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A True Draught of Eliz Canning, a satirical print on the story of Elizabeth Canning
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A True Draught of Eliz Canning, a satirical print on the story of Elizabeth Canning
XJF618974 A True Draught of Eliz Canning, a satirical print on the story of Elizabeth Canning, 1753 (engraving) by English School, (18th century); Private Collection; (add.info.: Elizabeth Canning (1734-73) an English maidservant who claimed to have been kidnapped and held against her will by Susannah Wells and Mary Squires. Wells and Squires were at first found guilty, but doubt was cast on Cannings story and she was later found guilty of perjury and transported. Image shows, clockwise from top left, the house Canning claimed she was held in, a depiction of Mary Squires as a witch on a broomstick flying over Enfield Wash, Squires conversing with the Inspector General of Great Britain and a portrait of Elizabeth Canning.); English, out of copyright
Media ID 12810917
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Accusation Accused Broom Broomstick Canning Case Claimed Conversing Criminal Depiction Draught Elizabeth Enfield Gipsy Gypsy Half Held Inspector Kidnapped Length Maidservant Notorious Squires Superstition Superstitious Susannah Trial True Victim Wash Wells Witch Witchcraft Eliz
A True Draught of Eliz Canning - A Satirical Print on the Story of Elizabeth Canning
EDITORS COMMENTS
. This 18th-century engraving, part of a private collection, delves into the infamous tale of Elizabeth Canning. In this satirical print, we witness the dramatic events surrounding her controversial story unfold. Clockwise from top left, we are presented with key scenes that shaped this sensational case. The image begins with a depiction of the house where Canning claimed she was held against her will. This haunting setting sets the stage for what is to come. Next, our attention is drawn to Mary Squires portrayed as a witch astride a broomstick flying over Enfield Wash. This portrayal taps into gypsy superstition and adds an air of mystery and intrigue to the narrative. In another scene, Squires engages in conversation with none other than the Inspector General of Great Britain himself. This encounter highlights both Squires' cunning nature and raises questions about potential collusion within law enforcement. Lastly, we are presented with a portrait capturing Elizabeth Canning herself – half-length and resolute in her gaze. Her face tells us there is more to this story than meets the eye; it holds secrets yet untold. Through satire and symbolism, this print invites viewers to question not only Canning's credibility but also society's fascination with crime trials and notorious cases. It serves as a reminder that truth can be elusive even when justice seems certain.
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