London-born satirical artist John Collet – sometimes Collett – (1725-1780), whose work was on the lines of Hogarth (but not as good) liked to represent scenes of debauchery, low life, social weaknesses and absurdities.
His work was very popular, however, and was much engraved.He had great graphic skill, but he was not very original.
This painting was one of a series of four called Modern Love, a variation on Hogarth’s more famous Marriage a-la-mode. The first shows courtship, the second (shown here) elopement. Then comes the honeymoon and the unhappy marriage.
The British Museum has an engraving of the scene and its online catalogue gives the following description:
‘A young girl (right) is descending some steps by which she has crossed a high paling, her lover in profile to the right receives her in his arms. An old hag waits, standing (right) holding a purse in her left hand. … Her lover wears military dress, with aiguillettes on the shoulder denoting a dragoon. A post-chaise and pair waits (right) outside a low paling; on the panel is a coat of arms with the motto “Ready”. The postilion and coachman stand near their master (left): the former is lifting up a small corded trunk, while a dog worries his cap which is on the ground; the coachman examines the priming of a pistol. At the foot of the ladder is a rectangular box tied with ribbon, inscribed “For Miss Fanny Falsestep”. Behind the paling (right) is a notice board: “Notice is hereby given that a Man Trap is set every Night within these Pales”. In the lane where the post-chaise waits is a sign-post, pointing (left) “To London” and (right) “This leads to the Great Northern Road”. In the background are trees, a cottage with a dovecote, and the tower of a church, the clock pointing to seven minutes past five.’