In A Block for the Wigs ( 1783 ), James Gillray caricatured Fox's return to power in a coalition with North.

Fox was also probably the most ridiculed figure of the 18th century – most famously by Gillray, for whom he served as a stock Jacobin villain.

Grattan was cruelly lampooned by James Gillray as a rebel leader for his liberal views and his stance against a political union with the Kingdom of Great Britain.

In The Plumb-pudding in danger ( 1805 ), James Gillray caricatured overtures made by Napoleon in January 1805 for a reconciliation with Britain.

James Gillray, passed over for the Shakespeare Gallery engravings, responded with Shakespeare Sacrificed: Or the Offering to Avarice.

James Gillray ( 13 August 1756 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.

Image: GillrayBritannia. jpg | In this 1793 British cartoon by James Gillray, who was deeply hostile to the French Revolution, a Phrygian cap substitutes for Scylla on the dangerous rocky shore, as Britannia's boat navigates between Scylla and Charybdis.

In a 1786 James Gillray caricature, the plentiful money bags handed to King George III are contrasted with the beggar whose legs and arms were amputated, in the left corner A Caveat or Warning for Common Cursitors, vulgarly called vagabonds was first published in 1566 by Thomas Harman.

In A Block for the Wigs ( 1783 ), James Gillray caricatured the Fox – North Coalition.

Satirical cartoon protesting against the introduction of paper money, by James Gillray, 1797.

More than 30, 000 British drawings and watercolours include important examples of work by Hogarth, Sandby, Turner, Girtin, Constable, Cotman, Cox, Gillray, Rowlandson and Cruikshank, as well as all the great Victorians.

Drawn and engraved by James Gillray, published in September 1792.

In Following the Fashion ( 1794 ), James Gillray caricatured a figure flattered by the short-bodice d gowns then in fashion, contrasting it with an imitator whose figure is not flattered.

The conventionalized scrawny, French revolutionary sans-culottes Jacobin, was developed from about 1790 by British satirical artists James Gillray, Thomas Rowlandson and George Cruikshank.

The Pinnacle of liberty, A satire by James Gillray

In The Orangerie ( 1796 ), James Gillray caricatured William's dalliances during his exile, depicting him as an indolent Cupid sleeping on bags of money, surrounded by pregnant amours.

* 1791 Caricature of William Pitt by James Gillray

A Birmingham toast, as given on the 14th July: Fox is caricatured by James Gillray | Gillray as toasting the anniversary of the Storming of the Bastille with Joseph Priestley and other Dissenters ( 23 July 1791 )

The Tree of LIBERTY, – with, the Devil tempting John Bull ( 1798 ): Fox is caricatured by James Gillray | Gillray as Satan, tempting John Bull with the rotten fruit of the opposition's Tree of liberty.

– This Print copied from the French Original, is dedicated to the London Corresponding Society ( 1797 ): a caricature of Fox by Gillray, showing the Whig as a sans-culottes taking aim at the constitutional target of Crown, Lords and Commons.

* 1782 Caricature of Henry Grattan by James Gillray

In Uncorking Old Sherry ( 1805 ), James Gillray caricatured Sheridan as a bottle of sherry, uncorked by Pitt and bursting out with puns, invective, and fibs.

Physical Air ,— or — Britannia recover'd from a Trance ;— also, the Patriotic Courage of Sherry Andrew ; & a peep thro ' the Fog ( 1803 ) by James Gillray, showing Sheridan as a Silenus-like and ragged Harlequin defending Henry Addington and Lord Hawkesbury on the Dover coast from the advancing French rowboats filled with French soldiers, led by Napoleon.

Smelling out a Rat, a caricature of Price with Edmund Burke's vision looking over his shoulder, by James Gillray, 1790.

Colourized sketch of Ernest by James Gillray, 1799.

Gillray commenced life by learning letter-engraving, at which he soon became adept.

File: National-Debt-Gillray. jpeg | In a 1786 James Gillray caricature, the plentiful money bags handed to King George III are contrasted with the beggar whose legs and arms were amputated, in the left corner

British caricature of the Peace of Amiens ( James Gillray ).

A James Gillray | Gillray caricature of the George IV of the United Kingdom | Prince of Wales

Elsewhere, two great practitioners of the art of caricature in 18th-century Britain were Thomas Rowlandson ( 1756 – 1827 ) and James Gillray ( 1757 – 1815 ).

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.

The times in which Gillray lived were peculiarly favourable to the growth of a great school of caricature.

In time poverty overtook him ; and the friendship and examples of James Gillray and Henry William Bunbury seem to have suggested caricature as a means of earning a living.

" Two Pair of Portraits ;" – presented to all the unbiassed Electors of Great Britain, an anti-Whig caricature published 1798 by James Gillray showing Charles James Fox | Fox as the personification of vice next to a portrait of William Pitt the Younger | Pitt as the embodiment of honesty, followed by portraits of their fathers, Lord Holland and William Pitt senior displayed below.

John Bull holds the head of Napoleon Bonaparte in an 1803 caricature by James Gillray.

The undoubted master of the political caricature, sold individually by print shops ( often acting as publishers also ), either hand-coloured or plain, was James Gillray.

1796 caricature by James Gillray, depicted next to her future husband.

We find in it little of the exaggeration and grotesqueness, and none of the fierce political enthusiasm, of which the designs of James Gillray are so full.

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.

In A Great Stream from a Petty-Fountain ( 1806 ), James Gillray caricatured the budget of Petty, then the new Chancellor of the Exchequer, as a stream from which his fellow Whigs fed.

In High-Change in Bond Street ( 1796 ), James Gillray caricatured the lack of courtesy on Bond Street, which was a grand fashionable milieu at the time.

He has about 35 known canvases, most of which are based on Washington Irving's stories about Dutch New York, drawing inspiration from the Hudson Valley and from such English painters as William Hogarth, Isaac Cruikshank, James Gillray, Joseph Wright of Derby, and George Morland.

In Harmony before Matrimony ( 1805 ), James Gillray caricatured a courtship in which the couple sings together from Duets de l ' Amour.