Original antique engraving from Gillray's original copper plate. Published for the Bohn Edition of 1851. Later colour.
This engraving offers a thought-provoking commentary on the delicate balance between democracy and absolute monarchy. At its centre stands William Pitt, the Prime Minister at that time, confidently steering a sailboat symbolizing Britannia's constitutional vessel. With sharks lurking beneath representing potential threats to democracy, Pitt skillfully navigates through treacherous waters towards stability. Gillray's caricature style adds an element of humor to this satirical masterpiece. Charles James Fox can be seen as one of the sharks circling below – a prominent figure opposing Pitt's government. This portrayal reflects their fierce rivalry during this period. The engraving captures an era defined by intense political debates surrounding governance systems. Its historical significance resonates even today as it reminds us to navigate carefully between democratic principles and authoritarian tendencies.
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".
