Alcock

Introduction:

Alcock is known through four silhouettes, dated 1816 and 1817, of relatively fine quality. His/her work has previously been confused with that of contemporary artists with very similar names, both male and female. However, recent research has definitively proved that the Alcock of the 1816-17 silhouettes is a unique artist.

No biographical details are known, and the areas he/she worked in remain unclear. A Miss Alcock is found exhibiting in the Royal Academy in the early 1830s but her dates of birth do not coincide with the dates of production for the Alcock silhouettes. These pieces are painted in gold or yellow-orange pigment on black card and housed in papier-mache frames. All have been signed, either ‘Alcock’ or ‘Akock’ and on the reverse or underneath the bust-line. No trade labels have been found.

Alcock’s style seems to vary quite considerably piece to piece. The use of gold or yellow-orange pigment is perhaps the most consistent feature, as well as his/her apparent preference for dull sepia body colour. Bust-lines are terminated with a squared-off or curved finish, while one piece shows the influence of neo-classical style. The relative lack of examples makes it somewhat difficult to define Alcock’s style however, and he/she remains a rather unknown artist.