Gillray Collection (page 3)

Scene inside the House of Commons, Westminster, London, 1795. Artist: James Gillray
Scene inside the House of Commons, Westminster, London, 1795. Patriotic regeneration, - viz - Parliament reform d, a la francoise, - that is - honest men (ie Opposition) in the seat of justice

The Chancellor of the Inquisition marking the incorrigibles, 1793. Edmurd Burke walking towards the door of the Crown and Anchor Tavern, over which is inscribed British Inquisition

John Bull and the sinking fund, 1807. Artist: James Gillray
John Bull and the sinking fund, 1807. A p(r)etty scheme for reducing the taxes and paying off the National Debt; showing John Bull on his hands and knees on a flat rock

Billingsgate eloquence, 1795. Artist: James Gillray
Billingsgate eloquence, 1795. Lady Cecilia Johnston with straggling hair wearing a handkerchief which scarcely covers her breast, stands in profile to the left glaring fiercely

Blowing up the Pic Nic s; or, Harlequin Quixotte attacking the puppets... 1802
Blowing up the Pic Nic s; or, Harlequin Quixotte attacking the puppets. Vide Tottenham Street Pantomime, 1802. Richard Sheridan leading the forces of the professionals against the amateurs of the Pic

A Mansion House treat - or smoking attitudes, London, 1800. On the right Lord Nelson, smoking a long pipe, phallic in design. He and Lady Hamilton are making metaphorical remarks on the subject

Political candour - i. e. Coalition resolutions of June 14th 1805
Political candour - i.e. Coalition resolutions of June 14th 1805.... Fox makes a speech in the House of Commons. Pitt sits alone on the Treasury Bench

A smoking club, House of Commons, London, 1793. Depicting the House of Commons burlesqued as a smoking club whose quarrelsome members - Fox, Dundas, Pitt, etc. are puffing smoke at each other

John Burges MD, 1795. Artist: James Gillray
John Burges MD, 1795. He tiptoes away from the viewer. A fellow of the College of Physicians in Warwick Lane whose health was too weak for general practice

Hot air balloon in the courtyard of Burlington House, Piccadilly, Westminster, London, 1814
View of the courtyard of Burlington House, Piccadilly, Westminster, London, 1814, showing the ascent of Mr James Sadler and Miss Thompson in a hot air balloon, surrounded by a crowd of spectators

Pillars of the Constitution: Three o Clock and a Cloudy Morning, 1809. Richard Sheridan, the famous playwright and Whig politician and the Charles Howard, Duke of Norfolk

The Minister endeavouring to eke out Dr Pr-ty---ns Bisho-prick, 1787. Artist
The Minister endeavouring to eke out Dr Pr-ty---ns Bisho-prick, 1787. William Pitt holding up the dome of St Pauls Cathedral which he is about to place over the central tower of Lincoln Cathedral; Dr

Anacreonticks in full Song, 1801. Artist: James Gillray
Anacreonticks in full Song, 1801. A scene of drunkenness and excess; the man in the foreground smoking a pipe has extremely swollen legs, a result of gout, associated with heavy drinking

The Monster broke loose or, a peep into the Shakespeare-Gallery, 1791. Alderman John Boydell, wearing a greedy expression

A meeting of umbrellas, 1782. Artist: James Gillray
A meeting of umbrellas, 1782; showing three men holding umbrellas meeting and having difficulty in passing. The umbrella, only recently introduced for men, was an object of derision

Cockney Sportsmen, London, 1800. Artist: James Gillray
Cockney Sportsmen, London, 1800. View of a young city gent advancing towards the carcass of a horse beset by many crows. His gun which is reversed, goes off peppering the posterior of his fat friend

The bottomless-Pitt, Pitt making a speech, London, 1792
The bottomless-Pitt; showing William Pitt, exaggeratedly attenuated below the waist, making a speech before the table of the House of Commons, London, 1792

George III feeding himself on guineas, London, 1787
Monstrous craws, at a new coalition feast, London, 1787; showing King George III, Queen Charlotte and the Prince of Wales seated outside the treasury round a bowl of guineas

The giant-factotum amusing himself - William Pitt, 1797. Artist: James Gillray
The giant-factotum amusing himself, 1797; showing William Pitt bestriding the Speakers chair in the House of Commons, towering high above the galleries, playing cup and ball with the globe

Counsellor OP - Defender of our Theatric Liberties, 1809. Artist: James Gillray
Counsellor OP - Defender of our Theatric Liberties, 1809. shows Counsellor Clifford standing outside the east front of the new Covent Garden theatre which is in flames

Theatrical Mendicants, Relieved... 1809. Artist: James Gillray
Theatrical Mendicants, Relieved... 1809. John Kemble, with his brother Charles and his sister Sarah Siddons in tears, begging outside Northumberland House and receiving a draft for 10, 000 pounds

Patriotic-Petitions on the Convention, 1808. Artist: James Gillray
Patriotic-Petitions on the Convention, 1808. Four scenes: top left The Cockney Petition; top right The Westminster Petition; bottom left The Chelmsford Petition; bottom right The Middlesex Petition

No Popery or Newgate Reformer... 1780. A villainous looking man, believed to be Ned Dennis, wearing a No Popery favour in his hat, holds a cudgel raised to his left

Five fashionably dressed men advance along Old Bond Street, Westminster, London, 1796.They push a woman, wearing a dress with a voluminous train and a turban with an enormous feather

A leering man making advances to a girl, New Bond Street, Westminster, London, 1796. The girl is wheeling a barrow of carrots outside a bookseller on the corner of New Bond Street

Artists in front of the Royal Academy, Somerset House, London, 1797
Titianus redivivius; or the seven wise men consulting the new Venetian oracle. - A scene in ye Academic Grove, No.1, 1797; scene showing artists in front of the Royal Academy at Somerset House in

The Plumb-Pudding in Danger, or State Epicures Taking un Petit Souper, 1805. Private Collection

Daniel Mendoza. Artist: Gillray, James (1757-1815)
Daniel Mendoza. Private Collection

Very Slippy Weather, 1808. Artist: James Gillray
Very Slippy Weather, 1808. This print depicts a scene outside Gilrays publishers premises. From A Smile Among Friends. [Alb. Cammermeyers Forlag, Norway, 1949]

Windy Weather, 1808. Artist: James Gillray
Windy Weather, 1808

The Hostile View of Lady Hamilton, 19th century. Caricature by Gillray, entitled Dido in Despair

The York Reverence or City Loyalty, Amply Rewarded, 1796. Frederick, Duke of York (1763-1821) and his wife Frederica, Duchess of York (1767-1820)

A Voluptuary Under the Horrors of Digestion, 1792. Artist: James Gillray
A Voluptuary Under the Horrors of Digestion, 1792. Engraving of the Prince Regent, (later King George IV), who was famous for his gluttonous appetite

Monuments lately discovered on Salisbury Plain, 1782. The Prince Regent is attracted to the Marchioness of Salisbury. Illustration from Social Caricature in the Eighteenth Century

Satan in all his Glory... 1792.Artist: James Gillray
Satan in all his Glory; - or Peter Pindar crouching to the devil, sketch d from the peep-hole at scalegill, 1792. To the worthy inhabitants of Cumberland

Shakespeare sacrificed, or the offering to avarice, 1789. Artist: James Gillray
Shakespeare sacrificed, or the offering to avarice, 1789. Publisher John Boydell commissioned paintings illustrating subjects from Shakespeares plays

Old Wisdom blinking at the stars, 1782. Artist: W Rennie
Old Wisdom blinking at the stars, 1782. Man of letters and lexicographer Samuel Johnson (1709-1784), as a wise owl, looks at busts of Milton and Pope

Contemplations upon a coronet, 1797. Caricature of the actress Elizabeth Farren (c1759-1829) who became Countess of Derby. She admires a coronet on a stand

Exaltation of Faros daughters, 1796. Albinia, Countess of Buckinghamshire (left) and Lady Archer are ridiculed in the stocks, as the mob throw rotten vegetables at them

La Belle Assemblee, 1787. Here love his golden shafts employs; here lights his constant lamp; and waves his purple wings reigns here and revels. (Milton)

Mameluke chief, 1798. Artist: James Gillray
Mameluke chief, 1798. Supposed to be, a correct representation of a Mamaluke Chief; from a Sketch by a French Officer by whom he was taken Prisoner

The Grand Coronation Procession of Napoleon the 1st Emperor of France, from the church of Notre-Dame, 1805. From a private collection

Harmony before Matrimony, 1805. Artist: Gillray, James (1757-1815)
Harmony before Matrimony, 1805. From a private collection

National conveniences, 1769. Artist: Gillray, James (1757-1815)
National conveniences, 1769. From a private collection

Midas, Transmuting all into Gold Paper, 1797. Artist: Gillray, James (1757-1815)
Midas, Transmuting all into Gold Paper, 1797. From a private collection

A Peep at Christies, 1796. Artist: James Gillray
A Peep at Christies, 1796. Found in the collection of the State A Pushkin Museum of Fine Arts, Moscow

Parisian Ladies in their Full Winter Dress for 1800, 1799. Artist: James Gillray
Parisian Ladies in their Full Winter Dress for 1800, 1799. Found in the collection of the State A Pushkin Museum of Fine Arts, Moscow

Indecency, 1799. Cruikshank, Isaac Robert (1789-1856). Private collection

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James Gillray (1757-1815) was a renowned British caricaturist and printmaker who left an indelible mark on the world of political satire. His satirical etchings, such as "The Cow-Pock" and "Political Ravishment, " showcased his sharp wit and keen observation of society. In "The Cow-Pock, " created in 1802, Gillray depicted Edward Jenner, the pioneer of vaccination, in a humorous light. Through this artwork, he not only highlighted the significance of Jenner's work but also playfully commented on the fears surrounding vaccination at that time. Another notable piece by Gillray is "A March to the Bank" from 1787. This artwork humorously portrays people rushing to withdraw their money from the bank during a financial crisis. With his characteristic exaggeration and attention to detail, Gillray captured both the panic and absurdity of such situations. Gillray's talent for capturing social commentary extended beyond financial matters. In works like "The Gout, " he used satire to mock societal vices and indulgences. By portraying gout as a grotesque figure tormenting its victims, Gillray shed light on issues related to excesses in food consumption prevalent among certain classes during that era. One cannot discuss James Gillray without mentioning his iconic cartoon titled "Britannia between Scylla & Charybdis. " This piece symbolizes Britain's precarious position during times of political turmoil when it had to navigate between conflicting interests represented by two mythical sea monsters. Through this image, Gillray cleverly critiqued politicians' struggles with making difficult decisions while maintaining national stability. Gillray's artistry was not limited solely to politics; he also delved into cultural events like elections or public gatherings. In works such as "Election fair" or "L assemblee Nationale Or Grand Cooperation Meeting At St.