GILLRAY, James ([?]1756-1815, artist). The Caricatures ... with Historical and Political Illustrations, [London, c. 1818-24], oblong small 4to, 76 hand-coloured engraved plates by Gillray only ([?]of 82), contemporary calf (rather worn).

GILLRAY, James ([?]1756-1815, artist).  The Caricatures ... with Historical and Political Illustrations, and Compendious Anecdotes and Notices. [London and Edinburgh: J. Miller and W. Blackwood, c. 1818-24]. Oblong small 4to (223 x 320mm). Letterpress title, 76 hand-coloured engraved plates by James Gillray, 4 of which folding, only ([?]of 82, title trimmed and re-margined with loss of imprint, first few leaves and one plate detached, one folding plate with section detached, one text leaf torn without loss, another text leaf torn and repaired without loss, lacks all text leaves after EE[1] (i.e. pp.163/164), occasional light spotting and staining). Contemporary reverse calf ruled in black, spine lettered in gilt, gilt edges, marbled endpapers (worn and shaken, upper cover detached, front free endpaper detached, heavily rubbed and scuffed, [?]later spine). Provenance: "This Book must not be taken from the Royal Yacht Squadron Castle" (old label); further old presentation label beneath (left blank); "no more published of this edition" (old pencil note on rear endpaper). The 6 plates which are lacking from this copy (identified from the headings to their accompanying text, which is present) are: 'A Little Music', 'The Daily Advertiser', 'Comfort to the Corns', 'A French Gentleman', 'O! That this too solid flesh would melt' and 'Battle for the Globe'. "Gillray's most enduring work ... was done as a caricaturist, and as a caricaturist pure and simple he holds a foremost place in that division of English graphic art. Much of the intensity, the almost ferocious energy, of his satire is scarcely conceivable in these milder days, but, that admission made, it is impossible not to admire his inexhaustible fertility of fancy, the frequent grandeur of his conception, the reckless audacity of his attack, and his skill in selecting the vulnerable side of his victims. His executive facility was unexampled. Often, equipped only with a few slight outlines of his characters on tiny cards ... he would, without further preliminary study, rapidly cover a copper plate with intricate groups of figures, composed and contrasted with consummate skill. George Cruikshank, who knew him towards the close of his career, describes his enthusiasm over his work as extraordinary and even as painful to witness, since it seemed in its hurrying excitement like a premonition of insanity" (DNB). Brunet II, 406 (calling for 9 parts but without a plate count).