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

A late-Georgian political allegorical print (1802) celebrating a very specific event: the survival of King George III after an assassination attempt. Image only 60 x 42 cm

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.

• 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.