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 engraving offers a satirical commentary on wealth and power during the late 18th century. The Old Lady of Threadneedle Street refers to the Bank of England, symbolizing financial prosperity and abundance. In this intricate etching, Gillray skillfully portrays the opulence and riches associated with England's economic might. A cornucopia overflowing with money dominates the scene, representing the immense wealth held by the nation. The figure of William Pitt the Younger, then Prime Minister of Great Britain, stands nearby as a personification of authority and influence. Gillray's caricature cleverly highlights both extravagance and stinginess within society. While some revel in their luxuriant lifestyles depicted through lavish clothing and grand gestures, others are burdened by mounting debts represented by chains around their necks. The artist masterfully employs watercolor techniques to bring depth and vibrancy to his work. Each stroke contributes to an overall sense of richness that mirrors both material wealth and societal divisions. This fine art piece from a private collection serves as a reminder that even amidst apparent prosperity, there exist underlying tensions between affluence and indebtedness. Gillray's "Political Ravishment" invites viewers to reflect upon notions of wealthiness while questioning how it impacts individuals' lives within an ever-evolving economic landscape.
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".