Background information from The Genuine Works of James Gillray, engraved by himself. 2 vols. 1830. --Illustrative description of the genuine works of … J. G. [With a prefatory notice subscribed T. M['Lean].] 1830. This page is all from this earlier edition He was born in Chelsea. His father, native of Lanark, was as a soldier, losing an arm at the Battle of Fontenoy, and was admitted, first as an inmate, and afterwards as an outdoor pensioner, to Chelsea Hospital. Gillray started his working life at learning letter-engraving. This employment,being boring, he travelled for a time with a company of strolling players. He returned to London as a student in the Royal Academy, supporting himself by engraving, and probably issuing a number of caricatures under fictitious names. His caricatures are almost all in etching, some with aquatint, a few using stipple . None can correctly be described as engravings, although this term is often loosely used of them. Paddy on Horseback, which appeared in 1779, is the first caricature which is certainly his. Two caricatures on Rodney's naval victory, issued in 1782, were among the first of the memorable series of his political sketches.
The name of Gillray's publisher and print seller, Miss Hannah Humphrey-whose shop was first at 227 Strand, then in New Bond Street, then in Old Bond Street, and finally in St James's Street-is personally associated with that of the caricaturist himself. Gillray lived with Miss (often called Mrs) Humphrey during most of his working life. 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 clear evidence, , to support the stories scandalmongers invented about their relationship. Gillray's plates were shown in Humphrey's shop window.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. During 1811 he became mad, although he had occasional intervals of sanity, when he did his last work. The approach of madness may have been hastened by his lifestyle. Gillray died on 1 June 1815, and was buried in St James's churchyard, Piccadilly.

A selection of Gillray's cartoons/charicatures appeared in 1818; but the first good edition from the original plates was Thomas McLean's, which was published on quality rag paper, in 1830. In 1849/1851 Henry George Bohn put out an edition, from the original plates in a handsome elephant folio, the coarser sketches-commonly known as the "Suppressed Plates"-being published in a separate volume. This is on a poorer paper that can suffer from numerous edge tears as paper quality was sacrificed for a lighter weight to take the impressions from an aging plate. . . ie pic may be crisp but unless you watch the paper will be too!

The King of Brobdingnag and Gulliver. (Plate 2d. ie the second larger  version of the picture )
   Original hand-coloured etching and aquatint,from the third edition originally of Gillray etchings  published 1804 A sequel to BMSat 10019. The King and Queen sit on chairs of state intently watching a rectangular tank in which Napoleon as Gulliver sails his little boat, manoeuvring the single sail. Behind the King's chair Lord Salisbury stands stiffly, holding his wand of office; the gold key is attached to his coat-pocket: he has the straight shapeless legs that Gillray always gives him, cf. BMSat 8649. Two princesses sit beside the tank on the Queen's r.; like the Queen, each holds up her fan. Two younger princesses stand behind. Two little pages (l.) blow violently at the sail to propel the boat, while a third laughs. Two beefeaters (r.) grin broadly. All are amused except the King and Queen, who are more serious. After the title: 'Scene - "Gulliver manoeuv'ring with his little-Boat in the Cistern." - Vide, Swifts Gulliver. "I often used to Row for my own diversion, as well as that of the Queen & her Ladies, who thought themselves well entertained with my skill & agility. Sometimes I would put up my Sail and shew my art, by steering starboard & larboard, - However, my attempts produced nothing else besides a loud laughter, which all the respect due to his Majesty from those about him could not make them contain. - This made me reflect, how vain an attempt it is for a man to endeavour to do himself honour among those, who are out of all degree of equality or comparison with him!!! - 10 February 1804 Larger item Etching and with  later hand-colouring, 1796, on** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres *** heavy paper, , @£195 inc delivery

Light Expelling darkness, - evaporation of Stygian exhalations,-or- The sun of the constitution, rising superior to the clouds of opposition.
Pitt as, a Roman charioteer, wearing a laurel wreath, is seated in an ornate chariot drawn (left to right) by the British Lion and the White Horse of Hanover (cf. BMSat 8691). He holds the reins, but scarcely controls the galloping pair. One foot rests on a shield bearing a fanged serpent, and wreathed with serpents, inscribed: 'Exit Python Republicanus'. Behind him is a book decorated with a lyre inscribed 'Magna Charta'. Ornate projections from the back of the chariot support the disk of the 'Sun of the Constitution': the Hebrew letters for Jehovah are surrounded by the words COMMONS . KING . LORDS; this is irradiated, the royal arms being etched partly on the sun, partly on its rays, and immediately behind Pitt. ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 310 Width: 490 millimetres *** heavy paper, , @£225 inc delivery

Phaeton alarm'd! Description
: '"Now all the horrors of the heav'ns he spies, "And monstrous shadows of prodigious size, That, deck'd with stars, lie scatter'd o'er the skies. - "Th' astonish'd youth, where-e'er his eyes could turn, "Beheld the universe around him burn: "The world was in a blaze!" - See, Ovid's Metamorphoses.' Canning, as Phaeton, drives his chariot with four horses abreast on a curving track across the heavens, slanting upwards across the design from left. to r. On this are signs of the zodiac; other constellations of the zodiac are on the darkened sky, above and below the path of Phaeton; all assail him. The base of the design is part of the northern hemisphere, showing the world in flames, and flanked by the ghosts of Pitt and Fox. In the lower left. corner is the ghost of Pitt as Apollo (half length); he weeps, dropping his lyre, and raises his shroud to gaze up at his son, Phaeton.(BM) ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 345 Width: 378  millimetres *** heavy paper, , @£225 inc delivery

The Fall of Icarus.

Lord Temple, naked, wtth large feathered wings bound to his upraised arms, attempts to fly after his father, Buckingham, who is soaring upwards. But his wings are disintegrating; feathers, which are quill pens, fall from them, and he is about to descend heavily on to a viciously pointed stake which is planted in the cobbles of the roadway. His wings are splashed with red, i.e. with sealing-wax. The stake is inscribed 'Stake out of Public-Hedge!' Buckingham (as Daedalus), whom distance makes much smaller than his bulky nephew, is borne up on intact, outspread wings inscribed 'Tellership of \ the Exchequer'. His naked posteriors are grotesquely large. (BM) *This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 260 x 360 mm, @£175 inc delivery

Siege de la Colonne de Pompee-Science in the pillory.
Turks and Bedouins besiege the base of a tall Corinthian column, on which is a group of terrified French savants. They have lit a fire at the base of the column whose smoke ascends in an expanding cloud; other Arabs advance with sheaves of reeds to feed the flames. On the small platform eight Frenchmen are crowded together; one, with wings attached to his shoulders and arms, steps into the void, stretching out his arms to a balloon, already wrecked by musket-fire. Their commander (probably Bonaparte), who wears a large plumed cocked hat and an order, shouts to the besiegers, holding up a placard 'Vive Mahomet Qui protegoit les Sciences'. A man kneeling beside him clasps him in terror; from his pocket issues a paper: 'Projet pour Bruler la Mecque'. A stout man (left) is about to hurl down a (? celestial) globe and a scientific instrument; another prepares to fling a large book: 'Le Ciel Revolutionné ou les Constellations Sans-culottisés'. *This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 500 x 415 mm, @£195 inc delivery  DAMAGED EDGE TEAR to IMAGE

True Reform of Parliament,-i.e.-Patriots lighting a revolutionary-bonfire in New Palace Yard.

Sir Francis Burdett declaims, holding up a bonnet rouge shaped like a fool's cap; he addresses those who are making a bonfire of statutes, &c., on the cobbles of Palace Yard (left). His raised left arm is flung back, pointing towards Westminster Hall, which is being stoned and demolished by a mob. He says: "It is only in the House of Commons / "that the People of England are spoken of / "with Contempt, & calumniated!!!— / "—can things be remedied by Bills? No!— / "it must be by an Honest House of "Commons!—what is the use of Magna-Charta, Habeas-Corpus, / "or the Bill of Rights?— / See, my own Speech at Westminster—Vide, "Cobbett's Patriotic Register. He tramples on a sceptre beside which lies a crown, reversed and covered by a long scroll: *This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 314 x 364 mm, @£225 inc delivery

Morning promenade upon the cliff, Brighton.

Young women, gaily dressed, ride donkeys along a rough road at the edge of a cliff indicated by a railing and the sea below. There are three groups inscribed respectively 'Kicking-Sett', 'Active-Sett', and 'Passive Sett'. On the extreme left. one donkey lies on its back kicking the rider it has thrown; the donkey-boy kneels beside it holding the rein, and plying a cudgel. The next donkey, its head held by a boy, is kicking; a man (? groom) behind flogs it, another holds its rider's sunshade. The third donkey, with its rider holding a sunshade, stands beside it. The other two groups advance from r. to left. Three lively and coquettish ladies ride side by side, approaching with studied unconsciousness two hussar officers who lean against the railing.  *This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 314 x 364 mm, @£195 inc delivery

Pantagruel's victorious return to the court of Gargantua. After extirpating the soup-meagres of Bouille Land.


Ci-devant occupations-or-Madame Talian and the Empress Josephine dancing naked before Barrass in the winter of 1797.-a fact!-
Below the title: 'Barrass (then in Power) being tired of Josephine, promised Buonaparte a promotion, on condition that he would take her off his hands; - Barrass had, as usual, drank freely, & placed Buonaparte behind a Screen, while he amused himself with these two Ladies, who were then his humble dependents, - Madame Talian is a beautiful Woman, tall & elegant; - Josephine is smaller & thin, with bad Teeth, something like Cloves, - it is needless to add that Buonaparte accepted the Promotion & the Lady, - now, - Empress of France!' In the centre of the design the two women dance, veiled by transparent drapery which is framed by a heavy festooned curtain. *This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 450 x 302 mm, @£225 inc delivery

Lieut goverr Gall-stone, inspired by Alecto; -or- the birth of Minerva
Philip Thicknesse writes at a table; he listens to Alecto who whispers slyly in his ear, her right hand on his right shoulder; she is seated partly on his knee partly on a cloud behind him which rises from the jaws of Hell, the gaping mouth of a monster in the lower right corner of the design. Alecto (as in BMSat 7889) is a winged hag, with hair of writhing serpents, one of which coils round Thicknesse's right arm, its poisoned fang touching the tip of his pen. He is seated on a close-stool inscribed 'Reservoir for Gall Stones'. An explosion issues from the crown of his head in the centre of which is Minerva who is shot into the air surrounded by books written by Thicknesse (BM) **This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 413 x 513 mm, @£225 inc delivery

The Union Club
A drunken debauch in the new Union Club, see BMSat 9698. A long table, the cloth removed, one end cut off by the left margin, stretches almost across the design, slanting back slightly from the left, where it is in the foreground, and where Fox, grossly corpulent, sits in an armchair asleep, his feet on the table, a pipe in one hand. Nearly opposite his feet is the chair of state, on the table; on the empty seat is the Prince's cocked hat with triple plume, his motto 'Ich Di[en]' within the crown. (BM) **This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 413 x 513 mm, @£245 inc delivery

A March to the Bank
Soldiers march impassively in double file through a crowded street, and over the prostrate bodies of those whom they have overthrown. Military arrogance and foppishness are personified by the officer, much caricatured, with a grotesquely elongated waist (cf. BMSat 7352). He places one toe on the body of a fish-woman who lies on her back, her legs much exposed. His outstretched right leg is poised above a crouching woman who tries to protect her barrow of vegetables. Two men holding muskets precede the officer; one tramples on the face of an infant. The officer is followed by a man carrying a pike, behind whom march six soldiers in double file carrying muskets with fixed bayonets. All march ruthlessly, eyes front, regardless of the havoc they are causing. **This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 413 x 513 mm, @£195 inc delivery

Fatigues of the Campaign in Flanders
A staff dinner in a large open tent. At the head of the table the Duke of York carouses; a fat Flemish woman seated on his knee plays with his sword; he raises a full glass, looking down at the woman. He is seated on a drum, his left foot rests on a tattered British flag, beside which lies a bundle of muskets. On the table is a punchbowl ornamented with the royal arms. On one side (next the Duke) sits the Prince of Orange, a fat and stolid Dutch officer smoking a pipe and holding a small tankard. Facing him is a savage-looking (?) Prussian officer wearing a cap; his drawn sabre is on the table, he drinks wine voraciously from a bottle, his left arm round the waist of a stout Flemish woman seated beside him on the cannon which forms a seat; she raises her glass, holding a smoking pipe. Next the Dutchman a British officer and a fat Flemish woman are kissing. Behind the seated officers stand bandsmen wearing cocked hats and blowing wind instruments with great energy; an African musician clashes his cymbals behind the Duke. **This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 413 x 513 mm, @£195 inc delivery

A new way to pay the national-debt

George III and Queen Charlotte stand before the open gate of the Treasury, from which Pitt has just wheeled a barrow laden with money-bags. Pitt, the straps of the barrow round his shoulders, his coat-pocket bulging with guineas, obsequiously hands the king a money-bag. George III stands full-face, legs astride, a money-bag inscribed '£100000' under his right arm, another in his right hand and all his pockets overflowing with guineas. Queen Charlotte (left) stands on his right taking a pinch of snuff, and looking up at him with a smile of greedy and satisfied cunning; in her apron is a heap of guineas. **This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 413 x 513 mm, @£195 inc delivery

A great Stream from a Petty-Fountain;-or-John Bull swamped in the flood of new-taxes:-cormorants fishing in the stream.

On the right. a rustic fountain gushes from the mouth of Lord Henry Petty, whose head and shoulders emerge from a stone wall or rock surrounded by trees. The water expands and falls by billowing stages into a sea, the horizon (left) inscribed 'Unfathomable Sea of Taxation'. In this sea 'cormorants', with human heads and huge beaks (projecting from their profiles) and pelican-like pouches, are greedily fishing, while a rowing boat founders, throwing into the water John Bull, who drops an oar inscribed 'William Pitt'; only his head (submerged up to the mouth) and arms emerge.(BM) **This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 265 x 360 mm, @£165 inc delivery

Broad-Bottom Drones storming the Hive, - Wasps, hornets, & bumble bees, joining in the attack.-

Fantastic insects , with human heads assail a hive standing on a low and very solid wooden stand, the 'Treasury-Bench'; ministerial bees emerge to defend it. The apex of the hive is a royal crown from which sprout ears of straw. In the upper left. corner is the grotesque body of Sidmouth terminating in a clyster-pipe inscribed 'Clysteria Ministeria';**This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, Size 265 x 360 mm, @£195 inc delivery

'Visiting the sick'

Etching Fox reclines in an armchair of Gothic shape, his vast swathed legs resting on a cushion, his head against a pillow. He wears a dressing-gown and night-cap. His friends and colleagues stand round him. On his right. is Mrs. Fitzherbert, a meretricious 'Abbess' holding a rosary and placing her hand under his chin; her face and breasts are covered by a large veil of transparent black. On his left. stands a bishop in lawn sleeves and mitre, a rosary hanging from his waist; he puts one hand on Fox's arm, and raises the other in admonition, saying, "O Tempora, O Mores! - Charley! dear Charley! - remember your poor Soul! - & if you're spared this time give us Emancipation - or!!!" His head is concealed, but he is identified by Lord Holland as O'Beirne, Bishop of Meath, educated as a Catholic, and a Whig pamphleteer. Mrs. Fitzherbert says: "Do confess your Sins Charley! do take Advice from an Old Abbess  (BM)by James Gillray, published by Hannah Humphrey hand-coloured etching and aquatint, published 28 July 1806 10 3/8 in. x 14 1/4 in. (263 mm x 363 mm) plate size; 11 1/4 in. x 15 1/4 in. (285 mm x 387 mm) paper size. ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, , @£195 inc delivery

"-A little Music"-or- The Delights of Harmony.

A young woman plays the piano (right) with painful intentness, and sings, as does the man who holds open her music-book, inscribed 'On Rosy Bed by Tinckling Billy'. A middle-aged military officer stands full face playing the flute. A fat elderly 'cit' sleeps in an arm-chair (left); his wig has fallen off and his legs rest on another chair. Behind him a very obese man and an ugly and over-dressed woman with a grotesquely thin neck sing from the same piece of music: 'On Rosy Bed'. Height: 252 millimetres  Width: 354 millimetres ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, , @£125 inc delivery

A French gentleman of the court of Louis XVIth. A French gentleman of the court of Égalité, 1799

An elderly courtier of the 'ancien régime' (left) bows low, in profile to the right, grimacing: 'Je suis voire tres humble Serviteur'. His features are aquiline; he wears a high toupet wig and a large black bag (which flies into the air as he bows) with a solitaire ribbon round the neck. ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  *** heavy paper, , @£125 inc delivery

Britannia ('Design for the naval pillar')

A tall pillar, supporting an allegorical design of Britannia and covered with figures and objects in high relief, stands upon a rock in a stormy sea, waves dashing against it. The square base is supported by figures of Fortitude, with a lion, her left hand on a broken pillar, and Justice, with an ostrich, her scales not balanced. Between them is inscribed: 'To Perpetuate the Destruction of the Regicide Navy of France, and the Triumph of the British Flag'. It rests on two slabs of stones inscribed with the names of admirals: (below) 'Howe', 'Parker', 'Nelson', 'St Vincent', 'Bridport'; (above) 'Duncan', 'Gardiner', 'Keith', 'Hood'. On the summit tritons blowing horns support a shell in which stands Britannia with shield and trident. In her right hand stands a tiny figure of Victory. Beside her an angry lion grasps a globe showing the British Isles and 'le Mer'. The capital of the pillar is formed by the feathers in the hats of republican soldiers who dangle from it, still holding blood-stained daggers. **All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 310 Width: 490 millimetres *** heavy paper, , @£225 inc delivery

Dilettanti-theatricals: -or- a peep at the Green Room. -vide Pic-Nic orgies
A crowded scene, the amateurs of the Pic Nic Society are dressing and rehearsing. The design may derive from Hogarth's 'Actresses dressing in a Barn' (BMSat 2403), Gillray stressing the contrast between his luxurious mise-en-scène and the squalor of Hogarth's players. The centre figure is Lady Buckinghamshire, enormous, florid, and gorgeous, her skirts outspread,**All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 310 Width: 490 millimetres *** heavy paper, , @£225 inc delivery

Bridal Night
An elaborate design. The Prince of Würtemberg, grotesquely corpulent, conducts his bride in the procession (right to left) towards the bridal chamber which is led by the King and Queen. George III, plainly dressed and wearing a hat, partly concealed by a pillar, hurries forward; in each hand is a candle-stick holding a guttering candle-end (cf. BMSat 8117). The Queen, covered with jewels and her face hidden by a poke-bonnet, carries a steaming bowl of 'Posset'. On the back of the Prince's coat are slung five ribbons from which dangle the jewels of orders; three garters encircle his leg; a star decorates the bag of his wig. The Princess gazes at him from behind her fan. **All shown with the margin against a darker carpet to show borders if close cut/printed to one edge ***This is from the later Bohn 3rd Edition . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting These are original copperplate engravings with etching from the original Gillray copper plates . Height: 310 millimetres Width: 490 millimetres *** heavy paper, , @£225 inc delivery

Ancient Music
The King and Queen (left), seated under a canopy decorated with a crown and the royal arms, listen enraptured to a concert; the performers are arranged in a pyramid on the right. Numbers on the figures refer to notes engraved beneath the design. George III leans back, his hands clasped, eyes turned ecstatically upwards; he wears a laurel wreath and his head is surrounded by a star-shaped halo. The Queen sits upright with an eager expression, beating time; her hair and scraggy neck are covered with jewels  ***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 428 Width: 548 millimetres *** heavy paper, , @£225 inc delivery

Blowing up the Pic Nic's; -or- Harlequin Quixotte attacking the puppets. Vide Tottenham Street pantomineSheridan leads the forces of the professionals against the amateurs of the Pic Nic Society, who are performing on a small, elegant stage, rising (without orchestra) from the boards in the foreground where these enemies advance. He is dressed as Harlequin; the tight chequered dress (slightly torn) accentuates his obesity; an empty purse hangs from his belt; in his left hand is a hat with a tricolour cockade (emblem of Jacobinism). In his right hand he flourishes a large pen whose feather makes wide swirling curves, terminating in firework-stars, and inscribed with the names of newspapers: 'Courier', 'Morning Post', 'Morning Herald', 'Morning Chronicle'. He is masked, to indicate that he has been writing anonymous squibs against the Pic Nics.***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 354 Width: 254 millimetres *** heavy paper, , @£125 inc delivery

Shakespeare Sacrificed
The King and Queen (left), seated under a canopy decorated with a crown and the royal arms, listen enraptured to a concert; the performers are arranged in a pyramid on the right. Numbers on the figures refer to notes engraved beneath the design. George III leans back, his hands clasped, eyes turned ecstatically upwards; he wears a laurel wreath and his head is surrounded by a star-shaped halo. The Queen sits upright with an eager expression, beating time; her hair and scraggy neck are covered with jewels  ***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 428 Width: 548 millimetres *** heavy paper, , @£225 inc delivery

Tentanda via est qua me quoque possim tollere humo - Virgil, Geor: -
A sequel to No. 11384. A fantastic scene in Oxford representing Grenville's installation as Chancellor, which took place at Commemoration, 3 July 1810. Grenville rises in a balloon above a vast applauding crowd; his inflated and spherical posterior fits into the shallow bowl which forms the car. He wears a papal tiara and his Chancellor's gown; a large cross is on his posterior. He extends his arms horizontally, scattering symbolical objects. These are (left): a Cardinal's hat, a rosary, a mitre set in a ducal coronet, and a book, 'Liber Regis . . . Oxford.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected"(1847-1851)published by Henry G. Bohn, Londonwritten byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 505 Width: 391 millimetres *** heavy paper, , @£225 inc delivery

Titianus redivivus; -or- the seven-wise-men consulting the new Venetian oracle, -a Scene in ye Academic Grove. No 1
An elaborate composition, divided by the arc of a rainbow which supports a woman who stands at a large dark canvas daubing at a goblin-like bearded figure intended for Titian. She holds a palette and brushes, but her paints are mixed together in an earthenware pot like those used by house - or sign-painters. ***This is from the later Bohn 3rd Edition . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected"(1847-1851)published by Henry G. Bohn, Londonwritten byCharles Whiting These are original copperplate engravings with etching from the original Gillray copper plates . Height: 505 millimetres Width: 391 millimetres *** heavy paper, , @£225 inc delivery

 






The death of Admiral Lord Nelson - in the moment of victory!
  Original hand-coloured etching and aquatint,from the third edition originally  published 23 December 1805. This shows  Horatio Nelson; Sir Thomas Masterman Hardy, 1st Bt etc  by James Gillray, published  first by Hannah Humphrey  Size 15 1/4 in. x 11 in. (388 mm x 279 mm) plate size; 15 7/8 in. x 11 5/8 in. (403 mm x 296 mm) paper size "Published only weeks after Nelson's state funeral, he managed a clever combination of both. Everything is excessive: Britannia weeps a little too extravagantly as the dying admiral swoons, grey-faced in her arms, the angel's declaration of 'Immortality' is made to seem premature and immodest while the grey clouds of smoke billow so enthusiastically they threaten to choke the assembly... NPG"  ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 403 Width: 296 millimetres ***  £195 one of the rarer prints<

Metallic-Tractors
  Original hand-coloured etching and aquatint,from the third edition originally  published for Gillray satire of November 11, 1801  also appeared in the periodical "London and Paris" in 1803. We are shown Dr. Elisha Perkins (1741-1799), the American inventor of a pair of electrified metallic tractors said to cure various diseases. Elisha's son Benjamin advertised the device from the house of John Hunter, 18 Leicester Square in London between 1798 and 1802 and Dr. Perkins here applies them to boils on the nose of a citizen possibly intended to represent John Bull. Hand coloured caricature aquatint and etching `Metallic Tractors'. J. Gillray, invt & fect, Published by H Humphrey, London Nov. 1801, 27 St. James St..  ‘Metallic Tractors’ is a caricature of a treatment better known as Perkins Tractors, named after its inventor, Elisha Perkins (1741-1799), an American physician. Two tapered rods made of different metals – normally brass and silver – were passed over the body and, it was claimed, drew out disease using electricity. The tractors were said to be charged from the natural electricity present in the user’s body. Perkins patented his invention in 1796. Despite claims that Perkin’s invention cured over five thousand people in England of various complaints, the treatment was widely discredited and was labelled by many as ‘quackery’.   Size 25x32cm. ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 205 Width: 252 millimetres ***  £145

Making-Decent; -i.e.- Broad-Bottomites Getting into the Grand Costume
Original hand-coloured etching and aquatint,from the third edition originally  published for Gillray satire of 20 February 1806   Members of the new Ministry in a handsome room prepare themselves for office, each intent on his toilet. Both Fox and Grey look into a large pier-glass on the extreme left., whose frame is surmounted by the Royal Arms and Prince's feathers, indicating Carlton House and the Prince's 'ostentatious patronage' of the new Ministry. Fox (Foreign Secretary), wearing a tattered shirt, shaves, holding a small bowl filled with lather. On a chair are the coat (blue with red facings, the Windsor uniform) and feathered cocked hat which he is about to put on; against it leans a sword with a jewelled hilt, while his discarded coat and bonnet rouge with tricolour cockade lie beneath it. Beside him stands the taller Grey, brushing his teeth. He wears naval uniform (as First Lord) Behind him, also in profile to the left., stands Sidmouth (Lord Privy Seal), his head and shoulders the centre of clouds of powder, which Vansittart is puffing at him from a powdering-bag. His Windsor uniform is protected by a long towel; in his coat pocket is a clyster-pipe (see BMSat 9849). In the foreground little Lord Henry Petty struts with pointed toe, delighted at the effect of his Chancellor of the Exchequer's gown, which trails on the ground behind him, far too long. Windham (Secretary for War and Colonies), behind him, sits full face over a tub, washing his feet; he wears waistcoat and rolled-up shirt-sleeves; his hat and stockings are on the ground. Next is the centre figure, Lord Grenville (First Lord of the Treasury), in shirt and bag-wig, hitching up his breeches, and thus accentuating his heavy posteriors, which gave a second meaning to the term Broad-bottom Ministry . Moira (Master of the Ordnance) stands stiffly with his back to the wall, tying his high black stock. He wears regimentals with boots and cocked hat. The Duke of Bedford, very neat in shirt and breeches, sits on a stool pulling on a top-boot, resting his leg on the left shoulder of Tierney, who sits at his feet, drawing on a Hessian boot. Both are in profile to the right., and are preparing for a journey to Ireland. Beside Bedford are two papers: 'New way of Improving the Irish-Breed of Black Cattle' and 'Road from Wooburn Farm to Ireland' [on this Tierney is sitting]. Behind Bedford, Sheridan struggles into a shirt; on the wall hangs his discarded Harlequin dress with mask and wooden sword . Lord Spencer (Home Secretary), behind and on the r. of Sheridan, in waistcoat and shirt-sleeves, washes his hands in a basin on a table. On the extreme right. is the corner of a dressing-table, in the mirror of which Erskine delightedly adjusts his hat over his Chancellor's wig. He wears an enormously long Chancellor's gown with the Purse of the Great Seal hanging from his arm. Behind him on the wall hangs his discarded barrister's wig. The mace, reversed, leans against the table.   ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres *** £155

A Welch Tandem.
  Original hand-coloured etching and aquatint,from the third edition originally  published  21 June 1801 .  Three brothers, with similar but identical profiles, sit squeezed together in a small rustic phaeton drawn (left to right) by three prancing goats, two being wheelers. The driver is nearest the spectator; all have leeks in their round hats; that of the driver has also the motto 'Ich dien'. On the phaeton are the initials 'WWW'; at the back is a large trunk. In the background is a craggy mountain on which goats are standing. A signpost (left) points 'To Wynnstay'.Hand-coloured etching. Height: Height: 259 millimetresWidth: Width: 358 millimetres. ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres *** £125

British Tars Towing the Danish Fleet into Harbour; the Broad-Bottom Leviathan trying Billy's Old Boat, and the Little Corsican tottering on the Clouds of Ambition October 1, 1807
  Original hand-coloured etching and aquatint,from the third edition originally  published 1 October 1807 . Full title 'The Broad-bottom Leviathan trying to swamp Billy's old-Boat, & the little Corsican tottering on the Clouds of Ambition -' Two sailors, Hawkesbury and Castlereagh, seated side by side, row a small ship's boat or dinghy, 'the Billy Pitt', towing the ships of the Danish fleet. Canning, in the stern, holds the ropes attached to the ships. He looks alert and roguish, the others are grave. They are going through rough water caused by 'Leviathan' (l.), a porpoise-like monster with three heads and a forked tail. The heads spout water at the boat, particularly at Canning. They are (r. to left.) Grenville, who spouts "Opposition Clamour"; Howick (whom Canning had replaced as Foreign Secretary), spouting "Detraction"; and St. Vincent, spouting "Envy". The boat nears the shore, indicated by a rock projecting into the sea (r.); on this is an anchor leaning against a pile of cannon-balls stacked against the wall of a small thatched inn. On the stock of the anchor sits John Bull, a stout countryman, holding a frothing tankard, and waving his hat. He shouts "Rule Britannia! - Britannia Rules the Waves!!" On the inn is a placard: 'Sheerness Harbour'; it has a sign hanging over the water: a profile bust portrait of George III: 'The Good Old Royal George'. Above it waves the Union Jack. On the horizon countries of Europe are indicated by low-lying coastlines backed by tiny buildings, all on fire, the flames and smoke covering the sky. These are, l. to r.: 'Poland', 'Russia', 'Germany', 'Prussia', 'Italy', 'Holland'. In the smoke Napoleon capers in impotent rage, sword in hand, his feathered bicorne flying upwards from his head. In his dismay he drops a paper: 'Projet pour Sub-juger  On the extreme left., behind the Danish ships and isolated from Poland, is Copenhagen, its buildings on a larger scale, with a fortress flying a British flag. The buildings behind the fortress are on fire. Hand-coloured etching. Height: Height: 248 millimetres Width: Width: 350 ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Height: 243 millimetres *** £145 (2)

'The high-flying-candidate, (i.e. little Paul-goose,) mounting from a blanket'
   Original hand-coloured etching and aquatint,from the third edition originally   by James Gillray, published by Hannah Humphrey hand-coloured etching, published 11 November 1806   Hood, in naval uniform, and Sheridan toss Paull high in the air from a Coalition-Blanket. Paull is dressed as a tailor, with ungartered stockings and slippers, a tape-measure round his shoulders; he drops a tailor's goose (iron) and shears. Hood wears naval uniform with top-boots; he tucks a corner of the blanket under his empty coat-sleeve (he lost his arm in an action off Rochefort, 25 Sept. 1805). In Sheridan's pocket is a pamphlet: 'The Devil among ye Tailors'. Below the blanket is a flat tombstone: 'Sacred to the Memory of Poor Charley late Member for the City of Westminster - We ne'er shall meet his like again!!!' This, together with adjacent flag-stones, the ghost of Fox is pushing up; his head and hand emerge, registering profound disapproval; he says: "O Temporal O Mores." Behind Hood is a mob of cheering sailors with banners; two are inscribed: 'Hood and Sheridan - for Ever! - no Skulking to Buonaparte, and Navy and volunteers No Sarver ['] no Taylor." They wear favours inscribed 'Hood' and they shout "Hood & Sherry". Behind Sheridan are cheering volunteers in uniform with a banner: 'Sheridan and Hood! - Volunteers and the Navy.' They shout "Sherry & Hood for Ever"; "No Stitchlouse"; "Sherry" [three times], "Sheridan". Behind (r.) is the left. end of the hustings with placards indicating the polling places for the parishes of 'St James' and 'St George'. Behind the blanket, and in the distance, is a cheering mob; those on the left shout "Hood for Ever" or [once only] "Sherry for ever". Those on the r. (including a chimney-sweep) shout "Paul for Ever, Cucumber for Ever, Paul & Cabbage"; one man holds up a pair of shears. 11 November 1806 Hand-coloured etching.9 5/8 in. x 13 3/4 in. (246 mm x 348 mm) plate size; 10 1/4 in. x 14 3/8 in. (261 mm x 366 mm) paper size ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres *** £145

Political Mathematicians Shaking the Broad Bottom'd Hemispheres, published January 9, 1807
.  Original hand-coloured etching and aquatint from the third edition originally printed  1807.  Gillray alluded to a "broad bottom" coalition formed between Charles James Fox, a prominent Whig statesman from the House of Commons, and Lord North, the Tory prime minister who led Great Britain through the American War of Independence. The Treaty of Paris, which formally ended the American Revolution, was signed in 1783 by this coalition government. An eager Napoleon can be seen in the distance, watching the commotion from Europe. ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres *** . £155

German Luxury; or, Repos a L'Allemand
  Original hand-coloured etching and aquatint from the third edition originally printed Jan. 22nd, 1800. A satirical print, said to have been intended to tell upon the German Legion, at this time brought into England. A German officer lies on his back on a truckle bed in a poverty-stricken room. He smokes a long curved pipe, emitting .clouds of smoke. His bare feet project from the striped duvet which is his only covering; on his nightcap is an insect. The plaster has fallen from the wall leaving large patches of brick; on it hang his sword, cloak, cocked hat, and a bust portrait of Frederick the Great inscribed 'F. 11'. The only objects on the boarded floor are a close-stool (left) with a torn 'Brussells Gazette', a chamber-pot, and pair of jack-boots (right). . ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .   ***  £95 another variant is on the next page 

Connoisseurs examining a collection of George Morland's
Original hand-coloured etching and aquatint,from the third edition originally  published  1807. James Gillray mocks the popular demand for rustic paintings by the artist George Morland. "A corner of a room hung with unframed canvasses is a background for five men, all in profile to the left. Four closely inspect a picture of two vast pigs lying outside a thatched hovel. The foremost, an old man, peers through spectacles held reversed; in his left hand is a 'Catalogue of Pictures by Morl...'. He is identified in the 'Illustrative Description', 1830, and by Grego, as Captain Baillie, the engraver and connoisseur, by Wright and Evans conjecturally as J. J. Angerstein. Behind is a profile identified as that of Mitchell, a banker; next is Caleb Whitefoord, looking through his glass . Behind him stands George Baker, a patron of English water-colour painters [print collector and bibliophile], holding a paper on which the word 'Pigs' is legible. Standing apart, with a grossly fat nan pressed on a canvas which he raises from the wall, is Mortimer, a picture-dealer and restorer. He puffs and spits from coarse protruding lips a picture, the head and shoulders of an enormous boar. . On the floor, in front of the connoisseurs, an empty frame and a bulging portfolio labelled 'Sketches from Nature by G. Morland' lean against the wall. 16 November 1807" BM ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres *** £145    This has some edge tears and creasing to the margins

Pacific Overtures or a Flight from St Cloud's over the water to Charley



Original hand-coloured etching and aquatint,from the third edition originally  published  1806 . "The stage, flanked by the stage-boxes, extends across the design, the base of which is the orchestra, where the new Ministry perform. George III has stepped on to the stage from the royal box  and confronts Napoleon, who stands arrogantly upon clouds and points to an enormous scroll held up by Talleyrand. This stretches across the cloud to rest on the stage. The Emperor, in uniform, with spurred jackboots and wearing a large, feathered bicorne, holds a sword in his right. hand and says fiercely: "There's my Term's." The King, who wears uniform with a small cocked hat and buckled shoes, holds his sword against his shoulder. He inspects the scroll through his glass, saying: " - Very amusing Terms indeed! - and might do vastly well with some of the new-made little Gingerbread kings [ - but WE are not in the habits of giving up either "Ships, or Commerce, or Colonies", merely because little Boney is in a pet to have them!!!" The scroll is inscribed: 'TERMS OF PEACE - Acknowledge me as Emperor - "mantle your Fleet, - Reduce your Army - Abandon Malta & Gibraltar, - Renounce all Continental Connection - Your Colonies I will take at a Valuation, - Engage to pay to the Great-Nation for 7 Years annually £1.000.000. and Pace in my Hands as Hostages the Princess Charlotte of Wales, with Ten of ye late Administration whom I shall name.' Talleyrand kneels on one knee, displaying a deformed l. leg, on a cornupia which rests on the clouds that support Napoleon. He wears a long gown with a rosary (denoting the ex-Bishop of Autun); a pen is behind his ear. From the cornucopia papers, money-bags, and coin pour down on to the stage. The papers are: 'Address to the Papists'; 'Loan to the -  'To the United Irishmen'; 'To the London Corresponding Society'; 'The Press'; 'The Argus'; 'For the Whig Club'; 'To the Army; 'To the Navy', 'To [the] Volunteers'. Money-bags are labelled: 'Maynooth [word illegible]', 'Horne Tooke', 'Morning Chronicle', '[Cobbett's] Weekly Register', 'Thelwall.' Immediately behind Talleyrand, and also on the Napoleonic clouds crouch Arthur O'Connor, looking down conspiratorially at Fox in the orchestra below. " BM. ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres *** £185 This has some edge tears and creasing to the margins

'The bear and his leader'

Original hand-coloured etching and aquatint,from the third edition originally  published  1806 "The broad-bottomed Prime Minister William Grenville is depicted as the leader of a dancing bear troupe, including a bear, a fiddler, and a monkey. He carries in his pocket a box(?) labeled "Rewards for Obedient Bears" and a large staff inscribed "Cudgel For Disobedient Bears."The dancing bear (on a very short leash) is Gillray's favorite target, the longtime Francophile and former leader of the Whig opposition, Charles James Fox, who had recently become Foreign Minister under Grenville's leadership. The fiddler is the erstwhile Prime Minister, Henry Addington, who, during his brief tenure as Britain's leader, had overseen the first peace with France, the Treaty of Amiens. He was now Lord Privy Seal. The monkey is the nephew of Lord Shelbourne, the diminutive Lord Henry Petty, now become Chancellor of the Exchequer."j-g.org. ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres *** £145

Wife & No Wife, or a Trip to the Continent [March 1786]
In December 1785, the Prince of Wales (the future George IV) married a twice-widowed Catholic, Maria Fitzherbert, in a secret ceremony performed by one of the Prince's Chaplains in Ordinary in the drawing room of the bride's home in Park Lane. Her uncle and brother were witnesses. The marriage was conducted in violation of the recently passed Royal Marriages Act (1772) which forbade (and refused to recognize) any marriage by a royal family member entered into without the King's consent. And had the marriage been considered valid, the union would have disqualified the Prince from the succession by the provisions of the earlier Act of Settlement prohibiting marriage to Catholics.** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres *** £145 inc delivery

Bengal Levee
Hand coloured etching by James Gillray (1757-1815) after a sketch, possibly by James Moffat, of 'The Bengal Levee' at Calcutta in West Bengal, published by Gillray and H Humphrey, London, 1792. Marquess Cornwallis (1738-1803) fought in most of the major campaigns in the American War of Independence. He was made Governor-General of India in 1786 and a Marquess in 1792. He held a weekly levee at Government House, making a point of speaking to all those who attended. Here Cornwallis is standing in the inner room on the right, his right hand on his breast and his left in the pocket of his breeches. On the walls underneath the candle scones are copies of some of Thomas Daniell's 'Views of Calcutta'.** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres *** £135 inc delivery

Monstrous Craws
Queen Charlotte, George, Prince of Wales, and King George III ravenously ladle guineas into their mouths from a bowl marked "John Bull’s Blood." The money falls into bags attached to their necks – the monstrous craws of the title, a term normally applied to the crops of birds. Gillray used the imagery of gluttony to criticize the exorbitant demands on the public purse being made in 1787 by the British royal family. The worse offender was the prince, who sits at center. Parliament recently had granted him £161,000 (about thirteen million dollars today) to pay off debts, and raised his annual income to £60,000. Since the prince’s pouch remains empty, Gillray suggests this largesse will be insufficient. The king and queen, on the other hand, who were notoriously miserly in their living arrangements, are criticized for greedily ladling up coins that they do not actually need into grotesquely distended craws. ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres *** £145 inc delivery<

The wine duty; - or - the triumph of Bacchus & Silenus; with John Bulls remonstrance

Punch cures the Gout,-the Colic,-and the 'Tisick.

Three revellers sit at a small round table on which is a large punch-bowl, each holding a full glass. A fat man in an arm-chair (right), full-face, each gouty bandaged leg supported on a stool, his left hand bandaged, and wearing a dressing-gown, with jovially contorted features, declaims the first part of the title. His neighbour, a young woman with her hand clasping her waist, declaims the second part. A wretched invalid (left), with stick-like limbs, looking on the verge of the grave, repeats the last part. The words, inscribed in scrolls, form the only title. They are the words of an old catch which continues: 'And is by all agreed the very best of physic' A patterned carpet, and cast shadows on a plain wall, complete the design. 13 July 1799 ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres ** £115

Fat-Cattle

The Duke of Bedford stands in a stockyard in profile to the left, the fingers of his right hand dug into the flank of an immensely fat ox. He is not caricatured and is plainly dressed, wearing a round hat and heavy top-boots, holding a stock-whip. He says: "Ah, here's your sort! - here's your Nine-Inch Fat my boys! "O how he will cut up! (as my old friend Burke said!) - "how he will Tallow in the cawl and on the Kidneys!" Behind are three corn-stacks, trees, two other oxen, some very fat sheep (right). In the foreground are geese (left), and a pig (right) eating from a heap of carrots and turnips. On each side of the title: 'To the Society for Improving the Breed this Sketch of Tavistock Farm Yard is dedicated!' 16 January 1802 ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres ** £115

Taking Physick
;. . . all done through cellophane


Breathing a vein.
The patient sits on a stool, averting his head from the surgeon who supports his left. arm, from which the blood spurts into a bowl. The operator wears spurred top-boots, and has a bucolic appearance suggesting a veterinary surgeon. The patient wears a nightcap and buttoned waistcoat over his shirt. 28 January 1804. his is the fourth of five related prints based on sketches by Gillray's friend and amateur caricaturist, the Reverend John Sneyd.



gentle emetic

An invalid sits, with contorted features, at a table (l.) on which are basin, tea-pot, medicine-bottle, glass. His head is held by a compassionate friend, standing behind him. He wears night-cap, shirt, breeches, and unbuttoned waistcoat. 28 January 1804



Charming-well again.

 The convalescent sits full face behind a small dinner-table. He holds up a glass of wine with a smile of satisfaction, and is about to carve a bird. He wears his nightcap. Behind his chair stands a stout footman in livery, smiling broadly. 28 January 1804  Hand-coloured etchings, mounted etc as a set of four.  ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres ** £320 reflection not crease

 
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Presentation of the Mahometan credentials -or- the final resource of French atheists.

The King and Queen, seated on the throne (left), receive with astonished horror a deputation from Turkey. An arrogant Turk stands proffering a large rolled document with pendent seals on which are crescents: 'Powers for a new Connexion between the Port, England & France'. Beside him (left) another Turk grovels on the ground. Fox and Sheridan, kneeling with crouching humility, hold up the long cloak of the Turkish emissary; their bonnets-rouges are decorated with crescents. Behind them Priestley bows low (right). Turks with spears and banners stand behind him. To a spear topped with a crescent is attached a tricolour flag inscribed 'Vive la Republique'. Pitt, a naked mannikin, one foot on the royal dais, clutches the King's knee in terror: a chain from his wrist is attached to a royal crown lying on the ground. Behind him, and beside the throne, stands Dundas in Highland dress, tall and impassive, holding a pike. The King and Queen are much caricatured: the King stares, biting his fingers and clutching the Queen; she puts her fan before her face but looks through its sticks (as in BMSat 9528) at the Turks. The three elder princesses (not caricatured) peep from behind the throne on the extreme left. 26 December 1793** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres ** £115 post inclusive

 




The Seige of Blenheim-or-the new system of Gunning, discoverd-

Miss Gunning sits astride a cannon directed against the façade of 'Blenheim'. Her mother (right) fires the cannon by putting her pen to the touch-hole; from its muzzle issue flames an letters inscribed : 'forged Love letter', 'Letter from Marq: of Blan[dford] written by myself', 'Letter written by my Daddy', 'Letter forged by my Mother', 'Letter forged by myself', 'Letters in Answer to my self''. In the central window in the portico of Blenheim are the bare posteriors of a figure emitting a bias excrement which strikes Miss Gunning, knocking her backwards, reaches Mrs. Gunning. The former, terrified, says, "O Mother! Mother! my mask'd Battery is discovered, & we shall be blown up! - O Mother, Mother, we must raise the Siege immediately, & take refuge under the Duchess's cover'd way, & there act on the defensive: O Mother: Mother, its all your fault, say what you will:" Mrs. Gunning says, her left hand raised in horror, "Good Heavens! who could have thought that the Seige of a Coronet would have ended in smoke & stink! - well I'll take my affidavit that I know nothing at all about the matter". An aged crone, the Duchess of Bedford, stands on the extreme right, raising her hooped petticoat to form a shelter; ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected" (1847-1851)published by Henry G. Bohn, London written byCharles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres ** £65 post inclusive . x

The Balance of Power. -or- The Posterity of the Immortal Chatham, turnd Posture Master 
  ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected " (1847-1851) published by Henry G. Bohn, London written by Charles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres **£65 post inclusive . x

Ladies dress, as it soon will be.
A lady, young and handsome, stands in profile to the left holding a closed fan in both hands. She wears one garment only, a quasi-classical tunic, its waist immediately below the breasts which are almost bare. It is slit at the side to show a leg with gartered stocking. Her hair is bound with a ribbon and falls loosely on forehead and shoulders. In it are three ostrich feathers. A panelled wall, with a candle-sconce and showing part of a large mirror (left), forms a background. There is a patterned carpet. Perhaps a portrait of Lady C. Campbell. 20 January 1796   ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected " (1847-1851) published by Henry G. Bohn, London written by Charles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres ** £85 post inclusive . x

Grace before meat or a peep at Lord Peter's.

Twelve persons seated round a circular table, their hands in various attitudes of prayer, their heads bent. In the centre, under a canopy, decorated with the royal arms, sit the king and queen. A man on the king's right is intended for Lord Petre; a lady on the queen's left for Lady Petre. A tall emaciated monk who stands on the left on a low stool is saying grace. Two footmen stand behind. On the wall (right) is a crucifix and (left) the picture of a saint with a halo. On the table are plates, knives, and various dishes including a sucking-pig and a pie. The guests, especially those facing the king and queen whose backs are turned to the spectators, are caricatured, the king and queen are not. 1778 Etching   ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected " (1847-1851) published by Henry G. Bohn, London written by Charles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres *** £65 post inclusive . attributedin the folio  

Banco to the knave.
*  ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected " (1847-1851) published by Henry G. Bohn, London written by Charles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres ** £85 post inclusive

 


The fall of Phaeton

The Prince of Wales falls headlong, but gracefully, from his high phaeton, and is about to land on Mrs. Fitzherbert, who lies face downwards on the ground, on hands and knees, her petticoats over her head, leaving her posteriors bare. The reins have broken, the horses, which are drawn with much spirit, are running away (right to left). In the background is a wall, over which appears the head of an interested military officer. A yokel seated on the wall lifts his hands in astonishment. After the title is etched: '"Th' imaginary Bride with Beauty glows, "For Envy magnifies what e'er She shows. Ovid.' 1 July 1788Etching*  ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected " (1847-1851) published by Henry G. Bohn, London written by Charles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  Width: 348 millimetres **  £115 post inclusive mounted unless to USA

Swearing to the cutting monster or - a scene in Bow Street.
A young woman stands upon a high stool, her skirts raised to show her posteriors to three men (half length) behind her. She bends forward, pointing to Charles Fox who stands with his hands handcuffed in a booth or box behind a bar. Fox has an enormous head and an expression of terrified dismay at the denunciation. Behind him is a man in profile holding a constable's staff. The three men are evidently Bow Street Justices (Sir Sampson Wright, Addington, and Bond); the principal magistrate (Wright) wears a hat and spectacles and is much caricatured (cf. BMSats 6119-21). Above their heads are the evenly balanced scales of Justice. In front of the woman stands a clerk (half length) meditatively biting his pen. 20 May 1790   ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected " (1847-1851) published by Henry G. Bohn, London written by Charles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres ** £115 post inclusive mounted unless to USA etc

The Royal joke,- or- Black Jacks delight. A scene in Carlton House.

The Prince of Wales, seated in a chair, holds a stout, good-looking lady (Mrs. Sawbridge) across his knees and chastises her with upraised hand; she holds out her arms imploringly. Alderman Sawbridge (right) faces her in profile to the left, playing a fiddle and dancing; from his pocket hangs a piece of music inscribed 'The Reform', a new Motion. On the extreme left Lady Archer stands in profile to the right, holding a driving-whip, and pointing angrily at the injured lady. A little girl (Sawbridge) stands full-face, clasping her hands in horror at the treatment of her mother. Behind are a number of onlookers: a very fat lady in profile to the left is Miss Vanneck. Mrs. Fitzherbert watches, not displeased; Fox, his arm round her shoulder, gazes amorously at her. George Hanger stands in profile to the left. The other figures are less characterized but a profile head (right) resembles Lord Derby. On the wall (right) is part of a three quarter length portrait, the head cut off by the upper edge of the design, inscribed 'Sir G° Van-Ne[ck]'. Beside it is a stag's head on which hangs a man's hat, just above Sawbridge. After the title is etched 'A Hint for a new Reform'. 'Black Jack' is Sawbridge, who was swarthy, and a consistent advocate of Parliamentary Reform. In the background (right) are persons dancing. 25 April 1788 Etching   ** Hand Coloured. Some will be trimmed from a larger sheet.***All shown with the margin against a darker carpet to show borders  if close cut/printed to one edge ***This is from the later  Bohn 3rd Edition  . Entitled "The Works of James Gillray from the Original Plates with the Addition of Many Subjects Not Before Collected " (1847-1851) published by Henry G. Bohn, London written by Charles Whiting  These are original copperplate engravings with etching  from the original Gillray copper plates .  millimetres ** £115 post inclusive mounted unless to USA etc

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