John Collett (artist)

[2] From this time, though he occasionally exhibited landscapes, portraits, animals, and other subjects, his pictures are mainly of a humorous description, based on the style of William Hogarth, whose 'comedy in art' he strove to imitate, if not to surpass.

He did not possess, however, the force and deep moral of Hogarth's work, and his pictures are often mere plagiarisms, appealing only to a vulgar taste.

[4] John Goldar engraved after him The Sacrifice, The Refusal, The Recruiting Sergeant, exhibited in 1767, The Female Bruisers, exhibited in 1768, and also engraved in mezzotint by Butler Clowes, The Spirit is Willing, but the Flesh is Weak, The Country Choristers, The Unlucky Attempt, The Discovery, The Mutual Embrace, and Modern Love, in four scenes, Courtship, The Elopement, The Honeymoon, Discordant Matrimony, painted in 1765, and published in 1782, after his death.

[2] James Caldwall engraved The Gipsies, The Ladies' Disaster, The Bold Attempt, The Unwelcome Customer, The Guards of the Night defeated, A Macaroni taking his Morning Ride in Hyde Park, The Englishman in Paris, High Life below Stairs, The Cotillion Dancers, exhibited in 1772.

[2] Among numerous others were: Sweets of Liberty and The City Chanters, in mezzotint by Samuel Okey; A Rescue, or the Tars Triumphant, and Grown Gentlemen taught to dance, in mezzotint by Butler Clowes; The Coaxing Wife and An Holland Smock to be run for, by the engraver Thomas Morris; January and May, by Charles Grignion; The Frenchman in London, by C. White; A Taylor riding to Brentford, by T. Stayner; Minerva protecting Innocence, by F. B. Lorieux; and A Snare laid by Love, by Jean-Baptiste Pillement.