947:) that bear a number, but which are printed on one side of the paper only. These single-sided numbered strikes are almost always printed on much higher quality paper than was used for the bound volumes, and the quality of the printing is usually much superior too, with more care having been taken to ensure a crisp impression. These impressions are believed to have been struck by Henry Bohn with a view to colouring them, and then selling them as high-quality single prints, in much the same way as the prints published in Gillray's lifetime. There are many example of such single-sided restrikes, both coloured and uncoloured. Since prices for Bohns are usually between one-tenth and one-twentieth of those for originals, unscrupulous sellers will go to great lengths to disguise the fact that a print is a Bohn. Some common methods include: (i) tortuously worded descriptions, which attempt to avoid disclosure of the fact the print is a restrike (although some sellers will just plain lie); (ii) if the number is outside the image, trimming the print to the very edges of the image; (iii) if the number is inside the image, carefully abrading the surface to obliterate the number; (iv) cutting strips of the image to remove the number; (v) laying the print to paper or framing it such that it is difficult to determine whether there is printing on the reverse; and (vi) adding colour.
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289:– is inextricably associated with that of the caricaturist himself. Gillray lived with Miss (often called Mrs) Humphrey during the entire period of his fame. It is believed that he several times thought of marrying her, and that on one occasion the pair were on their way to the church, when Gillray said: "This is a foolish affair, methinks, Miss Humphrey. We live very comfortably together; we had better let well alone." There is no evidence, however, to support the stories which scandalmongers invented about their relationship. One of Gillray's prints, "Twopenny Whist", is a depiction of four individuals playing cards, and the character shown second from the left, an ageing lady with eyeglasses and a bonnet, is widely believed to be an accurate depiction of Miss Humphrey.
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indicators of a print coming from the Bohn
Edition are (i) the presence of a number in the top, right-hand corner of the print (the number is most commonly in the image itself, but may be outside in the margin); (ii) the fact that the Bohn edition was issued without colouring; and (iii) the fact that the strikes for the main published volumes of the Bohn Edition were printed on both sides of the paper (the Bohn Edition of the so-called "Suppressed Plates" was, like the originals, printed on one side of the paper only). However, the fact that a print is single-sided does not mean that it is not a Bohn restrike: there are in existence many Bohns (for example,
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fertility of resource, keen sense of the ludicrous, and beauty of execution, at once gave him the first place among caricaturists. He is distinguished in the history of caricature by the fact that his sketches are real works of art. The ideas embodied in some of them are sublime and poetically magnificent in their intensity of meaning, while the forthrightness — which some have called coarseness — which others display is characteristic of the general freedom of treatment common in all intellectual departments in the 18th century. The historical value of
Gillray's work has been recognized by many discerning students of history. As has been well remarked: "
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His contemporary political influence is borne witness to in a letter from Lord
Bateman, dated 3 November 1798. "The Opposition", he writes to Gillray, "are as low as we can wish them. You have been of infinite service in lowering them, and making them ridiculous." Gillray's extraordinary industry may
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Gillray's caricatures are generally divided into two classes, the political series and the social, though it is important not to attribute to the term "series" any concept of continuity or completeness. The political caricatures comprise an important and invaluable component of the history extant of
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The times in which
Gillray lived were peculiarly favourable to the growth of a great school of caricature. Party warfare was carried on with great vigour and not a little bitterness; and personalities were freely indulged in on both sides. Gillray's incomparable wit and humour, knowledge of life,
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This dramatic increase in prices has also led to unscrupulous sellers attempting to pass off prints from the Bohn
Edition as originals, and it can be difficult for those unfamiliar with these practices to tell the difference between a restrike (commonly called "a Bohn") and an original. The key
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Gillray's eyesight began to fail in 1806. He began wearing spectacles but they were unsatisfactory. Unable to work to his previous high standards, James
Gillray became depressed and started drinking heavily. He produced his last print in September 1809. As a result of his heavy drinking Gillray
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In July 1811 Gillray attempted to kill himself by jumping out of an attic window above
Humphrey's shop in St James's Street. Gillray lapsed into insanity and was looked after by Hannah Humphrey until his death on 1 June 1815 in London; he was buried in St James's churchyard,
1301:, his work was influenced by them, and, as later designs on revolution and radicalism indicate, he held Rousseau in higher regard than other revolutionary influences, using a Rousseauian technique of misspelling to place uncertainty in his depictions of Rousseau's texts."
211:. Gillray commenced life by learning letter-engraving, at which he soon became adept. Finding this employment irksome, he then wandered for a time with a company of strolling players. After a chequered experience, he returned to London and was admitted as a student in the
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Also recently the prices of the John Miller editions are rapidly increasing in value because they are affordable for collectors and is seen as a solid investment. They are seen as good alternative to the desirable originals of Mrs. Humphrey's print shop.
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and
Duchess of York, in an obviously copulatory position, with the Duke's feet enlarged and the Duchess's feet drawn very small. This print silenced forever the sycophancy of the press regarding the union of the Duke and Duchess.
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334:, and is dated 1811. While he was engaged on it he became mad, although he had occasional intervals of sanity, which he employed on his last work. The approach of madness may have been hastened by his intemperate habits.
908:(Chatto & Windus, 1874), was the work of Thomas Wright, and introduced Gillray to larger public. This edition, which is complete in one volume, contains two portraits of Gillray, and upwards of 400 illustrations.
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printed between 1818 and the mid-1820s and published by John Miller, Bridge Street and W. Blackwood, Edinburgh. Nine parts were released. The next edition was Thomas McLean's, which was published with a key, in 1830.
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920:, sold for more than US$ 10,000. Since 2002, annual auctions of caricatures at Bonhams in London, each of which included large selections of Gillray prints, have continued this trend. An impression of
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The miscellaneous series of caricatures, although they have scarcely the historical importance of the political series, are more readily intelligible, and are even more amusing. Among the finest are:
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put out an edition, from the original plates in a handsome elephant folio, with coarser sketches—commonly known as the "Suppressed Plates"—being published in a separate volume. For this edition
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Auction prices for
Gillray's work have increased since the 1970s. At the auction of the Draper Hill Collection at Phillips auctioneers in London in 2001, several key prints, including
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Gillray is still revered as one of the most influential political caricaturists of all time, and among the leading cartoonists on the political stage in the United
Kingdom today, both
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wrote a commentary, a history of the times embraced by the caricatures. Many copies of the Bohn Edition have been broken up into individual sheets and passed off as originals (see
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As well as being blatant in his observations, Gillray could be incredibly subtle, and puncture vanity with a remarkably deft approach. The outstanding example of this is his print
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Historical and Descriptive Account of the Caricatures of James Gillray: Comprising a Political and Humorous History of the Latter Part of the Reign of George the Third
369:, who, after examining some of Gillray's sketches, said "I don't understand these caricatures." Gillray revenged himself for this utterance by his caricature entitled
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be inferred from the fact that nearly 1000 caricatures have been attributed to him; while some consider him the author of as many as 1600 or 1700. According to the
373:, which he is doing by means of a candle on a "save-all", so that the sketch satirises at once the king's pretensions to knowledge of art and his miserly habits.
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and humour, knowledge of life, fertility of resource, keen sense of the ludicrous, and beauty of execution, at once gave him the first place among caricaturists.
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below). Although the two volumes of the Bohn Edition are often represented as being a complete collection of Gillray's works, this is not the case: for example,
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296:, shows Miss Humphrey's shop in St. James's Street in the background. In the shop window a number of Gillray's previously published prints, such as
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569:, it is "probably the most famous political cartoon of all time, it has been stolen over and over and over again by cartoonists ever since."
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is not included in either volume. This is most likely because this print was not published by Hannah Humphrey, but by John Wright for the
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Light expelling Darkness,—Evaporation of Stygian Exhalations,—or—The Sun of the Constitution, rising superior to the Clouds of Opposition
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Haywood, Ian. "'The dark sketches of a revolution': Gillray, the Anti-Jacobin Review, and the Aesthetics of Conspiracy in the 1790s".
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acknowledge him as probably the most influential of all their predecessors in that particular arena . Professor David Taylor, a
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expert in political satire, stated in 2013, "Without question, if the leading cartoonist back then—James Gillray—had depicted
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1436:"'Rodney invested – or – Admiral Pig on a cruize' (George Bridges Rodney, 1st Baron Rodney; Hugh Pigot; Charles James Fox)"
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314:(1804) was called "the most talented caricature that has ever appeared", partly due to its "admirable likenesses". The
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215:, supporting himself by engraving, and probably issuing a considerable number of caricatures under fictitious names.
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John Moores wrote, "As National Conveniences and The Fashionable Mamma show, Gillray was interested in the ideas of
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Tiddy-Doll the Great French Gingerbread Maker, Drawing Out a New Batch of Kings; His Man, Talley Mixing up the Dough
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Gillray's plates were exposed in Humphrey's shop window, where eager crowds examined them. One of his later prints,
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has turned Gillray to account as a veracious reporter of speeches, as well as a suggestive illustrator of events."
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but also throughout Europe, and exerted a powerful influence both in Britain and abroad. In the political prints,
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Fashion before Ease; – or, – A good Constitution sacrificed for a Fantastick Form
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A noble lord, on an approaching peace, too busy to attend to the expenditure of a million of the public money
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380:, Gillray took a conservative stance, and he issued caricature after caricature ridiculing the French and
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Haywood, Ian. "The Transformation of Caricature: A Reading of Gillray's The Liberty of the Subject".
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Historical and Descriptive Account of the Caricatures of James Gillray by Thomas Wright, R. H. Evans
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Baptism register for Fetter Lane (Moravian) confirms birth as 13 August 1756, baptism 17 August 1756
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through a sea of gore: Hastings looks very comfortable, and is carrying two large bags of money.
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1523:"18th-century cartoonists—who might have loved Rob Ford—among Polanyi Prize-winning subjects"
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242:, which appeared in 1779, is the first caricature which is certainly his. Two caricatures on
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described Hogarth as the grandfather and Gillray the father of the political cartoon. The
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is a caricature of Gillray, intended as a homage to the father of political cartooning.
751:, and the supposed daintiness of her feet. The print showed only the feet and ankles of
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administered the first vaccine, Gillray's work caricatured the fear patients had being
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Price, Chris. "'Pictorially Speaking, so Ludicrous': George IV on the Dance Floor",
682:(1803), another satire on the peace, which is said to have greatly amused Napoleon;
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664:, a picture in which Pitt, so often Gillray's butt, figures in a favourable light;
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Clayton, Tim. "James Gillray: A Revolution in Satire" Yale University Press (2022)
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The Works of James Gillray, the Caricaturist: with the Story of his Life and Times
398:. He is not, however, to be thought of as a keen political adherent of either the
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and was admitted, first as an inmate and subsequently as an outdoor pensioner, at
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1676:(Phaidon Publishers Incorporated, distributed by New York Graphic Society, 1965).
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and protruding from his coat pocket is a measuring tape inscribed "Rights of Man"
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party; his caricatures satirized members of all sides of the political spectrum.
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Regarded as being one of the two most influential cartoonists, the other being
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the latter part of the reign of George III. They were circulated not only in
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179:, prime ministers and generals. Regarded as one of the two most influential
160:, mainly published between 1792 and 1810. Many of his works are held at the
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1638:. Vol. 12 (11th ed.). Cambridge University Press. pp. 23–24.
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1354:"Satire, sewers and statesmen: why James Gillray was king of the cartoon"
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674:, which concentrates the excesses of the French Revolution in one view;
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paid a large sum of money to have it suppressed and its plate destroyed.
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692:, a swipe at the coalition which superseded the Addington ministry;
557:(1805). The world being carved up into spheres of influence between
203:, London. His father had served as a soldier: he lost an arm at the
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University of Nottingham Visual Resources – James Gillray cartoons
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This article incorporates text from a publication now in the
1087:— A group of French savants huddle together at the top of a column
1043:— John Burges, on tiptoe outside a building in Warwick Lane (1795)
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from the 1980s/1990s British television satirical puppet show
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Fashionable Contrasts;—or—The Duchess's little Shoe yeilding
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Fashionable Contrasts;—or—The Duchess's little Shoe yeilding
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The Cow-Pock—or—the Wonderful Effects of the New Inoculation!
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pictures the ministerialists of the time as cattle for sale.
234:, although this term is often loosely used to describe them.
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he would have been far more merciless than they are today."
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A number of his most trenchant satires are directed against
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304:'s king-making proclivities, are shown in the shop window.
1711:(Dover Publications, 1976), black-and-white reproductions.
1571:"A Rousseauian Reading of Gillray's National Conveniences"
799:, which gives humorous expression to the popular dread of
704:(probably the best known political print ever published);
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Music in Art: International Journal for Music Iconography
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Loussouarn, Sophie. "Gillray and the French Revolution".
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Patten, Robert L. "Conventions of Georgian Caricature".
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238:'s works were the delight and study of his early years.
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536:(1793), James Gillray caricatured Paine tightening the
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Rousseauian Reading of Gillray's National Conveniences
635:, satirising the excesses of the Prince Regent (later
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The Loss of the Faro Bank; or – the Rook's Pigeon'd
509:In 1788, appeared two fine caricatures by Gillray.
1482:, speaking on The Secret of Drawing, presented by
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596:that it would make them sprout cowlike appendages.
269:The name of Gillray's publisher and print seller,
1217:British Tars Towing the Danish Fleet into Harbour
819:—two sketches in violent contrast to each other.
44:, 1819, mezzotint after Gillray's self-portrait,
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1779:at the Lewis Walpole Library of Yale University.
936:Maniac-raving's-or-Little Boney in a strong fit
1132:, published by Hannah Humphrey 25 January 1796
771:(which features an image of Hannah Humphrey);
323:suffered from gout throughout his later life.
230:technique. None can correctly be described as
1727:GreatCaricatures.com: James Gillray Galleries
1273:. The 20th-century New Zealander cartoonist
1269:, Gillray has been called the father of the
676:The Nursery with Britannia reposing in Peace
1232:Hand-coloured etching depicting the use of
928:sold in the same year for over US$ 20,000.
867:A selection of Gillray's works appeared in
749:Frederica Charlotte Ulrica, Duchess of York
629:A Voluptuary under the Horrors of Digestion
433:A Voluptuary under the Horrors of Digestion
167:Gillray has been called "the father of the
1736:National Portrait Gallery (United Kingdom)
1674:Mr. Gillray: The Caricaturist, a Biography
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392:. A number of these were published in the
332:Interior of a Barber's Shop in Assize Time
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414:Monstrous Craws, at a New Coalition Feast
1864:Burials at St James's Church, Piccadilly
1722:James Gillray Gallery at MuseumSyndicate
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1397:"James Gillray: The Scourge of Napoleon"
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1709:The Satirical Etchings of James Gillray
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1320:Gillray, James and Draper Hill (1966).
924:sold in 2006 for over US$ 9,000, while
773:Oh that this too solid flesh would melt
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1558:from the original on 25 November 2016.
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661:Britannia between Scylla and Charybdis
359:) and his Suite, at the Court of Pekin
1461:. London: Henry G. Bohn. p. ix.
834:(1793), published by G. Humphrey, 27
716:View of the Hustings in Covent Garden
658:Other political caricatures include:
639:) and the miserliness of his father,
1746:James Gillray: The Art of Caricature
511:Blood on Thunder fording the Red Sea
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1011:to the Magnitude of the Duke's Foot
741:to the Magnitude of the Duke's Foot
355:The Reception of the Diplomatique (
140:(13 August 1756 – 1
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1844:English people of Scottish descent
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218:His caricatures are almost all in
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1757:"Images related to James Gillray"
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633:Temperance enjoying a Frugal Meal
444:Temperance Enjoying a Frugal Meal
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898:Anti-Jacobin Review and Magazine
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641:George III of the United Kingdom
625:A Connoisseur Examining a Cooper
611:Among Gillray's best satires on
506:are the most prominent figures.
371:A Connoisseur Examining a Cooper
326:His last work, from a design by
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853:, published by G. Humphrey, 27
637:George IV of the United Kingdom
101:City and Liberty of Westminster
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869:James Gillray: The Caricatures
747:directed by the press towards
685:The Hand-Writing upon the Wall
680:The First Kiss these Ten Years
273:– whose shop was first at 227
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1569:Moores, John (1 March 2013).
1356:. The Guardian. 16 June 2015.
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1085:Siege de la Colonee de Pompée
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171:", with his works satirizing
1798:James Gillray: Caricaturist
1683:(Sept 2016) 18#3 pp 327–343.
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1839:People from Chelsea, London
1457:Wright T, Evans RH (1851).
1438:. National Portrait Gallery
904:The next edition, entitled
701:The Plumb-pudding in danger
649:A Lesson in Apple Dumplings
554:The Plumb-pudding in Danger
361:, published September 1792.
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1661:Eighteenth-Century Studies
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1499:The Works of James Gillray
954:
711:Comforts of a Bed of Roses
690:The Confederated Coalition
617:Farmer George and his Wife
462:sublimity of conception."
16:British artist (1756–1815)
1041:A Burgess of Warwick Lane
970:The American Rattle Snake
162:National Portrait Gallery
144:June 1815) was a British
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46:National Portrait Gallery
30:
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1775:29 November 2009 at the
1697:XLIII/1–2 (2018), 49–65.
1654:European Romantic Review
945:Light expelling Darkness
922:Light expelling Darkness
810:Harmony before Matrimony
246:'s naval victory at the
1635:Encyclopædia Britannica
1587:10.3167/eca.2013.060107
893:Doublûres of Characters
724:Pandora opening her Box
671:The Apotheosis of Hoche
580:(1802). Produced after
454:Encyclopædia Britannica
1792:Princeton University.
1663:43.2 (2010): 223–242.
1511:: 453–497. April 1874.
1290:In the article titled
1056:The Whore's Last Shift
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805:Dilletanti Theatricals
762:Shakespeare Sacrificed
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1824:English caricaturists
1690:43.4 (1983): 331–338.
1656:22.4 (2011): 431–451.
1322:Fashionable contrasts
1279:face of Court Flunkey
1256:University of Toronto
1130:National Conveniences
1026:Following the Fashion
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926:Fashionable Contrasts
918:Fashionable Contrasts
816:Matrimonial Harmonics
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442:
431:
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353:
346:The art of caricature
312:L'Assemblée Nationale
310:
261:
248:Battle of the Saintes
156:political and social
1814:English illustrators
1770:James Gillray prints
1762:NYPL Digital Gallery
1505:The Quarterly Review
1200:Uncorking Old Sherry
885:Robert Harding Evans
789:Comfort to the Corns
695:Uncorking Old Sherry
627:; the paired plates
621:The Anti-Saccharites
1859:English printmakers
1834:Artists from London
1819:English cartoonists
1681:National Identities
1484:Andrew Graham Dixon
395:Anti-Jacobin Review
294:Very Slippy-Weather
263:Very Slippy-Weather
1794:Gillray Collection
1575:European Comic Art
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851:Flemish Characters
832:Flemish Characters
653:The Pigs Possessed
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504:Napoleon Bonaparte
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240:Paddy on Horseback
226:, and a few using
205:Battle of Fontenoy
183:, the other being
1829:English satirists
1501:by Thomas Wright"
1271:political cartoon
877:Henry George Bohn
855:St James's Street
836:St James's Street
388:) and glorifying
378:French Revolution
287:St James's Street
285:, and finally in
222:, some also with
169:political cartoon
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1707:Gillray, James.
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666:The Bridal Night
645:Royal Affability
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474:, George's wife
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565:. According to
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480:Prince of Wales
476:Queen Charlotte
384:(usually using
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283:Old Bond Street
279:New Bond Street
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1530:. Retrieved
1527:Toronto Star
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1440:. Retrieved
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1115:Regardez moi
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146:caricaturist
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126:Caricaturist
91:(1815-06-01)
41:
18:
1854:1815 deaths
1849:1756 births
1688:Art Journal
1552:lambiek.net
1497:"Review of
801:vaccination
513:represents
376:During the
181:cartoonists
164:in London.
122:Occupations
112:Nationality
89:1 June 1815
1808:Categories
1305:References
1248:Steve Bell
1003: [
912:Collecting
889:Collecting
745:sycophancy
733: [
613:George III
586:vaccinated
523:Market-Day
472:George III
367:George III
340:Piccadilly
281:, then in
277:, then in
254:Adult life
232:engravings
195:Early life
173:George III
150:printmaker
130:printmaker
97:St James's
63:1756-08-13
1595:1754-3797
1275:David Low
1242:Influence
1236:tractors.
542:Britannia
517:carrying
390:John Bull
357:Macartney
75:Middlesex
1773:Archived
1556:Archived
1467:59510372
1299:Rousseau
1260:Rob Ford
1234:Perkins'
875:In 1851
784:The Gout
753:the Duke
590:smallpox
563:Napoleon
460:Miltonic
382:Napoleon
302:Napoleon
224:aquatint
177:Napoleon
1748:at The
1734:at The
1623::
1606:Sources
1486:, BBCTV
955:Gallery
486:, then
482:(later
468:Britain
402:or the
386:Jacobin
328:Bunbury
236:Hogarth
228:stipple
220:etching
201:Chelsea
158:satires
116:English
71:Chelsea
1665:online
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1220:(1807)
1203:(1805)
1058:(1779)
1013:(1792)
988:(1795)
973:(1782)
938:(1803)
807:; and
722:; and
651:; and
607:(1797)
594:cowpox
538:corset
478:, the
446:(1792)
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275:Strand
265:(1808)
154:etched
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1009:]
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615:are:
588:from
500:Burke
1744:and
1591:ISSN
1534:2018
1463:OCLC
1444:2018
1250:and
883:and
813:and
631:and
592:via
561:and
559:Pitt
502:and
404:Tory
400:Whig
148:and
86:Died
57:Born
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540:of
532:In
492:Fox
490:),
189:wit
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