Pesquisando por: "JAMES GILLRAY" - Fotoarena - Agência de fotojornalismo

2WYCJG8 Lady Godina's Rout;-or-Peeping-Tom Spying out Pope-Joan. James Gillray, published by Hannah Humphrey. 1796. etching hand-colored with watercolor.

2WYCJFP French Liberty – British Slavery. James Gillray, published by Hannah Humphrey. 21 December 1792. Hand-colored etching.

2WYCJDA Connoisseurs Examining a Collection of George Morland's. James Gillray, published by Hannah Humphrey. 16 November 1807. Hand-colored etching.

2WYCJDR A Cognocenti Contemplating ye Beauties of ye Antique. James Gillray, published by Hannah Humphrey. 11 February 1801. Hand-colored etching.

2WYCJDN Tales of Wonder! James Gillray, published by Hannah Humphrey. 1 February 1802. Hand-colored etching.

2WYCJDM A Sphere, Projecting Against a Plane. James Gillray, published by Hannah Humphrey. 3January 1792. Hand-colored etching.

2WYCJBY A Voluptuary Under the Horrors of Digestion. James Gillray, published by Hannah Humphrey. 2 July 1792. Hand-colored etching.

2WY7684 JAMES GILLRAY (1756-1815) English cartoonist. One of several versions of his 1810 print The Graces in a High Wind

2WY75JM JAMES GILLRAY (1756-1815) English cartoonist. His 1801 drawing of singer Elizabeth Bullington 'A Bravura Air - Mandane'

2WRA32M The Cow-Pock—or—the Wonderful Effects of the New Inoculation!—vide. the Publications of ye Anti-Vaccine Society. James Gillray.1802.

2WXT7WR The British Butcher, satire cartoon illustration by James Gillray, England 1795

2WXE5NM Early nineteenth century lithographic print by James Gillray, on paper depicting a morning promenade upon the cliff, Brighton, England. Young women, gaily dressed, ride donkeys along a rough road at the edge of a cliff indicated by a railing and the sea below. There are three groups inscribed respectively 'Kicking-Sett,' 'Active-Sett,' and 'Passive Sett.' On the extreme left, one donkey lies on its back kicking the rider it has thrown. A few spectators are strung out along the railing. An old sailor sits on the railing, smoking, facing the sea. 24 January 1806

2WM2GNT A Natural Crop; - Alias - A Norfolk Dumpling. James Gillray. 1791. Etching, hand-coloured.

2WJ277R Satirical cartoon by James Gillray entitled John Bull's Property in Danger. Black and White Illustration from the Connoisseur, an Illustrated Magazine for Collectors Voll 3 (May-Aug 1902) published in London.

2WJ277F Satirical cartoon entitled, John Bull going to the Wars by James Gillray. Colour Illustration from the Connoisseur, an Illustrated Magazine for Collectors Voll 3 (May-Aug 1902) published in London.

2WJ277K Satirical cartoon by James Gillray entitled, John Bull Happy. Black and White Illustration from the Connoisseur, an Illustrated Magazine for Collectors Voll 3 (May-Aug 1902) published in London.

2WR93N6 Dancing man and woman under a tree, The Village Train (title on object), Poem in English in the bottom margin., print maker: James Gillray, after own design by: James Gillray, publisher: Robert Wilkinson, London, 1784, paper, etching, height 428 mm × width 506 mm, print

2WR93JX Man and woman leaving a village, The Deserted Village (title on object), Poem in English in the bottom margin., print maker: James Gillray, after drawing by: James Gillray, anonymous, London, 1784, paper, etching, height 427 mm × width 506 mm, print

2WR8BRM The miser's feast, The miser's feast (title on object), Interior in which a miser sits at a meal, on the right Death stands at attention like a house servant. The door is opened by the Hunger for a visit from two large ladies, a rich woman, possibly a prostitute, with a maid., print maker: James Gillray, publisher: William Holland, print maker: England, publisher: London, 6-Mar-1786, paper, etching, height 282 mm × width 350 mm, print

2WR8BRY Cartoon with two skaters, Attitude! Attitude is everything! (title on object), Cartoon with two skaters on the ice., print maker: anonymous, after print by: James Gillray, England, 1805 - 1807, paper, etching, height 229 mm × width 320 mm, print

2TB9P71 Posting in Scotland. James Gillray. 1805. Hand-colored etching and aquatint on paper.

2RWBABF The Union Club. An 1801 satire by James Gillray on the effects of the Acts of Union 1800 when the Parliaments of Great Britain and Ireland merged to form the Parliament of the United Kingdom. The apparant bonhomie in the foreground between various political figures is contrasted with the brawling in the background.

2PGRKFD The Bank of England building BoE, Threadneedle Street, London, United Kingdom front façade with spring hyacinths and pansies in the foreground

2PGRKEX The Bank of England building BoE, Threadneedle Street, London, United Kingdom front façade with spring hyacinths and pansies in the foreground

2PGRKBT The Bank of England building BoE, Threadneedle Street, London United Kingdom front façade with spring hyacinths and pansies in the foreground

2PGRKAW The Bank of England building BoE, Threadneedle Street, London, EC2R 8AH, United Kingdom front façade

2PGRK7A Sideview of The Bank of England building BoE, Threadneedle Street, London, United Kingdom front façade with the Union Jack Flying on top

2TDW45G Tom Paine's Nightly Pest James Gillray (British, London 1756-1815 London) Thomas Paine (American (born England), Thetford, Norfolk 1737-1809 New York)

2N7662Y JAMES GILLRAY (1756-1815) English cartoonist. His 'Change in Bond Street' print published 27 March 1796

2NH36C6 Breathing a Vein. Bloodletting was a standard practice from antiquity until the late 19th century. The practice was supposed to prevent illnesses or cure diseases, but more often than not the patient's health deteriorated. After a work by James Gillray.

2T91C00 Hounds Throwing Off, 1800, James Gillray, British, 1756 - 1815, 10 x 13 7/8 in. (25.4 x 35.24 cm) (plate)11 1/8 x 15 5/16 in. (28.26 x 38.89 cm) (sheet), Hand-colored etching, England, 19th century

2T91BYM Sad Sloppy Weather, 1808, James Gillray, British, 1756 - 1815, 10 x 8 in. (25.4 x 20.32 cm) (plate)12 1/8 x 9 1/4 in. (30.8 x 23.5 cm) (sheet), Hand-colored etching, England, 19th century

2T91BYE Fine Bracing Weather, 1808, James Gillray, British, 1756 - 1815, 10 x 8 in. (25.4 x 20.32 cm) (plate)12 1/4 x 10 9/16 in. (31.12 x 26.83 cm) (sheet), Hand-colored etching, England, 19th century

2T90W52 after The Pic-Nic Orchestra, No. 517, early 19th century, after James Gillray, British, 1756 - 1815, 10 1/8 x 15 5/8 in. (25.72 x 39.69 cm) (image, irregular), Brown ink and watercolor, England, 19th century

2MPG8E4 James Gillray, 1756 - 1815. English caricaturist and printmaker. He has been called 'the father of the political cartoon'. His rumbustious drawings lampooned everyone from the King of England to Napoleon Bonaparte. From a print by Charles Turner after a self-portrait by Gillray.

2KEH0P7 JAMES GILRAY (1756-1815) English cartoonist from an 1819 mezzotint

2KEH0P5 JAMES GILLRAY (7565-1818) English cartoonist. 'A New Map of England & France - The French Invasion or John Bull bombarding the Bum-Boats'

2KEH0P3 JAMES GILLRAY (7565-1818) English cartoonist. 'A New Map of England & France - The French Invasion or John Bull bombarding the Bum-Boats' - detail.

2KEH0P0 JAMES GILLRAY (7565-1818) English cartoonist. His 1792 cartoon Fashionable Contrasts, or The Duchess's Little Shoe Yielding to the Magnitude of the Duke's foot

2JM6G6D The Plumb Pudding in Danger or State Epicures taking un Petit Souper James Gillray

2PNJ00X The Arms of France, a satirical comment on Napoleon's France, and the consequences of his ambitions and conquests. At the centre, a guillotine surrounded by the words The Sun of the French Constitution. After an 1803 work by James Gillray.

2J69CTF The king of Brobdingnag and Gulliver - 1804

2HYYMKN The Union Club. After James Gillray (England, London, 1757-1815). England, 1801. Prints; etchings. Hand-colored etching

2HJ4CRF Enter Cowslip with a Bowl of Cream. - vide Brandenburg Theatricals June 13, 1795 James Gillray British. Enter Cowslip with a Bowl of Cream. - vide Brandenburg Theatricals 391817

2HJ46MF Political-Candour;– i.e.–Coalition-Resolutions of June 14th, 1805.–Pro bono Publico– June 21, 1805 James Gillray British. Political-Candour;– i.e.–Coalition-Resolutions of June 14th, 1805.–Pro bono Publico– 391834

2HJ41DA The King of Brobdingnag and Gulliver.–Vide. Swift's Gulliver: Voyage to Brobdingnag June 26, 1803 James Gillray British Napoleon Bonaparte, First Consul of France, perches on the hand of his enemy King George III who regards him through a spyglass. Five weeks before this print was published, the tenuous Peace of Amiens between Britain and France had broken down. The title refers to Jonathan’s Swift’s Gulliver’s Travels (1726), in which the protagonist visits a land of giants, describes his nation’s political system to the king, and provokes a disgusted response. At first glance, this seems a s

2HJ3RYE The Magnanimous Minister, Chastising Prussian Perfidy.–vide–Morning Chronicle April 28th May 2, 1806 James Gillray British. The Magnanimous Minister, Chastising Prussian Perfidy.–vide–Morning Chronicle April 28th 391823

2HJ3N49 A Sphere, Projecting Against a Plane January 3, 1792 James Gillray British Gillray cast two well-known public figures as geometrical opposites in this potent image, a prime example of exaggeration and contrast as sources of visual humor. William Pitt, who twice served as Britain's head of government (1783–1801, 1804–6), was a tall, thin, frugal workaholic. The Honorable Albinia Hobart, later Countess of Buckinghamshire, was heavily obese, a gifted amateur thespian, an avid gambler, and an enthusiastic supporter of Pitt's chief political rival, Charles James Fox. Gillray often caricatured each

2HJ3N04 Temperance Enjoying a Frugal Meal July 28, 1792 James Gillray British. Temperance Enjoying a Frugal Meal 392546

2HJ3AW1 The Wounded Lion July 16, 1805 James Gillray British. The Wounded Lion 391796

2HJ2P79 Cymon and Iphigenia May 2, 1796 James Gillray British. Cymon and Iphigenia 383688 Artist: James Gillray, British, Chelsea 1756?1815 London, Publisher: Hannah Humphrey, London, Cymon and Iphigenia, May 2, 1796, Hand-colored etching, sheet: 9 3/4 x 10 9/16 in. (24.8 x 26.8 cm). The Metropolitan Museum of Art, New York. Purchase, Bequest of W. Gedney Beatty, by exchange, 2008 (2008.254)

2HJ2D9Y Studies of Four Englishmen, after James Gillray ca. 1817–25 Eugène Delacroix French The scope of Delacroix’s copying far exceeded conventional sources. His early involvement with graphic satire—he produced sixteen satirical prints between 1814 and 1822—led him to look toward the rich tradition of English caricature. Following the end of the Napoleonic Wars, English prints circulated more freely in France and became especially popular among the liberal middle class. This drawing unites figures from four different prints by James Gillray, including an example on view in this case, which shows th

2HJ2940 Counsellor O.P.–Defender of our Theatric Liberties December 5, 1809 James Gillray British. Counsellor O.P.–Defender of our Theatric Liberties 391811

2HJ294R French Volunteers Marching to the Conquest of Great Britain October 25, 1803 James Gillray British. French Volunteers Marching to the Conquest of Great Britain 391793

2HJ22EB French Liberty. British Slavery December 21, 1792 James Gillray British A tattered Frenchman warms his feet at a meager fire while dining on raw scallions and live snails. Deluded and nearing starvation, he declares that Liberté has turned France into a paradise flowing with milk and honey. In an adjacent panel, a portly, well-dressed Briton enjoys beef and ale while complaining about taxes. Gillray here employs the imagery of consumption to contrast the political realities governing France and Britain at the end of 1792. France had recently been declared a Republic and King Louis XVI imprison

2HJ15HN The Bottomless-Pitt March 16, 1792 James Gillray British. The Bottomless-Pitt 391805

2HJ13PJ Monstrous Craws at a New Coalition Feast May 29, 1787 James Gillray British Queen Charlotte, George, Prince of Wales, and King George III ravenously ladle guineas into their mouths from a bowl marked 'John Bull’s Blood.' The money falls into bags attached to their necks – the monstrous craws of the title, a term normally applied to the crops of birds. Gillray used the imagery of gluttony to criticize the exorbitant demands on the public purse being made in 1787 by the British royal family. The worse offender was the prince, who sits at center. Parliament recently had granted him £161,000 (abou

2HJ0X38 Maecenas, in pursuit of the Fine Arts.–Scene, Pall Mall; a Frosty Morning May 9, 1808 James Gillray British. Maecenas, in pursuit of the Fine Arts.–Scene, Pall Mall; a Frosty Morning 391848

2HJ0R9B Uncorking Old Sherry March 10, 1805 James Gillray British. Uncorking Old Sherry 392549

2HHGP8J Pylades and Orestes April 1, 1797 James Gillray British. Pylades and Orestes 391835

2HHGJP0 The Present State of Great Britain 1779 James Phillips British Issued in London at the height of the American Revolution, this print summarizes the situation in 1779 from Britain’s point of view. As in traditional allegories, the figures represent specific nations, but their dramatic interaction anticipates the new kind of satire soon to come from Rowlandson and Gillray. John Bull stands at the center as an inattentive military volunteer dozing against a staff topped with Britannia’s attribute, the cap of Liberty. He is being attacked from all sides. An Indian, traditional emblem of America, t

2HHFTJJ A Voluptuary Under the Horrors of Digestion July 2, 1792 James Gillray British Gillray’s famously brutal caricature of George, Prince of Wales encapsulates the effects of uncontrolled self-indulgence upon the heir to the British throne. Sprawled in his chair after a lavish meal, the prince picks his teeth with a meat fork; his lack of gentility is underscored by the over-flowing chamber pot at his elbow used to anchor unpaid bills. Just thirty years old, his accumulated ailments can be inferred from remedies piled at right – pills and potions to treat 'stinking breath', 'piles' (hemorrhoids),

2HHFJET Cymon and Iphigenia 1796 James Gillray British Gillray here parodies a tale found in Boccaccio's Decameron and Dryden's Fables. While walking in the countryside, Cymon, a 'fool of nature,' encounters the sleeping Iphigenia, whose beauty provokes his exaggerated delight. Unlike the maiden of those stories, Gillray's sleeper is no elegant beauty. Nor is there any indication that love will reform her admirer's brutish character. Indeed, Cymon's lecherous expression suggests the opposite. The artist likely intended a political message, using Iphigenia's dark skin and African features to refer to c

2HHC8YR A Pair of Polished Gentlemen March 10, 1801 James Gillray British. A Pair of Polished Gentlemen 392550

2HHC74K French Liberty – British Slavery December 21, 1792 James Gillray British. French Liberty – British Slavery 398489

2HHAXJ4 The Pic-Nic Orchestra April 23, 1802 James Gillray British. The Pic-Nic Orchestra 359815

2HHAX3H Characters in High Life June 20, 1795 James Gillray British. Characters in High Life 392542

2HHAMTF A Phantasmagoria;—Scene–Conjuring-Up an Armed-Skeleton January 5, 1803 James Gillray British. A Phantasmagoria;—Scene–Conjuring-Up an Armed-Skeleton 391791

2HHAFTG From Sir William Hamilton's Collection May 8, 1801 James Gillray British. From Sir William Hamilton's Collection. James Gillray (British, London 1756–1815 London). May 8, 1801. Hand-colored etching. Hannah Humphrey (London). Prints

2HHA224 Tiddy-Doll, the Great French-Gingerbread-Baker; Drawing Out a New Batch of Kings, His Man Hopping Talley, Mixing Up the Dough January 23, 1806 James Gillray British Gillray’s prophetic image of Napoleon as a baker feverishly creating gingerbread monarchs expresses British anxiety over the emperor’s rapid conquest of continental Europe and his evident intent to install relatives and favorites in positions of power. Freshly baked kings of Bavaria, Württemburg, and Baden are withdrawn from the oven (ready to replace rulers defeated by the French at Austerlitz in December 1805) while a cluster of

2HH9YTD The Zenith of French Glory; - the Pinnacle of Liberty February 12, 1793 James Gillray British. The Zenith of French Glory; - the Pinnacle of Liberty 391843

2HH9YH1 Blowing-up the Pic-Nic's;–or–Harlequin Quixote Attacking the Puppets, vide Tottenham Street Pantomime April 2, 1802 James Gillray British. Blowing-up the Pic-Nic's;–or–Harlequin Quixote Attacking the Puppets, vide Tottenham Street Pantomime 391804

2HH9PHP The Plumb-Pudding in Danger;–or–State Epicures Taking un Petit Souper February 26, 1805 James Gillray British Napoleon Bonaparte, declared emperor of France in 1804, and the English statesman William Pitt sit across a dining table, each carving out a piece from a plum pudding in the shape of the world. The diminutive Napoleon, rising from his seat in order to reach the table, hungrily takes Europe while Pitt carves a large slice of ocean, illustrating the respective areas of power in the ongoing war between Britain and France.. The Plumb-Pudding in Danger;–or–State Epicures Taking un Petit Sou

2HH980C Pillars of the Constitution February 1, 1809 James Gillray British. Pillars of the Constitution 391832

2HH8T6F Alecto and Her Train, at the Gate of Pandaemonium:–or–The Recruiting Sarjeant Enlisting John Bull, Into the Revolution Service July 4, 1791 James Gillray British. Alecto and Her Train, at the Gate of Pandaemonium:–or–The Recruiting Sarjeant Enlisting John Bull, Into the Revolution Service 391757

2HH8PCY L'Enfant Trouvé:–a Sample of Roman Charity!–or–the Misfortune of Not Being Born with Marks of 'the Talents' May 19, 1808 James Gillray British. L'Enfant Trouvé:–a Sample of Roman Charity!–or–the Misfortune of Not Being Born with Marks of 'the Talents' 391816

2HH8MEA Ci-devant Occupations; or, Madame Talian and the Empress Josephine Dancing Naked before Barrass in the Winter of 1797. - A Fact! February 20, 1805 James Gillray British Gillray's genius for political savagery is evident in this satire, which purports to show Napoleon's first meeting with Josephine. According to slanderous gossip, the young general, who peeks through the curtains at the right, first laid eyes on his future wife as she danced naked for the comte de Barras. The latter was a leading politician who had made Josephine his mistress but then had grown tired of her. According to the te

2HH88PB Temperance Enjoying a Frugal Meal July 28, 1792 James Gillray British. Temperance Enjoying a Frugal Meal 392548

2HH7TFF The Pigs Possessed:–or–the Broad Bottom'd Litter Running Headlong into Ye Sea of Perdition April 18, 1807 James Gillray British King George III appears as an angry farmer driving overfed pigs over a cliff. These pigs have the faces of Whig politicians and have weakened the nation by their greedy pursuit of government posts. Farmer George (the king’s nickname in real life) uses his foot to prod from office the playwright-politician Richard Brinsley Sheridan, who is clad as a Harlequin. The ousted chief minister, William Grenville, floats in the foreground wearing a yellow suit while resting one

2HH720X 'More Pigs Than Teats',–or–the New Litter of Hungry Grunters, Sucking John-Bull's-Old-Sow to Death March 5, 1806 James Gillray British. 'More Pigs Than Teats',–or–the New Litter of Hungry Grunters, Sucking John-Bull's-Old-Sow to Death 391828

2HH6EBC A Peep at Christies;–or–Tally-ho & His Nimeny-pimeney taking the Morning Lounge September 24, 1796 James Gillray British. A Peep at Christies;–or–Tally-ho & His Nimeny-pimeney taking the Morning Lounge 391860

2HH627E A Bravura Air. Mandane December 22, 1801 James Gillray British. A Bravura Air. Mandane 391807

2HH4F3E British Tars Towing the Danish Fleet into Harbour; the Broad-Bottom Leviathan trying Billy's Old Boat, and the Little Corsican tottering on the Clouds of Ambition October 1, 1807 James Gillray British. British Tars Towing the Danish Fleet into Harbour; the Broad-Bottom Leviathan trying Billy's Old Boat, and the Little Corsican tottering on the Clouds of Ambition 391809

2HH47WF Introduction of Citizen Volpone & His Suite, at Paris.–Vide, The Moniteur, & Cobbetts Letters November 15, 1802 James Gillray British. Introduction of Citizen Volpone & His Suite, at Paris.–Vide, The Moniteur, & Cobbetts Letters 391788

2HGYN8C Mendoza April 24 [1788] James Gillray British The famous British boxer Daniel Mendoza appears here in the ring ready to begin. In the preceding years, he had triumphed in twenty-seven matches until January 9, 1788 when he fell to a former mentor, Richard Humphreys, in one of the era's most celebrated confrontations. The present image was published in anticipation of their rematch on May 6, 1788 (that event would be held in a specially constructed building near Stilton and result in a contested decision). Mendoza was 5 feet seven inches tall and 160 pounds, of Jewish-Portugese descent, and adop

2HGWKFN The American Rattle Snake April 12, 1782 Attributed to James Gillray British This satirical print, perhaps one of Gillray's earliest, uses a snake--a popular American symbol before the invention of the emblematic stars and stripes. The coils here surround two military camps with text below that states, 'Two British Armies I have thus Burgoyn'd, And room for more I've got behind.' A sign on the serpent's tail reads, 'An Apartment to lett for Military Gentlemen,' referring to the recent surrender of Generals Burgoyne and Cornwallis to the Americans.. The American Rattle Snake. Attributed to Jame

2HGWKFR The American Rattle Snake April 12, 1782 Attributed to James Gillray British This satirical print, perhaps one of Gillray's earliest, uses a snake--a popular American symbol before the invention of the emblematic stars and stripes. The coils here surround two military camps with text below that states, 'Two British Armies I have thus Burgoyn'd, And room for more I've got behind.' A sign on the serpent's tail reads, 'An Apartment to lett for Military Gentlemen,' referring to the recent surrender of Generals Burgoyne and Cornwallis to the Americans.. The American Rattle Snake. Attributed to Jame

2HGTGMM A Cockney & his Wife going to Wycombe 1805–40 Copy after James Gillray This print reproduces a Gillrary etching of 1805 and shows a man in a top hat driving his plump wife in a two-seat open carriage pulled by an emaciated horse. A mongrel dog with a bone in its mouth walks ahead of them. A stone mile marker behind is lettered: 'Miles from London' (the place where the number should appear broken off), and a mortar and pestle decorates the side of the carriage, identifying the man as a druggist or apothecary.. A Cockney & his Wife going to Wycombe. Copy after James Gillray (British, London 1756

2HGPA25 Shakespeare – Sacrificed; or, The Offering to Avarice June 20, 1789 James Gillray British Between 1789 and 1805, the publisher John Boydell ran the Shakespeare Gallery, a popular London exhibition space financed by print subscriptions. When Boydell failed to hire Gillray to make prints for the project, the satirist reciprocated with this scathing parody of the scheme. Boydell appears as a high priest sacrificing the Bard’s writings to Avarice—a grinning figure with moneybags near a fool who fans the flames. Smoke obscures a famous memorial and then rises to support characters derived from pain

2HGNRM4 The Duke of Athol, East Indiaman February 1, 1785 James Gillray British. The Duke of Athol, East Indiaman. James Gillray (British, London 1756–1815 London). February 1, 1785. Etching and engraving. Published by Robert Wilkinson (British, active 1760–1825) , London. Prints

2HGNP7B The Right Honorable William Pitt May 28, 1789 James Gillray British. The Right Honorable William Pitt. James Gillray (British, London 1756–1815 London). May 28, 1789. Etching and engraving. John Harris (British, ca. 1740–1812). William Pitt (British, 1759–1806). Prints

2HGNP76 The Reception of the Diplomatique and his Suite at the Court of Pekin September 14, 1792 James Gillray British. The Reception of the Diplomatique and his Suite at the Court of Pekin. James Gillray (British, London 1756–1815 London). September 14, 1792. Hand-colored etching. Hannah Humphrey (London). Prints

2HGNP7Y The Bulstrode Siren April 14, 1803 James Gillray British. The Bulstrode Siren. James Gillray (British, London 1756–1815 London). April 14, 1803. Hand-colored etching. Hannah Humphrey (London). Prints

2HGNP7P An Old Maid on a Journey November 20, 1804 James Gillray British. An Old Maid on a Journey. James Gillray (British, London 1756–1815 London). November 20, 1804. Hand-colored etching. Hannah Humphrey (London). Prints

2HGNP7N The Esplanade June 1, 1797 James Gillray British. The Esplanade. James Gillray (British, London 1756–1815 London). June 1, 1797. Hand-colored etching. Hannah Humphrey (London). Prints

2HGNP79 The State Waggoner and John Bull.–or–the Waggon too Much for the Donkeys! March 14, 1804 James Gillray British. The State Waggoner and John Bull.–or–the Waggon too Much for the Donkeys!. James Gillray (British, London 1756–1815 London). March 14, 1804. Hand-colored etching. Hannah Humphrey (London). Prints

2HGNP6N 'Elegance Democratique.' A Sketch Found Near High-Wycombe July 8, 1799 James Gillray British. 'Elegance Democratique.' A Sketch Found Near High-Wycombe. James Gillray (British, London 1756–1815 London). July 8, 1799. Hand-colored etching. Hannah Humphrey (London). Prints

2HGNP7R Farmer Giles and His Wife Showing Off Their Daughter Betty to Their Neighbours on her Return from School January 1, 1809 James Gillray British. Farmer Giles and His Wife Showing Off Their Daughter Betty to Their Neighbours on her Return from School. James Gillray (British, London 1756–1815 London). January 1, 1809. Hand-colored etching. Hannah Humphrey (London). Prints

2HGNP6A The York-Minuet December 14, 1791 James Gillray British Caricature showing the Duchess of York (Frederica Charlotte Ulrica Catherine of Prussia) dancing with the Duke of York, apparently referring to their recent marriage. The Duchess was known for her small feet.. The York-Minuet. James Gillray (British, London 1756–1815 London). December 14, 1791. Hand-colored etching. Hannah Humphrey (London). Prints

2HGNP6K The Marriage of Cupid and Psyche May 3, 1797 James Gillray British. The Marriage of Cupid and Psyche. James Gillray (British, London 1756–1815 London). May 3, 1797. Aquatint, printed in brown ink. Hannah Humphrey (London). Prints