John Collet 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

Scene in a London Street The Bath Fly Signed and dated in black paint, lower right: " J. Collet pinx | 1770", John Collet, ca. 1725-1780, British

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John Collet was an 18th-century artist known for his captivating and satirical works. His paintings depicted various scenes from everyday life, often with a humorous twist. In "The Feathered Fair in a Fright, " Collet showcased the chaos and hilarity of a bustling fair. Another notable piece, "Capt. Paul Jones shooting a Sailor who had attempted to strike, " captured a dramatic moment at sea. Collet's art also delved into societal norms and gender roles. "A Taylor riding to Brentford" portrayed the comical sight of a tailor on horseback, while "Miss Wicket and Miss Trigger" highlighted the eccentricities of two fashionable ladies in the late 18th century. With his sharp wit, Collet explored themes such as customer service in "A Unwelcome Customer. " He also shed light on rivalries within industries through pieces like "The Rival Milliners. " Additionally, he commented on women's rights and public speaking with his painting titled "The Female Orators. " Collet didn't shy away from poking fun at social classes either. In works like "High-Life Below Stairs, " he humorously exposed the dynamics between servants and their employers. Furthermore, he playfully illustrated dance lessons for both gentlemen ("Grown Gentlemen Taught to Dance") and ladies ("Grown Ladies Taught to Dance"). One of Collet's most famous artworks is undoubtedly "The Ladies Disaster. " This painting showcased an amusing mishap during an outing, capturing both shock and amusement among its subjects. Through his detailed brushstrokes and clever storytelling abilities, John Collet left behind a legacy that continues to entertain viewers even today. His unique perspective on society provides us with valuable insights into 18th-century life while reminding us not to take ourselves too seriously.