James Gillray

James Gillray (13 August 1756^[1] or 1757 – 1 June 1815), was a British caricaturist and printmaker famous for his etched political and social satires, mainly published between 1792 and 1810.

Early life[link]

He was born in Chelsea. His father, a native of Lanark, had served as a soldier, losing an arm at the Battle of Fontenoy, and was admitted, first as an inmate, and afterwards as an outdoor pensioner, at Chelsea Hospital. Gillray commenced life by learning letter-engraving, at which he soon became adept. This employment, however, proved irksome to James, so he wandered about for a time with a company of strolling players. After a very checkered experience he returned to London and was admitted as a student in the Royal Academy, supporting himself by engraving, and probably issuing a considerable number of caricatures under fictitious names. His caricatures are almost all in etching, some also with aquatint, and a few using stipple technique. None can correctly be described as engravings, although this term is often loosely used to describe them. Hogarth's works were the delight and study of his early years. Paddy on Horseback, which appeared in 1779, is the first caricature which is certainly his. Two caricatures on Admiral Rodney's naval victory at the Battle of the Saintes, issued in 1782, were among the first of the memorable series of his political sketches.

Adult life[link]

Very Slippy-Weather (1808)

L'Assemblée Nationale (1804) was called "the most talented caricature that has ever appeared", partly due to its "admirable likenesses". The Prince of Wales paid a large sum of money to have it suppressed and its plate destroyed.^[2]

The name of Gillray's publisher and print seller, Miss Hannah Humphrey—whose shop was first at 227 Strand, then in New Bond Street, then in Old Bond Street, and finally in St James's Street—is inextricably associated with that of the caricaturist himself. Gillray lived with Miss (often called Mrs) Humphrey during the entire period of his fame. It is believed that he several times thought of marrying her, and that on one occasion the pair were on their way to the church, when Gillray said: "This is a foolish affair, methinks, Miss Humphrey. We live very comfortably together; we had better let well alone." There is no evidence, however, to support the stories which scandalmongers invented about their relations. One of Gillray's prints, "Twopenny Whist," is a depiction of four individuals playing cards, and the character shown second from the left, an ageing lady with eyeglasses and a bonnet, is widely believed to be an accurate depiction of Miss Humphrey.

Gillray's plates were exposed in Humphrey's shop window, where eager crowds examined them. One of his later prints, Very Slippy-Weather, shows Miss Humphrey's shop in St. James's Street in the background. In the shop window a number of Gillray's previously published prints, such as Tiddy-Doll the Great French Gingerbread Maker, Drawing Out a New Batch of Kings; His Man, Talley Mixing up the Dough, a satire on Napoleon's king-making proclivities, are shown in the shop window. His last work, from a design by Bunbury, is entitled Interior of a Barber's Shop in Assize Time, and is dated 1811. While he was engaged on it he became mad, although he had occasional intervals of sanity, which he employed on his last work. The approach of madness may have been hastened by his intemperate habits. Gillray died on 1 June 1815, and was buried in St James's churchyard, Piccadilly.

The art of caricature[link]

"The reception of the Diplomatique (Macartney) and his suite, at the Court of Pekin". Published in September 1792.

A number of his most trenchant satires are directed against George III, who, after examining some of Gillray's sketches, said "I don't understand these caricatures." Gillray revenged himself for this utterance by his splendid caricature entitled, A Connoisseur Examining a Cooper, which he is doing by means of a candle on a "save-all"; so that the sketch satirises at once the king's pretensions to knowledge of art and his miserly habits.

During the French Revolution, Gillray took a conservative stance; and he issued caricature after caricature ridiculing the French and Napoleon (usually using Jacobin), and glorifying John Bull. A number of these were published in the Anti-Jacobin Review. He is not, however, to be thought of as a keen political adherent of either the Whig or the Tory party; his caricatures satirized members of all sides of the political spectrum.

The times in which Gillray lived were peculiarly favourable to the growth of a great school of caricature. Party warfare was carried on with great vigour and not a little bitterness; and personalities were freely indulged in on both sides. Gillray's incomparable wit and humour, knowledge of life, fertility of resource, keen sense of the ludicrous, and beauty of execution, at once gave him the first place among caricaturists. He is honourably distinguished in the history of caricature by the fact that his sketches are real works of art. The ideas embodied in some of them are sublime and poetically magnificent in their intensity of meaning, while the forthrightness—which some have called coarseness—which others display is characteristic of the general freedom of treatment common in all intellectual departments in the 18th century. The historical value of Gillray's work has been recognized by many discerning students of history. As has been well remarked: "Lord Stanhope has turned Gillray to account as a veracious reporter of speeches, as well as a suggestive illustrator of events."

Monstrous Craws, at a New Coalition Feast (1787)

His contemporary political influence is borne witness to in a letter from Lord Bateman, dated 3 November 1798. "The Opposition," he writes to Gillray, "are as low as we can wish them. You have been of infinite service in lowering them, and making them ridiculous." Gillray's extraordinary industry may be inferred from the fact that nearly 1000 caricatures have been attributed to him; while some consider him the author of as many as 1600 or 1700. According to the Encyclopædia Britannica Eleventh Edition, "Gillray is as invaluable to the student of English manners as to the political student, attacking the social follies of the time with scathing satire; and nothing escapes his notice, not even a trifling change of fashion in dress. The great tact Gillray displays in hitting on the ludicrous side of any subject is only equalled by the exquisite finish of his sketches—the finest of which reach an epic grandeur and Miltonic sublimity of conception."

Gillray's caricatures are generally divided into two classes, the political series and the social, though it is important not to attribute to the term "series" any concept of continuity or completeness. The political caricatures comprise an important and invaluable component of the history extant of the latter part of the reign of George III. They were circulated not only in Britain but also throughout Europe, and exerted a powerful influence both in Britain and abroad. In the political prints, George III, George's wife Queen Charlotte, the Prince of Wales (later Prince Regent, then King George IV), Fox, Pitt the Younger, Burke and Napoleon Bonaparte are the most prominent figures. In 1788 appeared two fine caricatures by Gillray. Blood on Thunder fording the Red Sea represents Lord Thurlow carrying Warren Hastings through a sea of gore: Hastings looks very comfortable, and is carrying two large bags of money. Market-Day pictures the ministerialists of the time as cattle for sale.

A Voluptuary under the horrors of Digestion (1792)

Temperance Enjoying a Frugal Meal (1792)

The world being carved up into spheres of influence between Pitt and Napoleon - "probably the most famous political cartoon of all time -it has been stolen over and over and over again by cartoonists ever since." ^[3]

The Cow-Pock—or—the Wonderful Effects of the New Inoculation! (1802)

Doublûres of Characters;—or—striking Resemblances in Phisiognomy.—"If you would know Mens Hearts, look in their Faces." (1798)

The loss of the faro bank; or - the rook's pigeon'd (1797)

The whore's last shift (1779)

The Gout (1799)

Among Gillray's best satires on George III are: Farmer George and his Wife, two companion plates, in one of which the king is toasting muffins for breakfast, and in the other the queen is frying sprats; The Anti-Saccharites, where the royal pair propose to dispense with sugar, to the great horror of the family; A Connoisseur Examining a Cooper; the paired plates A Voluptuary under the Horrors of Digestion and Temperance enjoying a Frugal Meal, satirising the excesses of the Prince Regent (later George IV of the United Kingdom) and the miserliness of his father, George III of the United Kingdom respectively; Royal Affability; A Lesson in Apple Dumplings; and The Pigs Possessed.

Other political caricatures include: Britannia between Scylla and Charybdis, a picture in which Pitt, so often Gillray's butt, figures in a favourable light; The Bridal Night; The Apotheosis of Hoche, which concentrates the excesses of the French Revolution in one view; The Nursery with Britannia reposing in Peace; The First Kiss these Ten Years (1803), another satire on the peace, which is said to have greatly amused Napoleon; The Hand-Writing upon the Wall; The Confederated Coalition, a swipe at the coalition which superseded the Addington ministry; Uncorking Old Sherry; The Plumb-Pudding in Danger (probably the best known political print ever published); Making Decent; Comforts of a Bed of Roses; View of the Hustings in Covent Garden; Phaethon Alarmed; and Pandora opening her Box.

Fashionable Contrasts;—or—The Duchess's little Shoe yeilding [sic] to the Magnitude of the Duke's Foot (1792)

As well as being blatant in his observations, Gillray could be incredibly subtle, and puncture vanity with a remarkably deft approach. The outstanding example of this is his print Fashionable Contrasts;—or—The Duchess's little Shoe yeilding [sic] to the Magnitude of the Duke's Foot. This was a devastating image aimed at the ridiculous sycophancy directed by the press towards Frederica Charlotte Ulrica, Duchess of York, and the supposed daintiness of her feet. The print showed only the feet and ankles of the Duke and Duchess of York, in an obviously copulatory position, with the Duke's feet enlarged and the Duchess's feet drawn very small. This print silenced forever the sycophancy of the press regarding the union of the Duke and Duchess.

The miscellaneous series of caricatures, although they have scarcely the historical importance of the political series, are more readily intelligible, and are even more amusing. Among the finest are: Shakespeare Sacrificed; Flemish Characters (two plates); Two-Penny Whist (which features an image of Hannah Humphrey); Oh that this too solid flesh would melt; Sandwich-Carrots; The Gout; Comfort to the Corns; Begone Dull Care; The Cow-Pock, which gives humorous expression to the popular dread of vaccination; Dilletanti Theatricals; and Harmony before Matrimony and Matrimonial Harmonics—two exceedingly good sketches in violent contrast to each other.

Famous editions[link]

A selection of Gillray's works appeared in James Gillray The Caricatures printed between 1818 and the mid 1820s published by John Miller, Bridge Street and W. Blackwood, Edinburgh. Nine parts were released, the next edition was Thomas McLean's, which was published with a key, in 1830. A somewhat bitter attack, not only on Gillray's character, but even on his genius, appeared in the Athenaeum for 1 October 1831, which was successfully refuted by John Landseer in the Athenaeum a fortnight later.

In 1851 Henry George Bohn put out an edition, from the original plates in a handsome elephant folio, the coarser sketches—commonly known as the "Suppressed Plates"—being published in a separate volume. For this edition Thomas Wright and RH Evans wrote a valuable commentary, which is a good history of the times embraced by the caricatures. Unfortunately, many copies of the Bohn Edition are broken up into individual sheets and passed off as originals to unsuspecting buyers (see Collecting below). Although the two volumes of the Bohn Edition are often represented as being a complete collection of Gillray's works, this is not the case: for example, Doublûres of Characters is not included in either volume. This is most likely because this print was not published by Hannah Humphrey, but by John Wright for the Anti-Jacobin Review and Magazine.

The next edition, entitled The Works of James Gillray, the Caricaturist: with the Story of his Life and Times (Chatto & Windus, 1874), was the work of Thomas Wright, and, by its popular exposition and narrative, introduced Gillray to a very large circle formerly ignorant of him. This edition, which is complete in one volume, contains two portraits of Gillray, and upwards of 400 illustrations. Mr JJ Cartwright, in a letter to the Academy (28 Feb. 1874), drew attention to the existence of a manuscript volume, in the British Museum, containing letters to and from Gillray, and other illustrative documents. The extracts he gave were used in a valuable article in the Quarterly Review for April 1874. See also the Academy for 21 February and 16 May 1874.

Collecting[link]

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Light expelling Darkness,—Evaporation of Stygian Exhalations,—or—The Sun of the Constitution, rising superior to the Clouds of Opposition (1795)

In recent years Gillray's work has become very collectible. Prices had been climbing steadily since the 1970s, but the auction of the Draper Hill Collection at Phillips auctioneers in London in 2001 pushed prices to new highs: several key prints, including Fashionable Contrasts, fetching more than US$10,000. Since 2002, annual auctions of Caricatures at Bonhams in London, each of which included large selections of Gillray prints, have continued this trend. Escalating prices have also meant that good examples of major works by Gillray can be very hard to come by at any price. Unfortunately for the beginning collector this means that starting a collection now is far more difficult than thirty years ago, when a very good copy of Light expelling Darkness could be had for as little as US$250. A good impression of this print sold in 2006 for over US$9,000, while Fashionable Contrasts also sold in the same year for over US$20,000.

This dramatic increase in prices has also led to unscrupulous sellers attempting to pass off prints from the Bohn Edition as originals, and it can be difficult for those unfamiliar with these practices to tell the difference between a restrike (commonly called "a Bohn") and an original. The key indicators of a print coming from the Bohn Edition are (i) the presence of a number in the top, right-hand corner of the print (the number is most commonly in the image itself, but may be outside in the margin); (ii) the fact that the Bohn edition was issued without colouring; and (iii) the fact that the strikes for the main published volumes of the Bohn Edition were printed on both sides of the paper (the Bohn Edition of the so-called "Suppressed Plates" was, like the originals, printed on one side of the paper only). However, the fact that a print is single-sided does not mean that it is not a Bohn restrike: there are in existence many Bohns (for example, Light expelling Darkness) that bear a number, but which are printed on one side of the paper only. These single-sided numbered strikes are almost always printed on much higher quality paper than was used for the bound volumes, and the quality of the printing is usually much superior too, with more care having been taken to ensure a crisp impression. These impressions are believed to have been struck by Henry Bohn with a view to colouring them, and then selling them as high-quality single prints, in much the same way as the prints published in Gillray's lifetime. There are many example of such single-sided restrikes, both coloured and uncoloured. Since prices for Bohns are usually between one-tenth and one-twentieth of those for originals, unscrupulous sellers will go to great lengths to disguise the fact that a print is a Bohn. Some common methods include: (i) tortuously worded descriptions, which attempt to avoid disclosure of the fact the print is a restrike (although some sellers will just plain lie); (ii) if the number is outside the image, trimming the print to the very edges of the image; (iii) if the number is inside the image, carefully abrading the surface to obliterate the number; (iv) cutting strips of the image to remove the number; (v) laying the print to paper or framing it such that it is difficult to determine whether there is printing on the reverse; and (vi) adding colour.

Also recently the prices of the John Miller editions are rapidly increasing in value because they are affordable for collectors and is seen as a solid investment. They are seen as good alternative to the desirable originals of Mrs. Humphrey's print shop.

Later life and death[link]

Gillray's eyesight began to fail in 1806. He began wearing spectacles but they were unsatisfactory. Unable to work to his previous high standards, James Gillray became depressed and started drinking heavily. He produced his last print in September 1809. As a result of his heavy drinking Gillray suffered from gout throughout his later life.

In July 1811 Gillray attempted to kill himself by throwing himself out of an attic window above Humphrey's shop in St James's Street. Gillray lapsed into insanity and was looked after by Hannah Humphrey until his death on 1 June 1815.

James Gillray was buried in the courtyard of St James's Church, in Piccadilly, London.

Influence[link]

Gillray is still revered as one of the most influential political caricaturists of all time, and among the leading cartoonists on the political stage in the United Kingdom today, both Steve Bell and Martin Rowson acknowledge him as probably the most influential of all their predecessors in that particular arena.

There is a good account of Gillray in Wright's History of Caricature and Grotesque in Literature and Art (1865).

In April 2012 the hotel chain Marriott International Inc. will open a steak restaurant in London's County Hall themed on Gillray's artwork called Gillray's Steakhouse & Bar^[4]. The restaurant will feature key pieces of Gillray's artwork in the restaurant and in the menus ^[5] .

References[link]

External links[link]

Wikimedia Commons has media related to: James Gillray

Wikisource has original works written by or about: James Gillray

• James Gillray Gallery at MuseumSyndicate
• GreatCaricatures.com: James Gillray Galleries
• James Gillray at The National Portrait Gallery (United Kingdom).
• James Gillray at The Tate Britain.
• James Gillray at The New York Public Library.
• James Gillray prints at the Lewis Walpole Library of Yale University.
• University of Nottingham Visual Resources - James Gillray cartoons
• Historical and Descriptive Account of the Caricatures of James Gillray by Thomas Wright, R. H. Evans
• Princeton University. Gillray Collection

•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

Gerald Scarfe
Birth name	Gerald Anthony Scarfe
Born	(1936-06-01) 1 June 1936 (age 76) St John's Wood, London, England [1]
Nationality	British
Field	Editorial cartoon, Drawing, Animation
Works	Pink Floyd—The Wall (1982)

Gerald Anthony Scarfe, CBE, RDI, (born 1 June 1936) is an English cartoonist and illustrator. He worked as editorial cartoonist for The Sunday Times and illustrator for The New Yorker. His most famous work outside of the United Kingdom was for rock group Pink Floyd, particularly on the The Wall album (1979), film (1982), and tour^{[2] [3]} (1980-81, 2010-12) and his work as the production designer on the Disney animated feature, Hercules.

He is married to Jane Asher, whom he met in 1971 and married in 1981.^[4] They had a daughter in 1974 and two sons in 1981 and 1984.

Early life[link]

Scarfe was born in St John's Wood, London, and was severely asthmatic as a child. He spent many of his early years bed-ridden, and drawing became a means of entertainment as well as a creative outlet. It has been speculated that the grotesque and diseased images that often characterise his work are a result of these experiences. He has himself stated that the irreverence apparent in much of his work can be traced back to "dodgy treatments" and a reliance on what he feels were incompetent doctors.^[5]

He moved to Hampstead at the age of 14, being influenced by the work of Ronald Searle. He went to Central Saint Martins College of Art and Design (also part of the University of the Arts London) on Southampton Row (A4200) in Holborn, central London. He also went to the London College of Printing and East Ham Technical College (became Newham College of Further Education).

Career[link]

Early work[link]

After briefly working in advertising, a profession he grew to dislike intensely, Scarfe's early caricatures of public figures were published in satirical magazine Private Eye throughout the 1960s and 1970s. Beginning in 1960, he produced illustrations for Punch, The Evening Standard and The Daily Sketch. The Sunday Times magazine assigned Scarfe to cover the 1964 U.S. Presidential election. He continued work for The Sunday Times for two years, also producing several cover illustrations for Time magazine.^[6]

In the mid 1960s he took a job at the Daily Mail following a Dutch auction for his services with the Daily Express. His decision to work for the Daily Mail led to his estrangement from fellow cartoonist Ralph Steadman, alongside whom he had studied art at East Ham Technical College. Soon after, Steadman was commissioned to illustrate Scarfe and "produced an image that was half saint and half Superman, but with a disconnected heart".^[7] Scarfe spent just a year working for the Daily Mail, during which time he was sent to provide illustrations from the Vietnam War.

Pink Floyd and Roger Waters[link]

Scarfe was approached to work with Pink Floyd after Roger Waters and Nick Mason both saw his animated BBC film A Long Drawn Out Trip. Pink Floyd's 1974 programme for their tour in the UK and US, in the form of a comic, included a centre-spread caricature of the band. Scarfe later produced a set of animated short clips used on the 1977 In The Flesh tour, including a full-length music video for the song Welcome to the Machine.^[8] He also drew the cover illustration for their 1979 album The Wall, and in 1982 worked on the film version of The Wall, although he and Waters fell out with director Alan Parker during the latter stages of editing. As well as the artwork, Scarfe contributed 15 minutes worth of elaborate animation to the film, including a sequence depicting the German bombing campaign over England during World War II, set to the song "Goodbye Blue Sky". He was also involved in the theatrical adaptation, including The Wall Concert in Berlin, where his animations were projected on a vast scale.

Scarfe continued to work with Roger Waters when he left Pink Floyd, creating the graphics and animation for Waters' solo album The Pros and Cons of Hitch Hiking (1984) and its supporting tour.

Scarfe's collaboration with Waters was marked in 2008 by the release of a signed limited-edition eight-print series, "Scarfe on the Wall", which contained a monograph book with an extended new interview with Scarfe and was signed by Roger Waters.

Early editions of "Scarfe on The Wall" (by date of pre-order, not issue number) came with an additional print giving a total of nine in the set - making these the rarest and most valuable sets. This was by way of an apology either by Gloria or Scarfe himself for a delay in the delivery of pre-ordered editions. The additional print is of similar size and quality, but unsigned. Unusually, Scarfe on the Wall has no formal packaging - it was sent out wrapped in plain bubble wrap.

[edit] Yes Minister

He provided caricatures of Paul Eddington, Nigel Hawthorne and Derek Fowlds (as their respective characters) for the opening and closing sequences of Yes Minister and Yes, Prime Minister. Reportedly, Fowlds attempted to purchase Scarfe's original sketches, but they were too expensive.

Hercules[link]

Scarfe was approached to work on the 1997 Disney film Hercules by Ron Clements and John Musker, long time fans who had risen to prominence within Disney following the success of The Little Mermaid. Scarfe worked as a conceptual character artist, designing almost all of the characters and then supervising the 900 Disney artists charged with adapting his designs for the film.

Postage stamps[link]

His caricatures of Tommy Cooper, Eric Morecambe, Joyce Grenfell, Les Dawson and Peter Cook featured on a set of five British postage stamps commemorating British comedians that were issued on 23 April 1998.

Millennium Dome sculpture[link]

He was invited to create a sculpture for the Millennium Dome, which was entitled "Self Portrait". The Dome's chief executive PY Gerbeau said "it mirrors what we like - and what we don't - about our nation".^[9]

Theatre[link]

Scarfe has designed sets for a number of operatic productions, including an adaptation of Roald Dahl's Fantastic Mr Fox. Following a chance meeting at a BBC prom he worked with Peter Hall on his version of Mozart's The Magic Flute, which drew critical acclaim. He is lined up to provide animation for Jim Steinman's Bat out of Hell, a stage show featuring Steinman's music.^[10]

Scarfe also designed the sets and costumes for the English National Opera's 1988 production of Orpheus in the Underworld and it is interesting to note that the mythological characters Orpheus, Eurydice, and the Gods of Mount Olympus were among the costumes that Scarfe designed.

He also produced all the costume and scenery designs for the 2002 Christopher Hampson production of The Nutcracker, created for the English National Ballet.

Heroes and Villains[link]

In 2003 Scarfe collaborated with the National Portrait Gallery and BBC Four to make caricatures of a number of famous Britons, to depict (along with guest commentary) their heroic and villainous attributes. Amongst the over 30 portraits he depicted included caricatures of Henry VIII, Winston Churchill, Queen Elizabeth I, Pete Best, Richard Branson, Adam Smith, William Blake, The Beatles, Agatha Christie and Diana, Princess of Wales.

He also created a caricature of James May out of Lego which was shown in James May's Toy Stories.

Awards and accolades[link]

On 22 November 2005 the United Kingdom's Press Gazette named its 40 most influential journalists, and included Scarfe alongside just two other cartoonists, Carl Giles, and Matt Pritchett.^[11]

Scarfe was awarded 'Cartoonist of the Year' at the British Press Awards 2006.

He was appointed Commander of the Order of the British Empire (CBE) in the 2008 Birthday Honours.^[12]

In 2011, a fossil pterosaur discovered in Kimmeridge Bay, Dorset, was named Cuspicephalus scarfi in his honour.^[13]

References[link]

External links[link]

• Official website
• British Cartoon Archive, University of Kent
• Gerald Scarfe at the Internet Movie Database
• Interview with Scarfe, picture of Scarfe and examples of his work
• Radio interview with Scarfe, streaming audio and transcript

Videos[link]

• Goodbye Blue Sky on YouTube
• The Trial on YouTube