Two original antique engravings 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.
Harmony Before Matrimony
This engraving transports viewers to a whimsical scene and offers a humorous and satirical take on the complexities of relationships. In this lively scene, we are transported to an elegant interior where a man and woman confront each other with intensity. The lady, seated gracefully with her harp, appears poised and composed while the gentleman stands defiantly beside her. Their faces express conflicting emotions as they engage in what seems to be a heated argument. Surrounding them are elements that add depth to the narrative - an open book symbolizing knowledge and wisdom, music sheets representing their shared love for melody, and even mischievous cats playfully adding chaos to the already tense atmosphere. Gillray's masterful caricature style captures not only their physical features but also their personalities through exaggerated expressions and gestures. Through his artistry, he invites us to reflect on the challenges faced within relationships - whether it be differences in opinions or clashing temperaments. This engraving serves as both entertainment and social commentary on human nature. It reminds us that even amidst conflict, there can still exist harmony if we learn how to navigate through our differences with understanding and compromise.
Matrimonial Harmonics
This whimsical hand-coloured etching, titled "Matrimonial Harmonics" captures the comical chaos that often accompanies domestic bliss. Created by James Gillray in 1805 and published by Hannah Humphrey, this satirical artwork offers a humorous glimpse into the dynamics of married life. In this bustling interior scene, a gentleman sits engrossed in his newspaper while attempting to read amidst the cacophony surrounding him. The room is filled with noise as a tuneless female attempts to play the piano, causing both a baby and cat to cry out in protest. Meanwhile, another woman sings at the top of her lungs while a caged bird adds its own shrill notes to the symphony. Gillray's caricature highlights not only the lack of musical talent but also the disarray within this household. Amidst all this chaos, we see an overwhelmed maid desperately trying to restore order but failing miserably. The artist's sharp wit shines through as he humorously portrays how even something as innocent as music can become an instrument for discord within matrimony. Through exaggerated characters and absurd situations, Gillray invites us to laugh at our own human foibles and find solace in knowing that such scenes are universal experiences. This delightful print serves as a reminder that harmony in marriage requires more than just musical skill; it necessitates patience, understanding, and perhaps even some earplugs!
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".