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Marcellus Laroon’s Cries Of London

December 3, 2014
by the gentle author

Today it is my pleasure to publish Marcellus Laroon’s vibrant series of engravings of the Cries of London reproduced from an original edition of 1687 in the collection at the Bishopsgate Institute

The death of Oliver Cromwell and the restoration of Charles II made the thoroughfares of London festive places once again, renewing the street life of the metropolis – and when the Great Fire of 1666 destroyed the shops and wiped out most of the markets, an unprecedented horde of hawkers flocked to the City from across the country to supply the needs of Londoners .

Samuel Pepys and Daniel Defoe both owned copies of Marcellus Laroon’s Cries of London. Among the very first Cries to be credited to an individual artist, Laroon’s “Cryes of the City of London Drawne after the Life” were on a larger scale than had been attempted before, which allowed for more sophisticated use of composition and greater detail in costume. For the first time, hawkers were portrayed as individuals not merely representative stereotypes, each with a distinctive personality revealed through their movement, their attitudes, their postures, their gestures, their clothing and the special things they sold. Marcellus Laroon’s Cries possessed more life than any that had gone before, reflecting the dynamic renaissance of the City at the end of the seventeenth century.

Previous Cries had been published with figures arranged in a grid upon a single page, but Laroon gave each subject their own page, thereby elevating the status of the prints as worthy of seperate frames. And such was their success among the bibliophiles of London, that Laroon’s original set of forty designs – reproduced here – commissioned by the entrepreneurial bookseller Pierce Tempest in 1687 was quickly expanded to seventy-four and continued to be reprinted from the same plates until 1821. Living in Covent Garden from 1675, Laroon sketched his likenesses from life, drawing those he had come to know through his twelve years of residence there, and Pepys annotated eighteen of his copies of the prints with the names of those personalities of seventeenth century London street life that he recognised.

Laroon was a Dutchman employed as a costume painter in the London portrait studio of Sir Godfrey Kneller – “an exact Drafts-man, but he was chiefly famous for Drapery, wherein he exceeded most of his contemporaries,” according to Bainbrigge Buckeridge, England’s first art historian. Yet Laroon’s Cries of London, demonstrate a lively variety of pose and vigorous spontaneity of composition that is in sharp contrast to the highly formalised portraits upon which he was employed.

There is an appealing egalitarianism to Laroon’s work in which each individual is permitted their own space and dignity. With an unsentimental balance of stylisation and realism, all the figures are presented with grace and poise, even if they are wretched. Laroon’s designs were ink drawings produced under commission to the bookseller and consequently he achieved little personal reward or success from the exploitation of his creations, earning his living by painting the drapery for those more famous than he and then dying of consumption in Richmond at the age of forty-nine. But through widening the range of subjects of the Cries to include all social classes and well as preachers, beggars and performers, Marcellus Laroon left us us an exuberant and sympathetic vision of the range and multiplicity of human life that comprised the populace of London in his day.

Images photographed by Alex Pink & reproduced courtesy Bishopsgate Institute

Peruse these other sets of the Cries of London I have collected

John Player’s Cries of London

More John Player’s Cries of London

Faulkner’s Street Cries

Samuel Pepys’ Cries of London

More Samuel Pepys’ Cries of London

Kendrew’s Cries of London

London Characters

Geoffrey Fletcher’s Pavement Pounders

William Craig Marshall’s Itinerant Traders

London Melodies

Henry Mayhew’s Street Traders

H.W.Petherick’s London Characters

John Thomson’s Street Life in London

Aunt Busy Bee’s New London Cries

William Nicholson’s London Types

John Leighton’s London Cries

Francis Wheatley’s Cries of London

John Thomas Smith’s Vagabondiana of 1817

John Thomas Smith’s Vagabondiana II

John Thomas Smith’s Vagabondiana III

Thomas Rowlandson’s Lower Orders

More of Thomas Rowlandson’s Lower Orders

Victorian Tradesmen Scraps

Cries of London Scraps

New Cries of London 1803

Cries of London Snap Cards

Julius M Price’s London Types

Adam Dant’s  New Cries of Spittlefields

8 Responses leave one →
  1. December 3, 2014

    Fantastic drawings with so many details, very impressive. Those lively characters take us back in time. Valerie

  2. December 3, 2014

    Fantastic pictures, they create a great sense of time and place
    I love the background information too.
    London must have been so lively and exciting then (like now) but horrible if you were poor (ditto)

    Don’t you think the Sow Gelder has testicle-like cheeks?

  3. Gary Arber permalink
    December 3, 2014

    The quality of the artwork in this early series is better than any that followed

  4. Teresa Stokes permalink
    December 3, 2014

    The spaniel dog in the cover picture is beautifully drawn. Does anybody know what his owner is selling?

  5. December 3, 2014

    Thank you very much for sharing these beauties!

  6. Pauline Taylor permalink
    December 3, 2014

    These give us a wonderful insight into fashions of the time, for instance all the shoes of the ladies seem to be fastened with a bow, of various sizes, on the instep which I find very interesting. Thank you GA,

    I wonder who the famous Dutch woman was.

  7. Caroline permalink
    December 4, 2014

    I googled The Famous Dutch Woman, a Mrs Saffry, who had an entertainment booth near the Greyhound Inn in West Smithfield. She had a troupe of rope dancers – their acts ripe with sexual titillation… hence the lewd gesture of the clown in the picture!

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