Page:Bryan's dictionary of painters and engravers, volume 1.djvu/560

 life in London ; or the Day and Night Scenes of Jerry Hawthorn, Esq., Corinthian Tom, and Bob Logic, in their rambles through the metropolis. By Pierce Egan. With coloured plates by G. and E. Oruik- shanlf. 1821. Grimm's German Popular Stories. 1824-26. Hans of Iceland. 1825. Mornings at Bow Street. 1825. Grimm's Fairy Tales. 1827. Punch and Judy. 1828. John Gilpin. By Cowper. 1828. The Epping Hunt. 1830. The Novehst's Library. Edited by T. Roscoe. 1831-32 My Sketch Book ; containing 200 groups. 1833-34. Thirty-five Illustrations of Don Quixote, in a series of fifteen plates, designed and etched by G. CruiK- shank. 1834. The Comic Almanac. 1835-52. Sketches by " Boz " (Charles Dickens). 1836-37. Memoirs of Joseph Grimaldi. 1838. Jack Sheppard. 1839. Oliver Twist. (By Charles Dickens.) 1839. The Ingoldsby Legends. (By E. H. Barham.) Series i.— iii. 1840-47. George Cruikshauk's Omnibus. Edited by L. Blanchard. 1842. George Cruikshauk's Table Book. Edited by G A. 4 Beckett. 1845. Windsor Castle. 1847. The Miser's Daughter. 1818. Three Courses and a Dessert. 1849. The Loving Ballad of Ix)rd Bateman. 1S51. George Cruikshauk's Fairy Library. 1853. The Tower of London. 1854. Guy Fawkes ; or, the Gunpowder Treason, an historical romance. 1857. Fuller details may be found in Mr. G. W. Keid's Descriptive Catalogue of the Works of George Cruiksliank,' published in 1871.

CRUIKSHANK, Isaac, was born at Edinburgh in 1756 or 1767. Ilis father had been one of the followers of the I'reteiider, and had lost his pro- perty in that hopeless cause. Isaac first came to London at the close of the last century, and, after the death of his father, tried to gain his living by drawing caricatures. lie was the contemporary of Rowlandson and Gillray, and his first published print was one in defence of Pitt in 1796, who was at that time bitterly assailed by Gillray. The greater part of the humorous sketches illustrating the works of Dean Swift, Joe Miller, and John Browne, and published by Messrs. Laurie and Whittle, were by Isaac Cruiksliank. He exliibited at the Royal Academy in 1789, 1790, and 179'2, and in his water-colour drawings exhiliited some talent. He died in London in 1810, or the year following. He was the father of Robert Isaac and George Cruiksliank.

CRUIKSHANK, Robert Isaac, the elder son of Isaac Cruiksliank, was born in or about 1790, and commenced life as a midshipman on board the East India Company's ship ' Perseverance.' Probably influenced by his brother George's success as a caricaturist and artist, he left the service and practised in water-colours and made comic designs, in which, however, he rarely went beyond mediocrity. He was connected with his brother George in illustrating 'The Universal Songster,' 1828; and ' Cruiksliank at Home,' which was followed by a supplementary volume, entitled ' The Odd Volume,' in illustrating which Robert Seymour wa8 associated. Robert I. Cruikshank's best drawings were those made for the illustration of Cumberland's 'British Theatre' and 'Minor Theatre.' His designs on wood were often excel- lent, but generally spoilt by the engraver. His death occurred in 1856.

CRUYL, LlEViN, a Flemish priest, who was a designer and engraver, was born at Ghent about the year 1640, and died there in 1720. He de- signed the views of the most interesting objects in and near Rome, enriched with figures and animals : these are touched with spirit and in a pleasing style. Several of his drawings have been engraved by Giulio Testa ; and we have by him some very interesting etchings from his own designs. He generally marked his plates ^^ruyl. Tlie following are by him :

A set of Twenty-three Plates of Ancient and Modern Rome ; L. Cniyl del. ei scul. 1665. A set of Views of Roman Ruins, &c. 1667. The Triumphs of the Roman Emperors; after Andrea Mantegna ; ten plates.

CRUYS, Theodor ver. See Verkruys.

CRUZ, Juan Pantoja de la. See Pantoja.

CRUZ, Manuel and Migdel de la. See De la Cruz.

CRUZ, Santos. See Santos Cruz.

CTESICLES, (or Clesides,) was a painter of Ephesus, who was living in B.C. 294. Although this artist is not spoken of as a painter of very distinguished talents, yet he may be presumed to have possessed some merit, from the celebrity he acquired by the outrageous insult he offered to Stratonice, the queen of Antiochus. Piqued at not being treated by her with the distinction which he thought he merited, he painted a picture of her in the arms of a fisherman, whom rumour gave to her as a paramour, and placing it in the most public part of the port of Ephesus, he immediately em- barked. Stratonice, however, would not suifer the picture to be destroyed, such was the exact resem- blance the artist had given both to herself and the object of her affection.

CTESILOCHUS, a Greek painter of the time of Alexander, was a disciple of Apelles, and is chiefly remarkable for the singular manner in which he treated one of his principal works, representing the Birth of Bacchus.

CUERENHERT, Dirk Volkertsz, (or Koorn-haert,) a Dutch engraver, was bom at Amsterdam in 1522. He is more distinguished as a religious controversialist than as an artist. He has, however, the credit of having been the instructor of Hen- drik Goltzius. He resided at Haarlem, but died at Gouda in 1590. Heinecken and Huber have given catalogues of his engravings, but they are far from being complete. His plates are signed with the initials D. V. C-, or with the monogram Rllr^ Amongst them are the following :

The Creation of the World. Seven plates. The Descent from the Cross ; after L. Lombard. 1556. Joseph explaining his Dream ; after M. Heeniskerk. Joseph interpreting the Dreams of the Prisoners of Pharaoh ; after the same. Job reproached by his Wife ; after the same. Balaam and his Ass ; after the same. 1554. The Elector of Saxony appearing before Charles V. after the same. The Landgrave of Hesse Cassel before Charles V after the same.

CUEVAS, ^, a Spanish painter, was a native of Iluesca, who studied under and assisted Tomas I'elegret in his decorative paintings for the cathedral of that city. He flourished about the middle of the 16th century, and died at Huesca at the age of 33.