Illustrations Of Timeby Cruikshank George

Among early nineteenth-century British caricaturists, George Cruikshank ranks near the top for wit, draughtsmanship, and social bite. One of his most enduring single-sheet satires is commonly catalogued as Illustrations of Time (c. 1827), a densely populated tableau of captioned vignettes that poke fun at the many “times” that structure daily life—dinner-time, play-time, high-time, and so on. While the precise phrasing in the title you encounter—Illustrations Of Timeby Cruikshank George—may reflect a cataloging quirk, collectors and appraisers will want to focus on authentic impressions of this Cruikshank composition and the variants that followed.

This guide explains how to identify, authenticate, and value examples; what condition issues matter most; and how current market dynamics influence price.

Origins and context

• Artist and date: George Cruikshank (1792–1878) was a prolific British caricaturist and book illustrator. Illustrations of Time is generally dated to 1827, a peak period for his etched satires.
• Format and content: The work is typically a single intaglio plate brimming with small, captioned scenes that collectively satirize “time” as social organizer and personal nemesis. The appeal is both humorous and decorative, making it popular with general collectors as well as specialists in British satirical prints.
• Technique: Cruikshank worked primarily in etching on copper, occasionally combined with a light aquatint or roulette effect, then finished with hand coloring in some impressions. You should expect a crisp intaglio line, cross-hatching for tone, and, on period paper, a palpable platemark.
• Publication and issue: Original impressions were issued as a loose print. Later in the nineteenth century, the imagery was sometimes reproduced as wood-engraved reductions in collected editions of Cruikshank’s works. These reproductive versions are not intaglio prints and are valued very differently.

Why this print matters to appraisers: Because it is widely known, frequently reprinted, and sometimes hand-colored long after its first issue, Illustrations of Time requires careful scrutiny to distinguish an early intaglio impression from later restrikes, reductions, or facsimiles. The difference in value can be substantial.

How to identify authentic early impressions

Focus on a set of physical and stylistic traits consistent with early nineteenth-century British etching.

• Platemark: Original intaglio prints show a distinct beveled indentation at the image perimeter from the copperplate pressing into the paper. Run fingertips in raking light; the mark should be tactile. Later letterpress or photomechanical reproductions have no platemark.
• Paper: Period impressions are on wove paper typical of British mills of the 1820s. Common watermarks include partial or full “J Whatman” and “Turkey Mill” with or without a date near 1826–1828. Absence of a watermark is not disqualifying; presence strongly supports period origin.
• Ink character: Look for slightly raised, ink-rich lines under magnification, with occasional plate tone (a warm veil of ink left on the plate) in sheltered areas. Dot-screen patterns, uniform halftones, or slick, glossy inks indicate photomechanical reproduction.
• Publication line and captions: Many original impressions include an etched publication line and date along the lower margin, plus the artist’s name in the plate (e.g., “G. Cruikshank fect.” or similar wording common to his plates). Printed typographic captions below the image area—set in movable type rather than etched—point to a book or magazine reduction, not the intaglio original.
• Hand coloring: Contemporary hand-coloring uses transparent watercolor that allows the etched lines to breathe; greens may oxidize slightly to brown in very old examples. Later coloring can appear opaque, sit atop lines, and sometimes bleed through inconsistently. Uneven toning around colored zones suggests later application.
• Sheet and margins: Untrimmed or generously margined sheets are preferred; many nineteenth-century copies were trimmed near or to the platemark for album binding. A full or near-full margin is a strong value driver.

Red flags: No platemark; smooth, shiny paper; lithographic or offset dot patterns; overly bright, synthetic-looking colors; uniform machine-cut edges; captions typeset below the image; and paper that fluoresces brightly under UV light (suggesting modern stock).

States, variants, and later editions

Even when the image looks right, differing states and editions influence value.

• States: Early states can show crisper line quality, stronger burr in deeply etched passages, and clearer lettering in the publication line. Minor corrections to captions or the imprint sometimes mark later states. If you suspect a state difference, compare exact letterforms and spelling to a reliable catalog raisonné.
• Hand-colored vs. uncolored: Both exist. Contemporary coloring by or for the publisher typically commands a premium, provided it is well preserved. Uncolored early impressions remain desirable for line quality.
• Reproductive versions:
  • Wood-engraved reductions: Smaller-scale, relief-printed versions were produced in nineteenth-century collected editions of Cruikshank’s art. They lack a platemark and show the characteristic grain of relief cutting under magnification. These are historical but not “original prints” in the intaglio sense and are much less valuable.
  • Later photomechanical facsimiles: Twentieth-century reproductions on coated or bright white stock with uniform tonal dots are decorative items only.

Documentation: The standard reference is Albert M. Cohn’s “George Cruikshank: A Catalogue Raisonné,” which assigns plate numbers and often notes states and publishers. For high-stakes appraisal, cross-check against institutional copies and reputable dealer catalogs.

Condition factors that drive value

Condition is often the largest swing factor in pricing a Cruikshank satire.

• Toning and foxing: Light, even toning is expected; scattered foxing spots reduce value, especially within the image. Embrittled or heavily browned paper depresses prices sharply.
• Stains and offset: Old adhesive stains from hinges, tape residue, and offsetting from facing pages are common. Tide lines from moisture are especially problematic.
• Tears and losses: Short edge tears in margins are manageable if far from the plate. Any loss or tear entering the image area is a significant deduction unless expertly conserved.
• Trim and mounting: Sheets trimmed into or just outside the platemark are less desirable than full-margin examples. Old laid-down mounts complicate conservation and valuation.
• Plate wear: While not strictly a condition issue, soft, greyed lines and loss of detail may indicate a late pull from a worn plate; this reduces desirability compared with crisp early impressions.
• Hand-color preservation: Faded or abraded colors, retouching, or color burn (discoloration where pigments interacted with the paper) will lower the grade.

Conservation note: Cleaning, deacidification, or stain reduction should be performed by a paper conservator. Amateur bleaching or tape removal can render a print unsellable.

Market trends and valuation

Values fluctuate with fashion, supply, and condition, but current patterns for Illustrations of Time (or very closely related Cruikshank satires of the same format) tend to fall into the following broad ranges:

• Early uncolored intaglio impressions, decent margins, moderate toning: often mid three figures.
• Early hand-colored impressions with strong margins and minimal faults: commonly high three figures to low four figures.
• Exceptional copies (crisp lines, full margins, contemporary hand color, clean sheet, strong provenance): low to mid four figures.
• Later or worn plate impressions, trimmed or with notable condition issues: low to mid three figures.
• Nineteenth-century wood-engraved reductions from books: usually double- to low triple-digit sums depending on condition and desirability of the volume.
• Modern photomechanical reproductions: decorative only, low value.

Market drivers:

• Cross-collectability: Cruikshank appeals to caricature collectors, print collectors, and Dickensians (he illustrated for Dickens). Broader demand can buoy prices.
• Decorative appeal: The humor and busy composition suit interior design, sustaining demand for bright, framed examples.
• Provenance: Sales labels from respected dealers, old collection stamps, or exhibition history can add confidence and value.
• Supply: Runs “come to market” when institutional duplicates or private collections are deaccessioned; prices can soften temporarily with a glut of similar copies.

As always, recorded hammer prices and dealer offerings for near-identical states and conditions are the best valuation benchmarks. When a precise identification is uncertain, offer a range and condition-dependent qualifiers.

Authentication workflow for appraisers

Follow a disciplined process to avoid misattribution and overvaluation.

1. Document the object:
   • Photograph front and back in natural, even light.
   • Record image dimensions (copperplate impression) and full sheet size to the nearest millimeter.
2. Inspect under magnification:
   • Confirm etched line with slight relief; look for cross-hatching and plate tone.
   • Check for a platemark and examine the publication line and signature in the plate.
3. Evaluate the paper:
   • Hold to light for a watermark; note any “J Whatman” or date fragment.
   • Assess fiber structure; early wove papers show a different texture than modern coated stocks.
4. Assess coloring:
   • Determine whether hand color is contemporary, later, or added recently; examine layering and transparency.
5. Compare to references:
   • Match image layout, caption texts, and any imprint details to entries in a recognized catalog raisonné or institutional copy.
6. Grade condition:
   • Note toning, foxing, stains, tears, trimming, and prior restorations. Photograph defects.
7. Determine edition/variant:
   • Distinguish intaglio original from wood-engraved reductions or photomechanical prints.
8. Conclude value range:
   • Align with recent market comparables, adjusting for state and condition. Provide a narrative rationale.

Care, display, and conservation

• Matting and framing: Use 100% cotton rag or certified archival mat board; hinge with Japanese tissue and wheat starch paste. Keep the platemark well clear of the window.
• Glazing: UV-filtering acrylic or glass is recommended. Avoid direct sunlight and fluctuating humidity.
• Storage: Store unframed prints flat in acid-free folders within archival boxes. Keep in a climate-controlled environment around 40–55% relative humidity.
• Handling: Wash and dry hands or use gloves. Support the sheet fully; avoid touching the image area.
• Conservation treatments: Limit to minimally invasive, reversible procedures by a qualified paper conservator; fully document any work performed for future appraisals.

Practical appraisal checklist

• Verify an intaglio platemark and etched publication line.
• Measure plate impression and sheet size; note margins.
• Inspect with magnification for etched line quality and absence of dot screens.
• Check for watermarks; record any “Whatman” or date.
• Determine hand coloring status and era of application.
• Identify state or variant; rule out wood-engraved reductions.
• Grade condition comprehensively, including back of sheet.
• Note provenance: dealer labels, collection marks, inscriptions.
• Compare against catalog raisonné entries and market comps.
• Assign a value range with clear condition-based qualifiers.

Frequently asked questions

Q: Is every “Illustrations of Time” with bright colors an original hand-colored impression? A: Not necessarily. Many genuine early impressions are uncolored, and some later owners added color. Examine transparency, brushwork, and aging patterns; opaque or garish pigments that sit on top of lines often indicate later coloring.

Q: How important is a watermark for authentication? A: Helpful but not essential. A period watermark such as “J Whatman” or a dated mill mark supports authenticity, but its absence does not rule out an original impression. Paper was often trimmed in binding, removing watermark fragments.

Q: Do trimmed margins greatly reduce value? A: Yes. Trimming to or within the platemark diminishes desirability, both aesthetically and historically. However, a crisp, untrimmed image with minor margin reduction can still be collectable if other factors (state, line quality, coloring) are strong.

Q: Are wood-engraved versions collectible? A: They have historical interest, particularly when intact in original volumes, but they are considered reproductive prints. Their market value is typically a fraction of an original intaglio impression.

Q: Should I clean foxing before selling? A: Only under the guidance of a professional paper conservator. Poorly executed cleaning or bleaching can cause irreversible damage and devalue the print more than the original blemishes.

By combining careful physical examination with informed reference checking, you can confidently distinguish an early intaglio impression of George Cruikshank’s Illustrations of Time from later iterations and arrive at a fair, defensible appraisal.