Gillray Caricatures. .

James Gillray Caricatures

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 wine duty; - or - the triumph of Bacchus & Silenus; with John Bulls remonstrance
A tun of 'Wine' lies on solid trestles inscribed 'Treasury Bench'. From its huge bung-hole emerges the naked body of Pitt, as Bacchus, crowned with vine branches. He leans back tipsily, a brimming glass in each hand. Behind him stands Dundas as Silenus, fat, and partly draped in tartan; his right hand grasps Pitt's shoulder, in his left he holds up a brimming glass. He also is crowned with vine branches. Bunches of grapes hang down from a vine above their heads and are indicated as a background to the cask whose trestles are on a dais covered with a fringed carpet. Opposite the tun stands John Bull in profile to the left, looking up at Pitt, hat in hand; in his left hand is a lank purse, under his arm three empty bottles. He is a yokel, with lank hair and hydrocephalic head, wearing a smock and wrinkled gaiters. He says: "Pray Mr Bacchus have a bit of consideration for old John; - you know as how I've emptied my Purse already for you - & its waundedly hard to raise the price of a drop of Comfort, now that one's got no Money left for to pay for it!!!" Pitt says: "Twenty Pounds a T-Tun, ad-additional Duty i-i-if you d-d-don't like it at that, why t-t-t-then Dad & I will keep it all for o-o-our own Drinking, so here g-g-goes old Bu-Bu-Bull & Mouth!!! - " 20 April 1796,  This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130 unmounted narrow left margin

3rd Edition by Bohn 1849 £115

Hero's Recruiting at Kelsey's
Two officers on high stools face each other at the counter of a fruit-shop and confectioner's. One (right), tall, lank, and elderly (identified as Captain Birch, see BMSat 9037), devours a jelly; empty jelly-glasses strew the counter beside him. The other, a mere child, his legs dangling, eats from a large cornet of 'Sugar-plumbs'. A buxom woman behind the counter brings a tray of jellies in glasses. In the doorway (right) a third officer, extremely fat and grotesquely knock-kneed, stands with his hands clasped behind him watching a coroneted coach driving past with two footmen in feathered hats standing behind. The officers wear large plumed cocked hats, spurred jack-boots, and sabres. Each pane of the large shop window (left) is decoratively filled with fruit, jars, jelly-glasses, &c. A pottle of strawberries and a partly peeled orange lie on the floor. 9 June 1797Hand-coloured etching. This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130 unmounted narrow rt margin

Homer Singing his Verses to the Greeks.

Captain Morris (left) sits in profile to the right, singing from a broadside which he holds out in his left hand: 'A new Song to the Tune of the Plenipoy'. In his right hand is a full glass. He wears a round hat and fashionable half-boots; his coat, breeches, and stockings are tattered. From his pocket projects a pamphlet: 'Captain Morris's Songs by Subscription' (cf. BMSat 9240). Fox and Sheridan sit on opposite sides of a small round table, on which is a decanter of 'Brandy'. Sheridan, left, with Bardolph's fiery face, cf. BMSat 7528, &c, holds his glass and looks delightedly at Morris, as does Fox (as Falstaff), who says: "Come sing me a Boosey-Song, [A misquotation from 'I Henry IV', III. iii, where Falstaff says, "Come, sing me a bawdy song; make me merry."] to make me merry". Part of the face of a fourth man appears on the right. 16 June 1797
Hand-coloured etching This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130 unmounted narrow base margin
3rd Edition by Bohn 1849 £115

  God save the King,-in a bumper.or-an evening scene, three times a week at Wimbleton.
Pitt and Dundas are tipsily carousing at a rectangular table from which the cloth has been removed. Pitt, wearing spurred top-boots, sits on the corner of the table in profile to the left, his chair behind him at the head of the table. Dundas (left), wearing a plaid across his shoulders, sits full-face, turning his head in profile to the right, and waving a tobacco-pipe towards Pitt. They touch glasses, each holding his glass in the left hand; Pitt tries to fill them, but with the bottle reversed, spilling its contents. On the table is a decanter of 'Brandy', a bottle on its side, a clutter of empty bottles, glasses, Pitt's broken pipe, and a plate of food. In the foreground are bottles in a wine-cooler, and under the table is a chamber-pot on which is a figure of Britannia. Above the heads of the topers:
'"Send us Victorious,"Happy and Glorious,"Long to Reign. - go it my Boy!"Billy my Boy, all my Joy,- God save the King!' 27 May 1795. Hand-coloured etching This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130 ** no margin to base mount carefully will work  unmounted narrow base margin

Bohn 3rd Edition  £115

John Bull taking a luncheon: -or- British cooks, cramming old grumble-gizzard, with bonne-chére

John Bull, gross and obese, seated at a table covered with the emblems of naval victory, looks towards British admirals, who advance towards him wearing aprons over their uniforms, but with stern expressions, holding out dishes containing captured French ships. John, knife in his right hand, about to swallow a French ship speared on his fork, says: "What! more Frigasees? - why you sons o' bitches, you, where do ye think I shall find room to stow all you bring in? - " In the foreground is Nelson, in profile to the left, his face bearing scars; from his pocket hangs a 'List of French Ships Taken Burnt & destroy[ed]'. His dish is 'Fricassée à la Nelson'. Howe, full-face, is the centre of the group with 'Fricando à la Howe'. Warren holds up 'Desert à la Warren'. Behind Nelson (right) is Duncan, whose dish contains 'Dutch Cheese [bis] à la Duncan'. The other three are less characterized, their dishes are: 'a la Gardiner', 'à la Bridport', and 'à la Vincent'. Behind appears the head of an eighth officer.On the wall behind John Bull hangs a hat with a ribbon inscribed 'Nelson'; it obscures a print of 'Buonaparte in Egypt'. On the floor stands a large frothing jug of 'True British Stout', decorated with the Royal Arms. The table is laid with crossed cannons, a dish of battered ships: 'Soup and Bouilli'; and side-dishes containing small gunboats. Through an open window leaders of the Opposition are seen in flight, with upraised arms: Fox says, "Oh, Curse his Guts! he'll take a Chop at Us, next." Next him is Sheridan. 24 October 1798  Hand-coloured etching   This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130 ** no margin to top edge tears to base mount carefully will work  unmounted

A decent story.
A stout man (right), seated at a round table, tells a story to a parson on his left, who grins broadly. Two women fix the raconteur with expressions of absorbed amusement, while an officer is more frankly amused at watching the lady on his right. All are elderly. On the table are a decanter of 'Port' and glasses. A patterned carpet completes the design. From a sketch by an amateur. 9 November 1795  Hand-coloured etching This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £115 ** no margin to top edge tears tobase mount carefully will work  unmounted

The giant-factotum amusing himself.
Pitt arrogantly bestrides the Speaker's chair, towering high above the galleries of the House. He plays cup (or rather spike) and ball with the globe, on which 'France' is disproportionately large, the British Isles small and obscure. His head is turned to the left towards his own followers, who crowd obsequiously towards his huge right foot which rests on the head of Wilberforce (papers inscribed 'Slave Trade' issuing from his pocket) and on the shoulder of the bulky and truculent Dundas, who wears Highland dress. Canning (the 'Trial of Betty Canning' projecting from his pocket) kneels to kiss the toe of his shoe. His left foot crushes the leaders of the Opposition: Erskine, Sheridan, Fox (all prostrate), and a fourth (? Grey) with upstretched arms. M. A. Taylor, a tiny figure, with the legs of a chicken (see BMSat 6777) and wearing a bonnet-rouge, sprawls on the floor near Fox. The rest of the party raise their arms in dismay. The Speaker (Addington) looks up (raising his hat), as do the Clerks. Pitt's coat-pockets bulge like sacks; in one (left) are papers: 'Volunteers, 200000 Seamen, 150000 Regulars, Militia'; the other is stuffed with guineas, on this his left hand rests, holding a paper 'Resources for supporting the War'. 21 January 1797  This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £115 ** no margin to side edge

Frying Sprats, Vide. Royal Supper + Toasting Muffins, Vide Royal Breakfast PAIR
The Queen, much caricatured, sits over a fire in profile to the right, toasting sprats on a gridiron (then called a saveall, see BMSat 6965); a plate of fish stands on a high trivet beside her. She wears over-sleeves, a check apron over an under-petticoat on which hangs a pocket, bulging with guineas, but patched. Beneath the title is etched:'"Ah! such a pair was never seen,". . .'  PLUS The King, much caricatured, in dressing-gown and nightcap, sits over a fire in profile to the left, toasting muffins, the muffin-dish on a tripod beside him. His stockings are ungartered, the 'Honi soit' ribbon hangs loose. On the fire is a large kettle. Beneath the title is etched (see BMSat 7922) '. . . "So justly formed to meet by nature!"'. Cf. BMSats 6603, 8078. 28 November 1791  Hand-coloured etching and aquatint ( 28 November 1791 Hand-coloured etching and aquatint   This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130

This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130 same thing cut into two to frame individually

Frying Sprats, Vide. Royal Supper + Toasting Muffins, Vide Royal Breakfast PAIR This print is from the third major edition published by Henry G. Bohn. Later hand colouring. £115

Allied Powers, Un-Booting Egalitè.

Bonaparte (much caricatured), standing precariously on a 'Dutch Cheese', is attacked by the allies. Austria and Russia pull from his thin leg a large clumsy boot, consisting of a map of 'Italy'; coins (French plunder) pour from the boot, on which 'Naples', 'Rome', 'Florence', and other geographical divisions are indicated. Austria is a fierce hussar, smoking a pipe, on his cap is the Habsburg eagle; he tugs at the boot, the Russian bear (on the extreme left) assists him, its paws clasping his waist. A ferocious Turk holds Bonaparte by the nose and raises a scimitar whose blade, inscribed 'St Jean d'Acre', drips blood; across his shoulders are strung bleeding ears and noses to which Bonaparte's is to be added. A sailor (right), representing the British Navy, seizes Bonaparte from behind; in his hat are ribbons inscribed 'Nelson', 'Duncan', 'Bridport'. A fat Dutchman on the extreme right, with the blunt profile of the Prince of Orange, tugs at the cheese in order to dislodge Bonaparte; he kneels on a paper, 'Secret Expedition'. Bonaparte's uniform is ragged, his left foot is bare, but in each hand is a blood-stained dagger. In the background (right) tiny figures (probably Dutch) dance hand-in-hand round a bonfire in which burns a 'Tree of Liberty', a bonnet-rouge on a pole, cf. BMSat 9214. 1 September 1799 Hand-coloured etching This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130 ** no margin to base

Fighting for the dunghill: -or- Jack Tar settling Buonaparte
A British sailor, firmly planted astride the globe, is severely punishing Bonaparte, who, with one knee precariously on 'Turk[ey]' (Egypt), is about to fall backwards into space. Bonaparte wears a huge cocked hat, is naked from the waist, but wears sleeve-ruffles, according to the old gibe on the beggarly French fop. He is much emaciated, and gashed with wounds; 'Nelson' is inscribed on his solar plexus. Blood gushes from his nose. Jack Tar's right leg stretches across central Europe, the toe supported on 'Malta'. Clouds form a background. 20 November 1798
Hand-coloured etching and aquatint .  This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130 ** no margin to base
Anti-saccharites, -or- John Bull and his family leaving off the use of sugar
The King, Queen, and six Princesses, three quarter length, are seated round a frugal tea-table. The King, in profile to the right, faces his daughters, holding his cup and saucer to his lips, and saying, with a staring eye, "delicious! delicious". The Queen sits in the centre behind the small tea-pot, holding her cup and saucer in bony fingers, and looking with a wide and cunning smile towards the Princesses, saying, "O my dear Creatures, do but Taste it! You can't think how nice it is without Sugar: - and then consider how much Work you'll save the poor Blackeemoors by leaving off the use of it! - and above all, remember how much expence it will save your poor Papa! - O its charming cooling Drink!" The Princess Royal sits at the end of the row, on the extreme right, with four sisters diminishing in age on her right, a sixth just indicated behind the Queen. They hold, but do not drink, cups of tea, with expressions varying from sulky discontent to defiant surprise. Below the title is etched: 'To the Masters & Mistresses of Families in Great Britain, this Noble Example of Œconomy, is respectfully submitted.' 27 March 1792 Hand-coloured etching  This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £130 ** no margins cut to plate mark

A modern elegance. A portrait
A lady, her head in profile to the left, looks sideways at her reflection in a large wall-mirror. She wears a loose high-waisted dress, giving the appearance of pregnancy, her figure defined under its folds. Locks of hair are twined in, and escape from, a turbanlike cap ornamented with four erect ostrich feathers. In her right hand is a fan. On the floor is a patterned carpet. 22 May 1795 Hand-coloured etching This is from the Rare 2nd Edition  by  Thomas McLean on heavy ragpaper from original plates printed 1830 £115

Evacuation of Malta.

Addington, chapeau-bras, squats in profile to the left over a cocked hat into which he evacuates papers: 'Guadeloupe', 'Martinique', 'St Domingo', 'Cape of Good Hope', 'Egypt', and (the last) 'Malta'. Napoleon (left), very small and thin, holds him by the cravat and threatens him with a sabre, saying, "All! - all! - you Jean F-t-e! - think yourself well off that I leave you Great Britain!!!" Addington, terrified, says: "Pray do not insist upon Malta! - I shall certainly be turned out! and I have got a great many Cousins and Uncles & Aunts, to provide for, yet!" A French officer in uniform, (?) Andréossi, holds out his cocked hat to catch the papers which fall from Addington. He says, holding his nose: "My General, you had better not get him turn'd out - for we shall not be able to humbug them any more." Napoleon wears a huge cocked hat with tricolour plume and a tricolour sash with immense spurs on his Hessian boots. 9 February 1803 Hand-coloured etching and aquatint  ***This is from the later Bohn Edition of 1849 to 1851 **etc £115

Taking physick:-or-the news of shooting the kings of Sweden!
The King and Queen, much caricatured, sit side by side in a latrine, above which is part of the royal arms, the lion looking down apprehensively and excreting. They look in horror towards Pitt, who rushes in, terrified, from a door (right), holding out a paper inscribed 'News from Sweden', and saying, "Another Monarch done over!" He is grotesquely thin. The King rises slightly, holding his stomach, and saying, "What ? Shot ? What ? what ? what ? Shot! shot! shot!" He wears a nightcap tied with a ribbon inscribed 'Honi Soit qui M . . . '. The Queen is a shrunken and huddled figure; both have grotesquely agitated expressions. 11 April 1792 Hand-coloured etching ***This is from the later Bohn Edition of 1849 to 1851 **etc £115

Britannia between death and the doctor's.
Britannia sits, propped up by pillows, against a heavily curtained bed, holding her spear; her shield and an olive-branch are beside her. Pitt, the new doctor, kicks Addington through the door (from which a staircase directly descends) (l.); one foot is against his rival's posterior, the other steps on the face of Fox, the third (would-be) doctor, who lies on the ground, kicking wildly. Pitt triumphantly holds up a bottle, labelled 'Constitutional Restorative'; its stopper is a crown, and it is irradiated, shedding its light on the faint but reviving Britannia, from whose neck hangs a medal with the king's profile inscribed 'Georgius III Rex.' From Pitt's pocket projects a bundle of papers: 'Art of Restoring Health'. Addington, terrified, drops a bottle of 'Composing Draft', whose contents are spilling; from his pocket projects a clyster-pipe (cf. BMSat 9849). Fox holds up a stoppered bottle of 'Republican Balsam'; in his other hand is a bonnet rouge (cf. BMSat 9735); from his pocket dice and a dice-box inscribed 'Whig Pills' have fallen. Pitt's heel is firmly planted on his mouth.
From behind the bed-curtains (r.) Death strides with furtive ferocity into the room, his spear raised to strike Britannia. He is a skeleton with the head of Napoleon wearing a huge bicorne with heavy tricolour plumes. He has overturned a table from which cloth and bottles of medicine have cascaded to the floor, with a 'Prescription' signed 'Addington', box of pills, &c. After the title: ' - "Death may decide, when Doctors disagree." - ' 20 May 1804 Hand-coloured etching. ***This is from the later Bohn Edition of 1849 to 1851 **etc £115 no base margin
The Triumph of Quassia.
The triumphal procession (left to right) of a black woman symbolizing Quassia, a drug obtained from the Quassia tree, which is supposed to have supplanted hops in brewing. She sits astride a drayman's pole (as in BMSat 10580, &c), from which is suspended horizontally a cask inscribed 'True Quassia Free from Taxation'; the pole is supported on the shoulders of two brewers, Whitbread (r.), and Combe (l.). She holds up in one hand a branch of the noxious tree, with a (tricolour) scroll: 'Kill-Devil [rum] for ever', and in the other a frothing tankard inscribed 'Quos-sia'. This is irradiated, the rays being inscribed 'Apoplexy', 'Palsy', 'Consumption', 'Debility', 'Colic', 'Stupor', 'Dropsy', 'Scurvy', 'Dysentery', 'Hæmorrhoids', 'Hydrophobia', 'Idiotism'. A third brewer, the very corpulent George Barclay, follows on the extreme left., waving his hat. He holds up a (tricolour) standard: 'Pro bono Publico - Quassia for Ever, - No Hops! no Malt! Down with all the Private Breweries! - Kill-Devil and Quassia for Ever!' From his apron projects a book: 'Receipts to make a Cauliflour Head'. In front of the procession is a dray-horse, with dangling chains which show that the barrel has been detached from them; its head is cut off by the r. margin. On its back sits the bulky Grenville between Fox and Petty who clings to his waist. All are in court dress, and exultingly wave their cocked hats, which, like the hats of the brewers, are decorated with large tricolour favours inscribed 'Quassia for Ever'.  ***This is from the later Bohn Edition of 1849 to 1851 **£115 x 2other one has red coats say if important

View of the Husting in Covent Garden.
Above the design, 'Publish'd for the History of the Westminster & Middlesex Elections, Novr 1806', and a folding pl. from the book. A section of the hustings extends across the design, bisected by one of the vertical posts supporting the (invisible) roof. On this are two placards: 'Loyal Parishes of St Paul's and St Giles's' and 'State of the Poll - . Paul - Hood - Sheridan'. The base of the design is formed by the heads and raised arms of the mob below. Hood and Sheridan, with their supporters, are on the left of the post, Paull and his supporters on the r. The supporters wear favours (buff and blue on the left) with the names of their candidates. On the extreme left. is a stout man holding a whip. Next, Hood in uniform, with his empty r. sleeve, turns in profile to the left., away from Sheridan, putting his hand to his mouth to cover a smile. Sheridan stares in bewildered an speechless anguish, horrified at the shouts of the mob and at Paull's words Whitbread, standing behind, puts his left hand reassuringly on his shoulder and offers him a foaming tankard inscribed 'Whitbread new Loyal Porter'. His is 'Hood & Sheridan'. On Sheridan's l. a dog, its collar inscribed 'Peter Moore', barks savagely at Paull, who stands hat in hand, r. arm extended towards Sheridan, addressing the crowd: " - the sunk, the lost, the degraded Treasurer" [Sheridan]. On Paull's l. is Burdett; next, and on the extreme right., is Bosville. Between and behind Paull and Burdett stands Cobbett, holding an issue of the 'Political Register' on which the word 'Cobbett' is legible. These three have tickets inscribed 'Paull' in their hats. Behind Paull on the left, and watching him with a sly grin, stands the Duke of Northumberland, Sheridan's enemy,***This is from the later Bohn Edition of 1849 to 1851 **£115

Substitutes for bread; -or- right honorables, saving the loaves, & dividing the fishes

Ministers sit at a round dinner-table guzzling guineas, while through the window is seen a hungry mob. Pitt, in profile to the left, sits on the right, a large fish made of guineas on a dish before him, of which he shovels huge lumps into his gaping mouth; he sits on a 'Treasury' chest which is closed by a padlock inscribed 'WP'. Opposite him on the extreme left, seated on the woolsack, is Loughborough, indicated by an elongated Chancellor's wig in back view (cf. BMSat 6796); he clutches a large bowl of 'Royal Turtle Soup', holding a large ladle-full of guineas to his mouth. The others sit on the farther side of the table: Grenville next Loughborough, Dundas in the middle, Pepper Arden next Pitt. Grenville stoops, putting his mouth on the level of his dishful of guineas. Dundas, wearing a plaid, gnaws a fish which he holds in both hands. Arden, between Pitt and Dundas, holds a lump of coins on his fork. Between him and Dundas are three bottles labelled 'Bur[gundy]', 'Champaign', 'Port'. On the table are sauce-boats and small dishes full of guineas. Before Dundas are two glasses of wine.
At the near side of the table, between Loughborough and Pitt, is a group of three sacks on each side of which is a large wine-cooler filled with bottles. The central sack is: 'Product of New Taxes upon John Bulls Property'. On its mouth rests a small basket of potatoes inscribed 'Potatoe Bread to be given in Charity'. The other sacks are labelled 'Secret Service Money'. Behind (right), three steaming dishes are being brought in, held high by footmen (their heads obscured): a haunch of venison, a sirloin, and a large bird. ***This is from the later Bohn Edition of 1849 to 1851 **£115

"The feast of reason, & the flow of soul,"-i.e.-the wits of the age, setting the table in a roar.
Courtenay (right), as the chairman of a tavern club, sits at the head of an oblong table, in profile to the left, smoking. He says to George Hanger, who faces him at the foot of the table: "I say, Georgey how do Things look now?" The words issue from his mouth in a cloud of smoke. Hanger answers: "Ax my Grandmother's Muff, pray do!" He holds a pipe, his wine-glass is overturned. His bludgeon is thrust in his top-boot. On Hanger's right sits Fox, leaning back in his chair, registering extravagant amusement and saying "O charming! - charming!" Opposite Fox sits Sheridan, clasping a decanter of 'Brandy' in one hand, a glass in the other. He says, with a sly smile, "Excellent! - damme Georgey, Excellent." Next him, and on Courtenay's right, sits M. A. Taylor, flourishing his pipe and saying, "Bravo! the best Thing I ever heard said, damme." On the table are decanters of 'Mum' and of 'Champaig[n]'. Above Courtenay's head is a picture of a simian creature in a cap of Liberty, squatting on the ground and smoking a pipe. The frame is inscribed 'Juvenal'. The floor is carpeted, the chairs are ornate. 4 February 1797  Hand-coloured etchin  ***This is from the later Bohn Edition of 1849 to 1851 ** £115 crease in wide rt  margin  

Tales of Wonder!
Three women seated at a round table listen intently to a fourth who reads 'The Monk' by M. G. Lewis, one volume of which lies beside her on the table. One, full face, is old and ugly, the others young and comely; they register excited horror. The reader sits in profile to the left, elbows on the table; from an ornamental clasp at her waist hangs a watch, showing that the time is 12.45; a younger sister, hardly grown up faces her. The room is lit by a single candle on the table; beside it lie smoking snuffers in a tray. Curtains are draped across the window, a fire burns in the grate (right). Heavy shadows are thrown. The ornaments on the chimney-piece (the right of which is cut off by the right margin) are a Gorgon looking down at the women, a skeleton from which snakes emerge, and a dragon. On the fireplace is a carving in relief: Pluto carrying off Persephone in his chariot. There is a picture of a man in armour carrying off a protesting young woman, with rape and slaughter indicated in the background. The room is luxuriously furnished, the women are elaborately dressed. 1 February 1802 Hand-coloured etching and aquatint ***This is from the later Bohn Edition of 1849 to 1851 ** £115

A Country Concert;-or-An evenings entertainment in Sussex.
A lady (left) sits at a piano, in back view, playing and singing. Beside her is a man playing the cello. Both sing: "Beviamo tutti tie" [sic]. Two men sit side by side, in profile to the left, one playing the violin, the other the flute. A little girl lying on the floor tilts dangerously the chair of the violinist, who watches intently the couple at the piano. A loutish youth in top-boots (right) plays with a dog whose collar is inscribed 'Anne Jon'. 1 September 1798 Hand-coloured etching   This is from the later  Bohn 3rd Edition of 1849 to 1851 £115 post inclusive**

Sandwich-carrots A buxom girl pushes (left to right) her barrow of carrots along the pavement of Bond Street, looking over her right shoulder at Lord Sandwich ('Jemmy Twitcher'), who overtakes her and twitches her apron. He is in profile to the right, leering at her. Her elegant shoes and clocked stockings are inconsistent with her occupation. The background is a bookseller's shop at the corner of 'Little Maddox Street' (left) and 'New-Bond Street' (right), displaying the royal arms. Over the door, in Bond Street, is 'Faulder' and above the two windows, 'Bookseller & Book Binder'. Pamphlets or open books fill the panes of the windows: 'Rules of the Order of Sr Francis' [an allusion to Sir Francis Dashwood and the profligate order of Medmenham Abbey]; 'List of Servant Maids'; 'A Chip of the old Block'; 'Doe Hunting an Ode by an old Buck Hound'; 'The Beauties of Bond Street' (cf. BMSat 8377); 'A Journey through Life - from Maddox Street unto Conduit Street & back again'. The side of a third shop-window in Maddox Street appears on the extreme left. Cf. BMSat 7080. 3 December 1796 Hand-coloured etching  This is from the later  Bohn 3rd Edition of 1849 to 1851 £115

Junction of Parties
First published in April 1783 by Hannah Humphrey, here as plate four from Bohn's additional album of work considered too outrageous to include in the main volume. The politicians Lord North on the left,and Fox on the right, shit into a pot bearing the royal coat of arms whilst the devil stirs the contents. Plain backed, on heavy wove paper 14"x 9" Hand-coloured etching  This is from the later  Bohn 3rd Edition of 1849 to 1851 £115

A broad hint
of not meaning to Dance. A provincial Assembly Room, with dancers in violent action in the background, in country dance or cotillion. In the foreground is an ugly foppish and conceited fellow standing with raised coat-tails and his back to the fire. He holds cocked hat and cane, and grimaces and bows towards a pretty young woman, one foot on a fragment of her dress. She walks away from him to the left., taking her chair with her. Another pretty girl sits against the wall (r.) holding a closed fan. The dancers are bucolic and ugly. The walls are decorated with candle-sconces; a clock on the chimney-piece points to 1.25. 20 November 1804 Hand-coloured etching  This is from the later Bohn Edition of 1849 to 1851  hand coloured mounted  £55   bad crease left corner

The Graces in a High Wind."
-a Scene taken from Nature, in Kensington Gardens Three young women, dressed alike in clinging dresses and straw bonnets trimmed with ribbons, are distressed by a high wind. Their dresses are above the ankle, and differ from those in No. 11594 in having long tight sleeves, and longer waists. Two hold open ribbon-trimmed parasols, the third holds a handkerchief to her face. They have a small dog shaved in the French manner. 26 May 1810 Hand-coloured etching and aquatint  This is from the later Bohn Edition of 1849 to 1851  hand coloured  £55   bad crease left corner margin

Advantages of wearing Muslin Dresses!
This is from the later Bohn Edition of 1849 to 1851  hand coloured unmounted  £115

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 etching This is from the later Bohn Edition of 1849 to 1851 £115


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 etching.  This is from the later Bohn Edition of 1849 to 1851 £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.  These are from the later Bohn Edition of 1849 to 1851 £320 reflection not crease

Effusions of a Pot of Porter,-or-Ministerial Conjurations for Supporting the War.
A large frothing tankard stands on a cask whose head forms the base of the design. From the froth Pitt emerges as Death on the White Horse (of Hanover, cf. BMSat 8691), giving the effect of a fantastic equestrian statue on a high pedestal. Pitt is in back view; in his right hand is a flaming sword, his left arm is raised, he turns his head slightly to the right, his right leg is extended; he wears his ordinary dress with heavily spurred top-boots. His head is the centre of rays on which his orders are inscribed, above it: 'Bella! \ Horrida \ Bella!' On the left are heavy clouds about to cover the sun, whose features indicate profound sleep; rays to the left are inscribed: 'Sun get thee to Bed! Myself will Light ye World' and 'Ho Rains! - Deluges! - Drown the Harvest!' Slanting rain descends in torrents from the clouds, battering down heads of wheat and obscuring a cottage in the background. On the right are the winds: four cherubs' heads blowing violent blasts in every direction, two of which are filled with swarms of insects. Rays to the right are inscribed: 'Pestiferous Winds! blast the fruits of the Earth!' and 'Ho! Flies! Grubs, Caterpillars! destroy the Hops!' The blasts strike hops twined round poles on the right of the design. On the tankard is a large '4' within a circle inscribed 'Pro-Bono-Ministero', and a small 'WP' with the Pitt crest of stork and anchor. On the cask a long lighted pipe inscribed 'Bellendenus' lies across a paper of tobacco inscribed : 'Ruin upon Ruin, or an Essay on the Ways & Means for supporting the cursed War.' s***This is from the later Bohn Edition of 1849 to 1851 ** £115 post inclusive  

Westminster school. or-Dr Busby settling accounts with Master Billy and his playmates.
Fox as Dr. Busby birches Pitt and his supporters in a lofty hall with stone walls. Fox (left) sits under a statue of Justice which is in an alcove above his head, a birch-rod in her right hand, in the left, her scales evenly balanced. Pitt lies across Fox's knee, his posteriors scarred; he says, "O pardon me & I'll promise you on my honor that I will Honestly & boldly endeavour a reform!" Fox, his birch-rod raised to smite, says, "That's all Twaddle! - so here's for your India Task! there! there! there! & there's for blocking up the old Womens Windows & making them drink Tea in the dark! - there! there! & there's for------O I've a a a hundred accounts to settle - there! there! there! there! there! there." Those who have been already chastised are borne off (right), a sea of heads, on the backs of the Foxite party. The last three only are characterized: Robinson is carried off on North's back; he is identified by the rats which leap from his rolled-up coat, cf. BMSat 6427, &c. Sheridan (identified by the 'School for Scandal' which protrudes from his pocket) carries off Sir Richard Hill, identified by two papers projecting from his coat: 'Bible Joke' and 'Rochester Sermon' (see 'The Rolliad', No. III, 'Probationary Odes', No. IV). Next, Burke carries off Richard Atkinson ('the minor Kinson' of 'The Rolliad', No. VIII), from whose pocket projects 'Rum Contr[act] ***This is from the later Bohn Edition of 1849 to 1851 ** £115 post inclusive  
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 etching***This is from the later Bohn Edition of 1849 to 1851 ** £115 post inclusive

Patience on a monument."
The design simulates a pyramidal monument in bas relief against a stone wall, supported on short Corinthian pilasters between which is an inscription. On the face of the pyramid Lady Cecilia Johnston (see BMSat 5748), is seated in profile to the right on a round close-stool. She is thin and witch-like, her chin is support by her left hand, the elbow resting on her knee. In her right hand is a torn paper inscribed 'Tranquility'. Behind the stool stands a little cupid holding his nose; in his left hand is a torch, reversed. On the ground (right) are bones and two skulls which gaze at Lady Cecilia. 19 September 1791 Hand-coloured etching **This is from the later Bohn Edition of 1849 to 1851 ** £75 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;  **This is from the later Bohn Edition of 1849 to 1851 ** £65 post inclusive . x

The Balance of Power. -or- The Posterity of the Immortal Chatham, turnd Posture Master 
**This is from the later Bohn Edition of 1849 to 1851 ** £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 etching  **This is from the later Bohn Edition of 1849 to 1851 ** £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 ***This is from the later Bohn Edition of 1849 to 1851 ** £65 post inclusive . attributedin the folio  

Banco to the knave.
***This is from the later Bohn Edition of 1849 to 1851 ** £85 post inclusive

Sir Richard worse-than-sly, exposing his wifes bottom; -o fye!
Another version in reverse, with several alterations, of BMSat 6109. The two women's figures are almost identical in both plates. Worsley stands on tip-toe (right) holding Bisset, who sits, instead of standing, on his shoulders; his hat is on the ground, and by it lies a paper inscribed "My Yoke is Easy & my Burden light". The words spoken by Bisset and the maid are the same in both. In this design the ceiling of the room has a circle inset in the rectangle which may support a dome. A pair of mules stands beside the bath (right). 14 March 1782 Hand-coloured etching  ***This is from the later Bohn Edition of 1849 to 1851 ** £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***This is from the later Bohn Edition of 1849 to 1851 ** £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 etching ***This is from the later Bohn Edition of 1849 to 1851 ** £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 **This is from the later Bohn Edition of 1849 to 1851 ** £115 post inclusive mounted unless to USA etc

Wife & no wife -or- a trip to the Continent
The interior of a large church or cathedral. Burke, dressed as a Jesuit (cf. BMSat 6026), standing within a low, semicircular wall at the foot of a crucifix, marries the Prince of Wales and Mrs. Fitzherbert. The Prince is about to put the ring on her finger. Fox gives her away, holding her left wrist. Beside him (right) stands Weltje in back view but looking to the left at the ceremony. A napkin is under his left arm, bottles project from his coat-pockets, and the tags on his shoulder denote the liveried manservant. To the left of Fox appears the profile of George Hanger. On the left North sits, leaning against the altar wall, sound asleep, his legs outstretched. He wears his ribbon but is dressed as a coachman, his hat and whip beside him. All the men wear top-boots to suggest a runaway match. Behind the Prince in a choir seat is a row of kneeling monks who are chanting the marriage service. The crucifix is partly covered by a curtain, but the legs and feet are painfully distorted as in BMSat 6026. On the wall and pillars of the church are four framed pictures: 'David watching Bathsheba bathing', 'St. Anthony tempted by monsters', 'Eve tempting Adam with the apple', and 'Judas kissing Christ', the last being over the head of Fox. 27 March 1786 Hand-coloured etching ***This is from the later  Bohn 3rd Edition of 1849 to 1851 ** £185 post  inc short borders to base x large   Height: Height: 375 millimetres Width: Width: 471 millimetres

The Bengal Levee.
  Lord Cornwallis holds a levee in Government House, Calcutta, in a large room divided by a panelled partition which stretches across the design from left to right and is broken by three wide doorways, showing an inner room, crowded with guests, with three large windows between which are pier-glasses in ornate frames. In the spaces between the doorways are four candle-sconces placed above four of Thomas Daniell's 'Views of Calcutta', either the originals or (more probably) the aquatints. [Published by him at Calcutta 1786-8, reproduced in W. Corfield's 'Calcutta Faces and Places'. Cf. also 'Memoirs of William Hickey', iii. 327, 342.] In the nearer portion of the room the figures are dispersed; Cornwallis stands in the inner room on the right, his right hand on his breast, left in his breeches pocket. He is talking to Cudbert Thornhill, a grotesque-looking civilian who faces him in profile to the right. Behind Thornhill, waiting to approach Cornwallis, is King Collins wearing regimentals. Behind this group is a crowd of unidentified guests. The figures in the foreground (left to right) are: Lt.-Col. Alexander Ross, secretary to Cornwallis, who is talking to Colonel John Fullarton, senior officer at the Presidency ('East India Kalendar', 1791, p. 14). Next, a stout civilian, with legs thick to deformity, holds both hands of a very slim and foppish civilian; they are John Haldane and Claud Benizett, [Identified by Wright and Evans as John Wilton.] Sub-Treasurer. The centre figures are a very stout colonel talking to a thin and grotesque civilian holding a long cane; both wear spectacles. They are Colonel Auchmuty and William Pye, Collector of the Twenty-four Pergunnahs. A grotesquely ugly little civilian, standing alone in profile to the left, taking snuff, is W. C. Blaquiere. [Identified by Wright and Evans] ***This is from the later  Bohn 3rd Edition of 1849 to 1851 ** £185 post  inc short borders to base x large   Height: Height: 375 millimetres Width: Width: 471 millimetres  
Monstrous craws, at a new coalition feast

The King, Queen, and Prince of Wales, seated round a bowl of guineas, ladle coins into their mouths with both hands. The King (right) and Queen (left), three quarter length figures, sit facing each other, supporting on their knees the bowl, which is inscribed 'John Bull's Blood'. The Queen is grotesquely caricatured as a lean and avaricious hag, eagerly cramming the contents of two ladles into her mouth; the King is dressed as an old woman. The Prince (centre), scarcely caricatured, sits full-face behind the bowl, wearing a fool's cap trimmed with three ostrich feathers. All three have throats terminating in long pelicanlike pouches; that of the Prince is empty, the other two are full. The King's ladles are much larger than those of his wife and son. The Prince's ladles are inscribed '£10000 pr An' and '£60000 pr An'. They are seated outside the gate of the 'Treasury', represented as usual by a spiked gate across a stone archway, but the gate is open behind the head of the Prince. 29 May 1787 Hand-coloured etching and aquatint **This is from the later  Bohn 3rd Edition of 1849 to 1851 ** £185 post  inc short borders to base x large   Height: Height: 375 millimetres Width: Width: 471 millimetres

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