#1027 – Description: 12 framed Etching After Francis Wheatley (1747-1801): Cries of London

• Artist: Francis Wheatley
• Signature: Unsigned – Inscribed
• Style: Victorian, Antique
• Medium: Color Engraving on Paper
• Size: Each sight – 11 1/4″ x 8 1/4″.  Frame: 18 1/2″ x 15 1/2″.
• Age of this artwork: (1793-1797)
• Condition: The Engraving are in Good condition considering its age.  Matted and framed behind reverse-painted acrylic. Small chips to frames throughout and a few frames with significant loss to borders.
• Color: In color
• Provenance: Los Angeles California Estate.
• Comparison Auction records for similar pieces:  We have conducted a thorough analysis of auction records for artworks sharing similar dimensions, subject matter, and quality attributes: CLICK HERE

History of the collection:

The chair mender depicted in this captivating image is part of Wheatley’s renowned “Cries of London” series, an iconic representation of the city’s vibrant street life spanning over three centuries. These prints serve as a visual chronicle of London’s working class, capturing the essence of peddlars, street hawkers, and various tradespeople who populated the bustling city streets.

Wheatley’s artistic vision provides a window into a bygone era, showcasing the tradesmen who advertised their goods with musical shouts and melodic rhymes. The “Cries” series exists in different versions, ranging from idealistic portrayals of contented street vendors to satirical caricatures that humorously depict urban figures.

Francis Wheatley’s series gained immense popularity, particularly between 1792 and 1795 when he exhibited 14 paintings of the “Cries” at the Royal Academy. These paintings garnered attention for their detailed and evocative portrayal of London’s street life. Colnaghi & Co. seized the opportunity to publish a series of engravings based on Wheatley’s paintings, with thirteen out of the fourteen images eventually being engraved.

Executed in stipple, the engravings featured contributions from prominent artists and engravers such as Luigi Schiavonetti, Giovanni Vendramini, and Thomas Gaugain. The prints were made available for individual purchase or as part of a portfolio collection, and their popularity endured, with complete sets fetching significant prices at auctions by 1910.

The print in question, Plate Ten in the series, captures the essence of an industrious craftsman mending chairs against the backdrop of a simple house, with the iconic St. Paul’s Cathedral gracing the distant skyline. It stands as a testament to Wheatley’s ability to freeze moments in time, offering viewers a nostalgic glimpse into the lively streets of historical London.

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