This engraving depicts a humorous take on the idea of finding unconventional remedies for various ailments. In this lively illustration, we see an overweight man suffering from gout, colic, and tisic (a term used in the past to describe tuberculosis). He is surrounded by bottles of medicine and appears quite miserable. However, his attention is drawn towards a jolly figure known as Punch. Punch, with his characteristic humpbacked appearance and mischievous grin, holds up a glass filled with what seems to be an alcoholic beverage. With exaggerated gestures and theatrical flair, he promises miraculous cures for all three afflictions. Gillray's satirical commentary shines through in this print as he pokes fun at both indulgence and traditional medical practices of his time. Through clever caricature and witty symbolism, he highlights society's tendency to seek quick fixes rather than addressing underlying health issues responsibly. This artwork serves as a reminder that laughter can sometimes be the best medicine. It invites us to reflect on our own choices when it comes to seeking relief from sickness while providing entertainment through its charming depiction of characters caught in amusing situations.
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".
