John Collett Collection

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

Literary Illustration: Old Man Detaining Young Woman, Who is Accompanied by Older Woman, n.d

Capt. Paul Jones shooting a Sailor who had attempted to strike his Colours in an Engagement, late 18th-early 19th century?

A Taylor riding to Brentford, 1786. Artist: TS Stayner
A Taylor riding to Brentford, 1786. A nervous man, with Rules for bad horsemen in his pocket, rides to Brentford, Hounslow. Two stable lads standing in a doorway laugh at him

Miss Wicket and MissTrigger, c1778 (1912). From Imperial Cricket, edited by P F Warner and published by The London and Counties Press Association Ltd (London, 1912)

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 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)

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)

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)

The Taylor riding to Brentford, 1768. Artist: TS Stayner
The Taylor riding to Brentford, 1768. The rider has Rules for bad horsemen in his pocket. A poster reads Various feats of horsemanship performed this evening by the famous Sampson

The Isis Macaroni, 1772. Artist: John Collet
The Isis Macaroni, 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 Sporting Lady, 1776. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London, 1905)

Miss Wicket and Miss Trigger, 1770. Miss Trigger you see is an excellent shot, and forty-five notches Miss Wickets just got. Illustration from Social Caricature in the Eighteenth Century

Steel Buttons, Coup de Bouton, 1777. A woman with an elaborate hairstyle is dazzled by extremely shiny buttons on a mans coat. Illustration from Social Caricature in the Eighteenth Century

Shop-lifter Shop-lifting Shoplifter Shoplifting
A female shop-lifter is caught in the act. She had concealed lengths of lace beneath her clothes. After a work by John Collett, published in 1787

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John Collett was a renowned 18th-century artist whose captivating works depicted scenes from everyday life with a touch of humor and satire. In "The Feathered Fair in a Fright, " he skillfully captured the chaos and excitement of a bustling fair, transporting viewers back to that era. Another notable piece, "Capt. Paul Jones shooting a Sailor who had attempted to strike, " showcased Collett's ability to capture intense moments with precision. Collett's talent extended beyond capturing action-packed scenes; he also excelled at portraying the quirks of society. In "A Taylor riding to Brentford, 1786, " we see his wit as he pokes fun at the fashion-conscious tailor on an unconventional mode of transportation. In "Miss Wicket and Miss Trigger, c1778 (1912), " Collett showcases his ability to depict charming female characters engaged in conversation or perhaps plotting mischief. Similarly, in "The Rival Milliners, 1770, " he humorously portrays two rival milliners vying for customers' attention. Collett's satirical edge is evident in pieces like "The Unwelcome Customer" (1772), where he highlights the annoyance faced by shopkeepers dealing with difficult patrons. He further explores societal dynamics in works such as "The Female Orators" (1768) and "High-Life Below Stairs" (1772), shedding light on gender roles and class distinctions during that time period. Not limited to social commentary alone, Collett also delved into dance culture through paintings like "Grown Gentlemen Taught to Dance" (1768) and its counterpart for ladies from 1750 by Rennoldson. These artworks offer glimpses into the world of formal dances while showcasing Collet's attention to detail. Throughout his career, John Collett left an indelible mark on art history with his unique blend of satire and observation.