Triumphal Procession of Little-Paul-The Taylor Upon his New Goose Possibly 1806

Curator: Here we have James Gillray's etching, possibly from 1806, titled "Triumphal Procession of Little-Paul-The Taylor Upon his New Goose". It's currently held in the Art Institute of Chicago. Editor: Well, that’s a mouthful. Immediately, I'm struck by the material—a delicate etching, likely printed on thin paper. And just look at the density of detail. It's teeming with social commentary, rendered through this very hands-on, labor-intensive printing process. You can almost feel the scratch of the etching needle. Curator: Exactly. Gillray was a master of caricature, and this work uses symbolic imagery to critique political figures of the time. Little Paul, astride his "goose"—the tailor's pressing iron—becomes a farcical hero. Note also the oversized shears he wields above his head; scissors serve as heraldic emblems of this triumphant tailor! Editor: That connection to trade is crucial. The means of Little Paul's ascent—that goose and the shears—are precisely what are satirized here. This wasn't just high-minded political discourse; it was an engagement with everyday tools, everyday labor transformed into a biting visual pun. It's almost a grotesque exaggeration of guild pride, really brought home by the surrounding procession of the town's workers. And there are verses in this print's lower margin that help amplify that perspective. Curator: Observe how he utilizes contrasting figures from "Tom Paine distributing halfpence" and "an Old Monk" to create complex symbolic juxtapositions within the procession. The cheering crowds point towards larger cultural fractures within English society during that period of revolution. There is meaning embedded in every individual. Editor: What's interesting, though, is how accessible this would have been, given the scale of printmaking, allowing broad circulation within London. The artwork embodies Romantic themes but subverts it with satirical meaning—highlighting social and economic inequities with grotesque figures. It's really incredible that so much historical context resides within the work because of its initial mode of production. Curator: I agree. Gillray’s commentary becomes all the more poignant, given this era in England where societal stability appeared so delicate amid ongoing foreign and domestic turbulence. Editor: I will consider the degree to which we use satire to affect change, what methods prove valuable over long periods of historical trauma. Thanks!