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The Regents Hack, pub. 1812 (hand coloured engraving)

The Regents Hack, pub. 1812 (hand coloured engraving)


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The Regents Hack, pub. 1812 (hand coloured engraving)

2636965 The Regents Hack, pub. 1812 (hand coloured engraving) by Williams, Charles (Ansell) (fl.c.1797-1850); Private Collection; (add.info.: George IV riding a horse with the face of Sheridan along a cobbled street strewn with stones with the heads of various politicians.); The Stapleton Collection; English, out of copyright

Media ID 22681776

© The Stapleton Collection / Bridgeman Images

Cobbles Manchester Square Political Satire Prince Regent White Horse Human Heads


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The Regents Hack, pub. 1812 - A Satirical Masterpiece of Political Commentary

EDITORS COMMENTS
. This hand-colored engraving from 1812, titled "The Regents Hack" offers a fascinating glimpse into the world of political satire during the Regency era. Created by Charles Williams (Ansell), this print showcases George IV, then Prince Regent, riding a majestic white horse through a cobbled street in Manchester Square. What makes this artwork truly remarkable is the clever use of symbolism and caricature. Instead of an ordinary horse's face, George IV's steed bears the likeness of Richard Brinsley Sheridan, a prominent politician at that time. Strewn across the cobblestones are stones with human heads representing various politicians - a powerful visual representation of their influence on society. Through this satirical lens, Williams skillfully comments on the political landscape and power dynamics prevalent during this period. The artist invites viewers to reflect upon the role played by these influential figures while simultaneously showcasing his artistic prowess. As part of The Stapleton Collection and now housed in a private collection, this engraving remains an important historical artifact that captures both social commentary and artistic excellence. Its intricate details and thought-provoking imagery continue to captivate audiences today as they delve into its layers of meaning and appreciate its contribution to political satire in art history.

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