Original antique engraving from Gillray's original copper plate. Published for the Bohn Edition of 1851. Later colour.
This engraving offers a window into the chaotic world of Thomas Paine. Thomas Paine, known for his influential work "The Rights of Man" found himself fleeing to France to escape trial after its publication. This artwork serves as both an indictment and commentary on the persecution and accusations faced by those who dared to challenge the status quo. In this intricate composition, we witness headless judges, demonic figures, and angelic beings surrounding Paine as he dreams amidst stocks and nightmares. The scales of justice hang precariously while whips and scourges loom ominously nearby. A tricolour pillow symbolizes the French Revolution, emphasizing themes of freedom of speech juxtaposed with repression. Gillray masterfully employs symbolism throughout this satirical piece – from rags representing censorship to a hobgoblin lurking near a gibbet – alluding to visions that haunt society when voices are silenced. As viewers delve deeper into this engraving, they uncover layers upon layers of meaning behind each element meticulously placed within its frame. It serves as both an artistic masterpiece and historical artifact that sheds light on the struggles faced by individuals fighting for their beliefs.
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".