Image of Gallery in South Kensington
Request to view at the Prints & Drawings Study Room, level E , Case Z, Shelf 17, Box VI

Print

8th January 1791 (printed)
Artist/Maker
Place of origin

Who was Elizabeth Howorth? (1735 –1820)
Born in England, made prints in England
Printmaking activity: 1789 –1791

Little is known of Elizabeth Howorth, but she was taught etching by her drawing tutor, John Baptiste Malchair. In the late 18th century, Howorth decided to sell her prints to make money whilst her husband, a soldier, was on half-pay. She continued to make topographical prints but appears to have stopped printmaking once her husband was re-employed during the Napoleonic wars. Her prints reveal the ways in which many amateur women printmakers engaged with the commercial print market.


Object details

Categories
Object type
Materials and techniques
Aquatint
Brief description
Aquatint of a view of Hackney church from Pigwell, E. Howorth, 8th January 1791
Physical description
Aquatint view of Hackney Church from Pigwell.
Dimensions
  • Height: 12.5in
  • Width: 15.5in
Dimensions taken from departmental handlist.
Credit line
Given by the Hon. Arthur Villiers.
Object history
This object was part of the John Edmund Gardner collection of topographical prints and drawings of London. After Gardner's death the collection passed to his son Edmund Thomas, but was sold to Edward Coates MP in 1910. The collection was sold again in 1923 after Coates' death, and was split between various institutions and private collectors. The portion connected with Hoxton, Homerton, Hackney and Bethnal Green was bought by the Hon. Arthur Villiers and donated to the Bethnal Green Museum.

Object was previously misnumbered as E.4555-1923.
Subjects depicted
Place depicted
Associations
Summary
Who was Elizabeth Howorth? (1735 –1820)
Born in England, made prints in England
Printmaking activity: 1789 –1791

Little is known of Elizabeth Howorth, but she was taught etching by her drawing tutor, John Baptiste Malchair. In the late 18th century, Howorth decided to sell her prints to make money whilst her husband, a soldier, was on half-pay. She continued to make topographical prints but appears to have stopped printmaking once her husband was re-employed during the Napoleonic wars. Her prints reveal the ways in which many amateur women printmakers engaged with the commercial print market.
Bibliographic reference
Taken from departmental handlist.
Collection
Accession number
E.4601-1923

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Record createdJune 30, 2009
Record URL
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