Original antique engraving first published in 1797, This copy is from the Bohn edition of 1851, the last time Gillray's own copper plates were used to make prints.
Political Ravishment" is a 1797 political cartoon by British satirist James Gillray that depicts Prime Minister William Pitt forcing his way into the Bank of England, symbolized by "the Old Lady of Threadneedle Street". The title is a play on the financial panic caused by the government's increasing debt, satirizing Pitt's attempts to secure funding through loans and notes. The cartoon is one of Gillray's most famous works and a prime example of his political caricature.
The cartoon portrays Pitt attempting to assault the "Old Lady," a personification of the Bank of England. She is shown as a frail, old woman dressed in one-pound notes, desperately resisting his advances.
The work is famous for its powerful and explicit imagery, using the metaphor of "ravishment" to critique the government's aggressive handling of public debt.
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".
