Original antique engraving from Gillray's original copper plate. Published for the Bohn Edition of 1851. Later colour.
This engraving offers a satirical commentary on the immense power wielded by William Pitt, the Prime Minister at the time. In this visually striking image, we see Pitt portrayed as an enormous giant towering over his fellow politicians in the House of Commons. With bulging pockets and supporters bowing before him, he exudes an air of dominance and control. Pitt's mammoth figure steps on and tramples over members of the opposition while playing with a cup and ball toy featuring a globe – symbolizing his influence both domestically and internationally. The cartoonish exaggeration employed by Gillray highlights not only Pitt's physical size but also his political might. The thinness of other figures emphasizes their vulnerability in comparison to his overwhelming presence. As he stands triumphantly over the Speaker's chair, papers scattered beneath him, there is an undeniable sense of fear among those who oppose him. This piece serves as a reminder that even within democratic institutions like Parliament, power can be concentrated in one individual capable of crushing dissenting voices. Through its clever use of caricature and satire, "The Giant Factotum amusing himself" invites viewers to reflect on themes such as political manipulation, authority abuse, and public accountability – issues that remain relevant today despite being rooted in history.
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".