GILLOT, CLAUDE (1673-1722), French painter, best known as the master of Watteau and Lancret, was born at Langres. His sportive mythological landscape pieces, with such titles as “Feast of Pan” and “Feast of Bacchus,” opened the Academy of Painting at Paris to him in 1715; and he then adapted his art to the fashionable tastes of the day, and introduced the decorative fêtes champêtres, in which he was afterwards surpassed by his pupils. He was also closely connected with the opera and theatre as a designer of scenery and costumes.
GILLOTT, JOSEPH (1799-1873); English pen-maker, was born at Sheffield on the 11th of October 1799. For some time he was a working cutler there, but in 1821 removed to Birmingham, where he found employment in the “steel toy” trade, the technical name for the manufacture of steel buckles, chains and light ornamental steel-work generally. About 1830 he turned his attention to the manufacture of steel pens by machinery, and in 1831 patented a process for placing elongated points on the nibs of pens. Subsequently he invented other improvements, getting rid of the hardness and lack of flexibility, which had been a serious defect in nibs, by cutting, in addition to the centre slit, side slits, and cross grinding the points. By 1859 he had built up a very large business. Gillott was a liberal art-patron, and one of the first to recognize the merits of J. M. W. Turner. He died at Birmingham on the 5th of January 1873. His collection of pictures, sold after his death, realized £170,000.
GILLOW, ROBERT (d. 1773), the founder at Lancaster of a distinguished firm of English cabinet-makers and furniture designers whose books begin in 1731. He was succeeded by his eldest son Richard (1734-1811), who after being educated at the Roman Catholic seminary at Douai was taken into partnership about 1757, when the firm became Gillow & Barton, and his younger sons Robert and Thomas, and the business was continued by his grandson Richard (1778-1866). In its early days the firm of Gillow were architects as well as cabinet-makers, and the first Richard Gillow designed the classical Custom House at Lancaster. In the middle of the 18th century the business was extended to London, and about 1761 premises were opened in Oxford Street on a site which was continuously occupied until 1906. For a long period the Gillows were the best-known makers of English furniture—Sheraton and Heppelwhite both designed for them, and replicas are still made of pieces from the drawings of Robert Adam. Between 1760 and 1770 they invented the original form of the billiard-table; they were the patentees (about 1800) of the telescopic dining-table which has long been universal in English houses; for a Captain Davenport they made, if they did not invent, the first writing-table of that name. Their vogue is indicated by references to them in the works of Jane Austen, Thackeray and the first Lord Lytton, and more recently in one of Gilbert and Sullivan’s comic operas.
GILLRAY, JAMES (1757-1815), English caricaturist, was born at Chelsea in 1757. His father, a native of Lanark, had served as a soldier, losing an arm at Fontenoy, and was admitted first as an inmate, and afterwards as an outdoor pensioner, at Chelsea hospital. Gillray commenced life by learning letter-engraving, in which he soon became an adept. This employment, however, proving irksome, he wandered about for a time with a company of strolling players. After a very checkered experience he returned to London, and was admitted a student in the Royal Academy, supporting himself by engraving, and probably issuing a considerable number of caricatures under fictitious names. 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 Rodney’s naval victory, issued in 1782, were among the first of the memorable series of his political sketches. The name of Gillray’s publisher and printseller, Miss 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. Gillray lived with Miss (often called Mrs) Humphrey during all the 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. Gillray’s plates were exposed in Humphrey’s shop window, where eager crowds examined them. A number of his most trenchant satires are directed against George III., who, after examining some of Gillray’s sketches, said, with characteristic ignorance and blindness to merit, “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 satirizes at once the king’s pretensions to knowledge of art and his miserly habits.
The excesses of the French Revolution made Gillray conservative; and he issued caricature after caricature, ridiculing the French and Napoleon, and glorifying John Bull. He is not, however, to be thought of as a keen political adherent of either the Whig or the Tory party; he dealt his blows pretty freely all round. 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 must have been hastened by his intemperate habits. Gillray died on the 1st of June 1815, and was buried in St James’s churchyard, Piccadilly.
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 coarseness by which others are disfigured is to be explained by 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 accurate 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.” His contemporary political influence is borne witness to in a letter from Lord Bateman, dated November 3, 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 1600 or 1700. He is invaluable to the student of English manners as well as to the political student. He attacks 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 divided into two classes, the political series and the social. The political caricatures form really the best history extant of the latter part of the reign of George III. They were circulated not only over Britain but throughout Europe, and exerted a powerful influence. In this series, George III., the queen, the prince of Wales, Fox, Pitt, Burke and Napoleon 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 horned cattle for sale. Among Gillray’s best satires on the king 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”; “Temperance enjoying a Frugal Meal”; “Royal Affability”; “A Lesson in Apple Dumplings”; and “The Pigs Possessed.” Among his other political caricatures may be mentioned: “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 Handwriting upon the Wall”; “The Confederated Coalition,” a fling at the coalition which superseded the Addington ministry; “Uncorking Old Sherry”; “The Plum-Pudding in Danger”; “Making Decent,” i.e. “Broad-bottomites getting into the Grand Costume”; “Comforts of a Bed of Roses”; “View of the Hustings in Covent Garden”; “Phaëthon Alarmed”; and “Pandora opening her Box.” 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); “Twopenny Whist”; “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.