Original antique engraving from Gillray's original copper plate. Published for the Bohn Edition of 1851, the last full edition of Gillray's works to be printed from his own plates.
This image depicts a tumultuous scene as stormy clouds loom overhead and waves crash against an overturned ship. The image portrays the ill-fated French Armada facing its demise amidst treacherous weather conditions. A man overboard symbolizes drowning politicians who were part of this failed invasion attempt. The figurehead on the ship represents France's leadership during this turbulent period. Gillray's sharp wit and artistic skill are evident in his use of symbolism to convey political commentary. The bonnet rouge worn by one of the figures signifies revolutionary fervor while also alluding to France's involvement in Ireland at that time. This print serves as a reminder of both historical events and meteorological phenomena. It showcases Gillray's ability to intertwine politics with science, highlighting how climate and weather can impact significant moments in history. As part of The Stapleton Collection housed in a private collection, this engraving offers viewers a glimpse into Gillray's genius as he uses art to critique political power struggles during an era marked by conflict between England, France, and Ireland.
Gillray was one of five children, and the only one to survive to maturity. In 1770 he was apprenticed to Harry Ashby, a London writing in engraver, and five years later W. Humphrey published a few of Gillray's illustrations including satirical works. By the time Gillray commenced his career satire was old, but personal caricature was in its infancy. Other exponents in this form of art were soon overshadowed by Gillray's superior craftsmanship. His figures were full of vitality, titillating and reflective of some political crisis or private scandal. As his popularity increased so did demand by the public to see more of his work. In the rapidly changing politics of the late18th century he would produce a plate in twenty-four hours. Although sometimes overlooked his speech bubbles were elaborate and Gillray would spend considerable time composing and redrafting the text.
Between 1791 to 1807 his career continued successfully in association with William and Hannah Humphrey. There after Gillray's health began to suffer. He eventually slipped into madness and died shortly before the Battle of Waterloo on June 1st 1815. Hannah, who had a close relationship with him nursed Gillray through out his final years and following his death the copper plates then formed part of Hannah's estate when she died in 1818. The executor's of Hannah's estate sold Gillray's painstakingly worked plates for there second hand copper weight. Hearing of this, the then publisher, Bohn who had previously expressed an interest in buying the plates set about purchasing them from a variety of different sources. Eventually acquiring over 500. In 1851 Bohn republished the engravings in a large folio volume, "The Works of James Gillray".