Clare Romano and John Ross chose to reproduce Non-Dairy Creamers in The Complete Screenprint and Lithograph, © 1989; this lithograph, Bill says, was intended to poke “ fun at the whole of homosapiens, homosapiens,” he emphasizes the middle syllable, “and at human sexuality.” Humor and satire are his tools. When he becomes pensive, he speaks of Bosnia and ethnic cleansing, “the folly of man,” remembering Goya’s horrific Disasters of War. “We are not just our little selves, that’s not it; we’re worse than the gods. Oh, no, we’re as bad as the gods. The Greek gods did everything....and the Romans learned it from the Greeks.” Later, he refers to the Inquisition and those who were destroyed by their own church. Bitter satire is familiar to Walmsley---from Goya to Daumier, and he notes the wretched excess of political strife in every gallows scene of Callot. He collects all these artists’ works because he admires their achievements and believes in what they believed. Like Rowlandson, whose work he also has in his collection, Walmsley has invested his own energy in social satire.