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A Witch, upon a Mounts Edge, or Fuzelli, published by Hannah Humphrey in 1791
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A Witch, upon a Mounts Edge, or Fuzelli, published by Hannah Humphrey in 1791
NCO193145 A Witch, upon a Mounts Edge, or Fuzelli, published by Hannah Humphrey in 1791 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College, Oxford; (add.info.: Emma Edgcumbe (nee Gilbert), Countess of Mount Edgcumbe (1729-1807) the wife of George Edgcumbe, 1st Earl of Mount Edgcumbe (1721-95) and the somewhat eccentric daughter of the Archbishop of York. Emma was notorious for her card playing and for keeping a pet pig called Cupid who ate at her table. She was a popular target for caricaturists, most famously James Gillray in A witch, upon a mounts edge (1791) - a travesty of a painting by Fuseli
); English, out of copyright
Media ID 22602020
© Bridgeman Images
Barefoot Broomstick Crone Curse English Channel Evil Fleet Frog Fuseli Nightmare Peak Pointing Finger Ragged Rags Shawl Spell Toad Wicked Flames
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This hand-coloured etching, titled "A Witch, upon a Mounts Edge, or Fuzelli" captures the essence of wickedness and eccentricity. Published by Hannah Humphrey in 1791, it was created by James Gillray as a satirical caricature. The subject of this artwork is Emma Edgcumbe (nee Gilbert), Countess of Mount Edgcumbe, known for her notorious card playing and peculiar habits. In this image, we see the profile of an evil-looking woman with ragged attire and burning hair. She stands barefoot on a mountain peak overlooking the English Channel coastline. With a broomstick in one hand and pointing finger in the other, she exudes an air of malevolence. A toad sits at her feet while flames engulf her surroundings. Gillray's depiction mocks Emma's reputation as he exaggerates her traits to create a nightmarish figure. The artist also references Henry Fuseli's painting through his title choice but distorts it into something grotesque. Despite its humorous intent, this print reflects society's fascination with witches during that era. It combines elements such as curses, frogs, shawls, and even Cupid - Emma's pet pig who dines at her table - to further emphasize her unconventional nature. Today, this artwork serves as both historical documentation and artistic satire from the late 18th century. It showcases Gillray's skillful use of caricature to mock societal figures while providing insight into popular culture during that time period.
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