Caricatures

1757-1815
Satirical prints by one of England's most famous caricaturists.

Having failed as a portrait painter, Gillray started engraving for print shops to support himself. From 1782 he started producing political satires, inspired by the conflict between the Whigs and the Tories, the French Revolution and, later, the wars against Napoleon.

Originally his caricatures would have been issued separately, often from the print shop of his mistress, Hannah Humphrey, in St. James's Street, London. His eyesight started failing him, causing him to stop work in 1809. Depressed he turned to drink, and in July 1811 Gillray attempted to kill himself by throwing himself out of attic window above Humphrey's shop. He failed, and survived four years of insanity before dying in 1815.

[Caricature of Pitt's new Banknotes.] James Gillray.

Bank-Notes, _ Paper-Money, _ French Alarmists, _ o, the Devil, the Devil! _ ah! poor John-Bull!!!

London, H.G.Bohn, 1851. Etching, 260 x 360mm. Coloured. Trimmed from a larger sheet.
Because of the need for gold for foreign trade during the war with the French, William Pitt the younger pressured the Bank of England into temporarily suspending its practice of honouring banknotes with gold. The Bank then issued £1 & £2 notes for the first time. Here Sheridan, Fox and Stanhope, dressed as French revolutionaries, try to persuade John Bull to refuse to accept them. First published 1797.
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[Satire on Fashion] James Gillray.

Following the Fashion.

London, H.G.Bohn, 1851. Etching, 325 x 360mm. Coloured. Trimmed from larger sheet, cut to image at top.
Cheapside copying St James's. First published 1794.
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[Satire on Napoleonic War] James Gillray.

The Rake's Progress at the University. No. 5. Convened for wearing gaiters--sad offence! ...

London, H.G.Bohn, 1851. Etching, 245 x 360mm. Coloured. Trimmed from larger sheet.
First published 1806.
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[Satire on War Loans to Austria] James Gillray.

Blindmans-Buff_ or _ Too Many for John Bull.

London, H.G.Bohn, 1851. Etching, 250 x 350mm. Coloured. Trimmed from a larger sheet, narrow top margin.
In 1795 the British Government loaned money to Austria to help pay for the French Revolutionary War. Here John Bull is shown being abused by both friend and foe. The Austrian emperor picks his pocket; a Prussian Death's Head Hussar waves another bag of cash; a Dutchman blows pipe-smoke in Bull's face while a sans-coulotte kicks his backside. The final indignity is the British Prime Minister, Pitt the Younger, shouting encouragement to the tormentors while rifling the pockets of Bull's jacket.
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[Satire on Lord Howe] James Gillray.

A French Hail Storm, _ or _ Neptune losing sight of the Brest Fleet.

London, H.G.Bohn, 1851. Etching, 315 x 360mm. Coloured. Trimmed from larger sheet, narrow margins.
Admiral Howe was much criticised for staying in Torbay instead of blockading the French at Brest. Here Gillray suggests that French money was responsible. Six months later the 'Glorious First of June' sea battle restored Howe's reputation. First published 1793.
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[Satire on Admiral Howe] James Gillray.

Black-Dick turn'd Taylor.

London, H.G.Bohn, 1851. Etching, 245 x 230mm. Coloured. Trimmed from larger sheet.
Admiral Howe, known as Black Dick because of his swarthy complexion, was First Lord of the Admiralty 1783-88. Budgetary constraints hampered him, so he is satirised here for his reform of naval uniform rather than more urgent problems First published 1803.
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[Satire on Ireland] James Gillray.

Posting in Ireland.

London, H.G.Bohn, 1851. Etching, 310 x 395mm. Coloured. Trimmed from larger sheet. A few small repairs.
First published 1805, this is a dim view of Ireland, with run-down taverns and coaches, and starving pigs and horses, only a few years after Ireland was incorporated into the United Kingdom in 1801. The signature bottom left, 'C.Loraine Smith', is meant satirically, with Gillray using the name of a well-known landscape painter.
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[Caricature of Napoleon as First Consul.] James Gillray.

The Apples and the Horse-Turds; _ or _Buonaparte, among the Golden Pippins.,

London, H.G.Bohn, 1851. Etching, 260 x 365mm. Coloured. Trimmed from a larger sheet.
Having made himself First Consul of France Napoleon's imperial pretentions are being mocked. The apples are the monarchies of Europe, and he regards himslef as an apples, despite being swept from a French dungheap, with 'First Horse Turd' on his hat. First published 1800.
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[Satire on the Napoleonic War] James Gillray.

Armed Heroes, or Military Appearances at St. Stephen's & at St. Cloud's on the Day of Defiance.

London, H.G.Bohn, 1851. Etching, 260 x 360mm. Coloured. Trimmed from larger sheet, narrow top margin.
Military posturing: Henry Addington and a diminutive Napoleon facing each other defiantly across a narrow channel. First published 1803.
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[Satire on the Meeting of Napoleon & Charles James Fox] James Gillray.

Introduction of Citizen Volpone & his suite, at Paris.

London, H.G.Bohn, 1851. Etching, 255 x 360mm. Coloured. Trimmed from larger sheet.
Having supported the French Revolution, the English politician Charles James Fox withdrew from Parliament when France declared war on England in 1797. After the Peace of Amiens in 1802 he went to Paris to research a history of the 'Glorious Revolution' of 1688 and was invited to a levee at the Tuileries by Napoleon, a meeting satirised here. Unusually Napoleon is treated kindly: it is Fox, his wife and entourage who are being ridiculed. First published 1802.
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[The first appearence of the "Little Boney" image.] James Gillray.

German Nonchalence; _or_, the Vexation of little-Boney.

London, H.G.Bohn, 1851. Etching, 255 x 360mm. Coloured. Trimmed from larger sheet, narrow bottom margin.
Gillray's first cartoon to depict Bonaparte as 'Little Boney', first published 1803. Napoleon is beside himself as the Austrian ambassador passes through Paris without bothering to present himself to court, only a few months before Napoleon made himself emperor. In reality Napoleon ordered the Count, who was en route to London, to leave Paris at short notice.
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[Satire on the Napoleon's Coup against the Directory] James Gillray.

Exit Libertè a la Francois _ or _ Buonaparte closing the Farce of Egalitè, at St. Cloud near Paris Nov.r 10th 1799.

London, H.G.Bohn, 1851. Etching, 255 x 360mm. Coloured. Trimmed from larger sheet, narrow top margin.
Napoleon dissolves the Directory by force, an event known as the 'Revolution of the 18th Brumaire'. He became First Consul a month later. First published 1799.
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[Satire on the Recommencement of War in 1803] James Gillray.

Death of the Corsican Fox. _ Scene the last, of the Royal-Hunt.

London, H.G.Bohn, 1851. Etching, 260 x 350mm. Coloured. Trimmed from larger sheet.
George III holds Napoleon by the neck before throwing him to the hounds, named after his generals and admirals including Nelson and Cornwallis. Prime Minister William Pitt approaches on horseback. Gillray is a little premature: Napoleon wasn't removed from the world's stage until Waterloo, twelve years later. First published 1803.
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[Satire on Napoleonic War] James Gillray.

John Bull Offering Little Boney fair play

London, H.G.Bohn, 1851. Etching, 210 x 270mm. Coloured. Trimmed from larger sheet.
John Bull wades into the Channel to taunt Napoleon, who hides in his castle. First published 1803.
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[Satire on Republicanism] James Gillray.

The new dynasty: - or - the little Corsican Gardiner planting a royal-pippin-tree. - "All the talents", busy, in clearing the ground of old timber.

London, H.G.Bohn, 1851. Etching, 255 x 360mm. Coloured. Trimmed from larger sheet.
Napoleon, having pruned the monarchies of Europe, helps reformers attack the British Royal Oak. On top of the new tree is Lord Moira, who claimed to be descended from the Irish royal race of Ballynahinch. First published 1807.
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[Caricature of Emma Hamilton] James Gillray.

Dido in Despair.

London, H.G.Bohn, 1851. Etching, 255 x 365mm. Coloured. Trimmed from a larger sheet. One repaired tear.
After the Battle of the Nile, Nelson recuperated at the home of Sir William Hamiton, a noted antiquary, and Emma, Lady Hamilton, at Naples. Nelson and Emma started a notorious affair, and by the time the three returned to England in November 1800, Emma was seven months pregnant with Nelson’s child. Nelson, promoted to vice-admiral, resumed duty as second-in-command of the Channel Fleet on 17 January 1801. Here Emma watches from the marital bed as Nelson sails off to take his post, leaving her wilth 'the old Antique', her husband in bed behind her. First published 1801.
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[Satire on the 'Voluntary Contribution'] James Gillray.

Begging No Robbery; i.e. Voluntary Contribution; - or - John Bull, escaping a Forced Loan. - A hint from Gil Blas.

London, H.G.Bohn, 1851. Etching, 260 x 360mm. Coloured. Trimmed from larger sheet.
Pitt forcing John Bull to hand over a voluntary loan by threatening worse methods. First published 1807.
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[Satire on Prince William Henry] James Gillray.

Wouski.

London, H.G.Bohn, 1851. Etching, 200 x 280mm. Coloured. Trimmed from larger sheet, narrow top margin.
Prince William Henry, younger brother of George III, spent some time in Jamaica. First published 1788.
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[Satire on the Marriage of the Duke of York] James Gillray.

The Introduction.

London, H.G.Bohn, 1851. Etching, 255 x 355mm. Coloured. Trimmed from larger sheet.
George III's eyes light up at the sight of his Prussian daughter-in-law's dowery. First published 1791.
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[Satire on the Prince of Wales's Infidelities] James Gillray.

The Jersey smuggler detected; - or - good cause for (seperation) Discontent.

London, H.G.Bohn, 1851. Etching, 260 x 365mm. Coloured. Trimmed from larger sheet.
The Prince of Wales in bed with Lady Jersey, discovered by his wife. First published 1796.
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[Satire on Skating] James Gillray.

Elements of Skateing. Making the Most of a Passing-Friend, in a case of Emergency!

London, H.G.Bohn, 1851. Etching, 260 x 365mm. Coloured. Trimmed from larger sheet.
First published 1805.
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[Satire on Skating] James Gillray.

Elements of Skateing. A Fundamental Erroe in the Art of Skaiting.

London, H.G.Bohn, 1851. Etching, 260 x 365mm. Coloured. Trimmed from larger sheet.
First published 1805.
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[Caricature of John Penn] James Gillray.

Pen-etration.

London, H.G.Bohn, 1851. Etching, 260 x 190mm. Coloured. Trimmed from a larger sheet.
The last proprietary and hereditary Governor of Pennsylvania. On the outbreak of the Revolution he sold his interests there for £130,000. Originally published 1799.
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[Caricature of Sir Lumley St George Skeffington] James Gillray.

Half Natural.

London, H.G.Bohn, 1851. Etching, 250 x 190mm. Coloured. Trimmed from a larger sheet.
A celebrated fop and playwright, often caricatured by Gillray. He died in 1850, aged 82: knowing that Bohn was preparing this reissue he observed that he had hoped such fooleries had been forgotten, and regretted their disinterment. Originally published 1799.
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[Caricature of Lord Clare] James Gillray.

Mental Energy.

London, H.G.Bohn, 1851. Etching, 255 x 200mm. Coloured. Trimmed from a larger sheet.
An Irish statesman. Originally published 1801.
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[Caricature of the Duke of Marlborough.] James Gillray.

The Inexpressible Air of Dignity.

London, H.G.Bohn, 1851. Etching, 250 x 190mm. Coloured. Trimmed from a larger sheet.
A foppish Duke of Marlborough being contrasted with his warlike ancestor. Originally published 1803.
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[Caricature of the Duke of Bedford] James Gillray.

The Affrighted Centaur, & Lion Britanique.

London, H.G.Bohn, 1851. Etching, 260 x 200mm. Coloured. Trimmed from a larger sheet.
The Duke of Bedford as a centaur wearing racing colours, caricaturing his fondness for racing. Originally published 1799.
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[Caricature of John Nicholls] James Gillray.

Cupid.

London, H.G.Bohn, 1851. Etching, 250 x 200mm. Coloured. Trimmed from a larger sheet.
John Nicholls (1745?-1832), politician. Originally published 1799.
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[Caricature of Boothby Clopton] James Gillray.

A Prince of the Old School.

London, H.G.Bohn, 1851. Etching, 260 x 200mm. Coloured. Trimmed from a larger sheet.
Boothby Clopton was a well-known eccentric, here shown carrying a large parasol. Having exhausting his fortune he shot himself. Originally published 1800.
GILL0007

[Satire on Fox Hunting] James Gillray.

Hounds Finding; Hounds in Full Cry; Hounds Throwing Off; Comin-In at the Death.

London, H.G.Bohn, 1851. Set of four etchings, each c. 255 x 350mm. Coloured. Trimmed from larger sheets, narrow margins.
Decorative set of caricatures, with Gillray depicting inept huntsmen. First published 1800.
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[Caricature of Pitt & Fox] James Gillray.

"There's More Ways Than One."

London, H.G.Bohn, 1851. Etching, 250 x 240mm. Coloured. Trimmed from a larger sheet.
Charles James Fox is watched by Prime Minister William Pitt climbing on a pile of papers to reach the grapes of office. Among the papers is 'Review of the Charges against Warren Hastings', the first Governor-General of India. First published 1788.
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[Caricature of the House of Commons] James Gillray.

A Plumper for Paul! or The Little Taylor done over!

London, H.G.Bohn, 1851. Etching, 250 x 355mm. Coloured. Trimmed from a larger sheet.
An attempt to charge Sheridan with electoral corruption is 'blown out' of court. The goose is Sir Francis Burdett. First published 1807.
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[Satire on a famous scandal] James Gillray.

Betty Canning revived: _ or _ A peep at the Conjuration of Mary Squires, & the Gypsey Family.

London, H.G.Bohn, 1851. Etching, 250 x 350mm. Coloured. Trimmed from larger sheet, narrow top margin.
Elizabeth Gunning forged a letter to her father from the Duke of Marlborough, proporting his approval of her match with his son, the Marquis of Blandford. Having been discovered and ejected from her father's house, this satirises her attempts to deny the forgery, swearing an affidavit before a necromancer. First published 1792.
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[Palmistry engraving] William Hogarth

Debates on Palmistry, From an Original Sketch in Oil by Hogarth, in the Possession of Mr Sam.l Ireland.

London, 1782. 315 x 380mm. Coloured.

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[Set of Hogarth Rake's Progress] William Hogarth

[The Rake's Progress.]

London, Baldwin & Cradock, c.1830. Eight plates, each c. 360 x 410mm. Coloured.
Hogarth's famous satire on affluent society, first published 1735. The downfall of the Rake, from a young man getting the maid pregnant to debtor's prison and insane asylum, is depicted, with two letterpress sheets explaining many of the obscure references. A very decorative set.
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[Set of Hogarth Harlot's Progress] William Hogarth

[The Harlot's Progress.]

London, Baldwin & Cradock, c.1830. Six plates, each c. 325 x 395mm. Coloured.
Hogarth's famous set, telling the story of a prostitute from her arrival in London, her heyday as a rich man's temperamental mistress to reduced circumstances, prison, illness and death. Two letterpress sheets explain many of the obscure references. A very decorative set.
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[Set of Hogarth Marriage a la Mode] William Hogarth

Marriage a-la-Mode.

London, Baldwin & Cradock, c.1830. Six plates, each c. 390 x 470mm. Coloured.
Hogarth's famous satire on marriage: a bankrupt earl arranges his son's marriage to a merchant's daughter despite their mutual indifference; their subsequent lives of dissipation are played out to their unhappy ends. Three letterpress sheets explain many of the obscure references. A very decorative set.
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