and operas, 1724. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

Mr James Gillray, from a portrait by himself, c1800. Artist: James Gillray
Mr James Gillray, from a portrait by himself, c1800. Self-portrait of British satirical cartoonist Gillray (1756-1815). Engraving after a miniature

The Featherd Fair in a Fright, 18th century. Women with elaborate feathered hairdos flee from angry ostriches who want their feathers back

Aerostation out at Elbows or The Itinerant Aeronaut, 1786. Artist: Thomas Rowlandson
Aerostation out at Elbows or The Itinerant Aeronaut, 1786. Illustration from Social Caricature in the Eighteenth Century

Ballet Tragique, 1781. Tragic ballet of Jason and Medea. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily

The Macarony Dressing Room, 1772. Artist: Charles White
The Macarony Dressing Room, 1772. A satire on the affectations of the 18th-century macaroni, a sort of dandy. Illustration from Social Caricature in the Eighteenth Century

A Goldfinch and his Mistress, 1796. Artist: Isaac Cruikshank
A Goldfinch and his Mistress, 1796. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London)

English Travelling, or the First Stage from Dover, 1785. Artist: Thomas Rowlandson
English Travelling, or the First Stage from Dover, 1785. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily

French Travelling, or the First Stage from Calais, 1792. Artist: F Dukes
French Travelling, or the First Stage from Calais, 1792. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily

A French Family, 1790. Artist: Samuel Alken
A French Family, 1790. An anti-French view of our continental cousins: a dog wearing clothes, a man with an effete hairstyle, a child showing her legs

Reconciliation or the Return from Scotland, late 18th century. Illustration from Social Caricature in the Eighteenth Century

La Francoise a Londres: The French Lady in London or The Head-dress of the Year 1771. A satire on the exaggerated hairstyles of the day

The English Lady at Paris, 1771. Artist: Charles Brandoin
The English Lady at Paris, 1771. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London)

A French Petit Maitre and his Valet, late 18th century. Artist: Charles Grignion
A French Petit Maitre and his Valet, late 18th century. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston

A Unwelcome customer, 1772. Artist: Caldwell
A Unwelcome customer, 1772. A bull bursts into a shop, shocking the lady customers who drop the samples of lace they were looking at. The bull has a fur muff on one horn

The Country Vicars Fire Side, 1781. Artist: E Williams
The Country Vicars Fire Side, 1781. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London)

The Rival Milliners, 1770. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

A Milliners Shop; Mrs Monopolize, the butchers wife, purchasing a modern head dress, 1772. Illustration from Social Caricature in the Eighteenth Century

Dancing Bear, 1785. Artist: C Knight
Dancing Bear, 1785. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

The Female Orators, 1768. Artist: Rennoldson
The Female Orators, 1768. Two women are having an argument while a dog and a small boy steal from their baskets of market wares

High-Life Below Stairs, 1772. Artist: Caldwell
High-Life Below Stairs, 1772. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London, 1905)

Well-a-day! Is this my son Tom!, 1770. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds]

Grown Gentlemen Taught to Dance, 1768. Artist: B Clowes
Grown Gentlemen Taught to Dance, 1768. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds])

Grown Ladies Taught to Dance, 1750. Artist: Rennoldson
Grown Ladies Taught to Dance, 1750. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London)

A Pleasing Method of Rouzing the Doctor or a Thythe Pig No Bad Sight. 1770. Satire on the clergy - a woman is tickling the doctors nose with the tail of a piglet that she is obliged to give him as a

Stand Coachman, or The Haughty Lady Well Fitted, 1750. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston

Christmas Gambolls, Boxing Day, 1747. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds])

The Stage Coach or Country Inn Yard, 1747. Artist: William Hogarth
The Stage Coach or Country Inn Yard, 1747. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds]

A Parish Feast, 1741. Humbly inscribed to the church-wardens, vestrymen, questmen, and Parish officers, by Sr Guzzledown Tearfowl. Illustration from Social Caricature in the Eighteenth Century

Fore-warned, Fore-armed, 1741. Artist: E Gravelot
Fore-warned, Fore-armed, 1741. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London, 1905)

The View and Humours of Billingsgate, 1736. Londons famous fish market. Illustration from Social Caricature in the Eighteenth Century

Morning (Four Times of the Day), 1738. Artist: William Hogarth
Morning (Four Times of the Day), 1738. Scene in Covent Garden, London, early on a winter morning. A small fire burns in the foreground. A stall-keeper is seated on a basket

A Prince and a Poltroon, 1789. The Prince of Wales (the future King George IV). Illustration from Social Caricature in the Eighteenth Century

The York Reverence or City Loyalty, Amply Rewarded, 1796. Frederick, Duke of York (1763-1821) and his wife Frederica, Duchess of York (1767-1820)

A Voluptuary Under the Horrors of Digestion, 1792. Artist: James Gillray
A Voluptuary Under the Horrors of Digestion, 1792. Engraving of the Prince Regent, (later King George IV), who was famous for his gluttonous appetite

Georgey a Cockhorse, 1796. George, Prince of Wales (the future King George IV). Illustration from Social Caricature in the Eighteenth Century

City Horsemanship or Procession to St Paul s, 1789. Royal procession to St Pauls Cathedral in London; signs say Seats to Let, St Georges Day, and God Save the King (George III)

A Milliners Shop, 1787
A Milliners Shop. 1787. From Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseud Emily Morse Symonds]. [London, 1905]

Summer Amusement at Farmer G----s near Windsor, 1786. The Prince of Wales (the future King George IV) churns butter. Illustration from Social Caricature in the Eighteenth Century

The Constant Couple, 1786. The Prince of Wales (future King George IV) and his mistress Mrs Fitzherbert travelling to Windsor. Illustration from Social Caricature in the Eighteenth Century

A Scene in the School for Scandal, 1786. An auction scene with the Prince of Wales (later King George IV), bidding for lots including a portrait of his mistress Mrs Fitzherbert

The April Fool, or The Follies of a Night... 1786
The April Fool, or The Follies of a Night as performed at the Theatre Royal, C---- House, for the benefit of the Widow Wadman, 1786. Illustration from Social Caricature in the Eighteenth Century

A Wife and No wife - or - a Trip to the Continent, 1786. Artist: Carlo Khan
A Wife and No wife - or - a Trip to the Continent, 1786. Satire on the secret marriage said to have taken place between the Prince of Wales and Mrs Fitzherbert

Monuments lately discovered on Salisbury Plain, 1782. The Prince Regent is attracted to the Marchioness of Salisbury. Illustration from Social Caricature in the Eighteenth Century

The Bird of Paradise, 1772. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London, 1905)

The Kitchen Metamorphosed, 1762. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London)

John of Gant mounted, or, Mars on his Journey... 1747
John of Gant mounted, or, Mars on his Journey. If music be the food of love, play on, 1747. The Duke of Cumberland, younger son of George II, uncle of George III and famous womaniser

St Jamess in October... 1750
St Jamess in October. The King at Hanover. MDCCL (7 months absent), 1750. Possibly a satirical criticism of King George IIs prolonged absence in his home country

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George Paston was a prominent figure in the 18th century, known for his involvement in various artistic endeavors. His influence can be seen in works such as "The Feathered Fair in a Fright" by Mr. James Gillray, which captures the essence of the era with its satirical depiction of society. One of Paston's notable contributions is evident through his collaboration with artist Thomas Rowlandson on "Aerostation out at Elbows or The Itinerant Aeronaut. " This piece showcases their shared fascination with hot air ballooning and highlights their ability to capture the excitement and wonder surrounding this new form of transportation. Paston's love for drama is reflected in works like "Ballet Tragique, " an exquisite portrayal of dancers immersed in an intense performance. Through this piece, he demonstrates his appreciation for the arts and his desire to bring beauty and emotion to life. In addition to his involvement in visual arts, it also had a keen interest in fashion. He collaborated with Charles White on "The Macarony Dressing Room, " showcasing extravagant attire popular during that time period. This work exemplifies Paston's attention to detail and dedication to capturing the essence of contemporary fashion trends. Another aspect of George Paston's diverse interests can be seen through collaborations with artists Isaac Cruikshank and Samuel Alken on pieces such as "A Goldfinch and his Mistress" and "A French Family. " These artworks depict everyday scenes infused with humor, offering glimpses into societal norms during that era. Furthermore, George Paston played a role in shaping public opinion through art that commented on political matters. For instance, he worked alongside Thomas Rowlandson on pieces like "English Travelling or the First Stage from Dover" and F Dukes' "French Travelling or the First Stage from Calais. " These satirical illustrations shed light on cultural differences between England and France while providing social commentary.