What is a Georgian political allegorical print?

A Georgian political allegorical print is a published engraving or etching from the late eighteenth or early nineteenth century that uses symbolic imagery, classical figures, and personifications to communicate political commentary or celebrate historical events.

What materials were traditionally used to make early nineteenth-century prints?

Prints from this era were created using copperplate engraving or stipple etching techniques, printed with oil-based inks onto handmade rag paper, and frequently finished with hand-applied watercolour washes.

How can you identify an authentic late Georgian print?

Authentic period prints feature visible plate impression marks around the image border, characteristic chain lines or watermarks within the rag paper, period-appropriate typography in the publication lines, and natural paper toning.

How do you style an antique political print in a modern interior?

Display the framed artwork as part of a gallery wall alongside contemporary line drawings, or place it as a central accent piece above a desk, mantelpiece, or console table in a study.

How should an antique framed print be preserved and cared for?

Position the framed print away from direct sunlight, ensure it is housed behind UV-protective glass with acid-free backing mounts, and avoid hanging it in high-humidity areas.

for sale €585 $635

£500

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Id #SA1209593

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A Late-georgian Political Allegorical Print (1802) King George 111

Name: A Late-georgian Political Allegorical Print (1802) King George 111
Brand: Antique
SKU: SA1209593
Price: 500 GBP
Availability: InStock

18th century

For Sale by Marlborough Antiques & Interiors

Description

late-Georgian political allegorical print (1802) celebrating a very specific event: the survival of King George III after an assassination attempt.

What the print depicts: The full title (visible at the bottom) reads essentially: “The Providential Escape of His Most Sacred Majesty King George the Third from the Daring Attack of an Assassin…”

This refers to the 1800 attack at Drury Lane Theatre by James Hadfield, who fired a pistol at the king but missed. Image Size only 61 x 47 cm

Richard Corbould – designed the composition

Francesco Bartolozzi – one of the most famous engravers working in London, known for refined stipple engraving

Published by Riley (1802) in London

Executed as a stipple engraving, a technique popular in the late 18th century for soft tonal effects

Gilt (gold-colored) composition frame

Decorative neoclassical / Regency-style crest at the top with a crown and royal arms motif

Repeating floral/bead border

Likely 19th century (possibly later than the print itself)

It looks period-appropriate, but not necessarily original to 1802. Frames were often replaced in the Victorian era.

1. The king in a heavenly medallion

George III is shown in a circular portrait surrounded by clouds, almost like a saintly icon.

Cherubs (putti) crown him with a royal crown and laurel—symbols of divine favor and victory.

This framing suggests the king’s survival was ordained by Providence (God), not just luck.

2. The female figure below

The kneeling woman in classical dress represents Britannia (the personification of Britain).

She stands on a shield with the Union flag, reinforcing national identity.

Her upward gesture shows gratitude and relief, appealing to heaven.

3. The lion

The lion beside her is a long-standing symbol of British strength and monarchy.

Calm but alert, it reinforces the idea that the nation remains stable and protected.

4. The would-be assassin

The shadowy figure on the right, recoiling with a weapon, represents the attacker.

He is pushed into darkness—symbolizing evil, chaos, and failure.

5. Light vs. darkness

The composition is split dramatically:

Light above = divine protection, legitimacy

Darkness below/right = threat, disorder

This contrast is classic propaganda imagery.

Condition: The print itself has browning to sides that also is probably on print and the writing has faded and not clear. In a very good frame otherwise all of which is taken into consideration of the print price

Provenance: Estate of W. Carey Wilson who was a Lieutenant Commander in the Royal Naval Volunteer Reserve (RNVR) who had a multifaceted career involving technical naval construction and frontline operations in the Pacific during World War II.

Physical Dimensions

Height

82cm (32.28")

Width

61cm (24.02")

Depth

3.5cm (1.38")

Declaration

Marlborough Antiques & Interiors has dated this Georgian Political Allegorical Print to the Georgian era.

Reference Numbers

Sellingantiques Reference

SA1209593

Dealers Notes

We are primarily a web based business showing high quality antiques and decorative items in two warehouses in Lambourn Woodlands, Berkshire and Tetbury , Gloucestershire . Within easy reach of M4 Junctions and with a mainline station nearby and good private car parking facilities at all venues. We display the widest variety of antiques at all price levels, including paintings, furniture, fireside pieces and other decorative interior items. Not all our items are at any particular place so please call or email (enquiries@marlboroughantiques.com) or from our Contact page to avoid disappointment. Please view our Terms and conditions if needed at http://www.marlboroughantiques.com/terms.php.

We are very happy to discuss with clients their needs and to provide a sourcing service. We can advise on the acquisition of pieces in all areas of the fine and decorative arts, assisting clients in their search for individual pieces or for a particular item. If you have queries regarding this or any intended purchase please contact us. All items can be delivered either by postal service or by trusted and fully insured couriers; we use both for the UK market and for overseas delivery. Please inquire by email or phone to obtain a quote for delivery options. Items are described as Excellent - A1 Condition no faults, Very Good - very good condition with only very minor cosmetic issues if atall and consistent with age, Good - in good overall condition with some ageing, marks and wear consistent with age.

Description

Late-Georgian political allegorical print (1802) celebrating a very specific event: the survival of King George III after an assassination attempt.

“

What the print depicts: The full title (visible at the bottom) reads essentially: “The Providential Escape of His Most Sacred Majesty King George the Third from the Daring Attack of an Assassin…”.

Marlborough Antiques & Interiors

fig 1. A framed 1802 Late-Georgian allegorical print depicting King George III surrounded by cherubs and classical figures within a carved gilt frame. — fig 1. A Late-georgian Political Allegorical Print (1802) King George 111

This refers to the 1800 attack at Drury Lane Theatre by James Hadfield, who fired a pistol at the king but missed. Image Size only 61 x 47 cm

Richard Corbould – designed the composition

Francesco Bartolozzi – one of the most famous engravers working in London, known for refined stipple engraving

fig 2. A framed 1802 Late-Georgian allegorical print depicting King George III surrounded by cherubs and classical figures within a carved gilt frame. — fig 2. A Late-georgian Political Allegorical Print (1802) King George 111

Published by Riley (1802) in London

Executed as a stipple engraving, a technique popular in the late 18th century for soft tonal effects

Gilt (gold-colored) composition frame

Decorative neoclassical / Regency-style crest at the top with a crown and royal arms motif

fig 3. A framed 1802 Late-Georgian allegorical print depicting King George III surrounded by cherubs and classical figures within a carved gilt frame. — fig 3. A Late-georgian Political Allegorical Print (1802) King George 111

Repeating floral/bead border

Likely 19th century (possibly later than the print itself)

It looks period-appropriate, but not necessarily original to 1802. Frames were often replaced in the Victorian era.

1. The king in a heavenly medallion

George III is shown in a circular portrait surrounded by clouds, almost like a saintly icon.

Cherubs (putti) crown him with a royal crown and laurel—symbols of divine favor and victory.

This framing suggests the king’s survival was ordained by Providence (God), not just luck.

2. The female figure below

The kneeling woman in classical dress represents Britannia (the personification of Britain).

She stands on a shield with the Union flag, reinforcing national identity.

Her upward gesture shows gratitude and relief, appealing to heaven.

3. The lion

The lion beside her is a long-standing symbol of British strength and monarchy.

Calm but alert, it reinforces the idea that the nation remains stable and protected.

4. The would-be assassin

The shadowy figure on the right, recoiling with a weapon, represents the attacker.

He is pushed into darkness—symbolizing evil, chaos, and failure.

5. Light vs. darkness

The composition is split dramatically:

Light above = divine protection, legitimacy

Darkness below/right = threat, disorder

This contrast is classic propaganda imagery.

Condition: The print itself has browning to sides that also is probably on print and the writing has faded and not clear. In a very good frame otherwise all of which is taken into consideration of the print price

Provenance: Estate of W. Carey Wilson who was a Lieutenant Commander in the Royal Naval Volunteer Reserve (RNVR) who had a multifaceted career involving technical naval construction and frontline operations in the Pacific during World War II.