[1] He was best known for his work for Punch, a humorous magazine for a broad middle-class audience, combining verbal and graphic political satire with light social comedy.

Leech's critical yet humorous cartoons on the Crimean War helped shape public attitudes toward heroism, warfare, and Britons' role in the world.

His father, a native of Ireland, was the landlord of the London Coffee House on Ludgate Hill, "a man", on the testimony of those who knew him, "of fine culture, a profound Shakespearian, and a thorough gentleman."

Leech was educated at Charterhouse School, where William Makepeace Thackeray, his lifelong friend, was a fellow pupil, and at sixteen he began to study for the medical profession at St Bartholomew's Hospital, where he won praise for the accuracy and beauty of his anatomical drawings.

[7] In 1840 Leech began his contributions to the magazines with a series of etchings in Bentley's Miscellany, where George Cruikshank had published his plates to Jack Sheppard and Oliver Twist, and was illustrating Guy Fawkes in feebler fashion.

These were not his best work; their technique is imperfect and we never feel that they express the artist's individuality, the Richard Savage plates, for instance, being strongly reminiscent of Cruikshank, and The Dance at Stamford Hall of Hablot Browne.

[8] Leech's lithographic work includes the 1841 Portraits of the Children of the Mobility, an important series dealing with the humorous and pathetic aspects of London street "Arabs", which were afterwards so often and so effectively to employ the artist's pencil.

The book is scarce in its original form, but in 1875 two reproductions of the outline sketches for the designs were published—a lithographic issue of the whole series, and a finer photographic transcript of six of the subjects, which is more valuable than even the finished illustrations of 1841, in which the added light and shade is frequently spotty and ineffective, arid the lining itself has not the freedom which we find in some of Leech's other lithographs, notably in the fly leaves, published at the Punch office, and in the inimitable subject of the nuptial couch of the Caudles, which also appeared, in woodcut form, as a political cartoon, with Mrs Caudle, personated by Brougham, disturbing by untimely loquacity the slumbers of the lord chancellor, whose haggard cheek rests on the woolsack for pillow.

[8] About 1845 we have the first of that long series of half-page and quarter-page pictures of life and manners, executed with a hand as gentle as it was skilful, containing, as Ruskin has said, "admittedly the finest definition and natural history of the classes of our society, the kindest and subtlest analysis of its foibles, the tenderest flattery of its pretty and well-bred ways", which had yet appeared.

The best technical qualities of Leech's art, his precision and vivacity in the use of the line, are seen most clearly in the first sketches for his woodcuts, and in the more finished drawings made on tracing paper from these first outlines, before the chiaroscuro was added and the designs were transcribed by the engraver.