This engraving depicts an array of significant figures during the tumultuous times of the Napoleonic Wars. In this scene, we see Richard Sheridan dressed as a harlequin and Charles James Fox covering his face with his hat. They represent key statesmen who were alarmed by the threat of French invasion on England's shores. Britannia, symbolizing England herself, lies faint and defenceless while Napoleon Bonaparte looms menacingly in the background. Gillray masterfully captures the atmosphere of fear and uncertainty through various elements such as ships engulfed in smoke, a dark cloud hanging over the coastline, and a foggy English Channel. However, hope is not lost as Physical Aid awakens Britannia using smelling salts to revive her from her trance-like state. This satirical artwork serves as both a commentary on Britain's vulnerability to invasion and an expression of patriotic courage against foreign threats. It highlights the importance of unity among politicians and armed forces to protect their nation from harm. With its intricate details and clever symbolism, this print offers viewers an intriguing glimpse into historical events while showcasing Gillray's exceptional talent for capturing political satire through artistry.
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.
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".
