George Cattermole was born on 10 August 1800 at Dickleburgh, near Diss, Norfolk. From the age of 14 Cattermole worked with his brother Richard for the antiquarian John Britton, producing architectural drawings. That training equipped him with a repertoire of accurate architectural backgrounds. Britton’s English Cathedrals, 1832-1836 contained much of his work. He contributed illustrations to Sir Walter Scott’s Poetical and Prose Works of Sir W Scott and Landscape Illustrations of the Works of Sir W. Scott, (1833) which demonstrated a fine sense of history and his portrayal of the costumes was precise, although they were constructed in a fervent manner with impulsive pen lines. Some of the works from these publications were later re-drawn as watercolours. As a result of Cattermole’s achievements, he became enormously successful. Cattermole afterwards he contributed designs to be engraved in the annuals then so popular. He illustrated Roscoe’s North Wales (1836) and Heath’s Gallery (1836-8). He then he progressed into water-colour painting, becoming Associate of the Royal Watercolour Society in 1822, and a full member in 1833. In 1850 he withdrew from active connection with that society, and took to painting in oils. The focus of his work then shifted to imaginative depictions in watercolour of episodes from literature and history and genre subjects with historical settings. Cattermole excelled in rendering scenes of chivalry, of medievalism, and generally of the romantic aspects of the past. He became an accomplished historical watercolour painter, recreating the medieval, Elizabethan and 17th-century past. The intimate history pictures of Richard Parkes Bonington were undoubtedly influential, while Cattermole’s bold and loose handling of watercolour owed much to David Cox, an admirer of his work. The most fertile period of his working life was between 1833 and 1850. At the Paris Exhibition of 1855, Cattermole received one of the five first-class gold medals awarded to British painters. He also enjoyed professional honours in Amsterdam and in Belgium. Among his works were: The Murder of the Bishop of Liege, The Armourer relating the Story of the Sword, The Assassination of the Regent Murray by Hamilton of Bothwellhaugh, and (in oils) A Terrible Secret. He was largely employed by the publishers, illustrating the Waverley novels and Cattermole’s Historical Annual produced by his brother Richard (his scenes from the wars of Cavaliers and Roundheads in that series are among his best engraved works), and many other volumes. As an illustrator, Cattermole’s works included The Great Civil War of Charles I and Parliament (written by his brother Richard and published in two volumes in 1841 and 1855) and Evenings at Haddon Hall (1846). Cattermole married Clarissa Elderton, a distant relative of Charles Dickens in 1839. The couple set up house at Clapham Rise, remaining within easy reach of London by Omnibus. Dickens was devoted to the couple and Cattermole was the first of his illustrators whose initial ties to the author were personal rather than professional. Like Maclise, Stanfield, and Landseer, he contributed to Dickens’ work out of friendship, rather than ambition, as such a connection could only detract from his reputation as a serious painter. Such was Dickens’ respect for Cattermole, he handled the friendship carefully, in marked contrast to the brutish behaviour he had meted out to those who preceded him. Referred to by Dickens as ‘Kittenmoles’, George illustrated The Old Curiosity Shop (1841), Barnaby Rudge (1841) and collaborated with Hablot Knight Browne (1815-82) on illustrations for Dickens’ periodical Master Humphrey’s Clock (1841). Dickens wore out all of his illustrators with his work ethic, energy and demands. However, the relationship with Cattermole ended amicably enough. Through his connection with Dickens and others, Cattermole joined the Kensington Gore Set and became a member of the Garrick Club. Queen Victoria was one of Cattermole’s patrons and offered him a knighthood – which he declined, despite which, he retained Her Majesty’s favour. In the early 1860s Cattermole lost both his young son and daughter and suffered from depression. He died in London on 24 July 1868 and was buried in West Norwood Cemetery, near the tomb of John Britton, who had first employed him in his youth. Good representative examples of Cattermole’s work may be found in the collection of the Tate.