An Engraving from the Series 'The Cries of London': "Turnips & Carrots"

"Turnips & Carrots" depicts a woman on the right who is holding a bunch of turnips standing next to a donkey loaded with baskets of turnips and carrots. A boy stands to the donkey's right (on the left of the scene) and London buildings are present on the right and in the background.

This engraving is presented in a decorative gold-colored wood frame. The frame measures 20.5" x 16.38" x .88". There is moderate discoloration in the margins of "Turnips and Carrots", particularly in the right lower corner. It is otherwise in very good condition.

Although there were versions of the "Cries of London" created for centuries, the most well known and popular was this series, created by Francis Wheatley. Wheatley exhibited his 14 paintings of the "Cries" at the Royal Academy between 1792 and 1795. The publishing company Colnaghi & Co. were impressed by his work and agreed to publish a series of engravings after Wheatley's famous paintings. Thirteen of the fourteen paintings were engraved with a stipple technique by some the most noted engravers in England, including: Niccolo Schiavonetti, Giovanni Vendramini and Thomas Gaugain. These colorful prints give a glimpse of 18th century London's commoners, the peddlers, charlatans, street hawkers, milkmaids, and grocers who made their living on the city streets. They advertised their wares with musical shouts or melodic rhymes, which were a constant part of the sights and sounds of the city at that time. Wheatley grew up in Covent Garden among the hawkers with their cries echoing in the streets around the market. The old stone pillars of the market buildings still stand today. Wheatley's wife was also a painter and exhibited at the Royal Academy. She served as the model for the women in several of the scenes.

Two years before Wheatley exhibited his paintings at the Royal Academy, the forty-one year old painter had been elected to the Royal Academy over the King’s nominee. The king was upset at this and made sure that Wheatley never again received another of his or his nobles' commissions. The portraits of nobles had previously been Wheatley's main source of income. Ironically, what should have been the crowning glory of his career, instead turned out to be its ruin. 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 managed to create these wonderful images of street sellers. Although they were seen at the time as of little consequence compared to his aristocratic portraits, are now the works that define his lasting reputation. His “Cries of London” series is considered by many as the most beautiful and most popular prints ever created on this subject.