Wheatley’s Cries of London
Two Bunches a Penny, Primroses, Two Bunches a Penny!
Francis Wheatley exhibited his series of oil paintings entitled the “Cries of London” at the Royal Academy between 1792 and 1795. Two year earlier, the forty-one year old painter had been elected to the Academy in preference to the King’s nominee and, as a consequence, he never secured any further commissions for portraits from the aristocracy. Losing his income entirely, what should have been the crowning glory of his career was its unravelling – Wheatley was declared insolvent in 1793 and struggled to make a living until his death in 1801, when the Royal Academy paid his funeral expenses.
Yet in the midst of this turmoil, Wheatley created these sublime images of street sellers that – although seen at the time as of little consequence beside his aristocratic portraits – are now the works upon which his reputation rests. Born in Covent Garden in 1747, Wheatley was ideally qualified to portray these hawkers because he grew up amongst them and their cries, echoing in the streets around the market. You will recognise the old stone pillars of the market buildings that still stand today in a couple of these pictures, all of which could be located specifically in that vicinity. However, these pictures are far from social reportage as we understand it, and you may notice a certain similarity between many of the women portrayed in these pictures, for whom it is believed Mrs Wheatley – herself a painter and exhibitor at the Royal Academy – was the model. Look again, and you will also see that variants on the same ginger and white terrier occur throughout these paintings too.
In spite of the idealised quality of these pictures, I am drawn to these “Cries of London,” as a project that places working people at the centre of the picture, and represents them as individuals of stature and presence. The body language of subservience is only present when customers are in the frame, as you will see in the Knife Grinder and Cherry Seller below, whilst the lone Strawberry Seller, Match Seller and Primrose Seller all gaze out at us with assured status, as our equals. Taking this a stage further, the final three pictures, the Ballad Seller, the Gingerbread Seller and the Turnip Seller portray sellers and customers meeting eye to eye – dealing on a level – and with a discernible erotic charge in the air.
Although coming too late to save his career, Wheatley was well served by his engravers who created the prints which brought recognition for his “Cries of London,” as the most beautiful and most popular series of prints on this subject of all time, with editions still available into the early twentieth century. In fact, when I examined this set in the archive of the Bishopsgate Institute, I realised that many were familiar to me from chocolate boxes and biscuit tins, and once glimpsed in frames in the houses of elderly relatives and the seaside hotels of my childhood.
Luigi Schiavonetti, born in Bassano in 1765, engraved the first three plates, the Primrose Seller, the Milk Maids and the Orange Seller, with lush velvety stippled tones – a style that was maintained by the three subsequent engravers (Cardon, Vendramini and Gaugain), when Schiavonetti became too successful and expensive for such a modest project. The “Cries of London” were sold at seven shillings and sixpence for a plain set and sixteen shillings coloured, and the fact all thirteen were issued is itself a measure of their popularity.
It touches me to understand that Francis Wheatley chose to paint these “Cries of London” at the time he was losing grip of his life, struggling under the pressure of increasing debt, because they cannot have been an obvious commercial proposition. And I like to surmise that these graceful images celebrate the qualities of the ordinary working people, which Wheatley experienced first-hand, growing up in Covent Garden, and chose to witness in this subtly political set of pictures, existing in noble contrast to the portraits of aristocratic patrons who had shunned him when he was in need.
One cold Winter’s morning, tracing my way through the narrow alleys at the heart of the City of London recently, I came upon singing and it stopped me in my tracks. This was a recording of the “Cries of London,” installed there by a composer, and it was a welcome reminder of the beauty of these songs, exploiting the acoustics of the City to elegant and haunting effect. Already a year has passed since the newspaper sellers went, seemingly un-noticed, and now it lifts my spirits to hear the fruit seller in Sclater St Market each Sunday with his distinctive rhythmic cry, “Bananas, bananas, bananas,” - because in my mind this is the very last reverberation of that vast symphony of many thousands of voices echoing down the centuries and through the streets of London to our present day. The Cries of London.
Milk Below! - This is believed to be the origin of the more recent milkman’s cry, ”Milko!”
Sweet China Oranges, Sweet China.
Do you want any matches?
New Mackerel, New Mackerel
Knives, Scissors & Razors to Grind.
Fresh Gathered Peas, Young Hastings.
Round & Sound, Five Pence a Pound, Duke Cherries.
Strawberrys, Scarlet Strawberrys.
Old Chairs to Mend.
A New Love Song, only Ha’pence a Piece.
Hot Spiced Gingerbread, Smoking Hot.
Turnips & Carrots, ho!
Francis Wheatley R.A. looks askance.
Images copyright © Bishopsgate Institute
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Lovely to see these and a lovely post. I didn’t know the story behind The Cries of London. I have prints of some of them and had them up in my living room until I recently moved. I’ll have to find a place for them again!
Fantastic post – thank you.
I dressed as the Primrose Seller and presented at least a dozen programs giving information about each of Francis Wheatley’s 13 Cries in earlier years.
I have all 13 plates (Adams porcelaine plates)and always made reference that Yardley of London Cosmetic Co. adopted The Primrose Seller as their trademark in 1913 ,removing the roses and filling the basket with sheaves of lavendar. She became the lavendar seller for Yardley to the point people almost forgot that in the original painting the models sell yellow primroses.
Enjoyed you comments and prints. Glad I found this as I’m giving a program for our local Chautauqua Club in May.
Did you realize the term “Holy Mackerel” came from the fact fish was the only commodity could be sold on Sun. because couldn’t hold it over until Mon. Thus the phrase,”Holy Mackerel.
It took me awhile to realize “Young Hastings” was a variety of peas not referring to the youngster.
A fascinating post about this series of prints. Some 60 years ago my Late Father came across a complete set of these prints in some shop (or it may have been in an auction house) in South India, in the Nilgiri Hills, and he bought the series.
However what he bought were stamped as being ‘artists proofs’ though the artist who signed the coloured prints was either T Petitjean or F Petitjean
I understand that the original series Cries of London was so popular that other artists copied Wheatley’s original works.
I have two cries of London, DO YOU WANT ANY MATCHERS 4th plate engraved and Two bunch a penny this one is 1973 but has no plate number, it is written on the left side and say first plate of the cries of London. it is engraved . please can you tell me if I should get them insured . thank you karen
on the reverse of my print it says this print is one of four which yardley of london limited have had specailly produced from the famous set of fourteen engravings etc, does this mean it is worth anything?
Some years ago, a local gift shop, The Carriage House, was closing, and I saw these thirteen prints. I knew nothing about them but was fascinted. Risking (for me!) s goodly sum of money, I bought them. We have kept six on the wall of the stairs going up to the bedrooms, rotating with others occasionally. We love them, and your beautiful site has helped us treasure them even more. Many thanks.
One the back of the frames is typed (some too faded to read):
Subject: [Title of eadh print], after Francis Wheatley R A
Engraving: Oure mezotint by Edward Stodart. There is a reference number, and says they are published by The Museum Gallaries, 26 Museum St, London, and framed 110 Meadow St,
Fort BOMBAY
I have 3 plates from my mother:Sweet China Oranges, Old Chairs to Mend, and Milk Below Maids. As my mother’s maiden name was Wheatley, I naturally now wonder of the connection! She was Emily Dix Wheatley born in Toronto, Canada-
Hello – From what I’ve read on your post, these images have been used to sell candies, etc., in the past, so this means that they are copyrighted, correct? Your comment would be appreciated. -JK
I bought for Cries of London at a yard sale. How do I find out if they are worth anything?
I have a the picture “New Mackrel” Maquereux Frais et Gros “Cries of London”
does this have any value? would be interested to find out please.
we have 2 colored engravings by F. Wheatley, one is milk below maids and the other is new mackrel new mackrel of cries of london. milk below maids is plate 2 and new mackrel new mackrel is plate 3. how could we find the value of these and if they need to be insured?
we love them
I have the full set of thirteen which I believe to be the original coloured engravings. I cannot really find out the value of them as there seems to be so many reproductions and this seems to cloud my research. Should I insure these as they are just now under home contents? If so, what would the value be?
I have two prints of the “Cries of London” Plate 4 and 11.signed by Cordon.Could you tell me if they are of value.I am looking to sell them any suggestions?Thank you.
I was fascinated to read your article on the Wheatley prints. I have in my possession a print of #4, Do you want any matches? It looks as if it is in its original framing,and in the matting there is printed D’Apres A. Cordon. What significance is this, as it does not have the Petit Jean as the colorist? There is also a marking on the back that says Mcrad, ORDER No. PICTURE No., and the picture No. is written in pencil as 876. I was given this by my grandmother before she passed, and I am wondering if I should have it insured, and for what amount. Thank you for your time and attention!
I have recently aquired plate 2 milk below maids, schiavonetti sculp quiveut dulaitil est tout chaud, and plate 5 new mackrel,new mackrel , d’pre’s n.schiavnetti,jun. maquereux,maquereax frais et gros, i would like as much information as possible on these as possible, i do not know where to begin. thank you
I like many readers have a couple of vintage prints some flock but definately early 20th Century I was curious of value. One is Want any Matches? the other Milk Below. Thanks for your time.
A few years ago I came across a pile of pictures,dumped,had a look and they were all these beautiful pictures of “The Cries of London”.I put them away to put in my kitchen when it was finished,they have been on my kitchen table since september and Ive only just got around to cleaning them and putting them up,Ive always been curious about them and this morning went online to see if I could find any information on them,I was delighted to find so much info on them.I have Plate 1,3,4,5,6,8,9,10,11,and 12.I look forward to seeing what Plate 2 and 7 look like.Thanking you.
Hi I have just purchased 6 Cries of London which appear very old they are in woood oak ftames and the y have wood on the back of them how can I tell if this are of aby value also I bought them because I jusy fell in love with them I have 7,8,9,10,11,13
I have all the set of twelve[Cries of LONDON] painted by F. Wheatly and on the
left hand side of the paintings there are the french word ‘D’APRES’AND A NAME.
CAN SOMEONE TELL ME WHAT THAT MEAN,PLEASE
regards –michael[malta]
I HAVE 2 PLATES “CRIES OF LONDON” I HAVE PLATE TWO MILK BELOW MAIDS; ALSO PLATE NINE STRAWBERRYS SCARLET STRAWBERRYS . IT HAS F.WHEATLEY ON LEFT HAND SIDE ALSO IT HAS D.APRES V? ON THE RIGHT HAND I CANT MAKE OUT WHAT IT SAYS. I WANTED TO KNOW WHAT THE VALUE IS. THEY ARE IN A GOLDISH FRAME. PLEASE LET ME KNOW ASAP!! THANKS HAVE A WONDERFUL DAY. IVE HAD THESE PICTURES FOR 25 YEARS NOW THEY BELONGED TO MY GRANDMOTHER SHE SAID SHES HAD THEM FOR 35 YEARS SOOOOOOO…??????? IM VERY CURIOUS LOL
I have collected 13 of the 14 engravings he made very cheaply in markets and on EBay. However I believe the 14th is of a lavendar seller and the copyright to this was bought by the English Lavendar Company (Yardleys?)and is not available as a print.