/""^ ' T*/^"VI"Y ^> T^ T"* A XT *T* T^ T^ GEORGE BAXTER j COLOUR PRINTER St HIS LIFE AND WORK A MANUAL FOR COLLECTORS C. T. COURTNEY LEWIS GEORGE BAXTER (COLOUR PRINTER) HIS LIFE AND WORK A MANUAL FOR COLLECTORS Print No. 123. THE CORONATION OF QUEEN VICTORIA. Baxter's Masterpiece. GEORGE BAXTER (COLOUR PRINTER) HIS LIFE AND WORK A MANUAL FOR COLLECTORS By C. T. COURTNEY LEWIS LONDON SAMPSON LOW, MARSTON & COMPANY, LD. 1908 PRINTED BY HAZELL, WATSON AND VINEY, LD., LONDON AND AYLESBURY. Dedicates TO THE MEMORY OF MY BEST FRIEND, WHO WAS AN ADMIRER OF BAXTER, AND WHO WAS ALSO MY FATHER PREFACE Some said, "John, print it"; others said, "Not so": i Some said, " It might do good " ; others said, "No." JOHN BUNYAN. THIS volume, the product of some years' pleasant labour and intercourse with many whose friendship, courtesy, and willingness to help are prized, is with great diffidence given to the public ; and it now appears only because of the hope the author has that it may not only assist in however slight a degree that large and daily increasing number of Baxter lovers and collectors to pursue their hobby with additional zeal, but that it may also add to the list others willing to understand and appreciate the unique and beautiful art that has been described in these pages. Acknowledgments are due, for kindly help, to the late lamp ( ^er| Miss C. W. Baxter ; to Mr. F. W. Baxter, who has for a considerable period given his unceasing aid, and provided some of the illustra- tions, for all of which he cannot be sufficiently viii PREFACE thanked ; to Mr. G. Holman, of Lewes, who has sup- plied many newspaper cuttings, and other material of great interest ; to Mr. C. F. Bullock, of Birming- ham, who has, with the utmost generosity, always placed his great knowledge at the author's disposal ; and to Messrs. Meachem and Rudland, of the same city ; to that thoughtful collector, the Rev. H. McKeag, of Rathmines ; to Messrs. Peters, of Peckham ; Oliver, of Edinburgh (Baxter's grand- son) ; A. Mitchell, of St. Andrew's Street, London ; P. Ellis, of Holborn ; W. Gerson ; and to many others, including the versatile writer and legislator, Mr. Yoxall, M.P., whose assistance and advice as to the compilation have been of great advantage. Much useful information has been gathered from the articles and letters in the Bazaar, from 1894 ; the able articles in the British and Colonial Stationer and Printer, in 1904 and 1908 ; the various articles in London Opinion ; from Mr. Martin Hardie's " English Coloured Books " ; the three numbers of the Baxter Society Journal ; from the catalogue of Baxter's sale in 1860 ; Mr. Mockler's catalogue of his sale in 1896, and his reprints from Baxter's plates ; and from the information gathered from the Reading, Print, and Newspaper Rooms at the British Museum. Owing to the exigencies of space, much has been condensed, and very many references and other PREFACE IX interesting material is omitted : these may be pro- duced on some other occasion. Great care has been taken to be accurate in every statement made, and in all the details given ; but in a work of so much complexity and uncertainty, if errors have anywhere crept in, the kindly indulgence of every one is asked, and the sympathy of all collectors is sought in this the first effort to place on an historical basis the work of George Baxter, colour printer. C. T. COURTNEY LEWIS. EPSOM, SURREY, April, 1908. CONTENTS CHAPTER I mam A GENERAL VIEW I Baxter a pioneer Historical, topographical, and anti- quarian interest of Baxter's prints His prints likely to become scarcer May be obtained in different stages Research still necessary on many points before full knowledge has been acquired. CHAPTER II BAXTER'S CAREER AND CHARACTER . . .10 No biography of Baxter He left no memoirs Birth and marriage at Lewes Went to London First address in London Early wood-cuts First colour prints at King Square Moves to Charterhouse Square His first patent " Cabinet of Paintings " John Jackson's opinions of his prints Collaboration with Snow The London Missionary Society First portrait First print not a book illustration Publishes his own prints Aristocratic patronage Moves to North- ampton Square Disagreement with Snow Recon- ciliation Works for the Baptisjt^ Missionary Society, the Wesleyan Missionary Society, the Patriot, the Religious TrSCtSOClety, and Sutlaby & Co Missionary works end Gregory, Collins & Reynolds The Art Journal Cundall Patent expires Renewal Oppo- sition by his pupils Lord Brougham Prince Albert Xii CONTENTS PAGE Leighton Patents abroad Licenses Great Exhibi- tion Medals The Illustrated London News New York Exhibition Crystal Palace Patent expires Coloured photography Second patent Retirement Sales of business, plates, and prints " The Retreat " Baxter's character His death. CHAPTER III BAXTER'S PLACE IN COLOUR PRINTING IN ENGLAND . 31 History of colour printing in England "Book of St. Albans ' ' J. B. Jackson Kirkall Knapton Pond Skippe J. C. Blon and his followers Ackermann Savage Bewick Mudie State lotteries Branston Vizetelly Congreve De la Rue No colour printing in Baxter's day Baxter an inventor His coloured pictures His ambitions Posterity endorses his views His first efforts Continues the Savage tradition His later prints Chromo-lithography Baxter's views on that art Secrets of Baxter's methods Why his process was unique Why it ceased Critical position of book- illustration in his day A new era. CHAPTER IV LICENSES GRANTED BY BAXTER . . . .46 Meaning of the term Fees for same Le Blond Bradshaw & Blacklock Dickes Kronheim & Co. Myers j Mansell Vincent Brooks Leighton. CHAPTER V SINCE BAXTER'S DEATH 50 Mr. Mockler Baxter Society and Journal Articles in the Bazaar Exhibition at Birmingham Mr. Bullock Articles in London Opinion and the British and Colonial Printer and Stationer Mr. F. W. Baxter's t gift to the nation. CONTENTS Xlii CHAPTER VI HINTS TO COLLECTORS 53 Points to consider Are there any forgeries ? Baxter's signature a test Le Blond's erasure of Baxter's signature Vincent Brooks and Baxter's signature Le Blond's prints Internal evidence of genuineness How to detect Le Blond's work Baxter's name and Le Blond's on one plate Baxterotypes Miscel- laneous considerations of genuineness Classification of prints Tints Uncut prints Book illustrations On mount Prints by other printers using Baxter blocks Dates of prints How to arrange Baxter prints. CHAPTER VII THE CATALOGUE EXPLAINED 66 CHAPTER VIII EARLY PRINTS, 1829-1840 7O CATALOGUE OF SAME . . 71 CHAPTER IX IISSIONARY PRINTS PERIOD, 1838-9 TO 1846-7 . 93 CATALOGUE OF SAME . . 94 PART I PRINTS CONFINED TO MISSIONARY SUBJECTS 94 Missions to the South Seas Missions in South Africa Missions in Jamaica Missions in India Missions in China Missions in Madagascar Missions in Greece Miscellaneous Missionary prints. PART II PRINTS OF OTHER THAN MISSIONARY SUBJECTS 114 XIV CONTENTS PACK CHAPTER X POCKET-BOOK, SCRAP-BOOK, AND NEEDLE-BOX PERIOD, 1847-1850 122 CATALOGUE OF NEEDLE-BOX PRINTS. 123 CHAPTER XI ENLARGEMENTS . 133 CATALOGUE OF SAME . . 133 CHAPTER XII CATALOGUE OF THE EXHIBITION SERIES . . . 141 The Great Exhibition of 1851 Baxter's " Pictorial Key to the Great Exhibition and Visitors' Guide to London " Baxter's " Gems of the Great Exhibition " " Gms of the Crystal Palace, New York " " Gems of the Crystal Palace, Sydenham." CHAPTER XIII CATALOGUE OF AUSTRALIAN GOLD DIGGINGS AND CRIMEAN WAR PRINTS 15! CHAPTER XIV PORTRAITS 155 CATALOGUE OF SAME (EXCEPT THOSE IN CHAPTER VIII) . . .155 Portraits of the Royal Family Vocalists Statesmen, soldiers, sailors, and others. CONTENTS XV PAGE CHAPTER XV RELIGIOUS PRINTS OTHER THAN BAXTEROTYPES AND MISSIONARY PICTURES ..... 17! CATALOGUE OF SAME . . 171 CHAPTER XVI BAXTEROTYPES ....... 178 CATALOGUE OF SAME . . 178 CHAPTER XVII CATALOGUE OF PRINTS OF INTERIORS . . . 183 CHAPTER XVIII CATALOGUE OF PRINTS OF FLOWERS AND FRUIT . 190 CHAPTER XIX LANDSCAPES ........ 192 CATALOGUE OF SAME AND EXTERIORS OTHER THAN RELIGIOUS PRINTS, BAXTEROTYPES, AND EARLY WORK ..... 192 Prints specially relating to the Royal Family . 192 Views in England . . .195 Cornwallr-'Cumberland Derbyshire Hampshire Kent sndon Middlesex Surrey Sussex Warwickshire Westmoreland Yorkshire. Views in Wales, including the Wye . . 205 XVI CONTENTS PAGE Views in Scotland . . .209 View in Ireland . . . 210 Views abroad . . 210 Italy France Switzerland Germany, Austria, Holland, Spain, and elsewhere in Europe. Views out of Europe . . .220 Exteriors and landscapes place not defined . 222 CHAPTER XX CATALOGUE OF SOME MISCELLANEOUS -PRINTS . . 233 CHAPTER XXI ILLUSTRATIONS FOR BOOKS AND MUSIC . . . 236 PART I CATALOGUE OF BOOKS POCKET BOOKS . 237 PART II CATALOGUE OF MUSIC ILLUSTRATED BY BAXTER IN COLOURS .... 253 APPENDIX . 255 ALPHABETICAL INDEX TO THE PRINTS . . 265 LIST OF ILLUSTRATIONS THE CORONATION OF QUEEN VICTORIA. BAXTER'S MASTERPIECE. PRINT NO. I2Q . . . Frontispiece Facing page GEORGE BAXTER, COLOUR PRINTER I LEWES WHERE BAXTER WAS BORN II DEPARTURE OF THE " C AMD EN " (1838), A MISSIONARY SHIP OF THE LONDON MISSIONARY SOCIETY, WITH THE REV. J. WILLIAMS AND OTHER MISSIONARIES ON BOARD, FOR THE SOUTH SEAS. THE FIRST PRINT PRODUCED BY BAXTER NOT INTENDED AS A BOOK ILLUSTRATION. PRINT NO. 80 16 THE ORDINANCE OF BAPTISM IN JAMAICA. PRODUCED BY BAXTER FOR THE BAPTIST MISSIONARY SOCIETY. , PRINT NO. 93 l8 THE REV. J. WATERHOUSE SUPERINTENDING THE LANDING OF THE MISSIONARIES IN NEW ZEALAND IN 1843. PRO- DUCED BY BAXTER FOR THE WESLEYAN MISSIONARY SOCIETY. PRINT NO. 87 IQ BAXTER'S STAND AT THE CRYSTAL PALACE ... 26 " THE RETREAT, "SYDENHAM WHERE BAXTER LIVED AND DIED 28 AN EARLY AND RARE PRINT. PRINT NO. 28 . 80 AN EARLY AND RARE PRINT. PRINT NO. 54 . . .89 AN EARLY AND RARE PRINT. PRINT NO. 68 . .92 THE REV. JOHN WILLIAMS, THE SOUTH SEA MARTYR. BAX- TER'S FIRST PORTRAIT IN COLOURS. PRINT NO. 71 . 94 THE LANDING OF COLUMBUS. PRINT NO. 104 . . .113 xvii XV111 LIST OF ILLUSTRATIONS Facing page OPENING BY QUEEN VICTORIA OF HER FIRST PARLIAMENT. PRINT NO. 131 119 THE LAUNCH OF THE "TRAFALGAR," THE LAST WOODEN MAN- OF-WAR. PRINT NO. 132 121 THE FAIRIES. FULL PLATE SHOWING BOTH PRINTS. PRINT NO. 140 129 THE INDIAN MUTINY THE QUEEN [VICTORIA] AND THE HEROES OF INDIA. PRINT NO. 143 . . . . 1 30 THE BRIDE (COMMONLY KNOWN AS THE " SMALL BRIDE "). PRINT NO. 146 133 PAUL AND VIRGINIA. THE RARE VARIETY. PRINT NO. 150 . 136 " GEMS OF THE GREAT EXHIBITION." NO. 5 AUSTRIAN DEPARTMENT. THE RAREST OF THE SERIES. PRINT NO. 170 ......... 146 HER MOST GRACIOUS MAJESTY QUEEN VICTORIA (COMMONLY KNOWN AS " THE QUEEN ON DAIS "). PRINT NO. 207 . 159 SIR ROBERT PEEL. THE RARE VARIETY. PRINT NO. 221 . l66 NAPOLEON III. THE RARE VARIETY. PRINT NO. 229 J 69 THE NINTH HOUR. PRINT NO. 235 . . . . *73 THE FISHERMAN'S HOME. PRINT NO. 259 .... 183 DOVEDALE. PRINT NO. 287 196 THE WELSH HARPER. THE EARLY PRINT ; AND THE FINEST OF BAXTER'S CHIAROSCUROS. PRINT NO. 319 . . . 208 ITALY. PRINT NO. 327 212 NUREMBERG. PRINT NO. 337 2l8 THE ANDALUSIANS. PRINT NO. 34! 2lg THE TEMPLES OF PHILM, EGYPT, BEFORE THE NILE DAM. PRINT NO. 347 ........ 222 PARHELIA, OR MOCK SUNS. PRINT NO. 361 . . . 238 GEORGE BAXTER, COLOUR PRINTER. Born at Lewes, July 31, 1804. Died at Sydenham, January n, 1867. GEORGE BAXTER CHAPTER I A GENERAL VIEW IT is a tribute to George Baxter's work, and a sure indication that his achievements will have permanent interest, that his prints have emerged from their temporary eclipse just at the very time when so many other and more recent methods of colour printing are in the full tide of their success. His genius was not unrecognised in his own day ; yet it seems that it is only now that the hour of his complete triumph has sounded. It was inevitable that sooner or later Baxter should be acclaimed as a man who had earned lasting fame, for he was not a printer merely : he was an artist, a pioneer, and a man of many and versatile talents. Often good work fails to attract attention at the time it is accomplished ; sometimes it is perceived and h then forgotten, for not seldom does a generation I arise " that knew not Joseph " ; but in the end it is, in 'either case, quite sure of its crown. To-day Baxter's work is receiving a generous meed of recognition. His art being full of good i I 2 GEORGE BAXTER qualities, conscientious in execution, novel, and pure, it has come about that the discerning student or collector of his prints, instead of growing tired of the quest, pursues it with added zeal as his know- ledge accumulates, and as new beauties or points of interest are revealed to him. " Increase of appetite grows by what it feeds on." Not only for their artistic qualities numerous and alluring as these are is it worth while to collect Baxter prints ; but these works have also a value for the historian, throwing much light upon early Victorian times. In his own world Baxter was an embodiment of the idea of Autolycus that " here is more matter for a hot brain ; every lane's end, every shop, church, session, hanging, yields a careful man work " ; for during the quarter of a century that he was actively producing colour prints there were few prominent persons, noteworthy events, or memorable places, that were not perpetuated for us by his art. His plates include King Edward the Seventh as he appeared when he was a boy of seven, in his sailor's suit at Osborne, and at the age of seventeen, in his military uniform at Windsor ; Queen Victoria and Prince Consort, in their early days ; Jenny Lind, of whom there are excellent representations, one being in the character of " The Daughter of the Regiment " ; the Rev. W. Knibb, the Baptist teacher and abolitionist in Jamaica ; Robert Moffat, the African missionary ; the Emperor and Empress Frederick, at the time of their mar- riage ; Napoleon the Third and his beautiful consort, when they were at the height of their power ; A GENERAL VIEW 3 Wellington, whose funeral is excellently presented ; Peel ; and many another notable man or woman was portrayed with equal impartiality and with equal skill. As a pictorial chronicler of events, too, George Baxter was unsurpassed. Take, for instance, the coronation of the late Queen Victoria, with its array of nearly two hundred portraits, or the opening by her Majesty of her first Parliament. Then we have the scenes connected with the Great Exhibition in London in 1851, and in New York in 1853, and a number of prints illustrative of the stirring days of early missionary enterprise, includ- ing memorials of the first endeavours made to reach the natives of New Zealand by the Wesleyan Missionary Society ; the baptism of some hundreds of natives in Jamaica, according to the tenets of the Baptists ; and the annexation of Otaheite by the French. In this series, which brings before us so vividly to-day the exciting events of that era of pioneer work, we see the departure from Gravesend in 1838 of the distinguished emissary of the London Missionary Society, the Rev. John Williams ; his re- ception at Tanna in the South Seas ; his first inter- view with the natives of Erromanga, another island of the New Hebrides ; and then we witness his murder there, with his companion, Mr. Harris, in 1839. If these prints did no more than interest us in this, "The First Christian Martyr in the South Seas," and so send us to his " Narrative of Mission- ary Enterprises," published in 1837, or to the 4 GEORGE BAXTER " Memoir of Williams," by Ebenezer Prout, pub- lished in 1843, there are collectors who would be deeply grateful for these new outlooks on the moving world. Then the scene shifts to the Crimean War ; and its incidents, as depicted by Baxter, include a review of the British Fleet as it then was, and the military camp at Chobham, with the troops formed " in square," and the bombardment of Sebastopol ; and in addition to these interesting prints we have the Mutiny, and portraits of the " Heroes of India." Other prints carry us away to Australia in 1853, when the gold fever was at its height ; to the Arctic regions, in the search for Franklin ; to Switzerland, during the period of the early ascents of Mont Blanc, made popular at the time by the lectures of Albert Smith. We are able to witness also the royal visit to Ireland in 1849, and return again to the palmy days of Louis Philippe at Eu, and to the ballet at the opera, with Taglioni, Grisi, and Lucille Grahn. So do we pass from clime to clime and from one memorable happening to another, and thus in the collection of Baxter prints do we increase our knowledge of history as well as exercise any critical and artistic insight that we may happen to possess. Not only does the historian look through a set of Baxter prints with enjoyment and profit, but the antiquary and the topographer also, for many of the places faithfully depicted by Baxter have been changed utterly in the revolution wrought by industrial operations, and by other mutations since the artist made his drawings. Baxter has given A GENERAL VIEW 5 us the old Brighton Chain Pier, as it was seen in 1847 ; Stolzenfels, on the Rhine, at the time that it was visited by Queen Victoria ; the Temples of Philae, now submerged ; the Lake of Lucerne ; Balmoral Castle, at the time that Queen Victoria acquired it ; Southsea, before the construction of the Clarence Pier ; Claremont, the home and place of death of Louis Philippe ; the Dripping Well and Lovers' Seat, Hastings, as they were in Baxter's day ; the Crystal Palace in 1854, before it had the towers that are familiar objects now ; Dover ; the view from Richmond Hill ; the then new Royal Exchange and Houses of Parliament ; and copies of many pictures by early Victorian artists. Efficient as we may think Baxter upon a con- sideration of the merits of his work alone, he looms still more so when we take into account the period in which he lived and the position he occupies with relation to the evolution of colour printing in this country. As we look at his book illustrations and separate prints it is difficult to believe that he was able in such a short space of time, with little to guide him, to carry colour printing so far beyond the point at which he found it ; but in a subsequent chapter we shall show in what state it was when Baxter produced his first prints, and to what per- fection he brought it. The intelligent appreciation of this part of the subject involves a consideration of the history of the art of colour printing generally, and a knowledge of Baxter's process particularly. We must under- stand the operations by which his predecessors 6 GEORGE BAXTER produced their prints ; whether they worked with wood blocks or with metal, or with a combination of the two. We cannot comprehend Baxter's position unless we know something of the produc- tions of J. C. Le Blon and his great followers, of J. B. Jackson, Kirkall, and Savage, as well as of Ackermann, Orme, and others. At present the collector of Baxter's work need not be a rich man. If he is a man of moderate means he will be able to spare from time to time the comparatively small amounts that are needed for the accumulation of these prints, and in a few years he will have acquired many excellent examples. Moreover, he will then have the satisfaction of knowing that he has not been gathering puerile things that have no value or attraction in themselves merely the craze of an hour but things of beauty, which Keats assures us are joys for ever. Even viewed from the lower aspect of money value it need not be forgotten that Baxter prints must become scarcer and dearer, and that, especially with the number of collectors increasing by leaps and bounds, a set may be sold for more than it has cost, if at any time circumstances should compel the connoisseur to relinquish his treasures. Furthermore, not only can Baxter's complete works be collected, but often different stages of the prints may be obtained. These range from the " first pull " from the plate, when the print is, as a rule, an excellent engraving in aquatint or mezzo- tint, and on through all the different states of the print to the finished impression. Such a set A GENERAL VIEW 7 of progressive states is extremely interesting as showing the development of Baxter's unique art. Pursuing this point we may remark that " Me warm now," in its first state, is sometimes printed in Bartolozzi red, and the complete print then, when unfaded, shows a red tone. " So nice ! " on the other hand, is in various shades, sometimes including blue ; and, most curious of all, in order to obtain the death pallor upon the body of Christ in " The Descent from the Cross," Baxter made the first tint pink. Other prints are in various colours, and very often one print, in its first stage, will be for some reason in a number of tints. In addition it is very interesting to collect, and to place side by side in the collection, the prints prepared from Baxter's plates by his licensee, A. Le Blond, and so to prove the superiority of the master over the follower. Again, for those fond of research there is a con- siderable field open. Our present scanty know- ledge might be much increased by a thorough inspection of the newspapers and other journals of Baxter's day, since these sources might furnish much information that is still wanting. Indeed, there are several prints he advertised his intention to publish of which no specimen has been found yet, so that it is uncertain if they were actually produced. Then there is the question of his signature to be elucidated. Why did he sign one print only in all the years up to 1848 ? Why did he then sign some and not others ? Was he merely erratic when he 8 GEORGE BAXTER produced a pair of prints, and signed one and not the other ? or had he a motive ? What does he mean when he calls himself " proprietor and patentee " ? Does he mean of the original picture, of the patent, or of what ? Altogether there are many enigmas affecting Baxter and his work not yet solved ; and possibly some hitherto unknown book illustrations lurking in obscure works await the coming of the patient investigator, to say nothing of the numerous varieties of the same print, differing only in many cases in some very small particulars, which are continually being discovered. In this quest the collector will obtain valuable guidance from the catalogue included in this book, and from a number of our chapters that bear upon the riddles which still call for elucidation. The catalogue is believed to be complete, as far as known examples of Baxter's prints are concerned, and thus its comprehensiveness can be assailed only if hitherto undiscovered examples of his work are revealed. The dates of Baxter's early prints are accurate in our catalogue, but those of the later ones are more difficult to fix, except where Baxter has recorded them for us upon the prints ; and upon these and other points the author would give a cordial welcome to any information that readers may be able to afford. Indeed, he feels he will have with him all lovers of Baxter and of his art, when he ex- presses a hope that yet more light may be thrown upon the work and career of a man who in the A GENERAL VIEW 9 development of colour printing from its crude origins, rendered much the same service that Bewick had already bestowed upon the art of wood engraving, and who seems likely now to receive an equal meed of honour and of intelligent appreciation. CHAPTER II BAXTER'S CAREER AND CHARACTER A LTHOUGH the art of George Baxter is held /x now in such high esteem, and although innumerable collectors are engaged in seeking examples of his work in every old scrap-book, and in the murky corners of old curiosity shops, or wherever prints are likely to be found, yet of the man himself, though he died no longer ago than the year 1867, we know singularly little. When we come to gather up the loose straws of his life history, we find how few there are, even to the most diligent gleaner. All Baxter's intimates have died without leaving any satisfying account of the impression he made upon them. Evidently no one had the in- sight to see that Baxter was a man of whom future generations would be glad to know much ; and thus, while our shelves groan, or the fourpenny boxes burst their sides with the ponderous biographies of dull divines or other unalluring bores of early Victorian times, we have no life of George Baxter ; and, if biographers do not help us, Baxter himself, probably assuming that his affairs would be of no account to those who should come hereafter, has left no diary, no list of his works, not much more, II indeed, than his prints themselves, and his business advertisements in the newspapers. Not even his account books, or other office books, have survived, nor those instructions to his licensees if, indeed, they ever were more than verbal that would have thrown such light upon his methods. When we turn to the missionary and other religious societies for whom he worked in his early days, they too have no story to tell. However, by long searching, and by the kindly aid of his descendants and others able to obtain information, we have gathered to- gether such scanty materials as are now available for the purposes of this chapter. George Baxter was the second son of John Baxter, and, according to the family Bible, he was born at Lewes, at 2.30 p.m. on July 31, 1804. He was baptized at All Saints' Church in his native town. In early life Baxter's father had been em- plo^ed in the Strand, in London, at the publishing office of Mr. Mathews, the father of Charles Mathews, the famous comedian. Here, however, his health began to fail, and he went to Brighton ; but, staying there a short time only, we hear of him soon after- wards as having settled in Lewes. This was early in the nineteenth century. At Lewes he estab- lished a printing and publishing business, which thrived so well that he was able to retire from the cares of commercial life some time about the year 1850. John Baxter was, according to the "Dictionary of National Biography," the first printer to use the inking roller. He had one made by a saddler in Lewes; and Robert Harrild, who 12 GEORGE BAXTER helped him in these experiments, afterwards ob- tained a patent for it. This settlement at Lewes of the elder Baxter explains how it was that George Baxter came to be born in the Sussex town. His earliest school days were spent at the Cliff e House Academy, Lewes, kept by Mr. William Button ; and afterwards he went to the high-school at St. Anns, where probably he was under Mr. Cator Rand, but certainly not under Mark Anthony Lower, the learned antiquary and philologist, as has been stated incorrectly sometimes. When Baxter left school he spent some time in a book-shop in North Street, Brighton. Later he must have been apprenticed to a wood engraver, or must have acquired the art in some other way ; and we hear of him in these early years, not only as making drawings for his father, as an engraver on wood, but also, occasionally, as a lithographer. Then we lose sight of him, and are left wonder- ing whether he went to London to gain greater proficiency in the arts he had begun to practise, or whether he remained in Lewes to assist in the paternal business. We find him, however, in the year 1827, helping with the illustrations to Horsfield's " History of Lewes," and to Baxter's " Select Sketches in Brighton," both published by his father. In the Brighton book an advertisement was inserted by George Baxter, in which he describes himself as a designer and engraver on wood, and gives his address as 37, High Street, Lewes. In this year he married BAXTER'S CAREER AND CHARACTER 13 his cousin, and the following is the notice in the Sussex Advertiser : " Aug. 23, 1827, at Lewisham, by the Revd. R. T. Lancaster, Mr. Geo. Baxter, engraver, eldest surviving son of Mr. Baxter, printer, Lewes, to Mary, eldest daughter of Mr. Harrild, of Round Hill Cottage, Sydenham, and of Friday Street, London." The young couple in this year went to the me- tropolis to live, and the first London address that appears upon any of Baxter's prints is n, Great Distaff Lane, Cheapside. Probably this was the address of Messrs. Harrild, and it is likely that, until Baxter was established in some permanent home, he used their address, and at the same time, for the purposes of their advertisements, en- graved representations of their printing machines ; for we find wood-cuts about this date, and the address on them of the makers of the presses is stated to be n, Great Distaff Lane, Friday Street, London. On each wood-cut, G. Baxter appears as the engraver, but only on very few do we find he has affixed any address, and, when he does, it is 29, King Square ; so we may perhaps conclude, before he had completed the work, he had found his first London home, and established himself at 29, King Square, Goswell Road, which was un- doubtedly his address when he produced his first colour print in London. Not much is known about Baxter's work at this period ; but, from what he says in his advertisement in the Agricultural Gleaner in 1836, and elsewhere. 14 GEORGE BAXTER it seems that much of his time had gone in ex- periments. However, in 1833, he executed some excellent wood-cuts for " Redding on Wines," " Ellis' Missionary Annual," and for other books. We have been told that he produced a small print in colours in 1827, for a book published by his father ; but we have been unable to verify this statement. Apart from this, we think his first print in colours was the first known colour print that issued from this King Square address, and that it may be assigned to the year 1829. There are a number of reasons for this opinion. In the first place, there is an undated document in the handwriting of Baxter's brother William, in the possession of Mr. Holman, of Lewes, who has already mentioned the manu- script in " Some Lewes Men of Note." The docu- ment sets forth that " Before Mr. Baxter had secured to himself the name of being one of the first wood-engravers of the present time, his attention was directed to printing in colours, and he selected for himself a simple subject as that of 2 butterflies ; in this he succeeded. The art lied [sic] dormant for a time till within the last 2 months, when, being engaged with some embellishments to Mudie's work on British birds, he was induced to attempt the printing of coloured vignettes to that excellent work. With these he has succeeded to admiration, a perfect picture has been printed, and Mr. Baxter has therefore succeeded in effecting what was so ardent a wish of the late Bewick, and, what must be considered remarkable, it has been completed in a work of similar character to that from which BAXTER'S CAREER AND CHARACTER 15 Bewick owes the greatest portion of his celebrity. We understand Mr. Baxter is engaged in producing several more specimens, and we have little doubt but what a revolution in the style of printing will follow." It is not clear why this document was prepared ; but it appears plain on its face that it was written about, and not later than, 1834, and five years back- wards from that date would bring us to the year 1829. Secondly, in the catalogue of the sale of Baxter's stock in 1860 a catalogue inspired no doubt, if not written, by Baxter the collection of prints then sold is described as " the result of the artistic labours of upwards of thirty years." This also would bring us to 1829. Between 1829 an d Z 834 we know of no colour work ; but in this latter year began the collaboration between Baxter and Mudie, which ended only with the death of Mudie in 1840. During this period Baxter embellished fifteen volumes for Mudie. Baxter moved to Charterhouse Square in 1835, and obtained his patent. In the year 1837 * ne well- known Harrison Weir, who also was born at Lewes, was apprenticed to him. His art now improved rapidly, and, by the year of Queen Victoria's accession, he had reached a very high level of achievement, as we may see by a reference to the illustrations in the " Cabinet of Paintings," than which perhaps he never did anything finer ; but commercially the book was a failure. Com- menting upon this work two years later, in his treatise on wood engraving, John Jackson affirms l6 GEORGE BAXTER that, " so far as regards the landscapes, nothing of the same kind previously done will bear to be compared with them." In the year 1837 began the collaboration between Baxter and Snow, the latter having been just ap- pointed publisher for the London Missionary Society. A succession of illustrations of missionary works followed, beginning with the first of Baxter's por- traits in colours that of the smaller print of the Rev. John Williams. Now, although this portrait was prepared for the illustration of a book, Snow found there was a market for it apart from the volume in which it had been placed, and it was this discovery that suggested the sale of separate prints. In the next year was issued the first of the pictures designed with no idea of book illustration, " The Departure of the Camden." Baxter began now to take a share in the publication of his pictures, in- stead of leaving this part of the business entirely to others ; and his two prints, " Williams at Tanna " and " The Massacre of Williams at Erromanga in 1841," were published jointly by Baxter and Snow. Meanwhile Baxter had been employed upon his two greatest works, " The Coronation of Queen Victoria," and " The Opening by Queen Victoria of Her First Parliament," and the preparation of these prints had brought him into close contact with a number of exalted and influential people. He was admitted to Buckingham Palace on two occasions at least, that he might complete his por- trait of Queen Victoria in her robes, and afterwards he was permitted to submit the prints personally K P s BAXTER'S CAREER AND CHARACTER 17 to the Queen and to Prince Albert at Buckingham Palace, and to the Queen-Dowager at Marlborough House ; and after an introduction by the Ambas- sador, the Chevalier Bunsen, he had a long inter- view with the King of Prussia, who desired to have the process explained to him. He drew from life the portraits of the Dukes of Sussex and Cambridge, and he was present at the coronation, and also at the opening of the first Parliament. Both these prints were dedicated, by command, to the Royal Family, and they were published by subscription. Moreover, Baxter was one of the two artists who alone were admitted to see the baptism of the little Prince of Wales, whom we know now as Edward the Seventh ; and at each of these three functions he was not merely admitted, but special arrange- ments were made for him that he might make his drawings in comfort. About this time too Baxter illustrated Sir N. H. Nicolas's book on " The Orders of Knighthood," and for this and other work he received the patron- age of very high personages, including the Emperor of Austria and the Kings of Denmark and of the French ; so that altogether one might imagine he was on the high road to fortune. The artistic temperament, however, is not found often in asso- ciation with acquisitiveness ; and somehow Baxter does not seem to have taken his tide at the flood, nor to have availed himself of the advantages for worldly profit that were apparently within his reach. During the early part of the year 1843 there was a disagreement between Baxter and Snow, and an 2 I 8 GEORGE BAXTER angry controversy followed in the Patriot. In that year Baxter's portraits of Moffat and Williams appeared ; and, Snow having issued similar portraits by another process, Baxter announced in an adver- tisement that he, as " inventor and patentee of oil- colour printing, wishes to caution the public against ordering a common litho' in lieu of his oil-colour mezzotint, and strongly recommended by the publisher [Snow], and called by him a full-length portrait." In another issue he advertised that " he was happy in assuring the public he had no connection with that mere litho'/' and, further, " the public should be cautioned in ordering Baxter's portraits ... as there was a common litho' pub- lished in opposition to his." Although the ani- mosity thus exhibited seems to have been appeased for we see in 1845 a laudatory article in the Juvenile Missionary Magazine, with which Snow was connected, on Baxter's two portraits of Pomare and Pritchard, published by Baxter yet Baxter never again embellished any of Snow's publications not even in 1844, the Jubilee of the London Mis- sionary Society ; nor did Snow publish any more of Baxter's prints. He afterwards employed Baxter's rivals, Gregory, Collins & Reynolds. Meanwhile, however, Baxter was busy in other directions. For the Baptist Missionary Society, in 1843, he published at his new address in North- ampton Square his excellent print of " The Ordinance of Baptism," and in 1844, for the IWesleyan Missionary Society, he issued " The Rev. Mr. Waterhouse" superintending the Landing of BAXTER'S CAREER AND CHARACTER 19 the Missionaries," and other plates; and he was also executing orders for America. In 1846 Baxter was engaged by the Patriot to prepare portraits of some of the most celebrated British missionaries, together with historical pic- tures connected with remarkable events in mis- sionary enterprise. These were to be issued at intervals of six months, but the artist had much on hand, for he was engaged to produce also, for the pocket-books of that period, some series of small prints for different firms, including Messrs. Suttaby & Co. and the Religious Tract Society. Baxter was working also for the Child's Companion ; he suffered a severe illness ; and so, in one way or another, he fell into arrears with his work for the Patriot, and, when but three portraits had been completed, the series came to an end, and with it Baxter's labours in connection with missionary work, except the small print of Vah-ta-Ah in 1857, and even this was produced probably some years prior to that date. Since 1843 Baxter had been beset with an annoy- ance which comes to most men who achieve distinc- tion. In or about that year there was established at his former address, 3, Charterhouse Square, the firm of Messrs. Gregory, Collins & Reynolds, who were pupils of Baxter, and these men produced prints more or less on Baxter's lines, availing them- selves of the loose phraseology of his specification to evade such infringement of his patent as would make an action at law successful ; and yet especi- ally as they were in premises associated with his 20 GEORGE BAXTER name, and of course knew his methods encroaching so far upon his rights as to constitute a continual mortification. A specimen of the work of this firm appeared in the Art Journal in 1846, together with a high eulogy of Cundall's books, for which this rival pro- cess was mostly used. The article contained also an historical account setting forth that many at- tempts had been made from time to time to bring to practical perfection such a method of printing in colours as would be available for cheap publications like Cundall's ; but that no experiments that had ever come under their notice gave so fair a promise of success as those of that firm ; nor had they ever before heard of so many as seven blocks being used. In 1849 the patent granted to Baxter on October 23, 1835, f r fourteen years, expired, and he applied for renewal. The application came before the Judicial Committee of the Privy Council, pre- sided over by Lord Brougham (the other judges being Lord Langdale and the Judge of the Admiralty Court and the Chancellor of the Duchy of Cornwall) , on June 21, 1849, and it was opposed by Leighton. The main ground of opposition was that, although he had been apprenticed to Baxter to learn wood engrav- ing, he had learnt only colour printing ; and he urged further and several pupils gave evidence that if the patent were renewed they would be deprived of their means of living. However, the evidence they furnished did not convince the Committee they were not able to earn a livelihood ; and when many of Baxter's prints had been produced, and eminent BAXTER'S CAREER AND CHARACTER 21 artists like David Roberts, R.A., had given their testimony in Baxter's favour, not only was the patent renewed for five years unconditionally, but Lord Brougham used this opportunity to speak in praise of Baxter's work. He said the prints were of " public utility," of " great ingenuity," and " original past all doubt." (See Appendix.) It was not as President of the Judicial Committee of the Privy Council that Lord Brougham had first come into touch with Baxter anoMiiH" work; for he had presided at the annual meeting of the Anti- Slavery Society in 1844, when Baxter received sub- scribers' names for his proposed print of Haydon's celebrated picture of the great meeting of delegates held in London in June, 1840, for the abolition of slavery and the slave trade throughout the world, presided over by the venerable Thomas Clarkson, and which picture was to have been produced with the approval of Mr. Clarkson, and was to contain one hundred and thirty portraits of distinguished friends of the negro. Many of Baxter's prints of Raphael's " Holy Family " also bear upon them an intimation that they have been reproduced from the tapestry in Lord Brougham's possession, and have been published with the sanction of the owner. The precise year in which this print was published is not perhaps known, but it was in preparation in 1848 ; for, in a letter from Lord Brougham to Baxter, dated Grafton Street, May, 1848, he says : " I want to show the Madonna to the Duke of Wellington and others, and therefore wish you could send half a 22 GEORGE BAXTER dozen to-day." In another letter, dated Cannes, October, 1849, he says : " I'll thank you to put up a few specimens of your process, because I wish to let it be known, as it so well deserves. If the Madonna is done, pray send it." As a further indication of the interest that was manifested in high places in the work of Baxter, we may draw attention to a statement in the Sussex Express of May 18, 1850, that Baxter had received the commands of his Royal Highness to attend at Buckingham Palace to explain to the Prince Consort the process of oil-colour printing as employed in the production of a beautiful cabinet picture of the Madonna, taken from a splendid tapestry belonging to Lord Brougham. The newspaper states further that the art was practised in no other country than England ; and thus we may infer that at this date no foreign patents were in existence. It is most probable that, as a direct result of this inter- view, and on the suggestion of the Prince Consort, the portrait of the Prince, first published in 1848, was altered so far as to represent him wearing buckskin and not blue breeches. It was in the year 1849 that Mr. Reynolds, of the firm of Gregory, Collins & Reynolds, left London to enter Minton's well-known pottery works at Stoke- upon-Trent ; and Leighton, another of Baxter's rivals, as well as pupils, acquired the business of that firm. Their productions were still championed by the Art Journal, and an article that belongs to the year 1851 extols Leighton's work, and explains elaborately that the print of " The Hawking Party," BAXTER S CAREER AND CHARACTER 23 which accompanies the article, was produced by a process quite opposite to that employed by Baxter. A protest was made by Baxter against this article, and a few months later the Art Journal contained an account of his process, together with a vindication of his methods ; but the article, no doubt inspired, is very interesting, and states, amongst other things, that Baxter had expended in his various experiments upwards of 8,000, and it expresses a hope that the circulation of his pictures, so elaborate and beautiful in their character, might supersede the tasteless daubs so constantly found in the cottages, and that thus the taste of the people might be cultivated thereby, and the minds of all classes refined ; for, beautiful as were these pro- ductions, they might be purchased at so low a rate as to be within the means of the working classes. Baxter's activities in 1847, and during the four years that followed, were concentrated principally upon small commercial and ephemeral prints ; and he followed up the advantage he had gained in the renewal of his patent by obtaining similar rights in Belgium, France, and Austria, and probably in America, and in other countries. That he estimated at considerable value some of his foreign patents is attested by the fact that he advertised for sale his French rights in 1850 for 2,000. About this time too, having devised the Baxter mounts, he began to announce on them that he was willing to grant licenses to those who wished to learn his process, and to instruct them too in his methods. In some of his advertisements he states that he takes this 24 GEORGE BAXTER course because the demand for Baxter prints has become greater than the inventor can himself supply. Like many other colour printers of his time he took a stand at the Great Exhibition, in the fine arts section, and exhibited upwards of sixty of his different prints ; but these, for some reason, did not, it is thought, include " The Opening of Parliament," " The Coronation," " The Wreck of the Reliance," nor any of his missionary subjects. The official catalogue containing the reports of the juries says of his exhibited prints : " Nothing can be more beautiful and more perfect in execution than these charming plates printed in colours ; but, the articles having been placed in the class more especially relating to the Fine Arts, it is in that class that all account of their merit must be sought f or " ; and under that heading we find : " G. Baxter, London. The view of the exterior of the Great Exhibition Buildings, and a female portrait [probably " The Bride " ] show very great skill in a process which so seldom yields a successful result. Hon. Mention." Baxter received also medals from the Emperor of Austria, 1852 (which was a great compliment, as the Austrians at the Great Exhibition exhibited the best specimens of chromo-lithography) ; New York Exhibition, 1853 ; Paris Exhibition, 1855 ; and from the King of Sweden, 1857. The years 1850 and 1851 seem to have been specially busy ones with Baxter ; and in the latter part of the later year he enlarged his premises by absorbing No, 12, Northampton Square, BAXTER'S CAREER AND CHARACTER 25 Leighton about this time had become associated rie Illustrated London News, established in 1842. This journal, judging from the tone of its comments published in the week after the opening of the Great Exhibition, does not appear to have been very friendly towards Baxter, and in an article it sought to " damn with faint praise " his exhibits at the Exhibition by saying they were " meritorious in execution, pretty, and pleasing " ; but added that most of his prints were " inartistic," and some contained " very bad drawing." The critic, whose opinion was quite opposite to that of the jury of the Great Exhibition, as we have before shown, singled out as being the best of Baxter's collection a reproduction of the Raphael's Madonna of Lord Brougham we have before mentioned, and observed that this had " a very finished look " which this print never had and then he went on to argue that Leighton's productions ranked much higher as works of art, and concluded with a scarcely veiled piece of sarcasm and personal feeling that Baxter's patent had been renewed, " thanks to Lord Brougham." To-day, separated by many years from the acrimony which characterised the controversy of that period, we are able to look upon the matter more dispassionately ; and, with Baxter's best and Leighton's best side by side, have no hesitation in awarding the palm to Baxter. In 1854, or, as some make it, 1855, Baxter's patent finally expired, and thus it became permissible for anyone to produce prints by his methods. 26 GEORGE BAXTER Leighton then began, in 1855, in the Illustrated London News, to produce coloured illustrations, some of them drawn by Harrison Weir ; and this journal deserves the credit for being the first English newspaper to produce coloured work, though in its earliest appearance this work was poor indeed. Baxter clearly retained his pre-eminence, and no one could approach him in general excellence. He continued to call himself the patentee. In 1853 he showed his work at the Exhibition in New York, and enhanced his reputation in America by his print of the Exhibition there, and of the negro boy in " 'Me warm now'" and other prints. In this country in this year he produced most of his series of admirable and popular miniature portraits. In 1854 his complete series of " Gems of the Great Exhibition " appeared, and arrangements with him were made by the directors for the production of a series of " Gems of the Crystal Palace," opened at Sydenham in this year. For some reason, however, this series was never completed. From this time he seems to have discarded book illustration and original design, and to have devoted himself, as had been his ambition from the be- ginning, to the reproduction of coloured pictures, with or without variations, for in this respect he does not seem to have been very particular. After producing his Baxterotypes about 1854, as a kind of effort to stop the progress of photography for illustrative purposes, he dabbled a little himself in the actual process of that art, and produced a series of photographs ; but these, except for their rarity, BAXTER'S STAND AT THE CRYSTAL PALACE. BAXTER S CAREER AND CHARACTER 27 are of no importance, and demand no more than this passing allusion. In the year 1858, however, he contemplated making a more serious use of photo- graphy, for he invented a plan for colouring photo- graphic pictures in oil colour by wood blocks. After he had duly filed his specification the letters patent were sealed on April 12, 1859 ; but this scheme was either not really practicable, or not profitable, for he never seems to have made any use of it, and, as far as is known, no prints in this process by him exist. There is no doubt that chromo-lithography, which had run side by side with his colour process from the beginning, and the demand for cheap coloured illustration, were serious menaces to him, and especially the introduction of the German coloured lithograph. Whatever may be the merits of Baxter's process for the production of artistic effects, it was hardly equal to the growing demands for expedition, economy, and number. In 1860, Baxter, for one cause or another, retired from business ; and in May of that year Messrs. Southgate & Barrett, the auctioneers, announced a sale of his " oil pictures, the valuable engravings, plates, and blocks, and the patent plant, lease, machinery, and fixtures " ; and the purchaser of the lease was to have permission to use Baxter's name as his successor. Altogether one hundred and nine plates, with their blocks, the latter being " drawn, engraved, and highly finished, by the patentee himself," " w,hose artistic talent and perfect mastery of the graver 28 GEORGE BAXTER had supplied everything with regard to the blocks to a certainty," and over three thousand lots of prints, more than one hundred thousand in all, were catalogued, the sale lasting a fortnight. This catalogue is extremely rare; and it affords useful information. The sale in London was followed by others in the provinces during the next two years. Most of the plates were bought in ; and eventually these found their way, through Baxter's son George, to Messrs. Vincent Brooks, Day & Son, whose service the son entered. Before giving up business Baxter had erected a house at Sydenham called " The Retreat," and he and Mrs. Baxter, who before his retirement lived there only during the week-ends, now resided at Sydenham altogether ; but he did not, by any means, give up his interesting art, and even at his death some unpublished designs were found in his pocket. George Baxter was of medium height, his hair dark and curling, his complexion florid. He had that instinctive way of evading intrusion so often to be noted in artists, men of letters, or men of affairs, who, painfully conscious of the work they have to accomplish, and of the small aid they are likely to gain from mere purposeless gossip, display impatience or downright irascibility as a kind of protection from intruders. Much in this way Baxter came to be accounted retiring and exclusive. He was devoted completely to his art, contemplating his plates, even at meal times, in search of oppor- tunities for those minor emendations which different BAXTER'S CAREER AND CHARACTER 29 states of his plates reveal ; and, not having the gift of suffering fools gladly, was frequently abrupt in manner, tactless, somewhat vain and impetuous, even to eccentricity, and often he was quite choleric. Many events in Baxter's career tend to show that his want of tact was a drawback to his material welfare. However that may be, from one cause or another, after a life of honourable toil, he died in anything but affluence. On oath he stated, in 1849, that his colour process had not been profitable up to that time, and it was not to the end. Possibly this was because his business ability was in inverse ratio to his talent as an artist, and because his devotion to his art overwhelmed his care to superin- tend the business details of his office ; and so he was robbed by dishonest people in his employ, both here and in America. Baxter was a good husband and father, and of a kindly and charitable nature. He gave readily part of the profits of some of his prints to help Williams's family, to assist the Missionary Schools at Waltham- stow, and to aid other good causes. Neither he nor his family received any Government grant or pension, although such a proposition was strongly supported ; and we were assured most positively by a daughter of Baxter who has died recently, that he never engaged in speculation, though a statement has been made that he did. After his retirement Baxter was often in London ; and in 1866 he was entering an omnibus at the Mansion House as another omnibus drew up, when either the pole or the horses struck him with violence 3O GEORGE BAXTER on the back of his head. He was assisted into the omnibus, where he appeared to lose the use of his hands and power of thought. Apoplexy super- vened, and he died at " The Retreat " on January n, 1867, and was buried at Christ Church, Forest Hill, where a polished red granite obelisk marks his resting-place. The inscription on the monument says, among other things, that this is " The Family Grave of George and Mary Baxter." The certificate of his death ascribes his end to " apoplexy and paralysis from an accident." Lithographer, engraver in wood, in mezzotint, stipple, aquatint, and occasional line, publisher, in- ventor, colour printer, and accomplished artist and how accomplished, only those who have been privileged to see some of his wonderfully minute miniature water-colour drawings fully know George Baxter was no ordinary man. Judged from the standpoint of his print of the coronation, with its numerous portraits, one feels that, while as a colour printer he is unsurpassed, he was prevented by the circumstances of his life from attaining his full development, either as a printer, an artist, or an inventor, and that under more favourable auspices he would have left us evidences that he was capable of even yet greater achievements. CHAPTER III BAXTER'S PLACE IN COLOUR PRINTING IN ENGLAND LET us say at once that we do not claim for I Baxter's methods that they were entirely new or original ; for before the period of his patent his means were very similar to those of J. B. Jackson and of Savage. All three produced chiaros that is, prints from wood blocks only. They built up a picture, stage by stage, by im- posing colour on colour from wood blocks. When Baxter had obtained his patent his methods approximated more closely to those of Kirkall, Knapton, and Pond, who used as a basis for the picture an engraved " key/' or foundation plate ; and it was upon the impression they obtained from this plate that they imposed afterwards the colours from the wooden blocks. In order to show more clearly what were Baxter's real merits, and in what respects he was a pioneer, standing apart from other colour printers, it will be interesting now to trace the history of colour print- ing in our own country from its earliest manifesta- tions to the time when Baxter began to show what strength and beauty lay hidden within these complex processes. From the era of " The Book of St. Albans," 31 32 GEORGE BAXTER a volume that belongs to the fifteenth century, and contains the first, though isolated, example of colour printing in this country, down to Baxter's time, the only coloured illustrations were : (a) Some prints from wood blocks only that is, chiaros ; but these consisted principally of those in John Baptist Jackson's book called " Essay on the Invention of Engraving and Printing in Chiaro- oscuro, as Practised by Albert Diirer, Hugo di Carpi, etc.," published in 1754, and in Savage's book, " Practical Hints on Decorative Printing," pub- lished in two parts, 1819-1822. (b) Some prints from a combination of metal plate and wood blocks, beginning with Kirkall in 1721, continued by Knapton and Pond, and ending with Skippe in 1781. (c) Prints or impressions from a metal plate only, produced by etching, mezzotint, or stipple. These methods began in 1722, with James Christopher Le Blon, a Frenchman resident in England, whose " Colorito," printed in anticipation of and on the principle of the three-colour process, was probably the first book with printed coloured illustrations that had been published in this country since ' ' The Book of St. Albans." Le Blon was followed by Ryland, Bartolozzi, and the school of stipplers in colours, and by J. R. Smith, the Wards, Green, and the school of mezzotinters in colours. Blake was unique. His was a system of etching in. relief. There had appeared, however, at intervals, from a very early time, a number of illustrations either from metal or from wood, coloured by hand ; but BAXTER S PLACE IN COLOUR PRINTING 33 sometimes in the later years two or three tints would be printed. This method continued to Baxter's day, except that before the end of the eighteenth century the prints were usually in line, mezzotint, or stipple ; but after that period they were mainly in aquatint, and included those interesting series in that style published by Ackermann and others. In his book, J. B. Jackson claims to have re- covered the lost art of the early chiaroscurists, Ugo da Carpi in Italy, Diirer in Germany, and the others ; and he argues that to recover a lost art is scarcely less creditable than to invent a new one. Savage had given a large share of his attention to printing in chiaro, and the prints in this method in his book raised the art to a higher level than before had been thought practicable ; but the work was expensive, and it never had a very wide circulation. It cannot be said that Savage was successful ; but he deserves an honourable place amongst those who helped to develop the art. He says he had been wandering on a road so long disused that his path was scarcely discernible ; and, although he had made great improvement in his own knowledge by his experiments, he had discovered also that the utmost he knew was little compared with what he believed the art was capable of per- forming. His book contains many valuable hints ; and he remarks that in his opinion the old practice of printing in chiaro might be restored, and the imitation of coloured drawings be accomplished with so much success as to provide facsimiles of the best work of the great artists at a small expense for the 3 34 GEORGE BAXTER decoration of rooms, where, if framed and glazed, it would not be possible to distinguish between the print and the original painting. Savage points out further that such an art would enable the press to decorate its own productions with an elegance and splendour well suited to the art which bestows so many blessings on man ; but the inventor of such a process would need to provide that the ink should not smear on being slightly rubbed, and that the print should retain its colour and general appearance permanently. Moreover, the inventor must remember that these properties had never been obtained in ink where oil only had been used. Bewick too, in his " Memoirs," written about 1828, but not published until 1862, is of the same opinion ; and he tells us that in his judgment prints might with good effect be made from wood blocks, printed in colours like paper-hangings, of subjects fit to embellish almost every house throughout the country, and that, although he felt much difficulty in any attempts to produce such impressions, yet the principle would shine out under the skill and management of some eminent engraver in wood who was gifted with the painter's eye. Mudie, in the preface to the first book illus- trated in colours by Baxter, " The History of British Birds," published in 1834, says : " The vignettes [the only part Baxter illustrated] are novelties, being the first successful specimens of what may be called Polychromatic printing, or printing in many colours from wood blocks. . . . In carrying this very beautiful branch of the typo- BAXTER'S PLACE IN COLOUR PRINTING 35 graphical art successfully into effect, Baxter has, I believe, completed what was the last project of the great Bewick, but which that truly original and admirable genius did not live to accomplish." For some reason all these authorities ignore the results that had been obtained by printers from metal plates. It may be that they thought this method, although it might continue to play its part in the production of a coloured engraving, could never come into extensive use for books. Yet all foresaw the advent of some general, popular, and inexpensive system of colour printing, and of the imitation of paintings ; but until Baxter's time no one had been found capable of carrying out these ideas. A great impulse had been given to colour printing by the State lotteries, the organisers of which struggled to render their schemes attractive by means of their tickets and advertisements, many of which were printed in two or three colours. Branston, Vizetelly, Congreve and others were ex- perimenting ; and Congreve, in 1820, obtained a patent for a system of printing from metal plates. From the time of the abolition of the lotteries pro- gress in colour printing declined ; and in the year 1827, when Baxter came to London, it was at its lowest ebb, lotteries having been finally abolished during the previous year. De la Rue, however, obtained patents for improvements in printing-inks, so necessary for successful colour printing, and also, in 1832, for a process of printing playing-cards ; but the exact process that would supply the wants 36 GEORGE BAXTER of publishers for coloured book and other illustra- tions at a cheap rate, and for mercantile purposes, still remained to be devised. There is no evidence that Baxter had commenced to experiment before he came to London ; but he was at a later period in touch with Mudie, who, in his turn, was most probably in close association with Bewick when the eminent wood engraver was in London in 1827. So that it is perhaps not an unreasonable supposition that Baxter may have derived inspiration, if not direct encouragement, from the great Newcastle artist, whose ideas on colour printing we now know. In the specification for his patent in 1836 Baxter says : " The process of printing landscapes, archi- tectural, animal, and other decorative impressions by means of wooden blocks being well-known and in common use, it will not be necessary to enter very extensively into a description of that art " ; and in a letter he wrote to the Daily News in December, 1856, speaking of block printing, and re- ferring to Savage's book and the prints it contained, Baxter says : "I deny that in the work there was shown any evidence that it consisted of any improvements upon a long known and practised process, any revival of it, or any combinations calculated to add to previous experiences." Not- withstanding these statements, we have been quite unable to find that in the years immediately preceding Baxter's time there was in fact any illustrative colour printing ; but, quite on the con- trary, we find that, from the publication of Savage's BAXTER'S PLACE IN COLOUR PRINTING 37 book to Baxter's day, this branch of printing re- mained entirely neglected ; and this is borne out by the repeated contemporary references, which describe Baxter's first colour work as novel. Even such a journal as the Athenceum, referring in 1834 to " The Feathered Tribes of the British Isles," says: "We note as a curiosity a small vignette on the title-page of each volume engraved on wood and printed in colours " ; and book after book that Baxter em- bellished prior to his patent contains statements to the like effect. Baxter, however, no doubt felt, and rightly, that he could not claim a patent for block printing, and he distinctly disclaimed that it formed any part of his invention. Baxter's specification shows conclusively that he knew nothing of the colour printers of the eighteenth century ; and if we may conclude from this letter to the Daily News that he learnt nothing from Savage's book, which deals with the technical side of colour printing very fully, one is left wondering where it was he did learn the art. It is perfectly plain, however, that he was no copyist, but an inventor of genius. He had to do as Jackson had done, and recover a lost art, and to wander, as Savage had wandered, on a long dis- used road. He had to choose his metals, ink, and paper; and his choice of each of these materials involved exceedingly complex considerations. Then he had to decide the broad question of whether he should use metal or wood, or both ; and it is a great tribute to his enterprise and skill that in so short a time he was able to overcome all the difficulties 38 GEORGE BAXTER of his predecessors, fulfil their prophecies, and satisfy his own ambitions. His invention was a revelation to the printer, for, as Mudie says, in his preface to " The British Birds," he showed the way whereby 50,000 facsimiles of a painting might be produced with perfect uniformity, and at a moderate expense ; and the advantages to publishers of books of which a large number was to be sold would be very great, especially as Baxter's method eliminated the cost of tinting by hand, which was the same for the last thousand as for the first. Moreover, the copies would be more alike and more durable. Baxter gave to colour printing the stimulus print- ing gave to letters ; and from his day there could be taken into the homes of the masses, for the first time, for their education and other advantage, imitations of coloured pictures that were artistic and reasonably cheap. Again, the process could be used by the commercial man with effect and economy ; so that in these respects Baxter was a pioneer, and conferred upon mankind a number of benefits we enjoy to this day. With justice the preface to the " Cabinet of Paintings " in 1837 savs : " Through his own unaided talent and his in- defatigable perseverance for he is both the engraver and printer its boundaries [i.e. chiaro- scuro] have been so far extended that the name cannot with propriety be applied to his copies in colours of paintings and drawings. To the art as improved by Mr. Baxter, which he almost may be said to have invented, and which he has certainly been the first to practise with success, a distinctive BAXTER S PLACE IN COLOUR PRINTING 39 name is wanting, and none appears to be more appropriate than that of ' picture printing.' ' Judging by what Baxter on many occasions says, his great ambition from the outset was to reproduce mechanically, but artistically and economically, the painter's art. In the preface to his " Guide to the Great Exhibition," published in 1851, he says, after referring to the " extraordinary success " which has attended his exertions to improve the hitherto imperfect style and effect of colour printing, that his prints have a prominent feature, of which he is pre-eminently proud, and this is that while their artistic beauty may procure for them a place in the royal palaces throughout Europe, the prices at which they are retailed introduces them to the humblest cottages. He also goes on to say that he has ever been convinced that cheap artistic pictorial representations are calculated to prove a great benefit to the million, as a highly important addition to the means of youthful instruction. He also says, on another occasion, of his process, that the most useful application of it is to make the public familiar at a cheap rate with facsimiles of the first masters, whereby admirers of fine art, whatever be their means, are enabled to possess themselves of copies of the most valuable works of art, as perfect in form, colour, and expression as the original, and immeasur- ably superior in finish and tone to the loosely executed chromo-lithographic pictures, or the coarse and stiff prints on wood issued by a few weekly publications. Posterity seems to have endorsed these estimates 4O GEORGE BAXTER of his work, for the Morning Post, in an article on March 21, 1859, says : " Baxter's process of printing pictures in oil colours is really one of the most beautiful and ingenious inventions of our time, and it has certainly done more than any other modern discovery to make the great mass of people fond of good pictures, and familiar with them." The Daily News, in December, 1856, and January, 1857, an( i other journals also express the same opinions. It was probably owing to this ambition of his to produce copies of pictures, that Baxter has left us so few prints of subjects of his own design ; and this is to be regretted, as he was without doubt a capable artist. Baxter's first efforts were chiaros in water colour ; they were rude and elementary, and are now more distinguished as memorials of difficulties overcome than as possessing any great beauty of their own. They contained tints rather than colours, were deficient in tone, and had more the appearance of coloured prints than of examples of printing in colours. Soon, however, he used oil, speedily realised its advantages, and the colours became more definite, the lights more artistic, and the tone nearer to complete perfection. Up to the time of his patent, Baxter continued the Savage tradition, and produced several really good chiaros ; but from 1836 he employed a founda- tion plate, which at first was little more than a dotted outline, but it very soon after became a finished engraving. He employed a large number of various kinds of materials, steel, wood, copper, BAXTER'S PLACE IN COLOUR PRINTING 41 zinc, and other substances, as he found each best adapted to produce the peculiar effect he desired ; but his foundation plates were generally steel, and, of the 109 included in the 1860 sale catalogue, not one is made of any other substance. His later prints are distinguished for their conscientious and elaborate detail, their perfect register, their brilliancy and depth of colour, their life, and the softness and delicacy of their finish. Here too he is quite original, for no one has ever equalled him in these qualities. By using a steel plate and aquatint, he continued the two processes then in use for illustration, except that where, before, the impression from the plate had been tinted by hand, he printed the colours too ; but he used also stipple and mezzotint, and in using oil colour, and thereby obtaining the finer effects it produces, he had overcome a difficulty Savage had found insurmountable. In his early prints, like Kirkall and others before him, he printed on tinted paper, and obtained his high lights by the use of white. Until the advent of Baxter there had been no prints coloured in oil colour over an aquatint, for Kirkall and the others used mezzotint ; yet, in the specification for his patent, Baxter does not claim either this use of aquatint or oil colour as a novelty, but he does claim a patent for colour- ing impressions of engravings from metal by means of block printing, though this process was not novel. Indeed, there are some who contend he should not have been granted a patent ; but the same arguments and others were used then, and a 42 GEORGE BAXTER patent was not only granted, but was renewed by the unanimous judgment of four distinguished judges. At the commencement of Baxter's career there was a great field open for coloured lithographic printing, and its employment ran side by side with Baxter's art, and finally supplanted it ; yet, though Baxter mentions lithographic printing in the speci- fication of his patent, he employed it but little ; still it is worthy of note that the firm of Day & Haghe, who had done perhaps more than any other persons in England to develop chromo-lithography which supplanted Baxter's process, were the first under their altered style of Vincent Brooks, Day & Son, to continue Baxter's process on his retirement. In an advertisement in the Morning Advertiser in 1851, Baxter gives his reasons for not using chromo-lithography. He says it is quite unequal to " fine productions," owing to its utter impos- sibility to enter into the minutiae of any sub- ject. Baxter's work was essentially minute and painstaking he coloured every detail : and when we consider that the blocks had to be cut so as to fit exactly the engraved outline, without the deviation of a hair's breadth ; that a separate block was necessary for each colour, and for every shade of each colour, so that for some of his prints twenty or more blocks had to be prepared ; that each block demanded a separate printing twenty blocks, twenty printings ; and that Baxter's presses were not elaborate machines working with un- deviating exactness, but were all hand presses, BAXTER S PLACE IN COLOUR PRINTING 43 as a perusal of the catalogue of his plant sold in 1860 will show, we may then marvel at his won- derful register, and at the many other excellent qualities of his prints ; indeed, so great is the minute- ness of detail in many, that they will bear inspection with the magnifying glass without suffering in the least from that severe ordeal. How he obtained all his effects no one knows ; but it seems certain that he used the very best colours and the very best refined burnt oil, and mixed them himself. The quality of his paper was so fine it could not be obtained to-day ; he engraved his own colour plates and blocks, he rolled his prints, and he personally superintended all the details of his establishment ; but beyond all this there must have been many secrets which perhaps we shall never discover. His licensees and others, although they could not obtain his effects completely, continued his methods for about twenty years. Then his process died, and has never been revived. Perhaps the reason for Baxter's method being unique is not far to seek. Chromo-lithography, as we have said, ran side by side with it almost from the commencement ; the fact that the patent gave Baxter a monopoly prevented others from working on the same lines ; and when, after nineteen years, the patent expired, chromo-lithography had so far advanced as almost to have taken the place of block and metal printing, and there was no prospect of material advantage in others using Baxter's or any similar processes. When chromo-lithography was making such 44 GEORGE BAXTER headway Baxter entertained the idea of changing his own process, and in 1857 he secured temporary protection for an improved method of obtaining gradations of colour by ruling a series of fine lines on the surface of the block in those places where a lighter tint was required. He never proceeded to complete the scheme, and the required notice not being given the provisional patent lapsed. Cheap as it was, Baxter's system succumbed to methods that were cheaper. The price that would pay for the production of German and other chromo- lithographs was no sufficient recompense for the slow and laborious process of Baxter ; but it may be that some day, when people desire artistic colour prints more than they desire very cheap ones, we shall yet witness a revival of Baxter's delightful art. From what we have stated it will be seen that the years immediately preceding Baxter's first colour print were critical ones for the future of English book illustration. The grand epoch of the eighteenth century,with its mezzotinters and stipplers in colours, whose works to-day realise such high prices, had artistically come to an end ; and those processes, because of the slowness with which the illustrations were produced, and because of their high price, were very little used by the publishers of books ; and the interesting hand-coloured aquatints of Ackermann, which took their place, had now nearly ceased. Chromo-lithography and photography were not yet in being ; Bewick, Rowlandson, Congreve, Branston, Debucourt, the great French colour printer, and others of note, all were dead; Savage had made BAXTER'S PLACE IN COLOUR PRINTING 45 no advance ; and book illustration, and the lesser pictorial delineations were almost completely con- fined now to hand-coloured prints, illustrations in black and white, either from wood or stone, or from steel plates, then recently invented. Thus do we see that Baxter was the harbinger of a new era in book illustration, and in the pro- duction of cheap prints in colours ; and from his day to our own these arts have never decayed. CHAPTER IV LICENSES GRANTED BY BAXTER THE word licensee is applied frequently in a sense that is far too wide. It should be remembered that Baxter granted no licenses in this or any other country until after his patent had been renewed in 1849 ; consequently, before that date no one except Baxter produced any prints by his patent process, although, in and about the year 1838, Charles Knight, following Baxter's lead, and afterwards the Chiswick Press, and a few others in the forties, produced prints in colour and in chiaro, by other, but very similar, methods. The renewal of Baxter's patent was for five years only, so that it would end in 1854. Then it would be permissible for any one to use the process, and no license would be needful. Thus it is not accurate to refer to any printer as a licensee of Baxter for any other work than that done between 1849 and 1854. All the same, the term is more often used to denote anyone who worked on Baxter's methods at any period. The difference is material, because presumably those who took out a license would receive instruction from Baxter as to how they were to work the process ; but others would produce the prints as 4 6 LICENSES GRANTED BY BAXTER 47 best they could without any guidance. According to the announcement that Baxter made on his mounts, " Licenses granted to work the process in Great Britain, 200 guineas each ; France, Bel- gium, Germany, etc., 1,260 francs. Instructions to Licensees, 252 francs," we see that he charged very much more for a license here than for one abroad. In the advertisement of the sale of his French patent right in May, 1850, he says he would be willing in the alternative to grant licenses for 250 guineas per license, a difference of about 200. There were very few in England who took up licenses ; for Baxter himself implies so. In a letter to the Daily News, in December, 1856, he says : " As a further proof of the totally opposite combinations in my process, compared with the ordinary method of block printing, allow me to say that several eminent printing firms have each thought it neces- sary to pay me the sum of 50 per annum for several years as licensees for the privilege of using my invention." Thus we see that, although he says on the mounts 200, without naming any length of time, in this letter he refers to 50 per annum as the fee paid. We leave our readers to puzzle it out ; but our point is that " several " cannot mean " many." Le Blond, Bradshaw & Blacklock, Dickes, Kron- heim and Myers were almost certainly licensees, and there may have been others, such as Mansell and Grant ; but it seems equally certain that Vincent Brooks, Leighton, and Gregory, Collins & Reynolds never were. Upon the merits of those we 48 GEORGE BAXTER have mentioned opinions may differ all have their merits and their defects. Le Blond was associated with Baxter in two capacities. From 1850 he printed under his license until the expiry of the patent, and afterwards by the same process for some years, at least up to the time of the 1862 Exhibition, of which he published a print or prints, and subsequently, about 1868, when Baxter's plates and blocks came into his hands, and he re- printed from them. Thus we have Le Blond's own prints and also what are known as Le Blond Baxters. In Le Blond's early period we have some very good work. His set of thirty-two, or, as some say, more ovals are excellent, and a complete set is rare. Then there are many most interesting prints of the Royal Family, and a very excellent picture of a Highland lake. Others are : "In the North of Scotland," " Galway Peasants," " Forget-me-nots," " Virginia Water," " On the Watch," and " The Heather," all of large size. There are also many small ones, most of them published on mounts, with gold border and embossed lettering, like Baxter's. His Le Blond Baxters, excellent as some are when complete, were not a success, and many unfinished ones remained in stock ; but they were ultimately placed on the market by other hands. Bradshaw & Blacklock's prints also were on mounts, like Baxter's. These printers published a book entitled, " The Pictorial Casket of Coloured Gems " (1854), containing some thirty or more prints. Their best is, however, " Truth Dis- tributing the Scriptures to all Nations " ; and LICENSES GRANTED BY BAXTER 49 there is also a pair of " The Queen " and " Prince Consort." Dickes was a fine colourist. He produced a book called " Studies from the Great Masters," containing fifteen prints, some of which are very good, though some are weak. A highly prized set by Dickes is a sheet of twelve small prints containing, " The Fiddler," " The Piper," " The Gypsy," and others. A print on a large scale by Dickes is " The Queen Reviewing the Troops in Hyde Park, before the Crimean War." Kronheim & Co. were excellent printers, illustrated many books, and sold also some separate prints, and produced much small work. Two rare prints on a large scale are " The Village School Master " and " The Wine Tasters." Mansell's work is known principally for its florid colouring. This house published a large number of prints ; some of them are interesting, such as the " Cries of London." ' The Tired Soldier " is a well-known and ex- cellent print by Vincent Brooks ; but Baxter is said to have engraved the plate. Most of Leighton's plates are decadent. The demand for licensee work is rapidly in- creasing ; and, as Baxter prints become increasingly difficult to obtain, so will prints by his imitators be more sought after. CHAPTER V SINCE BAXTER'S DEATH WHEN Mr. Mockler, in 1888, acquired Baxter's plates and blocks from Le Blond, he set himself to arrange and study them ; and much credit is due to him for what he has done. He published an interesting folio of prints in black from the plates, and about 1893 he compiled the first list of Baxter prints. Although this list, as might be expected, contains many inaccuracies, and is not so complete as those which recent discoveries have made possible to-day, yet it has formed the basis for all subsequent lists. In 1895 a Baxter Society was formed, in which Mr. Mockler was a moving spirit ; and, although it soon died, three monthly publications were issued of what was called the Journal of the Baxter Society. These are very interesting, and, had they continued, this book would never have been written ; but after three numbers the journal became extinct. In 1894 began that instructive series of articles and letters in the Bazaar, which has continued from time to time to this day ; and in 1895 was held at the Masonic Hall, Birmingham, under the presidency of the late Lord (then Sir Frederick) Leighton, an ex- hibition of Baxter prints. In the same city, in 1896, 5 SINCE BAXTER'S DEATH 51 Mr. Mockler's collection was sold by auction ; and his sale catalogue affords much information. During the same year Mr. Bullock, of Birmingham, issued his first catalogue of Baxter's prints. This gentleman well deserves to be held in high repute by all Baxter collectors and admirers for the energy, the intelli- gence, and the time he has devoted to the subject. Other names may be mentioned of those who have from time to time thrown light upon this matter, such as Messrs. Cowlishaw, Manton, and Smith, of Sheffield ; Messrs. T. S. Rhodes, T. Priest, and Usher Clarke, of Birmingham ; Mr. H. H. Peters, of Peck- ham ; Mr. S. H. Eachus, of Wolverhampton ; Messrs. G. Holman, and W. Conlan, of Lewes ; Mr. Lumley, of London; Mr. J. H. Slater, of Crouch End; and others. In quite recent times articles and letters, some good, some bad, have appeared in many journals by various writers. Probably the most learned was one in the British and Colonial Printer and Stationer, in 1904 ; and the most earnest, enthusiastic, and popular writer upon the subject of recent years is Mr. Yoxall, M.P., whose contributions have ap- peared in London Opinion. Mr. F. W. Baxter, the generous donor to the nation of that collection of prints which is now in the British Museum, has been ever ready to help those interested in the life and labours of his talented relative. For these and other reasons the collection of Baxter's prints and the study of his art are now very wide- spread, and each of the three capitals, London, Edinburgh, and Dublin, vies with the others in the 52 GEORGE BAXTER interest it displays in the subject. Our knowledge is becoming more definite and accurate ; but there is yet much to be done before it can be said that all that is knowable upon the subject has become known. Indications are not wanting that investi- gation will be pushed still further, and there are many signs of the growing curiosity in everything con- nected with George Baxter and his work. One of these signs was the gathering, in March, 1908, of the members of the Printers' Managers and Overseers Association to take part in a discussion initiated by Mr. Seeley (of Messrs. Kronheim & Co.) who gave a lecture on " How Baxter Colour Prints were Pro- duced." CHAPTER VI HINTS TO COLLECTORS BAXTER prints, as they are valuable and beautiful, are not to be obtained without some sacrifice of time and attention upon the part of the collector. As we have indicated before, this is not necessarily a rich man's hobby. Here the collector does not find himself pitted against those who compete in the sale-rooms for Raeburns and Romneys ; but, on the other hand, Baxter prints are not as common as picture postcards, and they are not to be bought in packets like foreign postage stamps ; for a good specimen of any of the rare varieties he will find even now very keen com- petition. Moreover, although some prints are more plentiful than others, all tend to become rare ; and thus the collector is likely to have more and more difficulty in adding to his treasures. Having found one of these charming prints, a number of questions await the collector's decision. If this is not a first-rate impression, shall he buy it ? He can retain it until he finds a perfect print of this subject, and then sell or exchange the inferior example. On the other hand, shall he set his face resolutely against anything lower than the best ? In the present state of the market we think he will 53 54 GEORGE BAXTER choose the better part if he buys the print, for he is not likely to lose by the transaction. Again, the collector will find frequently an ex- cellent "impression ; but the owner, knowing its value, will ask a price that seems excessive. Shall the collector pay, or wait ? Well, if the price is not utterly prohibitive, for the reason we have given already concerning the increasing value of Baxter's works, he will probably regret his decision after- wards if he does not purchase the print. For the convenience of the collector we will set forth the questions he should consider when, having found a print that he is convinced is a genuine print in colours from the press of George Baxter, he is deciding whether or not he shall buy it. 1. Is the print faded, or is it in a brilliant state ? 2. Is it in any way out of register that is, has each of the various blocks used in obtaining the complete effect been imposed exactly in its right place upon the print, so that none of the earlier printings can be seen protruding beyond the edges of the later ones, or vice versa ? 3. Has it been taken from a worn plate ? 4. Has it been cut, or is it entire ? 5. Is it on a stamped mount, and in every respect as it was issued ? 6. If it is a book illustration, a design on a sheet of music, on a needle-box, or otherwise, is it complete ? 7. Has it been under all its blocks ? HINTS TO COLLECTORS 55 8. Is it in all respects undamaged, and free from any " touching up " by hand ? CONSIDERATIONS OF GENUINENESS Are there any Forgeries ? At the time of writing it is probable that there are no prints nor tints in colours that are actual forgeries that is, there are no prints nor tints in colours other than from Baxter plates and blocks ; and all prints from these plates and blocks are either by Baxter, Vincent Brooks, Le Blond, or George Baxter, Junr. Baxter's Signature a Test. If the print, or tint in colours is of one of those subjects that Baxter signed that is, if he had engraved his name hi the body of the plate and this particular print does not bear that signature, it is not the work of Baxter. Le Blond's Erasure of Baxter's Signature. Subject to what is presently stated, all Baxter's plates which bore his signature in the body, that came into Le Blond's hands, had the signature erased when Le Blond printed from them ; but it is quite possible he printed some before he erased the sig- nature. Still, the number would not be large. Vincent Brooks and Baxter's Signature. It is generally supposed, as already stated, and it may be the fact, that Baxter's signatures were erased from the plates by Le Blond. If this is established, then it follows as a necessary consequence that the prints produced by Vincent Brooks between 1860 and 1867, from Baxter's plates, must have repro- duced the signatures, In this way we may have 56 GEORGE BAXTER on the market prints by two printers, which, although purporting to be signed by Baxter, are not Baxter prints. This fact does not materially decrease the value of signed Baxter prints, because, although only an expert can tell the difference be- tween a real Baxter print and one bearing his signa- ture produced by Vincent Brooks, or by Le Blond, as regards those produced by Vincent Brooks, it is said that in consequence of the arrangement he made with Baxter, to superintend the production of the prints he produced, they are to all intents and purposes Baxter prints. In any case only very few were issued. As regards Le Blond, the prints produced by him which have Baxter's signature were so few as to be almost a negligible quantity. At present little is known of the style in which the Vincent Brooks prints appeared whether they were on stamped mounts, or in what other form ; the strong presumption is that neither Vincent Brooks nor Le Blond published any prints on Baxter mounts. Frequently, signed prints will be found on mounts obviously those on which the print was issued, but without Baxter's stamp ; some of these may be prints by Vincent Brooks. Le Blond's Prints. A complete finished Le Blond print generally has his signature in the body, low down ; but, in by far the larger number of the Le Blond prints that have been found, these signatures have been cut off at some time by unscrupulous persons wishing to palm them off as Baxter's. Con- sequently these prints will be found to be slightly smaller than Baxter's. Some few prints do not, HINTS TO COLLECTORS 57 however, bear Le Blond's signature ; and some, like " 'The Third Day He Rose Again' " and " Little Red Riding Hood," have it so high up that it would be impossible to cut it off without destroying the print ; but often it will be found hidden by being coloured over by hand. Internal Evidence of Genuineness. If the print or tint is one from a plate Baxter did not sign, then a greater difficulty arises, as its genuineness cannot be tested by the signature. In that case the follow- ing observations may be found useful : Baxter prints have a great depth of artistic colour, ex- cellent register, and much attention has been paid to all the details. The surfaces are of a beautiful, delicate, glossy character the gloss comes off with moisture as though the prints were on marble or ivory ; and they have the appearance, especially the portraits, that we notice in miniatures. The flesh-tints are always natural, and the eyes and lips are separately coloured. The whole print is in- variably refined. How to Detect Le Blond's Work. If we com- pare Le Blond's work with Baxter's we shall find generally that it lacks all those excellent qualities which are the characteristics of the greater man. Le Blond's prints have less depth of colour ; often the various printings are out of register ; there is manifest inattention to details, crudeness, harsh surfaces, eyes and lips without colour, unnatural and unpleasing flesh-tints, and altogether a great want of refinement. However, it is only fair to say that when we find a print by Le Blond complete it is 58 GEORGE BAXTER almost as beautiful as a print by Baxter. Le Blond has been judged unfairly by his unfinished work. There are only about thirty of Baxter's unsigned plates from which Le Blond printed, so the diffi- culty is reduced ; and indeed only a few of these at the most present any real difficulty " The Fruit Girl of the Alps," " The Reconciliation," and " Slaves " perhaps being the three most difficult. Le Blond was never so conscientious as Baxter, and he would not use all the blocks if less than all would do ; from some of the plates that came into his hands he probably never printed. Baxter's Name and Le Blond's on One Plate. In many cases Baxter's name was left by Le Blond on the plate margin though it does not appear in the body of the print, the assumption being of course that the print would be mounted and the plate margin then cut off ; and so it sometimes happens that Le Blond's name appears in the body and Baxter's in the margin. The Baxterotypes. The Baxterotypes were never printed by Baxter in colours ; the " Raphael Cartoons " and " Infant Samuel," sometimes found in colours, were produced by other printers. Prints by Other Printers using Baxter's Blocks. The prints issued by Vincent Brooks and Le Blond have been explained. Baxter's son George produced some signed prints also from a few of his father's plates which he retained for they did not go to Le Blond but not from his blocks. He used chromo-lithography instead ; and his prints are usually so bad they can hardly be mistaken by any- HINTS TO COLLECTORS 59 one. His work may be looked for in " The Holy Family," " Harvest Time," and in a few others. It should be mentioned, however, that Le Blond's " Hollyhocks " and " The Gardener's Shed " are also pure chromo-lithographs, and also one variety of his " Lucerne," though another is an excellent print from a plate and blocks. The Dates of Prints. It is useful to be able to discover the approximate date of a print, and it is often a means of detecting fraud. This can be gathered from the address upon it. The first known address of Baxter is u, Great Distaff Lane, Cheap- side ; and prints (probably there would be none in colours) bearing this address would be between 1827, when Baxter married and came to London, and 1829, the date when " Butterflies " was produced, which has the address 29, King Square ; but he was there only a very short time. The address 29, King Square, Goswell Road, would be from 1829 to 1835. The address 3, Charterhouse Square would be from 1835 to 1843, when Baxter moved to Northampton Square. The address n, Northampton Square would be from 1843 to 1851, when he took in another house ; and the address n and 12, Northampton Square would be from 1851 to his retirement in 1860. Miscellaneous Considerations of Genuineness. There are a few prints in Bartolozzi red, or in mono- chrome, which bear Baxter's signature somewhere on them ; they are possibly from plates engraved by him, but from which he never printed. The prints are : " The Moorish Bride," " The Trysting Place," 60 GEORGE BAXTER the large " Little Gardeners," and " A Lake Scene," and there are others ; but, as they have all been printed since his death, it is needless to include these in any collection of Baxter prints. Many of them are distinct frauds. It is probable that most of the large prints during the missionary period were sold plain as well as coloured. When they are plain they bear a close resemblance to what in after years were known as " Baxterotypes." Fraudulent persons have discovered many ways of deceiving. Some- times a Le Blond print is placed on a Baxter mount ; there are also some fraudulent mounts ; but the embossed stamp in these cases has generally a spongy appearance. Baxter's are clear cut. Often, too, prints are touched up, or, indeed, wholly coloured by hand. In case of doubt a magnifying glass should be used. Mr. Mockler produced a book of reprints in black. These occasionally are coloured by hand and passed as Baxter's ; but a little moisture and a clean handkerchief applied to a small portion will soon reveal the fraud. Occasionally, too, licensee work is palmed off as Baxter's, on the statement that it is " like Baxter's," or " by Baxter's licensees," or " from his plates " ; and the fact that some of the prints by licensees have on them " Baxter's patent " helps this deception. It is necessary to remember too that Baxter's seal is in existence somewhere ; so the collector must see that the name of the subject, or label, is below the seal on the mount. Some one also has a stamp " Baxter's patent oil printing, n, Northamp- ton Square," which is frequently used, even upon HINTS TO COLLECTORS 6l prints from plates which had their origin at other addresses. Nearly all the prints, when they are used for music, have Baxter's name in type, in gold letters, beneath the print, on the music. Baxter dealers, as a whole, are a very courteous, honest, and obliging set of men ; and there is far more danger of being sold a wrong print by some collector or small dealer, honestly perhaps, but ignorantly, than maliciously, by any experienced dealer. CLASSIFICATION OF BAXTER PRINTS The collector should make up his mind at the outset whether he will be satisfied with the complete prints, that number about four hundred, or whether he will seek to possess other states of each print. If he decides in favour of the more heroic view of his hobby he may look forward to a search that will extend over a number of years, and that will not cease until many hundreds of prints have been ac- quired. In this case, however, the collector would be rewarded for his diligence by the pleasure he would feel as the owner of a collection so unique ; and the complete set of prints would be valuable inasmuch as it would increase his knowledge and enable him to trace stage by stage the development of a most fascinating art. He would find too that many prints which appear upon the first sight to be identical have yet a number of minor modifications. For the collector of the different states of Baxter's prints the classification that follows will form a necessary guide. 62 GEORGE BAXTER Tints. These are prints that range from the very " first pull " from the plate and then through all the various stages of colouring from the blocks almost to the complete print. Usually the " first pull " has been made in bluish purple, grey, or in neutral tint, although other tints are found, and the impressions are such as any printer could secure if he had the plate. Thus, though not valuable as colour prints, they reveal, if genuine, the varying first stages that led to the perfect print, and in many cases are most excellent as aquatints or mezzotints. Some " first pulls " found are quite modern, having been made by persons who hap- pened to have the plates. Tints of some prints are very rare. The question of tints is a too complicated, tech- nical, difficult, and extensive subject to deal with fully, because in dealing with this complex matter weight has to be given to so many questions, such as signed tints and unsigned ; plates that Le Blond printed from, and those he did not ; Vincent Brooks tints ; Baxter, Le Blond, or Vincent Brooks proofs, before letters and after ; the quality of the paper ; the date of the print ; tints in colours ; and " first pulls " ; and other matters. It should be borne in mind that on the retirement of Baxter in 1860 the plates passed to Vincent Brooks. He held them until 1868, when Le Blond obtained them ; and he held them until 1888, when Mr. Mockler became possessed of them ; and all these three took pulls from the plates. There were some plates Vincent Brooks never had ; and some, again, Le Blond did HINTS TO COLLECTORS 63 not get from Vincent Brooks : and all these points have to be considered. Uncut Prints. In this class we have prints as they came from the press before they have been trimmed. They may be in any condition as regards colour ; but are interesting as showing the plate marks, the lettering, if any, the plate holes, and whether or not other prints were on the same plate, and in several cases they show that the plate was broken and mended ; and the fact of the plate afterwards be- coming unusable may account for there being two varieties of prints slightly differing, as in the case of the portrait of the Duke of Wellington, and others. Book Illustrations. Prints as they appeared in the book they illustrated. These should be uncut. Many prints, especially the small pocket-book illustrations, were produced both as book illustra- tions and on mounts ; and it is interesting to obtain these in both conditions. The lettering which the pocket-book illustrations have nearly always under the print, and rarely or never on it, contains the name of the subject, and the artist from whose picture the print was taken, as well as Baxter's name and address. Occasionally the lettering, especially in his very early productions, is in type ; but generally it is part of the plate. When the print is on a mount none of this lettering appears. On Mount. About the time that Baxter obtained the renewal of his patent, he began also to mount his prints on what are now called " Baxter mounts." The mounts prior to about 1849 have no embossed or other seal or stamp ; but during the missionary 64 GEORGE BAXTER period that is, from 1838 to about 1848 prints were produced on a cardboard mount, usually tinted, and having sometimes printed on it, and sometimes engraved, a description of the subject, and Baxter's name and address ; but prints in this state are now rare. Before 1838 Baxter sold no prints on mounts. After the expiration of his patent, Baxter issued some prints on mounts without his stamp or seal. A print having on its mount Baxter's coloured stamp or embossed seal, surmounted by a crown, and giving his name and Northampton Square address, with a label below stating the name of the subject, is apart from any fraud un- doubtedly true Baxter work, and so more valuable than an unmounted and unstamped print, though in itself it may not be a better impression. The collector should bear in mind the importance of the label with the name of the subject in the case of prints on mounts bearing the embossed seal. Some of Baxter's pocket-book prints are now very rare on mounts, and probably some that were issued for the outsides of playing-cards, or for other special purposes, never were on mounts. A few of the missionary prints that is, those produced by the Patriot are sometimes found varnished, and sometimes on a stretcher mount, with letterpress description : these would be Williams's portrait, with a background of Rarotonga (the earlier print having an interior background), and the portraits of Moffat and Knibb. Sometimes prints are found on stout tinted paper, with a fine blue line ruled round the HINTS TO COLLECTORS 65 print. There were at one time portfolios issued with a certain number of small prints in each generally twenty-five either on stamped mounts, plain mounts, or ruled as above. These were probably issued by Baxter or his agent. No print on a Baxter mount has any address other than Northampton Square. Prints also are sometimes found with embossed mounts ; these were probably issued by Baxter. They may have been valentines. How to Arrange Baxter Prints. No Baxter prints should be exposed to the light, as they fade, the cochineal reds being particularly fugitive. Hang- ing in frames is not therefore recommended. The best way to keep them is to follow the example of those who have arranged part of the collection in the British Museum, and mount the prints (with the corners of envelopes) on large sheets of brown or " Elephant " cartridge paper ; but, unlike those who arranged that collection as it now is, to put sheets of thin paper between each print to prevent friction. This method enables the collector to interpose fresh sheets as he acquires new prints ; or to remove others easily for better ones. As to the order, it is better to classify in some such way as we have indicated in the following chapter rather than to follow the order of date merely. CHAPTER VII THE CATALOGUE EXPLAINED HAVING given in the previous chapters the reasons we have for thinking the collection of Baxter's prints, and the study of his art to be in- teresting ; and having rendered all the information we have been able to gather concerning his life, and his position in this country as a colour printer ; and, further, having given the best advice we can to collectors, we propose in the ensuing chapters to set forth a catalogue of all the prints he produced, and all books, music, and pocket-books he illus- trated, with such information as to each and all of them as is available. The catalogue of prints, it will be seen, is divided into chapters, and each chapter has reference to the work of some well-defined period, or class of subject. This, it is thought, is a more interesting arrange- ment than the one that would result if we were merely to make a list of the prints alphabetically or chronologically. This system will be found also more convenient for those who desire to arrange collections of prints. The prices we have given are about those a col- lector wishful to buy would give to a seller willing to sell ; and it is assumed that the print is unfaded, 66 THE CATALOGUE EXPLAINED 67 clean, of good register, and in all respects in perfect condition. It must be remembered that the market value fluctuates ; and the tendency of late years has been upwards. No attempt has been made to give the prices in any other state than that of perfect and complete prints ; but in most cases tints may be taken at one-third of the value of the perfect print. In the case of prints produced after 1846 the price given assumes, unless otherwise stated, that the impression is on a " Baxter mount " ; but, where there is a considerable divergence between the value of the print on and off the mount, the value in the two states is given. The value of the prints produced before 1846 is also in most cases given for two states ; and, where it is not, it must be assumed the print only appeared as a book illustration. Where a print not a book illustration only is thought never to have been on a mount it is so stated. There are a few prints reputed to be Baxter prints about which there is a doubt ; and also there have been a few prints prepared by Baxter whose present existence is open to question. All these cases are indicated by the use of the letter " D " in the margin of the catalogue. Where the correct title of the print and the date of publication are known, they are given. In every case in which the information is available the catalogue differentiates between original de- signs and prints copied from pictures ; and in the case of copies, whenever the artist's name is known, it is supplied. 68 GEORGE BAXTER Where the print is not lettered in the body of the picture it is described as " Unsigned " ; where it is, the details of signature are set forth. In all cases in which it is known, the plate marks, and the other prints, if any, engraved on the same plate are stated. A short description of each print is given, so that collectors may identify the examples they find. A description of the Le Blond print has been ap- pended in all those cases in which it is well estab- lished that Le Blond printed from Baxter's plate, and in which the Baxter print is unsigned ; but the comparison is made with those prints of Le Blond usually seen, and not with his finished ones which are as rare as Baxter's, and often nearly as good. Where the Baxter print is signed, no de- scription is given, as the absence of signature is sufficient. The sizes are as near as possible exact ; but the prints are not always cut for a mount of precisely the same size. In many cases the number of blocks needed for the complete print will be found. Where original published prices are given they are taken, in the case of the missionary prints, from contemporary documents, and in the case of the later prints from the list in Baxter's " Great Exhibition, and Visitors' Guide to London," and from the Vincent Brooks list, published in the Bazaar, in January, 1898. The following abbreviations have been used in the catalogue : THE CATALOGUE EXPLAINED C. . M.R. R. . V.R. P. D. . Le Blond Signed . Unsigned On Mount Music, No. Books, No. Pocket Books, No. Comparatively common. Moderately rare. Rare, Very rare. Plate was included in the sale cata- logue of Baxter's prints and stock in 1860. For the reasons given, doubtful. Printed by Le Blond from Baxter's plate. Baxter's print was signed in the body of the plate. Baxter's print was not signed in the body of the plate. On a mount with Baxter's printed, engraved, stamped, or embossed, impress. An illustration on the cover of a piece of music. Described, at the number given, in the catalogue of music (Chapter 21, p. 253). A book illustration. Described, at the number given, in the catalogue of books (Chapter 21, p. 236). A pocket-book illustration. De- scribed, at the number given, in the catalogue of pocket-books (Chapter 21, p. 250). CHAPTER VIII EARLY PRINTS 1829-1840 THE particular section of the whole catalogue that is contained in this chapter has refer- ence to the colour prints produced in the early period of Baxter's career ; but it should be noted that the missionary subjects belonging to this period have been extracted, and have been placed with the missionary prints in Chapter IX. (p. 93). It is interesting to note the various styles, and to trace the rapid development of the art to the fine prints in the " Cabinet of Paintings." Some are from wood blocks only i.e. chiaroscuros ; in others the foundation plate is very little developed. The two or three very early prints are not produced in oil colours. Every print set forth in this chapter during this period is a book illustration. None are signed ; but the great majority have Baxter's name somewhere in the margin. None have been reproduced, nor have they been sold otherwise than in books as illustrations, except No. 43, which was reprinted. At Baxter's sale by auction in London in 1860, none of these plates nor prints were offered. Sometimes the lettering is printed. This is 70 EARLY PRINTS 71 generally the case in the very early prints ; but usually it is engraved on the plate. Note the " white," in many cases printed in. Little of this early work is original design. Time has shown that in some of it the colours were defective, or the mixing imperfect, and they now appear in some editions blurred and almost un- decipherable ; but all these early impressions are of very great interest. The important difference between producing lights and shades by the use of colour only, as in chiaro, the style in use by Baxter before his patent, and the method of producing lights and shades by first using an engraving, the mode he adopted after his patent, should be borne in mind. Prints from i to 13 inclusive were dated from King Square ; and probably none of these have foundation plates. All the rest during this period are from Charterhouse Square. CATALOGUE OF EARLY PRINTS 1829 1, Butterflies. One rests on a blade of grass, and there are two on the wing. Except for an alleged small print in 1827, in a book published by Baxter's father, this is the first colour work of Baxter, but not an oil-colour print. Under this interesting print, in type, in one line, is "(0 Peacock, (2) Marmoress, (3) White Admirable " (sic.) ; and below that, in one line, is " Engraved on wood and printed in colours by G. Baxter, 29, King Square, Goswell Road." Probably a book illustration. We know of no other colour work by Baxter until five years after this date. SIZE OF PAGE, 11x9. PRINT, ABOUT 7x5. Unsigned. V.R. 1 10s. 72 GEORGE BAXTER 1834 AND 1835 2. Dippers and Nest. Books, No. 58. Under the print, in type, in the centre, in one line, is the above title ; and below that, in one line, is "Engraved on wood and printed in colours by G. Baxter." The print was drawn and coloured from nature by Baxter. It is not stated to be, and is not, in oil colour. Only the vignette in the book is by Baxter. These remarks apply to both volumes. Except as stated in No. I, this and No. 3 are the first colour prints by Baxter. SIZE OF PAGE, 7| x 4|. PRINT, ABOUT 3$ x 3. Published 1834. / First edition, prints lettered. 10s. Unsigned R. \ Second edition (1835) and later editions, ( prints unlettered except for the title. 5s. 3. Little Grebes and Nest. Books, No. 58. Under the print, in type, in the centre, in one line, is the above title ; and below that, in one line, is " Engraved on wood and printed in colours by G. Baxter." SIZE, SAME AS NO. 2, WHICH SEE. Unsigned. Price as No. 2. 4. Eagle and Yulture. Books, No. 59. The eagle is on a ledge of rock ; the vulture is flying above. Under the print, in type, in the centre, in one line, is the above title ; and below that in the 1834 edition is "Engraved and printed in oil colours by G. Baxter, 29, King Square, from a painting by T. Landseer," in two lines, and in the 1836 edition it is " Baxter's oil colour printing, 3 Charter-house Square, from a painting by T. Landseer." This is prob- ably the first print in oil colour by Baxter. SIZE OF PAGE, 6J x 3$. PRINT, ABOUT 4x3. Published 1834. Later Edition, 1836. Unsigned, M,B. 10s, EARLY PRINTS 73 5. Hindoo and Mohamedan Buildings. Books, Nos. 27, 63, and 71 . Somewhat crude productions, but some prints are very much superior to others. Portico of a Guzerat temple, so colossal that the natives ascribed its origin to a deity. The lettering under the 1835 print is, in the centre, in type, in one line, the above title ; and on the left, "Eng. by permission from Capt. Grindlay's work, 8vo, coloured," in one line ; and on the right, in one line, " Engraved and printed in oil colours by G. Baxter, 3, Charter House Square " ; and at the bottom is " Fisher & Co., London, 1835." Higher up, on the left, is "Edifices Indiens et Mahometans," in one line ; and on the right, " Hindoostanische und Mahometanische Gebaude." Under the 1834 print, in type, in the centre, in one line, is the above title ; and below that, " Fisher Co., London, 1834"; and on the left, in one line, is "Drawn by D. Roberts from a sketch by Capt. Grindlay " ; and on the right, in one line, is " Engraved and printed in colours by G. Baxter, 29, King Square." The 1834 variety is not stated to be in oil colours. SIZE OF PAGE, 1 1 x 8. PRINT, 8f x 6. fl834. R. 15s. .1835. M.R. 12s. 6d. Unsigned.!^ 6. The Welsh Harper. See No. 319 7. Cattle Drinking. Books, No. 29. A good chiaro. A stream and cattle ; and on the left, the bank, trees, rocks, and figures. From Gainsborough's picture in the National Gallery. Under the print, in the centre, in one line, in type, is "Engraved and printed in oil colours by G. Baxter, 29, King Square." The print was produced from twelve blocks. SIZE OF PAGE, 6| x 4^. PRINT, 4$ x 2. Published 1835. Unsigned. M.R. 12s. 6d. 74 GEORGE BAXTER 8. Convolvulus Scroll or Wreath. Books, No. 29. A scroll or wreath surrounding the title of the book. Unsigned. M.R. 3s. 6d. 9. Modification of the Clouds Books, Nos. 43 and 66. A folding print of the sea, showing, above, the various states of the clouds. Under the print, in type, is the above title ; and below that is " (i) Linear Cirrus, (2) Mare's Tail Cirrus, (3) Cymoid Cirrus, (4) Cirro Cumulus, (5) Cirro Stratus, (6) Mottled Cirro Stratus, (7) Cumulus, (8) Cu- mulo Stratus, (9) Nimbus " ; and below that is " Engraved and printed in oil colours by G. Baxter, 29, King Square, London," in one line. SIZE OF PAGE, AND PRINT, 7x4. Published 1 835. Unsigned. V.R. 15s. 10. Norfolk Bridge, New Shoreham. Books, No. 33. In light sepia. Under the print, in type, in two lines, in the centre, are the above title, and "This plate is presented by His Grace the Duke of Norfolk " ; and below that, in one line, is " Engraved and printed in oil colours by G. Baxter, 29, King Square, London, from a drawing by T. Kenwood." SIZE OF PAGE, i2 x 10. PRINT, 4$ x 6J. Published 1835. Unsigned. V.R. 1 Is. 11. The End of Time. Books, No. 65. The Mighty Angel striding over sea and land (REVELATIONS x.). Under the print, in type, are the above title, and " Baxter's oil colour printing, 29, King Square.' SIZE OF PAGE, 4! x 3. PRINT, 3^ x a. Published 1833. Unsigned. M.R. 7s. 6d. EARLY PRINTS 75 12. Polar Sky. Books, No. 56. Rocks in the sea ; and, on those in the left foreground, are Polar bears. In the starlit sky an aurora and a comet appear. This and the vignette were among the specimen works inrolled by Baxter, upon April 23, 1836, on the granting of his patent. Under the print, in the centre, in one line, is the above title ; and below that is, according to the edition, either " Baxter's oil colour printing, 29, King Square," in one line ; " Printed in oil colours by G. Baxter (Patentee), 3, Charterhouse Square, from a painting by W. Westall, A.R.A.,"in two lines ; or "Bax- ter's patent oil colour printing, 3, Charter-house Square. From a painting by W. Westall, A.R.A.," in two lines. One edition has the lettering in type. The colouring of the early edition is defective. The later ones are blue in tone ; the early one grey. One of the bears is also slightly different in later editions. The frontispiece and vignettes of the later editions were on the same plate. These prints, as some have the address at King Square, and others at Charter-house Square, fix the year when Baxter moved from King Square. SIZE OF PAGE, 6 x 4^. PRINT, ABOUT 3! x 3. Published iSjj. Later Editions, 1836 and 1838. Unsigned. M.R. 7s. 6d. 13. The Seasons. Books, No. 56. Under the print, in one line, is the above title ; and on the right, in the early edition, in one line, in type, is " Baxter's oil colour printing." Depicting the radiation of light round the sun. SIZE OF PRINT, ABOUT if x 2j. Unsigned. M.B. 2s. Tropical Scenery. Books, No. 54. Conical moun- tain in the background ; on the left, tall palms ; and in the foreground, tropical vegetation, birds, and a panther. One variety and the vignette were among the specimen works inrolled by Baxter, upon April 23, 1836, on the 76 GEORGE BAXTER granting of his patent. Under the print, in the centre, in one line, is the above title ; and below that is either " Baxter's oil colour printing, 3, Charter-house Square," in one line ; the same lettering, with the addition of the words, "(from original paintings by W. Fowler)," in two lines ; or " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square," in one line. The colouring of the early edition is very defective. The lettering differs with the editions, and is in type in the earlier one. The frontispiece and vignettes of the later editions were on the same plate. SIZE OF PAGE, 6f x 4j. PRINT, ABOUT 4x3. Published 1833. Later Editions, 1836 and 1838. Unsigned. M.R. 7s. 6d. 15. Temperate. Books, No. 54. A landscape, with cows and figures. Under the print is the above title. The 1835 prints are very defective ; the lettering in them is in type. The frontispiece and vignettes of the later editions were on the same plate. SIZE OF PRINT, ABOUT 2 x \\. Unsigned. M.R. 2s. 16. Scene on the Mountain Tops. Books, No. 55. This and the vignette were amongst the specimen works inrolled by Baxter, upon April 23, 1836, on the granting of his patent. Under the print, in the centre, is the above title, in one line ; and below that is " Baxter's oil colour printing, 3, Charter-house Square. (From original paintings by W. Fowler)," in two lines. The lettering on some other editions may be different. The frontispiece and vignettes of the later editions were on the same plate. SIZE OF PAGE, 6 x 4j. PRINT, ABOUT 4x3. Published 1835. Later Editions, 1836 and 1838. Unsigned. M.R. 5s. EARLY PRINTS 77 17. Air Bird. Books, No. 55. A bird on the wing. Under the print is the above title in type in the early edition. The frontispiece and vignettes of the later editions were on the same plate. SIZE OF PRINT, ABOUT 2^ x i. Unsigned. M.R. 2s. 18. Evening on the Sea. Books, No. 57. The setting sun at sea, and a ship on the crest of the waves. This and the vignette to one edition were specimen works inrolled by Baxter, upon April 23, 1836, on the granting of his patent. Under the print, in the early edition, is the above title only ; and in another the above title is in the centre ; and below that is " Baxter's patent oil colour printing, 3, Charter-house Square, from original paintings by W. Fowler," in two lines ; and there may be different lettering in other editions. Somewhat similar to No. 58. The lettering in the early edition is in type. The frontispiece and vignettes of the later editions were on the same plate. SIZE OF PAGE, 6 x 4^. PRINT, ABOUT 4x4. Published 1833. Later Editions, 1836 and 1838. Unsigned. M.R. 7s. 6d. 19. The Shore. Books, No. 57. Under the print is the above title. The frontispiece and vignettes of the later editions were on the same plate. SIZE OF PRINT, ABOUT 2 x ij. Unsigned. M.R. 2s. 20. Caroline Mordaunt. Books, No. 74. An excellent chiaro, showing the governess arriving at the mansion in the coach. Under the print, in the centre, in type, is the above title ; and below that, in one line, is " Baxter's oil colour printing, 3, Charter House Square." SIZE OF PAGE, 6 x 4$. PRINT, 4 x 2f . Published 1835. Unsigned. E. 10s. 78 GEORGE BAXTER 1836 21. Yirginia Water. Books, Nos. 61 and 75. A full- rigged ship on the left. Under the print, in the centre, in type, is the above title ; and on the left, in one line, is "J. Brown pinxt. " ; and on the right, in one line, is " Baxter's oil colour printing, 3, Charter House Square." Some of the early prints are very defective. A curious chiaroscuro print. SIZE OF PAGE, 6 x 4. PRINT, 5x3. Unsigned. R. 1 10s. 22. Boy with a Bird's Nest. Books, Nos. 61 and 75. Under the print, on the right, is " Baxter's oil colour printing." SIZE OF PRINT, ABOUT 2 x i|. Unsigned. R. 5s. 23. Bohemian Peasants, near Toplitz, celebrating the Festival of their Patron, St. John of Nepomac. Books, No. 78. Peasants dancing in front of a large statue. One of the specimen works inrolled by Baxter, upon April 23, 1836, on the granting of his patent. Probably the first print from a plate, and the first in which Baxter described himself as " patentee." Under the print, in two lines, is the above title ; and below that is " Printed in oil colours by G. Baxter (patentee), from a painting by J. C. Zeitter." This and No. 24 were probably on the same plate. SIZE OF PAGE, 8 x 5^. PRINT, ABOUT 4| x 4^. Unsigned. M.R. 10s. 24. Hungarian Peasants descending the Brave, in Carinthia, on a Raft of Barrels. Books, No. 78. See No. 23. Peasants in merriment, having sold their wine, convert the barrels into a raft, and return home by EARLY PRINTS 79 river. Under the print is the above title, in two lines ; and below that, in one line, is " Printed in oil colours by G. Baxter (patentee), from a painting by J. C. Zeitter." It is said some prints have Baxter's initials on one of the barrels. The print was produced from ten blocks. SIZE OF PAGE, 8 x $%. PRINT, ABOUT 4! x 4. Unsigned. M.R. 10s. 25. Southdown Sheep. From the Flock belonging to the late John Ellman, Esq. Books, No. 3. A landscape ; the sheep in the foreground. One of the specimen works inrolled by Baxter, upon April 23, 1836, on the granting of his patent. Under the print, in two lines, is the above title ; and on the right is " Baxter's colour printing, 3, Charter House Square, London," in one line. The word "oil" is omitted ; but the vignette No. 26 has it. Published about the time the patent was granted, and about the time Baxter moved, which may account for the omission in some prints of the lettering on the right. SIZE OF PAGE, 8| x 5^. PRINT, ABOUT 6x4. Unsigned. M.R. 10s. 26. Convolvulus Leaves, Flower, and Bud. Books, No. 3. On the right is "Baxter's oil colour printing, 3, Charter House Square, London," in two lines. SIZE OF PRINT, ABOUT 3! x 3. Unsigned. M.R. 5s. 27. The Mosaic Pavement at Pitney. Books, No. 67. A Roman pavement. Under the print, in some cases, on the left, in one line, in type, is "Discovered by S. Hasell " ; and on the right is " Baxter's oil colour print- ing) 3i Charter-house Square " ; and in the centre is 8O GEORGE BAXTER "At Pitney, Co. Somt., 1829" ; and in others, on the left, is " Baxter's patent oil colour printing." In the centre is " The Roman Pavement at Pitney " ; and below that is " To Samuel Hasell, Esq., the indefatigable and intelligent investigator of British and Roman antiquities this plate (literally contributed by him to this work) is inscribed by his obliged and faithful friend William Phelps." SIZE OF PAGE, n x 8|. PRINT, ABOUT 7^ x 5^. Unsigned. V.R. 1 5s. 28. Boys with a Kite in a Tree. Books, No. 20. Owing to the absence of any lettering on the print indicating it is Baxter's work, it has sometimes been questioned if this print is by him ; but we are able to say it is undoubtedly his. Two boys are playing in a park, and the kite is entangled in the top branches of a tall tree. The only lettering under the print is " Tales of Truth." SIZE OF PAGE, 6 x 4. PRINT, 4| x 3. Unsigned. V.R. 15s. 1837 29. Turn Of the Monsoon. Books, No. 46. The beginning of the north-west monsoon in Southern Africa. On the left, a herd of deer running ; on the right, a cavern and a lion. Under the print, in the centre, in one line, is the above title ; and under that is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square," in one line ; and below that is " From a painting by W. Westall, A.R.A.," in one line. This and the vignette are on the same plate, and are probably the first prints lettered from the plate. SIZE OF PAGE, 6 x 4^. PRINT, ABOUT 4x3. Unsigned. M.R. 10s. EARLY PRINTS 8l 30. A Bird Of Spring. Books, No. 46. A missel-thrush, perched on a leafless tree, is giving the first song of the year. Under the print is the above title. The frontis- piece and title-page were engraved on one plate, as were probably the rest of this series. SIZE OF PRINT, ABOUT \\ x 2. Unsigned. M.R. 2s. 31. Isola Bella, Lago Maggiore, Italy. Books, No. 47. A beautiful print, showing this isle and lake under a sunny sky. On the left, trees, part of a classic building, and a boat. Below the print, in the centre, is the above title, in one line ; and under that is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square, from a painting by George Barnard," in two lines. On the same plate as the vignette. SIZE OF PAGE, 6 x 4^. PRINT, ABOUT 4x3. Unsigned. M.R. 15s. 32. Summer Ply. Books, No. 47. A butterfly, below which is the above title. SIZE OF PRINT, ABOUT 2x2. Unsigned. M.R. 2s. 33. Vineyard near Mt. St. Bernard. Books, No. 48. Vintage in Lombardy, in the vale of Aosta. Two peasants dancing ; others looking on. Under the print, in the centre, in one line, is the above title ; and below that is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square, from a painting by George Barnard," in two lines. Same plate as the vignette. SIZE OF PAGE, 6f x 4^. PRINT, ABOUT 4 x 3^. Unsigned. M.R. 15s. 6 82 GEORGE BAXTER 3$. Autumnal Artist. Books, No. 48. A garden spider in its web, below which is the above title. SIZE OF PRINT, ABOUT 2\ x 3. Unsigned. M.R. 2s. 35. Avalanche at Lewes. Books, No. 49. An avalanche which occurred at Baxter's native town in the winter of 1836-7, from a drawing made on the spot at the time. Under the print, in the centre, is the above title, in one line ; and below that is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square, from a painting by W. Westall, A.R.A.," in two lines. On the same plate as the vignette. SIZE OF PAGE, 6f x 4^. PRINT, 4 x 3f. Unsigned. M.R. 7s. 6d. 36. Winter Bird. Books, No. 49. Two robins on a snow- covered window-sill. Under the print is the above title. SIZE OF PRINT, ABOUT 2 x 2|. Unsigned. M.R. 2s. 37. Cluster of Passion Flowers and Roses. Books, No. 87. There is no lettering of any kind. The print is different in tone compared with most of Baxter's. Possibly it was intended to be, or was used as, an illustration to some book similar to the " Cabinet of Paintings " ; and there is in existence a print on which appears, written in pencil, in what looks like Baxter's writing, " Gems of the Fine Arts, being facsimiles of the originals. Printed in oil colours by G. Baxter, patentee, with illustrations in verse, London, 1837." The publishers' name is illegible. SIZE OF PAGE, 8 x 6. PRINT, ABOUT 8x7 Unsigned. V.R. 5 5s. EARLY PRINTS 83 38. Advice on the Care of the Teeth, Books, No. 72. Female head, with an uplifting piece showing the teeth and jaws. Under the print is " Printed in oil colours by G. Baxter, Patentee, 3, Charterhouse Square," in one line. SIZE OF PAGE, AND PRINT, 6 x 4. Unsigned. M.H. 10s. The eleven prints following are the illustrations to the " Pictorial Album, or Cabinet of Paintings," and are on tinted paper, usually a creamy yellow or buff. Books, No. 68. 39. No. 1. The Vignette on Title-page. Burns and his Highland Mary. Signed on the right " Printed by Baxter, patentee, from a painting by R. Westall, R.A.," in two lines. Burns, coatless, and with a red waistcoat, amidst the corn, is bending down to Mary, who is in a green skirt and yellow bodice. Printed on the title-page, in black and gold letters, is " The Pictorial Album or Cabinet of Paintings for the year 1837, containing eleven designs, executed in oil colours, by G. Baxter, from the original pictures, with illustrations in verse and prose " ; and also, " London : Chapman & Hall, Strand." The book was produced as a New Year's book, 1837. This date is sometimes found erased and the book is either left undated or another date is inserted, evidently being part of the original issue used again. SIZE OF PAGE, 9! x 7$. PRINT, ABOUT 5x5. R. 1. SO. No. 2. Cape Wilberforce, Australia. This danger- ous promontory, and a ship rounding it, are seen. Under the print, in the centre, in three lines, are the above title, and "discovered by Captn. Flinders, in H.M.S. Investigator, 1802. Printed in oil colours by G. Baxter (Patentee), from a painting by W. Westall, A.R.A." The tone of 84 GEORGE BAXTER this print, like others, varies ; and in some the rock is coloured brown ; in others it is a blue tint. SIZE OF PAGE, gf x ;. PRINT, 5^ x sf. Unsigned. M.R. 12s. 6d. 11. No. 3. The Carrier Pigeon. A piece of brilliant colouring, and the favourite print in the book. An Eastern beauty holds the pigeon. Below the print, in the centre, is the above title ; and under that is " Printed in oil colours by G. Baxter (patentee), from a painting by Miss F. Corbaux," in two lines. SIZE OF PAGE, 9! x ;f . PRINT, ST* x 4^. Unsigned. V.R. 1 10s. 12. No. 1. Verona. A favourite print ; but must not be con- fused with the other prints of the same name, in which the whole gondola appears. In this, only a small portion is seen. Under the print, in the centre, is the above title ; and below that is " Printed in oil colours by G. Baxter, (patentee), from a painting by S. Prout," in one line. SIZE OF PAGE, 9! x 7$. PRINT, $% x 4. Unsigned. B. 1. 13. No. 5. Cleopatra. The Egyptian Queen holds the asp P. to her bosom. Under the print, in the centre, in three lines, is " Cleopatra (Guido). Printed in oil colours by G. Baxter (patentee), from a miniature by Miss E. Sharpe." One of the specimen works inrolled by Baxter, upon April 23, 1836, on the granting of his patent. Also occasionally found on a Baxter mount, and then called " Cleopatra, Queen of Egypt," the title mentioned in the 1860 catalogue, in which many copies were included. It is probable there was a second and later plate. One was offered at the sale in 1860 ; but no other of the " Cabinet EARLY PRINTS 85 of Paintings" plates or prints. Uncoloured, or partly coloured aquatints, are often found of this subject ; but are very rare of any of the others included in this book, except " Cape Wilberforce," which are sometimes seen . The second variety of this print was produced from twelve blocks. SIZE OF PAGE, 9! x 7$. PRINT, sf x 4^. TT _,, I M.R. 10s. unsigned, 44. No. 6. Lugano. A tasteful view of the lake and town. Under the print, in the centre, is the above title; and below that is " Printed in oil colours by G. Baxter (pa- tentee), from a painting by G. Barnard," in one line. SIZE OF PAGE, 9! x 7$ . PRINT, 5$ x 4^. Unsigned. M.R. 15s. 45. No. 7. Interior of the Lady Chapel, Warwick. On her knees, in the chapel, mourning her daughter, who died of a broken heart, is a lady. The stained-glass windows are effective. The print has a dome top. Below the print, in the centre, is the above title ; and below that in two lines, is " Printed in colours by G. Baxter (patentee), from a painting by J. Holland in the posses- sion of Richard Hollier, Esq." SIZE OF PAGE, 9! x 7$. PRINT, 6 x 4^. Unsigned. M.R. 17s. 6d. 46. No. 8. The Boa Ghaut. A view of this ghaut, or gate, in Central India. There are two prints, one more artistic than the other, and the colouring is different. In the commoner print there are additional figures on the right, and also a beam of light across the falls ; but the other print is more pleasing. Under the less rare, in the 86 GEORGE BAXTER centre, in one line, in type, is the above title ; and on the left is, " W. Westall, A.R.A., pinxt." ; and on the right is "Baxter's oil colour printing, Charter House Square." In the other, in addition to the title in the centre, there is, under it, in one line, "Printed in oil colours, by G. Baxter (patentee), from a painting by W. Westall, A.R.A." SIZE OF PAGE, 9! x 7$. PRINT, sJ x 4 T v (the rarer variety). 5^ x 4^ (commoner ). TT . , ( With extra figures. M.R. 12s. 6d. unsignett< ( Without extra figures. E. 1. 47. No. 9. Zenobia. This love-sick Eastern maiden, in red cap, is seated at a window overlooking the moonlit sea. Under the print, in the centre, is the above title ; and below that, in one line, is " Printed in oil colours by G. Baxter (patentee), from a painting by W. Pickersgill R.A." SIZE OF PAGE, Q| x 7$ . PRINT, 5$ x 4^. Unsigned. M.R. 15s. 48. No. 10. Destruction of Sodom (Gen. XIX. 24). The cities of the plain in the distance. On the left a rock, under which are reposing Lot and his daughters. A poor and ineffective print. Under the print, in the centre, is the above title ; and below that, in one line, is " Printed in oil colours by G. Baxter, from a sketch by G. Jones, R.A." SIZE OF PAGE, 9! x 7. PRINT, s x sf . Unsigned. C. 7s. 6d. 49. No. 11. Jenny Deans' Interview with the Queen. In this memorable scene from Scott's " Heart of Midlothian," Jeannie is on her knees before the Queen (with whom is Argyle) in the park. A favourite print. Below the print, in the centre, is the above title ; and under that is "Printed in oil colours by G. Baxter EARLY PRINTS 87 (patentee), from a painting by Mrs. Seyffarth," in one line. SIZE OF PAGE, g\ x 7$. PRINT, $& x 4!- Unsigned, R. 1 5s. NOTE. All the prints in the" Cabinet of Paintings" are with- out that ivory-like surface that Baxter prints generally possess. None of the plates (except the vignette) have any lettering. Separate plates were used to tint the paper, which is either grey or buff. There were two editions or varieties of the work, and the " Boa Ghaut " was altered ; hence the two different prints. The price of the book on publication was i 8s. 6d. " London : Chapman & Hall, Strand," is on most of the prints. The book now sells for between 6 and 7. 1838 ILLUSTRATIONS TO McINTOSH'S "THE GREEN- HOUSE, HOT-HOUSE, AND STOVE" Books Nos. 37 and 38. Some of the 1838 editions have no prints by Baxter ; the number in others varies, but does not exceed three. The other prints in the book are hand-coloured. The prints by Baxter are : 50. Greenhouse Perennials. Opposite p. 78 ; but the position may vary. Under the print is "Boronia Pin- nata," " Geranium," " Epacris Grandiflora," " Kennedia Prostrata, v. Rubicunda " ; and under that, in one line, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Sq." Over the print is the above title. SIZE OF PAGE, 7 x 4$. PRINT, ABOUT 3^ x 3. Unsigned. R. 10s. 51. Greenhouse Shrubs. Opposite page 134 ; but the posi- tion may vary. Under the print is " Euphorbia fulgens," " Hovea Celsi," "Tacsonia," " Pinnatistipula," " Erythrina Christi-galli " ; and under that, in one line, is " Printed 88 GEORGE BAXTER in oil colours by G. Baxter, Patentee, 3 Charterhouse Square." Over the print is the above title. SIZE OF PAGE, 7 x 4^. PRINT, ABOUT 4 x 3^. Unsigned. R. 10s. 52. Orchidae. Opposite p. 342 ; but the position may vary. Under the print is "Cypripedium Calceolus," " Dendrobium fimbriatum,'' " Dendrobium Moniliforme " ; and under that, in one line, is " Printed in oil colours by G. Baxter, Patentee, 3, Charterhouse Square." Over the print is the above title. SIZE OF PAGE, 7 x 4^. PRINT, ABOUT 4^ x 3^. Unsigned. E. 10s. ILLUSTRATIONS TO McINTOSH'S "THE FLOWER GARDEN " Some of the 1838 editions have two prints. It is possible others have more ; but probably Baxter did not produce more than four illustrations for these books altogether. 52a. Orchidse. Same as No. 52. Opposite p. 96 ; but the position may vary. 53. Annuals. Opposite p. 98 ; but the position may vary. Under the print is " Convolvulus Major," " Oxyura Chrysanthemoides," " Zinnia Elegans," " Heliophila Ara- boides," " Sweet Pea," " Schyzanthus retusus '' ; and under that, in one line, is " Printed in oil colours by G. Baxter (Patentee), 3, Charterhouse Sq." Over the print is the above title. SIZE OF PAGE, 7 x 4$. PRINT, ABOUT 3^ x 3. Unsigned. R, 10s, An early and rare Print. Print No. 54. EARLY PRINTS 89 54. Sunshine and Cloudy Sky. Books, Nos. 2 and 60. A lake with mountains, a cloudy sky, and a rainbow. Under the print, in type, is " Oil colours by G. Baxter, patentee," in one line. SIZE OF PAGE, 5x3. PRINT, ABOUT -i\ x 2. Unsigned. V.K. 15s. 55. Yiew of the Park at Gehnl. Books, No. i. We have been informed of this print ; but have not seen it. SIZE OF PRINT, ABOUT 4x3. V.R. 15s. 56. " Yes, I am come of High Degree, For I am the Heir of Bold Buccleuch." Books, No. 79. A boy in a plaid suit, reading on a table. Castle seen through the window. Under the print, in type, is the above title, in two lines ; and below that is " Printed in oil colours by G. Baxter, patentee, Charterhouse Square," in one line. SIZE OF PAGE, 6J x 4^. PRINT, ABOUT 3^ x 3. Unsigned. R. 15s. 57. The Old Water Mill. Books, No. 17. A pretty little scene showing the mill, and a man resting, on the right, and figures and cottage on the left. Under the print is the above title and " Printed in oil colours by G. Baxter, 3, Charterhouse Square, from a painting by W. Burgess," in two lines. SIZE OF PAGE, 6 x 3$. PRINT, 4^ x 3^. Unsigned. V.R. 1. 58. Moonlight at Sea by Night. Books, No. 17. Some- what similar to No. 18 ; but this has a bluish tint. A go GEORGE BAXTER castle on a rock is shewn, and there is a full moon. A ship is on the left. There is no lettering under the print. SIZE OF PAGE, 6 x 3. PRINT, ABOUT 3 x 2^. Unsigned. V.R. 10s. 59. Milo of Crotona Rending the Oak. Books, No. 52. Milo, in vividly blue and red garments, is rending the tree. Under the print, in the centre, is the above title ; and below that, in two lines, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square, from a painting by G. F. Sargeant" (spelled Sargent in many prints). SIZE OF PAGE, 6 x 4j. PRINT, ABOUT 4x4. Unsigned. C. 10s. 60. The Dying Gladiator. Books, No. 52. In neutral tint monochrome. Under the print is the above title. SIZE OF PRINT, ABOUT 2x2. Unsigned. C. 2s. 1839 61. LO Studio. Books, No. 51. An artist stands at his easel, and Dante looks on contemplatively. Under the print, in the centre, is the above title ; and below that, in two lines, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square, from a painting by G. F. Sargeant " (spelled Sargent in many prints). SIZE OF PAGE, 6 x 4^. PRINT, ABOUT 4x4. Unsigned. C. 10s. 62. Michael Angelo's Moses. Books, No. 51. In mono- chrome neutral tint. Under the print is the above title. SIZE OF PRINT, ABOUT 2j x if. Unsigned. C. 2s. EARLY PRINTS QI 1840 63. Husband, Wife, Children, and the Domestic Cat. Books, No. 50. No lettering on the print. SIZE OF PAGE, 6 x 4^. PRINT, ABOUT 4^ x 4. Unsigned. C. 7s. 6d. 64, Child on a Bed. Books, No. 50. In monochrome neutral tint ; no lettering. SIZE OF PRINT, ABOUT 2^ x if. Unsigned. C. 2s. 65. The Judgment of Brutus. Books, No. 53. Brutus delivering judgment. Under the print, in the centre, in type, is the above title ; and below that, in two lines, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square, from a painting by G. F. Sargeant" (spelled Sargent in many prints). SIZE OF PAGE, 6J x 4^. PRINT, ABOUT 4^ x 4. Unsigned. C. 10s. 66. Socrates. Books, No. 50. In monochrome neutral tint. Under the print is the above title. SIZE OF PRINT, ABOUT 2 x if. Unsigned. C. 2s. 1839 67. Boy throwing Stones at Ducks. Books, NO. 18. Below the print, in the centre, is " Tales for Boys " ; and under that is " Baxter's oil colour printing, 3, Charter House Square (from a painting by J. Browne)," in two lines. SIZE OF PAGE, 5$ x 3f. PRINT, 4 x 2$. Unsigned. M.R. 12s. 6d. 92 GEORGE BAXTER 68, Children outside Gates of a Mansion. Books, Nos. 19 and 23. On the ground, a battledore and shuttlecock. Under the print, in the centre, is "Tales for Girls" ; and under that, in two lines, is " Baxter's oil colour printing, 3, Charter House Square (from a painting by J. Browne)." SIZE OF PAGE, 5$ x 3$. PRINT, 4 x 2f . Unsigned. V.R. 1. 69. Two Lovers standing under a Tree. Books, Nos. 24 and 30. In sepia. Under the print, in type, is " Printed in sepia by Baxter, from a design by Harvey." SIZE OF PAGE, 6 x 3$. PRINT, ABOUT 4x3. Unsigned. M.R. 7s. 6d. Possibly first published before 1839. 70. Parsonage at OYingham. Books, Nos. 21 and 35. Where Bewick was educated and buried. In mono- chrome ; stated in Jackson's book to be entirely from wood-blocks, from a drawing by Edward Swinbourne. The gable end of the parsonage is shown on the left of the trees ; while, between them, Prudhoe Castle is visible on the opposite side of the Tyne. The road to the right, where an angler is seen, is that which leads to the ferry between Ovingham and Prudhoe. Under the print, in the centre, is the above title. Although not so stated on the print, Jackson's book states it is Baxter's production. SIZE OF PAGE, 6J x ;. PRINT, 3^ x 4$. Unsigned. R. 1. An early and rare Print. CHAPTER IX MISSIONARY PRINTS PERIOD 1838-9 TO 1846-7 THIS period includes Baxter's best and most original work. During these years he pro- duced his first, and some of his finest, portraits ; and it was in this era too that he began to issue prints for purposes other than for book illustration. Except for the few plates mentioned in Part II. of our catalogue of this period, which commences on p. 114, these years were devoted entirely to the production of prints connected with missionary enterprise ; and not one of the purely missionary prints in Part I., and only one of the other prints in Part II., was reproduced by any other printer. We find very few pictures of missionary enterprise included in the catalogue of the sale of Baxter's stock in 1860 ; and a note was appended to the few lots of No. 82 which were included, as follows : ' These beautiful prints have been for some years out of print ; the few copies discovered in stock are included in the sale." We have no entries at all of prints Nos. 80, 84, 87, 93, or 103 in that cata- logue. Most of the larger prints published about this time are found occasionally in sepia some- 93 Q4 GEORGE BAXTER what resembling what was afterwards known as Baxterotype ; and were it not for the fact that they have generally Baxter's glossy surface, thereby indicating that they were finished prints, one might assume they were in an incomplete condition, and nothing more than prints in the first state of the plate ; but, judging from the beautiful surface, it seems more than probable that Baxter, following the eighteenth-century practice, sold his prints plain as well as coloured. Sepia with him seems to have been a favourite colour. All Baxter's portraits of Williams have been placed together ; but some are uncoloured. CATALOGUE FOR MISSIONARY PRINTS PERIOD 1838-9 TO 1846-7 PART I PRINTS CONFINED TO MISSIONARY SUBJECTS MISSIONS TO THE SOUTH SEAS 71. The Rev. John Williams. Books, No. 84. The first portrait in colours by Baxter, and drawn from life when this well-known missionary, " The first Christian Martyr in the South Seas," was last in England. The portrait was sold also as a separate print by J. Snow ; but exactly in what form is not known. Williams is seated in an arm-chair, which is covered with red material. He is shown three-quarter length, facing left, near a window, through which are seen the sea and a missionary ship. Print No. 71. THE REV. JOHN WILLIAMS, THE SOUTH SEA MARTYR. Baxter's First Portrait in Colours. MISSIONARY PRINTS PERIOD (PART I.) 95 Under the print is " Yours affy., J. Williams," in imitation of his signature ; and below that is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square," in one line ; and farther below is " Published by J. Snow, 26, Paternoster Row." Williams's opinion of Baxter's art, as stated in the preface to his "Enterprises," was that it was "exceedingly beautiful." Original published price when sold separately, is. 6d. SIZE OF PAGE, 8 x 6. PRINT, 4j x si- Published 1837. (As published separately. V.R. 1 10s. 72. The Rev. John Williams (uncoloured aquatint). Books, No. 84. An aquatint ; uncoloured variety of No. 71. The signature is the same, and on the extreme right, just under the print, is " Baxter sc., 3, Charter- house Square." Also sold as a separate print by Snow ; but in what form exactly is not known. Original published price when sold separately, 6d. SIZE OF PRINT, 4^ x 5^ rAs published separately (form un- Unsigned.-j known). V.R. 10s. 6d. f As in book. R. 5s. 73. The Rev. John Williams (small portrait, uncoloured). Similar to No. 72, but smaller. Under the print is Williams's signature ; on the right is " G. Baxter, Sculp." ; and, low down, there is " London. John Snow, Paternoster Row," in two lines. An illustration to one of the bio- graphies of Williams. SIZE OF PAGE, 6J x 4^. PRINT, 2f x 2j. Unsigned. R. 5s. 96 GEORGE BAXTER 74. The ReY. John Williams (a large portrait). Com- panion to Nos. 76, 89, and 92. The missionary is seated in a red-backed arm-chair, three-quarter length, face inclined to the right. The manuscript of his book, and a letter from his biographer Prout, etc., lie on a table by his side. The background is the wall book-case and curtain of his study. Published at the same time as No. 89, on a tinted cardboard mount, on which is engraved, below the print, "The Lamented Missionary the Revd. John Williams, who was cruelly massacred at Erromanga, seated in his study, composing his celebrated Missionary Enterprises, which have been aptly designated as a supplement to the Acts of the Apostles. Designed and printed in oil colours by the patentee, George Baxter. London Published by G. Baxter, 3, Charterhouse Square, April 1st, 1843, and sold by Messrs. Hamilton & Co., Ward & Co., Simkin & Co., Whittaker & Co., and by the country agents." There is a line round the print. This is most likely (as Baxter speaks of it in his adver- tisements as his portrait of Williams in oil and mezzo.) No. 75 coloured. It is the print presented by Baxter to the missionary ship John Williams, the successor to the Camden, and was shown to the native who killed Williams, so as to explain to him whom he had murdered. The print was produced from twenty-two blocks. Original published price to subscribers, los. 6d. ; proofs, 15$. : to non-subscribers, \2s. ; proofs, i is. SIZE OF PRINT, lof x 8. SIZE OF MOUNT, 15 x i2|. I On ori g inal mount. V.R. 2 10s. l Without mount. M.R. 1 5s. 78. The ReY. John Williams (mezzotint ; uncoloured variety of No. 74). Companion to No. 90. Except for the absence of colour, same as No. 74 ; and below the print, in the centre, in seven lines, is precisely the same letter- ing as upon that print, except that, instead of the words " Designed and printed in oil colours by the patentee," etc., is " Designed and engraved by G. Baxter," etc. MISSIONARY PRINTS PERIOD (PART l) 97 This print and No. 90 show that Baxter was also a skilful mezzotinter. We know of no further print wholly in this style until No. 216. Original published price, 4J. 6d. ; proofs, 6s. 6d. SIZE OF PRINT, xof x 8. WITH MARGINS, 13^ x n. Unsigned. R. 1. 76. The ReY. John Williams (another large portrait in colours). Companion to Nos. 74, 89, and 92. Like No. 74, except that the background, which is full of minute work, is as stated below, and that Williams is seated on a verandah. This and Nos. 89 and 92, the other two prints published by the Patriot, are often found on a canvas stretcher, and highly varnished, for which the publishers charged is. extra. Below this print, on the mount, in the centre, in type, in five lines, is "The Rev. J. Williams, the Martyr of Erromanga, with a landscape of the Mission House and grounds at Rarotonga. Designed, engraved, and printed by G. Baxter, patentee of oil colour printing, Patriot Office, London. No. i of the Missionary Portrait Gallery." Probably the plate is that for Nos. 74 and 75 altered. Original published price, \QS. 6d. ; or free to subscribers to the paper. SIZE OF PRINT, io x 8. WHEN ON STRETCHER, 13$ x nj. Published 1846. TT , ( O n original stretcher. 1 5s, unsigned. j Without st retcher. 15s. 77. The Rev. John Williams (another variety). Un- coloured, bareheaded, full-length portrait of Williams on board ship. Under the print, on left, in one line, is " Drawn & engraved by G. Baxter, 3, Charter House Square " ; lower down is " For my own part I cannot content myself within the narrow limits of a single reef," followed by an imitation of Williams's signature; and 7 98 GEORGE BAXTER below that is " London : John Snow, Paternoster Row." A book illustration, probably to Ellis's "Missionary Farewell." SIZE OF PAGE, 9^ x 6. PRINT, $$ x 4. Unsigned. M.R. 7s. 6d. 78. The Rev. John Williams (another variety). In the D. Patriot, on May 29, 1843, and other dates, is an ad- vertisement as follows : ' ' Now publishing, at the subscription price of 1 is. A splendid full length portrait of the Revd. J. Williams, as represented in the picture of his reception by the natives of Tanna the day before he was massacred, and acknowledged by the friends of Missions as a faithful likeness of this lamented Missionary. Beautifully printed in oil colours by the patentee and publisher, G. Baxter, London." Probably the print was never published, and no further details can be given. It was intended as a rival to Snow's similar portrait, then being published. V.R. Price a matter of arrangement, if the print exists. 79. To* Po, a Chief of Rarotonga. Books, No. 84. Full- length portrait of this nude tattooed chief. He has a spear in one hand, and a leaf fan in the othes. Raratonga was the home of the Rev. John Williams in the South Seas for some years. Under the print, in the centre, is the above title, in one line ; and below that, in two lines, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square, from a painting byj. Williams, Jun r . " ; and below that, in one line, on many prints, is " Published by John Snow, 26, Paternoster Row, London." There are two varieties ; and in one the Chief is coarser and more stalwart-looking than in the other, and his hair and spearhead, as well as the ground, are slightly different. SIZE OF PAGE, 8 x 6, PRINT, 5 x 3^. Published 1837. Unsigned. C. 10s. MISSIONARY PRINTS PERIOD (PART l) 99 80. The Departure of the Camden. The first coloured print by Baxter that was not produced as a book illustration. The ship is flying missionary flags. The tug, City of Canterbury, is crowded with friends who have come in her from London Bridge to Gravesend to see the missionaries off. Note the meat hanging in the rigging. Published on a tinted cardboard mount. Below the print, on the mount, in the centre, in type, in six lines, is " Dedicated to the London Missionary Society. The departure of the Camden Missionary Ship, April 11, 1838 [this date is omitted in some prints], with the Rev. J. Williams and Missionaries, for the South Seas, from the River Thames ; Sketched on the spot, and Printed in oil colours by G. Baxter, Patentee, 3, Charter- house Square. London, published by John Snow, 35, Paternoster Row." Williams's mission was to investigate the isles between the Navigators and New Guinea, to ascertain the disposition of the inhabitants. Probably Snow retained the plate, and the print was never re- published ; hence its rarity. It is not included in the list of his missionary prints Baxter advertised in the Patriot, on October 9, 1845, nor is any copy mentioned in the 1860 catalogue. Original published price, 4*. SIZE OF PRINT, 9$ x s|. MOUNT, 14 x 10. Published 1838. . , I On original mount. V.R. 2 10s. unsigned, -j witnout moimt V .B. 1 10s. 81. The Camden passing the Isle of Wight. The D. following advertisement appeared in several books, and elsewhere, in 1838 : "Dedicated to the London Missionary Society. A splendid coloured print of the Camden Missionary Ship leaving Gravesend on the n April. Taken on the spot. Printed in oil colours by Mr. G. Baxter. Size, including tinted paper, 14 x 10. Price, 4*. A ho on a larger scale, representing the Camden passing the Isle of Wight, Beautifully coloured, with a facsimile of the handwriting of the Revd. J. Williams. Price 7*." IOO GEORGE BAXTER It is very doubtful if any copy of this print is extant. Snow probably kept the plate, and few copies only were produced, and all of them may be now lost ; or it may have been advertised in advance, but never actually printed. (a) The Reception of the Rev. J. Williams at Tanna, in the South Seas, the day before he was Massacred, (b) The Massacre of the lamented Missionary, the Rev. J. Williams, and Mr. Harris. Books, No. 6. Companion pictures. The lettering on the bottom margin of the plates is in the centre, in one line the above respective titles ; but added to that of print (b) is " At Erromanga, South Seas " ; and on the left bottom margin of each plate is " Designed, engraved, and published on the ist day of January, 1841, by the patentee of oil colour printing, George Baxter, 3, Charterhouse Square, London." The book was presented to purchasers of the pair of prints, the two being illustrations for the volume. They are mounted, both when sold in the book and separately, on tinted cardboard (usually buff), on which, below the print, in type, in four lines, in the centre, on the mounts, is one of the above respective titles ; and below that, in two lines, on each, is " Printed in oil colours and published by the patentee, G. Baxter, 3, Charterhouse Square, London 1841." Although con- temporary advertisements say " the prints can be had of Mr. Snow," his name does not appear on them. The Camden arrived at Tanna on November 13, 1839. The following are extracts from the letterpress published with the prints : THE LAST TWO DAYS OF THE REV. J. WILLIAMS AND MR. HARRIS These prints have been executed by Mr. Baxter, for whose new art of printing in oil colours Mr. Williams, when in England, showed great partiality, having engaged him to illustrate his work on " Missionary Enterprises." A friendship sprung up from their daily intercourse, and when Mr. Williams left the Thames in the Camden, Mr. Baxter was one of the last persons with whom he MISSIONARY PRINTS PERIOD (PART l) IOI bade adieu, with reciprocal assurances of the warmest friendship. Upon the arrival in England of the fatal intelligence of his death, Mr. Baxter thought he could not better evince the sincerity of his regret for the loss of his friend than by dedicating his art and his labours to perpetuate the memory of so estimable a man. The result was the production of the pictures now submitted to the public. DESCRIPTION OF THE PICTURES The first subject represents the incident at the moment when the boat has touched the shore at Tanna. The native has landed, and, standing midway between the little vessel and a crowd of natives, is addressing his countrymen with persuasions to receive the strangers peaceably, on account of the great benefits they are likely to derive from their presence. The dubious savages listen for awhile to his exhortations, the lamented Missionary meantime standing at the head of the boat, with his hat in hand, waiting for permission to land. Mr. Cunningham, anxious to further the effect of his friend's silent appeal, and the urgency of the native, is displaying some coloured stuff and a looking-glass to the eyes of the sable inhabitants. They, on their part, appear to be awakening to the effect of these several inducements, and almost already declare their welcome to the messenger of truth. The foreground is formed by the bright blue waters of the bay. The middle distance displays a rich variety of bold scenery, coloured with the gorgeous drapery of luxurious foliage, and varied by every tint of those meridian latitudes ; whilst beyond, from one of the two lofty peaks towering to the skies, the volcano is seen emitting its sulphureous fire and smoke. To the right, and at the vanishing point, is the shadowy figure of the Camden, lying to in the offing beneath the shelter of a mass of lofty rocks. The other picture has a subject of a more startling and appalling character, in melancholy contrast with that of which we have just spoken. The moment which Mr. Baxter has chosen, and most judiciously, is that when the revered Missionary fell, like Stephen, beneath the various weapons of his murderous assassins. The ship is again distinguished by its vapoury sails and darker hull in the distance. The boat, the natives, and the Missionary are there ; but alas ! in how changed a position. The scene is taken and put down from the representations of Mr. Leary, who was in the boat at the time. The natives are in wild commotion, every countenance expressive of the most diabolical malice and rage. Armed with spears, massive and murderous clubs, made of the hard wood of the island, slings, and bows and arrows, they all seem intent on the work of death. In the middle distance, by the side of the nook, the figure of Mr. Harris is seen, as he has just fallen beneath the blows of his assailants. Lying upon his back he is endeavouring to raise himself on his hands and elbows ; while a number of natives stand over him, two of whom have already pierced his body with their spears, two are striking him with their deadly clubs, and others are running to share in the deed of destruction. In the foreground is the principal incident. Mr. Williams, alarmed by the exclamation of Mr. Cunningham, is hastening from the fatal shore, has just got within the spray of the flowing tide when he is brought to the ground by a blow from 102 GEORGE BAXTER the club of one of the natives. His hat has fallen off and is swimming on the spray. Over him, ready to repeat the blow, stand two of the natives with their clubs upraised, while another by their side is ready to pierce the heart of the unhappy Missionary with his spear. Behind are others hastening to the assault, brandishing their clubs, and among them is one with his arrow already fitted to the string, and another with the war shell at his lips blowing the fatal whoop. In the interval of space between the martyrdoms of Mr. Williams and Mr. Harris there is a multitude of the armed savages crowding in violent haste to seize the boat. One has already approached and poised his dart for a cast, another whirling his club is still nearer, and a third with his weapon already on the strike. One of the seamen has levelled a boat-hook at the savage, another is pushing off from the beach, while two others are pulling lustily at their oars. Mr. Cunningham stands in the stern of the boat appearing to ward off the blow about to be given him ; while Captain Morgan, in horrified amazement, stands a little farther forward, apparently quite forgetful of his own safety while viewing the murder of his friends. The subject is one of sublime and dreadful interest, and the treatment of it worthy to commemorate the momentous occurrence it represents. The club with which Williams was killed is now in the London Missionary Society Museum. Baxter gave the profits on these prints to the fund raised for Williams's family. Original published price to subscribers, 2 is. the pair ; to non-subscribers, 2 12s. 6d.; or in gold frames (on which is a description), 4 2s. Proofs, i us. 6d. each. SIZE OF PRINTS, 8 x 13^. PICTURES ON MOUNTS, AS IN THE BOOK, 14^ x io. /"Book complete. V.R. A copy recently sold at auction for 5 7s. 6d. Unsigned.-^ The pair on original mounts. V.E. 5 5s. ., without original mounts. M.R. 1 4s. [ in sepia. 2. 83. The Revd. J. Williams' first interview with the Natives of Erromanga. Books, No. 9. The boat, with Williams and party, is on its way from the Camden to the shore. Williams is offering presents to some natives in a canoe. Under the print, in the centre, is the above title, in two lines ; and below that, in two lines, is " Printed in oil colours by G. Baxter (patentee), MISSIONARY PRINTS PERIOD (PART l) 103 3, Charterhouse Square. London : J. Snow, 35, Pater- noster Row." A beautiful little print. The boat contained Williams, the Rev. Mr. Harris (who joined at Tahiti), Mr. Cunningham (Vice-Consul for South Seas), Captain Morgan of the Camden, and four sailors. SIZE OF PAGE, 7x5. PRINT, 4! x 2$. Published 1842. Unsigned. R. 1 10s. 85. Pomare, Queen of Tahiti. Companion to No. 85. An interesting picture of an event which nearly brought England and France to war in the 'forties. The colour- ing is beautiful. Part of the profit was given by Baxter to the Rev. J. J. Freeman, for the School for the Sons of Missionaries, at Walthamstow. Published at the same time as No. 85, on a tinted cardboard mount, with a thin gold border, on which, under the print, is a facsimile of the queen's signature. Then follows the description : "The persecuted Christian, surrounded by her family at the afflictive moment when the French Forces were landing. Designed, printed in oil, & published by G. Baxter, patentee, 11, Northampton Square, London." The London Missionary Society's Mission was at Tahiti (or Otaheite). On November 2, 1843, the French Admiral, in the name of Louis Philippe, demanded the removal of the emblem of her sovereignty from the national colours. The queen refused ; and he then declared she had ceased to reign. Pomare's daughter was named Victoria, in honour of our Queen Victoria. The print is from original drawings taken by a naval officer, and lent to Baxter. The background is replete with detail. Original published price, los. 6d. ; proofs, 15-r. SIZE, io x 9. Published 1845. {On original mount. V.R. 2 10s. Without mount. V.R. 2. In sepia. V.R. 1 10s. 104 GEORGE BAXTER 85. George Pritchard, Her Britannic Majesty's Consul. Companion to No. 84 (which see). The Consul is shown in dark-blue costume and sword. Similar mount to No. 84, and published at the same time. Under the print is a facsimile of the captain's signature. Then follows the description : "The scenery represents the Bay of Papeete, Queen Pomare's Palace, the Chapel, & Natives returning from a week-day service. Designed, printed in oil, & published by G. Baxter, patentee, n, Northampton Square, London." Captain Pritchard, formerly a missionary of the London Missionary Society, and one of the most respected men in the Islands, did all he could to protect Pomare. Also from drawings as stated in No. 83. The print contains a beautiful background. Original published price, los. 6d. ; proofs, 15.?. SIZE, io x 9. Published 184.5. {On original mount. V.R. 2 10s. Without mount. V.R. 2. In sepia. V.R. 1 10s. 86. Wesleyan Mission Station at Waingaroa, New Zealand. Natives assembling for worship. Books, No. 81. The Mission is shown, and the natives are assembling in their canoes. In the book is some- times found a somewhat similar coloured print by Banister. Under the print, in the centre, in two lines, in type, is the above title ; and on the right, in two lines, is "Baxter's patent oil printing, 11, Northampton Square." SIZE OF PRINT AND PAGE, 6 x 3! . Published 1845. Unsigned. V.R. 10s. 87. The ReY. J. Waterhouse superintending the Landing of the Missionaries at Taranaki, New Zealand. A scene connected with the Wesleyan MISSIONARY PRINTS PERIOD (PART l) 105 Missionary Society and the Maories. Mr. Waterhouse, general superintendent of that Society's Missions in Australia and Polynesia, is seen introducing to the natives Mr. Creed (their new missionary) and his wife. The detail is wonderful, and the colouring beautiful. Under the print, in the plate margin, in two lines, on the left, is the above title, and "Designed, engraved, and published by G. Baxter, Patentee of oil colour printing, n, Northampton Square, London, Nov. ist, 1844." Published on a tinted cardboard mount. The missionary- ship in the bay is the Triton. Mr. Waterhouse died at Hobart in 1842. Original published price, i is. ; proofs, i iu. (>d. SIZE, i6J x ill. {On original mount. V.R. 5. Without mount. R. 3 10s. In purple sepia. V.R. 1 10s. 88. Yah-ta-ah, the Fejeean Princess. Books, No. 80. Half-length oval portrait. The last known missionary illustration by Baxter. Under the print is the above title ; and below that, in four lines, is " From a miniature by J. D. MacDonald, of H.M.S. Herald. Printed in oil colours by Baxter, inventor & patentee, London." Book published, 1857 ; but print probably produced some years before. The subject of this print was a cruel, vicious cannibal. She was civilised, and baptized as Lydia. The print was never on a mount. SIZE OF PRINT AND PAGE, 5$ x 3! . Unsigned. C. 5s. MISSIONS IN SOUTH AFRICA 89. The ReYd. R. Moffat (first variety). Companion to Nos. 74, 76, and 92. This well-known missionary is shown standing, straw hat in hand, nearly full face and full length. Published first by Baxter in 1843, at the same time as No. 74, and afterwards by the Patriot^ in 1848, 106 GEORGE BAXTER being No. 3 of their Missionary Portrait Gallery. The first was on a tinted cardboard mount, on which, under the print, is the above title, and " The scene represents the Country on the banks of the Kuruman River, South Africa, with a Chief of Bechuana addressing his Parlia- ment respecting the arrival of this laborious Missionary. Designed and printed in oil colours by the Patentee, George Baxter. London Published by G. Baxter, 3, Charterhouse Square, April 1st, 1843, and sold by Messrs. Hamilton & Co., Ward & Co., Simkin & Co., Whittaker & Co., and by the Country Agents." The print has a line round it. The second was published in the same way as No. 76 ; and below these prints, on the mount, in type, is " The Revd. Robert Moffat, The Apostle of Bechuana. Designed, engraved, and printed by G. Baxter, patentee of oil colour printing, Patriot Office, London," in three lines. This is most likely No. 90 coloured. This print was produced from twenty- two blocks. This celebrated London Missionary Society missionary, and father-in-law of Livingstone, was or- dained at the same time as the Rev. John Williams, but they never met again. He was in Africa from 1816 to 1870, and when invited to speak in Westminster Abbey he explained that for fifty years he had spoken only the Bechuana tongue. Original published price, see Nos. 74 and 76. SIZE, io x 8|. FIRST PRINT WITH MOUNT, 15 x i2|. WHEN ON STRETCHER, 14 x n. ( 1st variety. On original mount. V.R. 2 10s. Unsigned 1 Without mount. M.R. 1. unsigned. < 2ndvariety On stretclier . R . 2 . Without stretcher. M.R. 1. 90. The ROY. Robert Moffat (mezzotint uncoloured variety). Companion to No. 75. Except for absence of colour, the same as No. 89. Below the print, in the centre, in six lines, is the same lettering as in No. 89, except that instead of the words " Designed and printed in oil MISSIONARY PRINTS PERIOD (PART l) 107 colours by the Patentee," etc., is " Designed and en- graved by G. Baxter," etc., Published at the same time as No. 89. This print and No. 75 show that Baxter was also a skilled mezzotinter. Original pub- lished price, 4^. 6d. ; proofs 6s. 6d. SIZE, SAME AS No. 89. Unsigned. R. JE1. 91. The Mission premises at the Kuruman Station. Books, No. 44. Two figures in blue coats are in the foreground ; in the middle distance, the Mission. Under the print, in the centre, is the above title ; and under that is, " London : Published by J. Snow, Paternoster Row," in one line ; and on the right, in one line, is "Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square." The station built by Moffat was long considered the advance post of Missions. SIZE OF PAGE AND PRINT, 8 x 5^. Published 1842. C. 10s. MISSIONS IN JAMAICA 92. The Rev. William Knibb. Companion to Nos. 74, 76, and 89. From a portrait lent by the Baptist Missionary Society. The missionary is shown seated in an arm-chair. On the table is the proclamation abolishing slavery ; and in his hand he holds a book of the Scriptures, which he translated into the vernacular of the natives of Jamaica. In design very similar to No. 76 (which see). Once thought to be a portrait of George Catlin, and so indexed in the British Museum collection. Under the print, on the stretcher mount, in type, is "The Rev. William Knibb, with a landscape of the Mission Chapel and grounds, Jamaica. Designed, engraved, and printed by G. Baxter, patentee of oil colour printing, Patriot Office, London. No. 2 of the Missionary Portrait Gallery." Brilliant impressions are somewhat rare. There is no lettering on the plate. Knibb, educated as a printer, was afterwards a missionary 108 GEORGE BAXTER of the Baptist Missionary Society, and was instrumental in the abolition of slavery in the West Indies, and died there of yellow fever in 1845. Original published price? see Nos. 76 and 89. SIZE, io x 8. WHEN ON STRETCHER, 14 x n. Published 1847. (On stretcher mount. M.R. 1 5s. Without stretcher mount. M.R. 15s. In sepia. R. 1. 93. The Ordinance of Baptism. The appearance of heat is excellent. From a drawing sent over by friends of the Baptist Missionary Society in Jamaica. Pub- lished on a tinted cardboard mount, the print being surrounded by a coloured line. Under the print, en- graved on the mount, is " The ordinance of Baptism, as administered by Missionaries connected with the Baptist Missionary Society to 135 persons, near Browns Town, Jamaica, in 1842. At the express wish of many eminent Christian Philanthropists, this picture is printed in oil colours and dedicated to the friends of Missions by their obedient servant, G. Baxter (Inventor & Pa- tentee of oil colour printing)" ; and below that, in one line, is " London : Published by G. Baxter, 3, Charter House Square, October ist, 1843." There is no lettering on the plate. Original published price, los. 6d. ; proofs, 15*. SIZE, 15^ x io. MOUNT, 20^ x i6J. {On original mount. V.R. 4 10s. Without mount. R. 3 10s. In purple sepia. R. 2. MISSIONS IN INDIA View from the Mission House, Bangalore. Books No. 10. Indian temples, and natives fetching water from a stream near a tall palm. Under the print, on the right, in three lines, is " View from the Mission MISSIONARY PRINTS PERIOD (PART l) IOQ House, Bangalore. Printed in oil colours by G. Baxter, patentee, 3, Charterhouse Square. London Published by J. Snow, Paternoster Row." A good companion to No. 102. Bangalore, a London Missionary Society station, was where William Campbell was located. SIZE OF PAGE, 8 x 5%. PRINT, 5! x 4^. Published 1839. Unsigned. M.R. 15s. 95. The Wesleyan Chapel, Pophams Broadway, Madras. Books, No. 83. Natives are in the street, in front of the chapel. Under the print, in the centre, is the above title ; and below that, in two lines, is " Printed in oil colours by George Baxter, Patentee, n, Northamp- ton Square." Sometimes found only partially coloured, or wholly uncoloured. The chapel was built about 1845, and the services were conducted in English, Tamil, and Portuguese. SIZE OF PAGE, 6| x 4. PRINT, 5x3. Published 1846. Unsigned. C. 5s. 96. Destruction of the " Tanjore " by Lightning, off Ceylon. Books, Nos. 32 and 42. The passengers, amongst whom were Dr. Hoole and other missionaries for India, are seen escaping in the boats from the burning ship. Under the print, in the centre, is the above title ; and on the right, in two lines, is " Printed in oil colours by G. Baxter (patentee), 11, Northampton Square." Dr. Hoole, the author of the book, was connected with the Wesleyan Missionary Society. He is seen standing in the boat. The passengers landed ultimately at Trin- comalee. SIZE OF PAGE, 8x5. PRINT, 5^ x 3^. Published 1844. Unsigned. M.R. 1 10s. 97. Hindoo Temple at Gyah Behar. Books, No. 82. Foliage on left and right, and two figures getting water. The temple is in the centre. Under the print, in the 110 GEORGE BAXTER centre, is the above title, in one line ; and on the right, in two lines, is "Baxter's patent oil printing, n, North- ampton Square." There is some line engraving in the print, an element rare in Baxter's work. Compare it with No. 355, which, in some varieties, also contains line work. The two were printed about the same time. SIZE OF PAGE, 6J x 4. PRINT, 4^ x 3^. Published 1847. Unsigned. C. 10s. MISSIONS IN CHINA 98. Mr. Medhurst in conversation with Choo-tih- Lang, attended by a Malay boy. Books, No. 40. Under the print, in the centre, in two lines, is the above title ; and below that is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square " ; and below that is " Published by John Snow, 26, Paternoster Row, London." Mr. Medhurst was a London Missionary Society missionary in China for twenty years. Choo-tih- Lang came over with him, assisted him in translating the Scriptures, was baptized in 1838, and ultimately returned to China. SIZE OF PAGE, 9 x 5^. PRINT, 5^ x 4 T V Published 1838. Unsigned. C. 10s. 99. Miss Aldersey's School at Ningpo. Books, No. 31. A folding print. The first school of the Society for Promoting Female Education in .the East. Miss Aldersey, in Chinese costume, is nursing the baby. At the head of the class is the teacher, and on each side are Ati and Kit, two girls Miss Aldersey brought from Java. Ningpo was one of the five commercial ports open to foreigners. Under the print, in the centre, in one line, is " Fac-simile of a' painting of Miss Aldersey's School at Ningpo, by a Chinese Artist " ; and below that, in one line, is " Printed in colours for the Society for Promoting MISSIONARY PRINTS PERIOD (PART l) III Female Education in the East " ; and on the right, in two lines, is " Baxter's patent colour printing, 11, Northamp- ton Square " ; and on the left, in two lines, is " Published by Edward Suter, 32, Cheapside." SIZE OF PAGE, 7$ x 6f. PRINT, 4 x 6|. Published 1847. Unsigned. V.R. 15s. MISSIONS IN MADAGASCAR 100, The Six Malagasy Christians (now in England) waiting at Tamatave to embark for Mauritius. Books No. 28. The six, in gay colours, are on the shore. Copied from a painting, done for the purpose, by a lady .whose heart, was long in the missionary field. The likenesses were said to be good. Under the print, in one line, is the above title ; and on the right, in one line, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square." Christianity was penal in Madagascar in 1838 ; these six escaped and appeared at Exeter Hall at a meeting of the London Missionary Society in 1839. SIZE OF PAGE, ; x 4^. PRINT, t,\ x 3^- Published 1840. Unsigned. C. 10s. 101. Rafaralahy, Governor of Foule Point, Mada- gascar. Books, No. 26. In full native costume, with shield and spear. Under the print, in two lines, in the centre, is the above title ; and under that is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square " ; and below that is " Fisher, Son, & Co., London and Paris." Prince Rafaralahy came under English influence at Mauritius, and did much to help to civilise Madagascar. SIZE OF PAGE, 8f x 5^. PRINT, & x 4^. Published 1838. Unsigned. M.E. 1. 112 GEORGE BAXTER MISSIONS IN GREECE 102. A Greek Monastery. Books, No. 86. The monastery is in the middle distance, and beyond are the mountains and the sea. A good companion to No. 94. Under the print, on the right-hand corner, is the above title, in one line ; and below that, in three lines, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square, from a painting by W. Westall, A.R.A. London Published by J. Snow, Paternoster Row." SIZE OF PAGE, 8& x s. PRINT, 5^ x 4^. Published iSjg. Unsigned. M.R. 15s. MISCELLANEOUS MISSIONARY PRINTS 103. The Missionary Vine The following advertisement D. appeared in several contemporary books and other litera- ture : " Dedicated to the London Missionary Society. To the friends of Missions. Just published, beautifully printed in oil colours, price 55. " The Missionary Vine, from a drawing by Miss Rahmn, shewing at one view the whole of the stations of the London Missionary Society, geographically arranged, the period when, and the person or persons by_whom, they were commenced, and likewise by whom they are occupied at the present. It hence appears that the elements of Missionary geography, chronology, history, and biology are all beautifully blended in this production. London : J. Snow. " The profits to be given to the London Missionary Society." It is possible no print exists. The plate would be retained by Snow. No print from it was included either in Baxter's list of missionary prints published in the Patriot^ on October 9, 1845, nor in the 1860 catalogue. Prints from the plate only, it is thought, may have appeared in some contemporary book. Published, if at all, 1839. Advertised price of publication : at first, 5 s. (Patriot, May 13, 1839) ; but afterwards, 75. 6d. (Patriot, June, 1839). SIZE UNKNOWN. V.R. Price a matter of arrangement, Print No. 104. THE LANDING OF COLUMBUS. MISSIONARY PRINTS PERIOD (PART l) 113 104. The Landing of Columbus. Books, No. 8. An excellent print, showing Columbus landing from his galleons. Under the print is the above title, in one line ; and below that, in two lines, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square. London : John Snow, Paternoster Row, 1840." Of special interest for Americans. SIZE OF PAGE, 7j x 5. PRINT, 5$ x 4$. Unsigned. R. 1 10s. 105. The Abolition of Slavery. From Hay don's D. Picture. The following advertisement appeared in the Patriot, on August 31, 1843, and elsewhere : " Intended for publication. Hay don's celebrated picture of the great meeting of delegates held in London, in June, 1840, for the abolition of slavery and the slave trade throughout the world. Thomas Clarkson, President. "To be printed in oil colours by Q. Baxter, patentee, 3, Charterhouse Square, as soon as a sufficient number of sub- scribers' names can be obtained. No money to be paid until completed and delivered. Price to subscribers, 2 zs. Size, ai x 17. This picture is about to be published under the approval of the venerable Thomas Clarkson, who, with some of the leading abolitionists, have already put down their names as subscribers. It will be executed in the very best style ; and contains upwards of 130 portraits of distinguished friends of the negro, including some of the leading ministers of different denominations, who attended the convention as delegates. An early application Is requested, as the work will be commenced as soon as 150 names are obtained. Subscribers' names received at the office of the British and Foreign Anti-Slavery Society, 27, New. Broad Street, and by many others (who are namedV friends of the society." Notwithstanding that Baxter attended the annual meeting at Exeter Hall, on May 17, 1844, when Lord Brougham was in the chair, and received 'sub- scribers' names, it is probable the print was never produced, as it is hardly possible so important a print could be entirely lost. V.E. Price a matter of arrangement, if the print exists. 8 114 GEORGE BAXTER CATALOGUE FOR MISSIONARY PERIOD 1838-9 TO 1846-7 PART II PRINTS OF OTHER THAN MISSIONARY SUBJECTS 106. Wreck of the Reliance. This print originally ap- P. peared in 1843, on a tinted cardboard mount, on which is engraved below the print, " The Wreck of the Reliance (East Indiaman), off the French Coast, near Boulogne, Novr. 12, 1842. Designed and printed in oil colours by G. Baxter (Patentee), from the de- scription by R. Dickson, the only English survivor. London : Published by G. Baxter, 3, Charterhouse Square, Novr. ist, 1843." This variety is a most ex- cellent) print, and is distinguished by the descent of the rain being shown in so marked a manner. It is not improbable, however, there was a reprint or republica- tion after 1848, as it is said prints are sometimes seen on Baxter mounts. There are, however, prints said to be Baxters, but of which there may be some doubt, which are cut half an inch smaller all round than the 1843 issue, and have not the usual glossy surface of Baxters. These may be unfinished cut Baxters ; but it is more likely they are Le Blonds. A letterpress description was issued with the original print. The 1860 catalogue, which included a few copies only of this print, suggests this for the centre, with Nos. 275 and 346 as a trio ; and it states: "This highly finished production has commanded a large sale, and at present orders are unexecuted, there not being a single print in stock." It is often said to be after a picture by Turner, but the lettering shows the contrary. The ship was bound from China to London, and was lost off Merlemont, only seven out MISSIONARY PRINTS PERIOD (PART II) 1 15 of the 116 on board being saved. The print shows the wreck, and many in the water, amongst those in the foreground clinging to wreckage being R. Dickson, who was the ship's carpenter, and who supplied Baxter with the details. There are also many Chinese, who composed a large part of the crew. Under the print, in the plate margin, is "The Wreck of the Reliance (East Indiaman) off the French coast, near Boulogne, November I2th, 1842," in one line, on the left ; and on the right is " Designed and engraved by G. Baxter, from the description of R. Dickson, the only English survivor. London : Published by G. Baxter, 3, Charterhouse Square, November ist, 1843," in two lines. The print was produced from eight blocks. Original published price not known. SIZE OF UNFINISHED PRINT, 15^ x n. FINISHED PRINT, i6 x 12. rOn original mount. V.R. 7 7s. n . . J Without mount. K. 4. ea 'j Later print. On Baxter mount. V.R. 5 5s. C Without mount. R. 2 10s. Le Blond. A good print ; but generally found highly varnished. The second above-mentioned Baxter prints may be unvarnished Le Blond prints. 106a. The Reliance in full sail off Hong Kong.-Com- D. panion to No. 106. Robert Dickson, the survivor, writing to the Sussex Express in October, 1843, con- cerning the wreck, mentions Baxter's print (No. 106), and states : "A companion picture will also be published, representing the Reliance in full sail off Hong Kong. She was the most beautiful modelled ship that ever left the Thames, and the largest in the Merchant service. An interesting account of her voyage and awful shipwreck will accompany the pictures." It is very doubtful if this print was published. There was no such plate or print in the 1860 catalogue. V.R. If it exists, price a matter of arrangement. Tl6 GEORGE BAXTER The following prints, up to and including No. 127, are the illustrations drawn from the originals by Baxter, in oil colours, for Sir H. N. Nicolas's work of the " History of the Orders of Knighthood." There are a few lithographs in the book, obviously not by him. Queen Victoria (Frontispiece). See No. 201 and Books, No. 62. 107. A Garter Stall. Similar to No. 201 (see also same book), but without any figure, and with different banners and escutcheons. In gilt letters, in the centre, on the print, is " History of the orders of Knighthood of the British Empire, by Sir Harris Nicolas, K.C.M.G., K.H. The illustrations by G. Baxter, patentee. London : John Hunter, Maddox Street, Robe Maker to Her Majesty." This print forms the title-page. SIZE OF PRINT, 12x9. PAGE, 14^ x loj. Published 1842. Unsigned. R. 2. The Order of the Garter 108. Ribband, lesser George, and Garter. 109. Badge on the mantle, collar, and great George. 110. Star, collar (as worn), and great George. 111. Banner, helmet, and crest, as suspended over the stall of a K.G. in St. George's Chapel. The Order of the Thistle 112. Ribband and badge. 113. Star, collar, and jewel. The Order of the Bath 114. Collar, badge, and star of a Civil Knight Grand Cross. 115. Ditto of a Military Knight Grand Cross ; and the ribband, badge, and star of a Knight Commander. 116. Ribband and badge of a Companion. MISSIONARY PRINTS PERIOD (PART II) The Order of St. Patrick 117. Collar, badge, and star. 118. Ribband and badge of Grand Master. The Order of St. Michael and St. George 119. Collar, badge (showing the obverse), and star of a Knight Grand Cross. 120. Ribband, badge (showing the reverse), and star of a Knight Commander. 121. Ribband and badge (showing the obverse) of a Companion and a Cavaliere. Medals, Crosses, and Clasps 122. Medal and ribband granted for naval battles ; and the medal, ribband, and clasp granted for military battles. 123. Cross and clasps granted for military battles. The Order of the Guelphs 124. Collar, badge (showing the reverse), and star of a Military Knight Grand Cross. 125. Collar, badge (showing the obverse), and star of a Civil Knight Grand Cross. 126. Ribband, badge (showing the obverse), and star of a Military Knight Commander ; and the ribband, badge (showing the reverse), and star of a Civil Knight Com- mander. 127. Ribband and badge of a Military and Civil Knight. NOTE. No print from 108 to 127 inclusive has any lettering ; but they are undoubtedly by Baxter. The preface to the book and contemporary advertisements both say so. Some of them are very beautiful. B. 10s. each. Il8 GEORGE BAXTER 128. Baptism of the Prince of Wales. See No. 202. 129. Her Most Gracious Majesty Queen Victoria receiving the sacrament at her Coronation. - Companion to No. 131. Sketched by Baxter at the ceremony on June 28, 1838, from the gallery occupied by the Foreign Ambassadors in the Abbey, special facilities being given him. As stated in one of the contemporary journals : "It is emblematic of one of the most impressive moments in the sacred ceremony. About two hundred portraits are here introduced. All seem to enter into the feeling of solemn responsi- bility which our beloved Queen has taken upon herself. Each august person present seems offering up a fervent prayer, at the crisis that our picture is taken, to the Supreme Being (before whom the Queen is kneeling) to bestow lasting and eternal blessings on her youthful head. The beauty of the architectural work adds greatly to the charming scene, while the thousands of spectators present make an impression on the mind not easily erased." This print, usually called "The Coronation," is accurate down to the smallest detail, and is undoubtedly Baxter's greatest effort, and denotes him as not only a great printer but a fine artist. A good impression resembles the most exquisite miniature on ivory, and when un- faded the colouring is most brilliant and beautiful. It took some years to produce. The Queen, on whom a ray of light is thrown, is kneeling at the altar, receiving the Sacrament from the Archbishop of Canterbury, with whom are the Archbishops of York and Armagh, and the Bishops of London and Bath and Wells. Among the other distinguished persons shown are Lords John Russell, Cottenham, Palmerston, Willoughby d'Eresby (holding the Crown), and Melbourne (the Prime Minister), also the Duchess of Kent, the Dukes of Sussex, Nemours, Cambridge, and Wellington. On the right is the Corona- tion chair, on the left the altar (its gold plate being a triumph of colour work), and on all sides distinguished persons in gorgeous dresses, jewels, and uniforms. With the print was issued a key, and subscribers were invited by a prospectus. Numerous well-known and influential OPENING BY QUEEN VICTORIA OK HER FIRST PARLIAMENT. MISSIONARY PRINTS PERIOD (PART II) IIQ persons became patrons, including Queen Victoria her- self, Prince Albert, the Duchess of Kent, the Duke of Cambridge, several foreign potentates, and many noble- men. Probably not many of the prints in colours were circulated, and perhaps it was sold later uncoloured. Very rarely does a perfect copy come into the market. The exact appearance of the print when issued to the public, and not in a frame, is very uncertain. Whether it was on any species of mount, and whether it appeared with its margins, does not seem to be known. Sometimes the top portion was cut off, and the print made dome shape, and thus reduced in size. It appears in this shape in the needle-box print No. 133. The colouring, the register, and the artistic finish are marvels of printing. Below the print, in the plate margin, in three lines, in the centre, is the above title ; and below that is " Dedicated by command to the Royal Family." See also No. 131. Published at ^5 $s. to subscribers ; proofs, ,8 8s. \ and highly finished proofs, 10 los. SIZE OF PRINT EXCLUSIVE OF PLATE MARGIN, 2if x 17^. WHEN CUT DOME SHAPE THE SIZE is 17^ x 13$. SIZE OF PRINT INCLUSIVE OF PLATE MARGIN, 26 x 21. Published 1842. rV.R. About 35. Unsigned. -I In sepia. V.R. 10 to 15. (.An impression on coarse paper. R. 5. 130. The Royal Arms. In the centre of Baxter's two pro- spectuses for Nos. 129 and 131 ; but they are not exactly alike. 131. The arrival of Her Most Gracious Majesty Queen Victoria at the House of Lords, to open the First Parliament of Her Reign. Companion to No. 129. Commonly called " The Openin I2O GEORGE BAXTER of Parliament." Signed on the left, low down, with Baxter's signature, " G. Baxter"; and the only print signed in this way, or at all, until 1848 ; and it is worthy of observation that this is signed, and the companion (No. 129) is not. The first Parliament was opened November 30, 1837, but the locus in quo is not familiar to us now, most of the old Parliament buildings having been destroyed in 1834, and the present ones not yet erected. The Lord Chancellor, carrying the purse, and accompanied by his mace-bearer, heads the procession, which is seen approaching through the Royal gallery of the House of Lords, into which a November fog seems to have penetrated. Queen Victoria is in the centre, round her are the ladies in attendance and the great officers of State, and on either side are the Life Guards, in their then uniform, the two officers of which are saluting left hand. All are accurate portraits, and representations of the dresses and jewels actually worn, special facilities having been given Baxter to produce the print, which, like the companion print, is in aquatint. Many notable persons, in reply to Baxter's prospectus, became patrons. With the print was presented to each subscriber an historical account of the ceremony, together with a de- scription of the art of oil colour printing, and a list of the noble patrons and subscribers. Below the print, in the plate margin, in the centre, in three lines, is the above title ; and below that is " Dedicated by command to the Royal Family." Although it does not quite equal No. 129, it shares with it the merit of being one of Baxter's two finest productions ; but, like that print, no large number in colours was circulated, and a print very seldom comes into the market. The style in which it appeared when issued to the public is uncertain. Baxter at first intended the print should be smaller, and this is stated in his early prospectus. No print of this nor of No. 1 29 was included in the catalogue of sale of Baxter's prints in 1860, nor were the plates, and apparently also no print of either was exhibited or sold at his stall in the Great Exhibition. The present whereabouts of the plates is unknown. See also No. 129. It has often MISSIONARY PRINTS PERIOD (PART II) 121 been a question in what way he produced the appear- ance of fog in the building. Published at same prices as No. 129. SIZE OF PRINT EXCLUSIVE OF PLATE MARGIN, 2i x i6|. INCLUSIVE OF PLATE MARGIN, 2i x 26. Publislicd 1842. V.R. Prices same as No. 129. 132. The Launch of the Trafalgar This ship was the last wooden British man-of-war, and was launched in 1841 by Lady Bridport, Nelson's niece, who used wine for the purpose taken from the Victory after the great sea fight in honour of which the ship was named, and generally the event was one of considerable interest. Of the five hundred guests who sat down, over one hundred had fought in that battle. The print is full of minute work and beautiful colouring. It was, as were most of Baxter's prints at this time, published by subscription, and was described as "A picture in com- memoration of, and representing, The Launch of the Trafalgar at Her Majesty's dock-yard, Woolwich (at the time she cast anchor), printed in oil colours, in the highest state of the art, by G. Baxter, inventor and patentee. Price to subscribers : ^i i o each print ; proofs, 1 ii 6. Subscribers, names received by Mr. Baxter, Inventor and patentee of oil colour printing, 3, Charterhouse Square, and by his Agents." Probably the print was published on a tinted engraved mount, and with it a letterpress description. No print was in the 1 860 catalogue, nor was the plate. SIZE, 12^ x 8|. Published 1842. Unsigned. V.R. From 10 to 15. The few other prints during the missionary period are of no great importance, and they are all book illustrations. They will be found elsewhere in this catalogue they consist of Nos. 241, 297, 319, 355, 361, and 370 : the best is Parhelia, No. 361. CHAPTER X POCKET-BOOK, SCRAP-BOOK, AND NEEDLE-BOX PERIOD, 1847-1850 Pocket-Book and Scrap-Book Prints IN this chapter we have to describe very different work from that upon which we have com- mented in the foregoing pages. The years 1847, 1848, and 1849 were almost exclusively occupied by Baxter in pocket-book and scrap-book illustra- tion, both of which were then popular, and he produced no large prints whatever during this time, nor for several years. His labours heretofore had not been a financial success. He had to meet the growing demand for cheaper work, and he was forced to change his methods. Very beautiful and interesting are the prints he now produced ; but for some years they assumed a distinctly smaller, cheaper, and more popular character. He began to mount them on what we know as " Baxter mounts." The pocket-book prints (also used for scrap-books) were mostly for the pocket- books issued by the Religious Tract Society, and by Messrs. Suttaby & Co., and this kind of work began in 1847. For convenience all of these prints 122 NEEDLE-BOX PRINTS 123 are placed under appropriate headings. None of them have been at any time reproduced by any other printers. The only prints of this class that have been signed are three on one plate, printed in 1850 viz. Nos. 302, 303, and 320. For some of the pocket-books Baxter engraved charming little scrolls upon the title-pages. Each pocket- book contains a number of illustrations varying from one to five, " Le Souvenir " being in this respect the richest ; but it is possible that each book may not contain quite the same prints. The size of the page in the case of pocket-book prints is generally about 4f x 3. Needle-Box Prints In 1850 Baxter began to ornament needle-boxes i.e. ornamental boxes holding packets of needles, which were popular in the forties and fifties. Those for which Baxter supplied colour prints were usually 6|- x 4J- in size, and outside, dome-shape, with gold border, was one of his larger prints. Inside were some ten packets of needles, each having a small or " needle-box print " outside. These, in many cases, were printed for the purpose ; but often cuttings from larger prints were used, such as " The Lady and Greyhound " in No. 301, figures from Nos. 324 and 303, and others. Some of the enlarged prints mentioned in the next chapter, and a few others, were probably produced for the outside of the larger boxes, but were frequently used for other purposes also. Fancy names were given to 124 GEORGE BAXTER these small prints, whether cut from others or specially printed for the purpose. Inside the lid of the needle-box is often found : " The illustrations to this case of needle boxes are printed in oil colours by Baxter the Inventor and patentee, n, Northampton Square, being fac-similes of original paintings." Then follows a description of the illustrations, on the small boxes ; and on some of the boxes is found also a notification of Baxter's extension of patent. Many of the small prints were enclosed in a gold scroll, and used for the headings of letter-paper, a larger print being placed outside the packet. Nos. 158, 322, and 153, and some others were very probably produced for this purpose. For Sunday- school cards the small religious subjects were used, and were probably designed for that use, but were employed afterwards for numerous other purposes. So also these needle-box prints were adapted for other ends. The 1860 sale catalogue included a large number of these small prints ; and in its pages we are told, as to the larger ones : "A large number of un- mounted prints for Manufacturers are included in the sale." The " Gems of the Great Exhibition " needle-boxes had, on the outside, with a dome top and gold border, one of the single statue prints ; the inside had mostly one of the small prints from the " Fairies " set. Le Blond produced some excellent needle prints ; but neither he, nor any one else, printed from any NEEDLE-BOX PRINTS 125 of Baxter's plates of these subjects. Probably all the sets were original designs ; but some of them are copies of Baxter's larger prints. CATALOGUE OF NEEDLE-BOX PRINTS 133. The Regal Set. Originally twelve in a strip, and on the P. same plate as Nos. 302, 303, and 320 ; but later detached from the plate and made into a separate plate of ten only, in two strips of five each ; and in this form the plate was included in the 1860 catalogue. When the prints are on the plates, and we read from left to right, the sub- jects are: (i) "Windsor Castle" [showing river]; (2) "H.R.H. Prince Albert" [a miniature of No. 205]; (3) " Queen Victoria on Horseback " ; (4) " Queen Victoria on balcony" [miniature of No. 203] ; (5) "Her Majesty leaving the Isle of Wight " ; (6) " Balmoral" ; (7) " The Coronation" [miniature of part of No. 129]; (8) "The Duchess of Sutherland" [a figure from No. 129]; (9) "Her Majesty delivering her speech" ; (10) "Buckingham Palace ;" (u) " Deer-Stalking" ; (12) "The Royal Fleet in Kilkenny Bay." On the top margin of the plates, twice repeated, is " Designed, engraved, printed, and published by G. Baxter, patentee, n, Northampton Square, 1850 (entered at Stationers' Hall)"; and the name of the subject Is over each print. In the second plate the last-mentioned two prints are the two omitted. Printed from ten blocks and sold at i s. a strip. Probably never on a mount. SIZE OF EACH PRINT, i x i. f The set. M.R. 1 Is. Unsigned. < Each needle print. Is. (except Nos. 7, ( 9, and 10 ; and these 2s.). 134. Queen's Floral Needle-Box Set. Each small print is P. signed " G. Baxter, patentee, 11, Northampton Square," some in one line, and others in two. There are ten small groups of flowers on each sheet, five to a row, and each represents a different group. Baxter called 126 GEORGE BAXTER them " 10 bouquets." They were printed with back- grounds of white, cream, pale blue, mauve, dark blue, and other colours. Larger prints, also with different coloured backgrounds to match, were produced for the covers of the boxes, and were called by Baxter, 135. " Flowers one group " (this is the larger) and " Flowers 136. 3 bouquets " (somewhat smaller). The former is com- posed of nasturtium,convolvulus, roses, and other flowers ; the latter of three separate groups of various flowers two groups on the top, and one larger one sideways underneath. Below each of the three groups is lettering, which varies somewhat, and may be in small type. On the largest outside print, on the right, rather high up, is, in two lines, very small, " G. Baxter, patentee, n, Northampton Square." These outside prints are also found with a lace-like background of different patterns. Printed, in many cases, on the largest, in gold, or other coloured inks, is, on the top, "The Queen's Floral needle boxes"; and below the group, also in type, is " Illustrated by G. Baxter, patentee of oil colour printing." Originally sold : largest outside, at 6d. ; " 3 bouquets," 6d. ; " 10 bouquets," 6d. Probably never on a mount. The plate consists of the above one, three, and ten groups, the whole being printed from nine blocks. SIZE OF SHEET OF NEEDLE PRINT, & x 3|. EACH PRINT, i x i. LARGEST SINGLE OUTSIDE PRINT, 6x4. OF THE 3 GROUPS, 3| X 2^. THE OTHER 2 OF THE 3 GROUPS, 2 X l. Published 1850. The set. R. 1. Outside single print. M.R. 12s. 6d. 3 groups. M.R. 12s. 6d. small print. M.R. 5s. Each needle print. M.R. 9d. 137. The Tarantella Set. Ten oblong prints on one sheet. P Reading from left to right they are : On top row : "(0 NEEDLE-BOX PRINTS 127 The Tarantella ; (2) The Escaped bird ; (3) Madeira ; (4) Figures at a window; (5) The Wreck." On bottom row : " (6) Fortune Telling ; (7) The torrent ; (8) Girl by side of stream ; (9) Chinese scene ; (10) Eastern Temples." The ist, 5th, 6th, and loth are printed side- ways ; the ist, 3rd, 7th, and loth are signed only " Baxter, patentee" the 3rd and 7th in two lines, and the ist and loth in one line ; the 2nd, 4th, 5th, 6th, 8th, and 9th are signed, "Baxter, patentee, II, Northampton Square" the 2nd, 6th, 8th, and Qth in one line, and the 4th and 5th in two lines. The plate has no other lettering. Un- signed sets are sometimes found. The set was printed from eight blocks. Originally sold at is. a sheet. Probably never on a mount. SIZE OF SHEET, 5 x 3f. EACH PRINT, 2x1. Published 1850. The set. R. 1 Is. Each needle print. M.R. 9d. 138. The Greek Dance and Harem Set. This set, unlike P. the previous three, is in two strips, each marked to be cut into five needle-box prints, both being on one plate "The Greek Dance " forming the top row, and " The Harem " the bottom ; but each strip was also sold on a mount, and frequently with a gold border. The plate has no letter- ing. Baxter directed that when the strips were cut for needle -box prints they were to have the following names for the top set : "( i) Jealousy, or Love and Jealousy ; (2) The Wreath dance, or The Bridal Wreath ; (3) The Greek dance, or The dance : (4) The Guitar ; (5) The Playful child, or The Infant" : and, as to the bottom set, " (6) The harem dance, or Dance in the Harem ; (7) Ladies of the harem, or Favourite in the Harem ; (8) The Circassian slave, or A captive slave ; (9) The Circassian slave, or The captive slave ; (10) The captive jewels, or Captured prize." And he also directed that the larger prints to accompany this set were to be Nos. 147, 151, and 155. The two sets of five are on the same plate, 128 GEORGE BAXTER and were printed from twelve blocks. Originally sold at i;./. a strip. SIZE OF 2 STRIPS COMPLETE, 5x4. EACH STRIP, 5 x i|. PRINT AS A NEEDLE-BOX PRINT, i$ x i. Published 1850, f Harem strip. C. 10s. IT id 1 Greek dance strip. R. 15s. ' ) Either strip on mount. V.R. 1 10s. 'Each needle print. C. 9d. 139. Scriptural Subjects. Also printed on one plate, in P. two strips, in the same way as No. 138 ; and each can be cut to form five needle-box prints. The top strip is called " Religious subjects, No. I," and the bottom "No. 2" ; and each is often found on a Baxter mount. The subjects are : Top strip, left to right : "(i) Boaz and Ruth ; (2) Joseph sold ; (3) Caleb and his daughter ; (4) The finding of Moses; (5) Hagar and Ishmael": and, bottom strip, " (6) The salutation ; (7) Christ blessing bread ; (8) The Saviour ; (9) David ; (10) King Saul." There is no lettering on the plate. These prints were much used in Sunday schools, and in similar institutions, and were often mounted on a large card, with scrolls in gold, each small print being separately mounted in one of the scrolls. They could be cut, if desired, into small cards, which also had the name of the subject printed underneath in gold letters ; and under that, in three lines, " G. Baxter, patentee, London, etc.' The 1860 catalogue states : " Manufacturers ami others would find that these delicately got up pictures were demanded in thousands." The two sets are on the same plate, and were printed from eight blocks. SIZE OF 2 STRIPS COMPLETE, 5x4. EACH STRIP, 5 x i|. NEEDLE-BOX PRINT, i x i. Published about 1852. {Each strip. R. 1. on mount. V.R. 1 10s. needle print. M.R. Is. NEEDLE-BOX PRINTS 140. " Fairies " Set. Also printed in two strips, on one plate, P. one above the other, the " Pas des Trois " being the top strip ; and each strip can be cut to form five needle-box prints. On the one are, on the left, cupids dancing round a flaming torch ; in the centre are three dancers in short skirts ; and on the right a fountain ; and further, cupids. The background is a landscape and water. This strip is called " Pas des Trois," inspired no doubt by the celebrated dance then at the opera, in which Taglioni, Grisi, and Lucille Grahn appeared. In the other strip are seen fairies flying and leaping, and two men pursuing them. This strip is called " Fairies." Both strips, when on Baxter mounts, have a gold border. Only one plate was included in the 1860 catalogue, and there is no lettering on it. When cut for needle-boxes the titles of the prints are (for the " Pas des Trois ") : "(i) The dance of Cupids ; (2) Mdlle. Cerito ; (3) Mdlle. Taglioni 5(4) Mdlle. Lucille Grahn ; (5) Cupids bathing" : and (for the "Fairies"), "(6) The surprise; (7) Love sleeping ; (8) The fairy tempter ; (9) The enchantress ; (10) The fairy flight." 140.3. The plate of "Pas des Trois" was altered. The flaming torch was changed to a floral standard, trees were added to the background, and the drapery of the dancers was changed. The plate of " Fairies " was also slightly altered, the extreme top part of the cupola on the right being omitted. The two sets are on the same plate, and were printed from eight blocks. SIZE OF 2 STRIPS COMPLETE, 5x4. EACH STRIP, 5 x i|. NEEDLE-BOX PRINTS, i x i. Published probably 1851. {Each strip. B. 1. on mount. V.R. 1 10s. needle print. E. Is. The Allied Sovereigns and the Commanders of their forces (first variety). On a card are ten oval 9 130 GEORGE BAXTER portraits of distinguished persons connected with the Crimean War. Reading from left to right they are, on the top, "(i) Lord Raglan ; (2) Queen Victoria ; (3) The Sultan; (4) Napoleon III. ; (5) Genl. Canrobert": and on the bottom row they are, " (6) Sir Charles Napier ; (7) Duke of Cambridge ; (8) Marshal St. Arnaud ; (9) Prince Napoleon; (10) Omar Pasha." The names are under the subjects, in type, on the body of the mount. Under the print, in type, is the above title, in one line ; and below that is " In oil colours, by Baxter, patentee." Published about the time of the Crimean War. Care should be taken to secure good prints ; they vary. SIZE OF CARD, 4 x 5^. EACH PORTRAIT, i x i. Published about 1853. TT^^ (On card. 2 12s. 6d. Unsigned. | Eachrint 2g 142. The Allied Sovereigns and the Commanders of their forces (second variety). Same as No. 141, except that the Empress Eugenie has been substituted for Marshal St. Arnaud. This is the second plate, and was no doubt altered for No. 143. ~ . , \ V.R. 2 12s. 6d. Unsigned. j Eachrint R 2g 143. The Queen and the Heroes of India. On a small P. card, similar to Nos. 141 and 142, are ten oval portraits of Mutiny heroes. It is obviously the plate of No. 142 altered. The names are in type, in the body of the mount, Nos. 2, 4, 7, 8, and 9 being below the subject ; and Nos. i, 3, 5, 6, and 10 partly above and partly below. Reading from left to right, on the top row they are, "(i) General Havelock ; (2) Queen Victoria ; (3) General Sir C. Campbell; (4) Napoleon III.; (5) General Sir J. Outram" : and on the bottom row they are, " (6) Sir J- H NEEDLE-BOX PRINTS 13! Inglis of Lucknow ; (7) Duke of Cambridge ; (8) The Empress Eugenie ; (9) Prince Napoleon ; (10) Colonel Greathed." Under the print, in type, is the above title, in the centre, in one line ; and under that is " The Emperor and Empress of the French, the Duke of Cambridge, and the Prince Napoleon " ; and under that is " In oil colours, by Baxter, patentee." The set was printed from eight blocks, and published about the time of the Mutiny. SIZE OF CARD, 4^ x 5^. EACH PRINT, ij x ij. Published about 1857. , f V.R. 3 3s. Unsigned } Eachprint R 2g 144. The May Queen Set, Also all on a card, ten on one P. sheet six oblong, and four oval. Reading from left to right they are: On top row: " (i) The May Queen; (2) The Greek bride [oval] ; (3) Sunset ; (4) Affection [oval] ; (5) The Albanian Lovers." On bottom row : " (6) The Persian lovers ; (7) The Princess Royal (Princess Frederick William of Prussia) [oval] ; (8) View on the Rhine ; (9) Prince Frederick William of Prussia [oval] ; (10) Rustic felicity." Each of the subjects is named above the subject in the top row, and below in the bottom row, except those of Prince and Princess Frederick William of Prussia, which are partly over and partly under. On the left-hand margin of the print, in one line, is " Baxter, inventor & patentee " ; and on the right-hand margin, in one line, is "n & 12, North- ampton Square, London." All the lettering is engraved. The set was printed from eight blocks. Originally sold at is. a sheet. Probably never on a mount. SIZE OF CARD, 5^ x 4^. EACH PRINT, OVAL, 2x1. Published 1858. OB R. *. 132 GEORGE BAXTER 145. Figures and Landscapes Set. Ten on one sheet, all P. being oval. Reading from left to right they are : On top row: "(0 Figures [Cupid and his victim]; (2) Landscape [drinking fountain] ; (3) Lady with a bird ; (4) Landscape ; (5) Lady with a guitar." On bottom row : "(6) Landscape ; (7) Lady with a rose ; (8) Moun- tain scene ; (9) Two ladies ; (10) Castle scene." On the right-hand plate margin, below the print, is " Figures and landscapes (10 designs). Baxter, Inventor and Patentee," in two lines. These prints vary considerably in quality. The set was printed from eight blocks. Originally sold at is. a sheet. Probably never on a mount. SIZE OF CARD, 4| x 6. EACH PRINT, 2x1. Published about 1858. , I V.R. 2 2s. Unsigned. j Eachpriiit yR ^ , -Ax-.*.._ .* Print Xo. 146. THE BRIDE. Commonly known as the "small Bride.' CHAPTER XI ENLARGEMENTS WHEN, in 1850, Baxter found he needed prints somewhat larger than those he pro- duced for his pocket-books, for the outside of his needle-boxes, and for other purposes, he selected several he had aiready published, altered them slightly, and enlarged them to the size he required. In the catalogue in this chapter we have inserted, in each case, the first print, before enlargement, and the second, or enlarged, print. It will be found that the first prints are taken in each case from a painting, and are unsigned ; the second print is in every instance signed, but is necessarily neither a copy of a picture, nor an entirely original design. Nos. 158 and 159 do not properly fall within this category ; but, omitting those two, all the other enlarged prints will be found to have been produced from two plates only. CATALOGUE OF ENLARGEMENTS 146. The Bride (first plate). Pocket Books, No. 107. This beautiful little print is generally called "The small Bride." Under the print, in the centre of the plate margin, is the above title ; and under that is " Printed in 134 GEORGE BAXTER oil colours by George Baxter, patentee, 11, Northampton Square, from a painting by Miss F. Corbeaux," in three lines. Very similar, except for size, to No. 147 ; but in this print the sky is dark, there is a landscape back- ground in place of the sea, there is no balcony, no vase, and no growing roses, and in place of the light-red dress there is a dark-coloured one, and the figure is half length. It is dome-shape, and is sometimes found mounted in a gold and velvet frame, in a morocco case, like a miniature. It has been stated by Mr. Mockler that only 100 copies were printed ; but Mr. Sidney Wright, writing to the Bazaar, in November, 1897, says he had a share in printing it, and he believes about 250 copies were struck. SIZE OF PAGE, ABOUT 4! x 3. PRINT, 3^ x 2^. Published 1848. rOn mount, or in gold and velvet frame Unsigned. < as issued. V.E. 10 10s. ( As in pocket-book. V.K 7 7s. to 10 10s. 147. The Bride (second plate). Signed on the extreme P. right, on the stone of the balcony, " Baxter's patent oil printing, 1 1, Northampton Square," in three lines. Music No. 14. A popular and much used print. For this and No. 162 Baxter was awarded Hon. Mention at the Great Exhibition. Generally called " The large Bride." It is often said he designed it from an engraving of Queen Victoria ; but the face and figure are the same as the first plate, which is from a picture. The figure is three- quarter length, in low bodice, red dress, and bare arms, and stands on a balcony overlooking the sea, holding a rose. There is a light sky. On the right are growing roses and a large vase. It was directed by Baxter to be used with No. 138 for needle-boxes. Originally on the same plate as Nos. 151 and 155; but at the 1860 sale this plate was separate, and the other two were not included. Under the print, in one line, in plate margin, very small, is "The Bride. Engraved, ENLARGEMENTS 135 printed, and published by G. Baxter, patentee, n, Northampton Square (entered at Stationers' Hall), 1850." It will thus be seen Baxter does not claim it as his design. Usually when on a mount, on music, or on a needle-box, it has a dome top with gold border ; and when on music, printed in gold letters, under it, is " Printed in oil colours by G. Baxter, the inventor and patentee" : and when on a needle-box, in large gold letters, beneath, in type, is "The Bride"; and on the left is " Baxter's patent " ; and on the right, " oil printing." " The Bride " was printed from twelve blocks, and was originally sold at is. 6d. SIZE, 5 x 3. {On music complete. M.R. 12s. 6d. mount. M.R. 15s. Without mount. C. 10s. Le Blond. Signed. 148. The Conchologists (first plate). Pocket Books, No. 107. Generally called " The small Conchologists." The same as No. 149, except that the lower portion of that print is absent, and the two ladies are here three- quarters and not full length, and this print is oval. Under the print, in the plate margin, is the above title, in the centre ; and below that is " Printed in oil colours by G. Baxter, patentee, u, Northampton Square," in two lines. Probably from a painting. It is not claimed by Baxter as an original design. SIZE OF PAGE, ABOUT 4| x 3. PRINT, 3 x 2 . Published 1848. TT A (On mount. V.R. JB3 3s. u nsignea. j Ag - n pockeW)0oki l la 149. The Conchologists (second plate). Signed on the shore, low down on the left, "Printed in oil colours & published by G. Baxter, patentee, 11, Northampton 136 GEORGE BAXTER Square," in three lines. Two ladies, in low-cut bodices, walking on the shore. One is holding to her ear a shell, from which fact the print derives its title. The print is oblong. It is usually called " The large Conchologists." On the same plate as Nos. 153 and 157, which has no lettering except the signatures. Originally sold at 6d. SIZE, 4f x 3. Published 1850. M.R. 1. 150. Paul and Virginia (first plate). Usually called " The small Paul and Virginia." An exquisite little print. Very similar to No. 151, except that it is nearly square instead of oblong, and the other is by day, and this shows a beautiful starlit night. An illustration to one of the pocket-books. Under the print, in the centre of the plate margin, is " Paul and Virginia " ; and below that is " Printed in oil colours by George Baxter, patentee, n, Northampton Square. From a painting by A. Rankley," in four lines. SIZE, 3 x 2f. Published about 1847. I On mount. V.R. JE3 3s. * 1 As in pocket-book. V.R. 2 2s. 151. Paul and Virginia (second plate). Signed on the left, low down in the ground, " Baxter's patent oil printing, u, Northampton Square," in three lines (curved). Music, No. 6. The couple are seated on the rocks. It is usually called " The large Paul and Virginia." It was directed by Baxter to be used as the outside print for No. 138. For plate see No. 155. Often has a dome top, with gold border. When on the " Paul et Virginie Valse," it is oval, with gold border and scroll ; and printed in gold letters, under the print, in one line, is " Printed in oil colours by G. Baxter, the inventor and PAUL AN ? D VIRGINIA. The rare variety. ENLARGEMENTS 137 patentee." Under the print, in the plate margin, in very small letters, is the above title, and " Engraved, printed & published by G. Baxter, patentee, u, Northampton Square (Entered at Stationers' Hall), 1850." Originally sold at is. SIZE, 5x3. C. 15s. On music complete. M.R. 15s. 152. La Tarantella (first plate). Pocket Books, No. 105. P. Very similar to No. 153, except as to size. Usually called " The small Tarantella." For plate see No. 309. Under the print, in the centre of the plate margin, is the above title ; and on the left is " Baxter's patent oil printing, n, Northampton Square," in two lines. From an original drawing. The three prints on this plate were produced from eight blocks. SIZE OF PRINT, 3! x 2^. Published 1847. (On mount. V.R. 3 3s. > j As in pocket-book. R. 15s. 153. La Tarantella (called, on Baxter's stamp, "The Taran- tella Dance ") (second plate). Signed on the left, in the grass, " Printed in oil colours & published by G. Baxter, patentee, 11, Northampton Square," in three lines. Peasants are dancing this dance. On the same plate as Nos. 149 and 157, but there is no other lettering on it except the signatures. Usually called " The large Tarantella." Orginally sold at 6d. SIZE, 4x4, BUT GENERALLY CUT ABOUT 4X3. Published 1850. On mount. R. 1 5s. Without mount. M.R. 12s. 6d. 154. The Chalees Satoon (first plate). Pocket Books, Nos. loo and 107. Under the print, in the centre of the 138 GEORGE BAXTER plate margin, is the above title ; and on the left is " Baxter's patent oil printing, u, Northampton Square," in two lines ; and on the right is " from a painting by W. Daniel, R.A.," in two lines. Very similar to No. 155, except that there are no broken columns in the foreground, no figures on the right, and two instead of five palms in the right distance ; the foliage right and left is rather different, and there are other small variations. Usually called " The small Chalees Satoon." SIZE, 3f x 2j. Published 1848. . , I On mount. V.R. 3 3s. Unsi ne< M As in pocket-book. E. 1 Is. 155. The Chalees Satoon, East India (second plate). Signed in one of the broken columns in the fore- ground, " Baxter's patent oil printing," in three lines. It represents the " Chalees Satoon," or " forty pillars," a pavilion attached to the Emperor Akbar's Palace on the Jumna side of the Fort of Allahabad. Foliage and four figures on the left ; ox-wagon and camels in the centre ; and five figures and foliage on the right ; five palms in the right distance. Usually, when on mount, it has a dome top, with gold border. It was originally on the same plate as Nos. 147 and 151 ; but in the catalogue of the 1860 sale the plate of No. 147 was separate, and the plate of neither this nor No. 151 was included. The three prints on this plate were specially directed by Baxter to be used on the outside for No. 138. On the left margin of the plate, in very small letters, is " Chalees Satoon, East India. Engraved, printed, & published by G. Baxter, patentee, n, Northampton Square (Entered at Stationers' Hall), 1850." Usually called " The large Chalees Satoon." Originally sold at is. SIZE, 4| x 3! . C. 15s. ENLARGEMENTS 139 156. Indian Settlement (first plate). Pocket Books, Nos. 99 and 106. An oblong print. Water and canoe in the foreground ; in the background, the settlement. It represents a scene in British Guiana, where the London Missionary Society had a station. Under the print, in the centre of the plate margin, is the above title ; and on the left is " Baxter's patent oil printing, 11, Northampton Square," in two lines ; and on the right is " from a painting by E. A. Goodall, Esq.," in two lines. For plate see No. 309. SIZE, 3^ x 2^. Published 1847. ^ , I On mount. V.R. 1 11s. 6d. unsi & nea - ] AS in pocket-book, R. 15s. 157. Indian Settlement (second plate). Signed on the left in the water, " Printed in oil colours & published by G. Baxter, patentee, n, Northampton Square," in three lines. A slightly enlarged print, but otherwise similar to No. 156. It is on the same plate as Nos. 149 and 1 53 ; there is no lettering on it except the signatures. Originally sold at 6d. SIZE, 4 x 2^. Published 1850. On mount. M.R. 15s. Without mount. 7s. 6d. 158. The First Impression, or First Impressions P. (first plate). From a painting. Pocket Books, No. no ; but the print is cut smaller when a book illustration. Usually called " The small First Impression," but some- times " Sterne and the Grisette." Exactly the same, except size, as No. 159. When on a mount it has a dome top, with gold border. Used and, with the other three on this plate, probably designed for the outside of Baxter's notepaper packets. The four prints on this 140 GEORGE BAXTER plate were produced from eleven blocks. For plate see No. 322. Originally sold at gd. SIZE, 3! x 2|. Published 1850. _ . , J M.E. 15s. Unsigned. J 0nmount E 1 lg> Le Blond. See Arctic Expedition, No. 342. 159. The First Impression, or First Impressions (second plate). A damsel, in alow-cut dress of the period, rests against a wall. Both she, and the gallant with cocked hat, sword, and knee breeches, who approaches, receive their " first impressions." It has been doubted whether this was really Baxter's work. On the one hand, the plate has no lettering, is not very like his style, and no print nor the plate was included in the 1 860 catalogue ; but, on the other hand, although we have never seen a print on a Baxter mount, we have been told by those whose word deserves respect that some do exist. Prints in black, which may or may not be later impressions, are not uncommon. It is usually called " The large First Impression." It is from a painting. Original price, I CM. 6d. SIZE, 13^ x i if. Published about 1860. f On Baxter mount. V.R. Price a matter TT,, , 0,1 3 f arrangement say 7 7s. to 10 10s. unsigned. < w . thoutm(mnt> ? 7g> tin black. 1 Is. There are also prints in two sizes of the exterior of the Great Exhibition, and Wellington. These will be found under other headings the first on pages 142 and 143, and the second on pages 167 and 168. CHAPTER XII CATALOGUE OF THE EXHIBITION SERIES THE GREAT EXHIBITION OF 1851 160. Opening of the Exhibition of 1851. Her Majesty the Queen in her carriage (first variety). Queen Victoria opened the Great Exhibition on May i, 1851, in semi-state. She was accompanied by Prince Albert and the then Prince of Wales and Princess Royal. Her coach is shown arriving at the centre-transept entrance, with plumes, and drawn by eight horses, and attended by trumpeters and cavalry. Baxter included some in- accuracies in this plate, for the carriage had no plumes, and only two horses ; moreover, the footmen have in this print no wands, and the coachman no whip. On the same plate as Nos. 164 and 294. There is no lettering on this, which is probably the first plate. Published soon after the opening, and sold at is. SIZE, 4x3. Published 1831. TT^^ \ O n mount. V.R. 2. Unslgned 'l Without mount. B. 1. 161. Opening of the Exhibition of 1851 (second P. variety). The same as last print ; but the coach is here shown without plumes, and with only two horses, and the coachman has a whip, the footmen have wands, and there are some other slight alterations. This is probably 141 142 GEORGE BAXTER a second, and not an altered, plate. Sometimes found in a small frame, and possibly sold in that state. The print, with the other two on the same plate, was produced from ten blocks. There is said to be a large variety of this print. SIZE, 4x3. Published 1851. . , I On mount. V.R. 1 10s. Unsigned. 162. The Great Exhibition (Exterior). Companion to P. No. 163. Sometimes stated to be from a picture by C. Buckley. The main idea probably was taken from an engraving ; but Baxter claims the print as his own design. Advertised to be ready on May 5, 1851, it was sold at an early period at Baxter's stall at the Great Exhibition, and shows the south side and east end. The glass work is skilfully managed. The detail is so great, the print should be looked at through a lens. Note the boats on the Serpentine, the people in the carriages, and the variety of vehicles and persons. For this print and a " female portrait " (probably " The Bride ") Baxter was awarded by the jury of the Great Exhibition " Honorable mention." On the bottom margin of the plate is "The Great Exhibition. Designed, engraved, printed, and published by G. Baxter, patentee, n & 12, Northampton Square, May 27th, 1851 (entered at Stationers' Hall)," in one line. Generally, when on a Baxter mount, it has a dome top and a gold border. It is included as one of the " Gems of the Great Exhibition." The print was produced from eleven blocks. Originally sold at 3-y. 6d. SIZE, I2| x 6. Unsigned. C. 1 10s. 163. The Great Exhibition (Interior). Companion to P. No. 162. View from the transept, looking east. Messrs, THE EXHIBITION SERIES 143 Osier's great glass fountain is playing in the foreground. On the right are Queen Victoria, Prince Albert, the then Prince of Wales, and Princess Royal, the Duke of Wellington, and others. It was advertised to be ready on the day of the closing of the Exhibition. On the bottom margin of the plate, in one line, is " The interior of the Great Exhibition. Designed, engraved, printed, and published by G. Baxter, patentee, n & 12, Northampton Square, October 15, 1851. (Entered at Stationers' Hall.)" Two ladies in the gallery on the extreme left do not appear in some prints. Generally, when on a mount, it has a dome top and a gold border. It was included as one of the "Gems of the Great Ex- hibition." The print was produced from eleven blocks. Originally sold at y. 6d. SIZE, 13 x 6. Unsigned. C. 1 5s. BAXTER'S "PICTORIAL KEY TO THE GREAT EX- HIBITION AND VISITORS' GUIDE TO LONDON" About the time of the Exhibition, Baxter published a book with this title, which contained the following two prints. The value of the book is about 2 los. 16$. (Small) Exterior of the Great Exhibition. Books, P. No. 5. On the same plate as Nos. 294 and 161, but there is no lettering. Almost identical, except for size, with No. 162. When on a mount, and in the book, it has a dome top and gold border. The print was, with the other two on the same plate, produced from ten blocks. Originally sold at is. SIZE, 6x4. Published 1851. n , I On mount. R. 1. unsigned. } Without mount MiR> 15g> 144 GEORGE BAXTER 165. The Houses of Parliament. Books, No. 5. Shewing P. the river and state barges. When in the book, printed in gold letters, below the print, is the above title, in one line, and " Printed in oil colours by G. Baxter, the inventor and patentee." The plate has no lettering, it is usually somewhat faint, but it is a delicate little print. Both in the book and on the mount it has a dome top, with gold border. The print was produced from eight blocks. Originally sold at is. SIZE, 4| xs. Published 1831. Unsigned. R. 1 10s. BAXTER'S "GEMS OF THE GREAT EXHIBITION" Baxter also issued a publication with this title. Books No. 4. Advertised to contain ten gems, it ultimately contained only nine. Issued from Baxter's offices (no date is given ; but 1854) at the price of i us. 6d. There is reason to suppose Baxter intended to dedicate each of the five three- statue gems to a distinguished person ; but, this proving impracticable, he dedi- cated the whole to the Emperor of Austria. Each of the nine, except " The Veiled Vestal," was sold separately, on stamped mounts, with dome tops and gold borders. Baxter was aided by daguerreotype. It is probable Nos. 169, 170, 171, and 172 were not published before they appeared in this book. In the first five gems, Baxter has been led by his love of detail to insert figures which, as artistic productions, the prints would have been better without. His idea was that each of these could be cut (like some of the needle-box prints) so as to make fifteen separate, but small, statuary pictures. The value of the book complete is about 6. The names of the statues are as given in this book. 166. Gem No. 1. Books, No. 4. French department. P. " Sabrina " in the centre ; on the left, " Psyche " ; and on the right, " A nymph." Under the print, in the plate margin, is " Gems of the Great Exhibition. No. i of the series. Designed, engraved, printed, and published by G. Baxter, patentee, n & 12, Northampton Square, THE EXHIBITION SERIES 145 March i8th, 1852 (Entered at Stationers' Hall)," in one line, in the centre. The 1860 catalogue says: "No expense as to artists or daguerreotypists was spared to render the subjects the most perfect in drawing." The print was produced from ten blocks. There are some prints without the lettering. SIZE, 9! x 4|. Unsigned. C. 15s. 167. GemNo. 2. Books, No. 4. Belgian department. "The P. unhappy Child" is in the centre ; on the left is "The faithful Messenger " ; and on the right is " The Lion in Love." Under the print, in the plate margin, in one line, is " Gems of the Great Exhibition. No. 2 of the series. Designed, engraved, printed, and published by G. Baxter, Patentee, 11 & 12, Northampton Square, April 26th, 1852 (entered at Stationers' Hall)." The print was produced from ten blocks. SIZE, 9j x 4|- Unsigned. C. 15s. 168. GemNo. 3. Books, No. 4. Russian department. "The P. Greek Slave " is in the centre ; on the left is " Rinaldi and Armida" ; and on the right is "Alfred the Great receiving from his mother the book of Saxon poetry." There is no lettering on the plate, except possibly, on some prints, " No. 3," in the bottom plate margin. The print was produced from ten blocks. SIZE, 9^ x 4|. Published August 1852. Unsigned. M.R. 1. 169. Gem No. 4. Books, No. 4. Foreign department. "A P. dead mother " is in the centre ; on the left is " A child, dog, and serpent " ; and, on the right, the companion statue. There is no lettering on the plate, except possibly, on some prints, " No. 4,'' in the bottom plate margin. The print was produced from ten blocks. SIZE, 9^ x 4|. Publislied 1832, Unsigned. M.R. 1. 10 146 GEORGE BAXTER 170. Gem No. 5. Books, No. 4. Austrian department. In P. the centre is " Mazeppa" ; on the left is " Girls Fishing" ; and on the right is " Hagar and Ishmael." Under the print, in plate margin, is "Gems of the Great Exhibition. No. 5 of the series. Designed, engraved, printed, and published by G. Baxter, patentee, 11 & 12, Northampton Square, Septr. 4, 1854 (Entered at Stationers' Hall"), all in one line. The print was produced from ten blocks. It is the rarest of the series. SIZE, 9 x 4|. Unsigned. E. 1 10s. 171. Gem No. 6. Books, No. 4. "The Amazon" (from Kiss P. statue). She is on horseback, spearing a tiger. There is no lettering on the plate. The print was produced from four blocks. Published probably with the book (i854). SIZE, 8f x 6. Unsigned. M.R. 1. 172. Gem No. 7. Books, No. 4. " The Veiled Vestal." A statue of a young girl, kneeling and veiled. It was on the title-page. Dome top in the book ; but often found with a square top. There is no lettering on the plate. There are three varieties : in some the pedestal is said to be green ; in others it is red. The background of the print on the title-page approaches to dark blue, but in others it is deep red. These latter may, however, be unfinished prints. Published probably with the book (1854). SIZE, sk x 4. f Green pedestal. V.R. 1 10s. Unsigned ) Ked pedestal. R. 15s. I Blue background. R. 1. (- Dark red background. R. 15s. Gem No. 8. 1 The large exterior and interior, Nos. 162 Gem No. 9, I and 163. THE EXHIBITION SERIES 147 Gems. Nos. i, 2, 3, 4, and 5 were divided and sold as fifteen single statue prints, on small stamped mounts, with dome tops and gold borders. Their names as given by Baxter's imbossed labels on the mounts are as follows. A whole set of sixteen, including " The Veiled Vestal," is valuable and a rarity. 173. Sabrina. No. 85.* C. los. 174. Cupid and Psyche. No. 84.* C. los. 175. A nymph. By Wyatt. No. 86.* C. lew. 176. The Lion in Love. No. 89.* M.R. io.y. 177. The faithful Messenger. M.R. I2s.6d. 178. The unhappy Child. M.R. 10^. 179. The Greek Slave. V.R. \. 180. Rinaldi and Armida. M.R. los. 181. A mother presenting her son with the Bible. M.R. \2s.6d. 182. The dog and the serpent. The attack. M.R. 125. 6d. 183. The dog and the serpent. The defence. M.R. I2.y. 6d. 18$. The attack of the eagle. R. I2J. 6d. 185. Girls Fishing. R. 12s. 6d. 186. Mazeppa. R. i2s. 6d. 187. Hagar and Ishmael. R. 12s. 6d. 188. The Veiled Vestal, as set out in No. 172, but it is possible it may never be found on a mount. * The numbers are those of Baxter's prints. GEMS OF THE CRYSTAL PALACE, NEW YORK 189. The Crystal Palace, New York. Signed on the P. right-hand corner, "Published, September ist, 1853, by George Baxter, proprietor and patentee, London," in four lines. Under the print, in plate margin, is the above title. When on a mount it has a dome top and gold border, but it is often found without, and folded in the centre ; so it may have been an illustration to some American or other edition of a guide-book of the Exhibition. Shows the exterior of the building (which was opened in 1853) in the background, and carriages 148 GEORGE BAXTER and spectators in the foreground. A sandwich-man is seen, and on the board he carries is inscribed" Baxter's gems of the Exhibition, now exhibiting in the Crystal Palace"; some few prints are without this inscription. A dishonest agent robbed Baxter of his profits at this Exhibition. Usually on the mount, in type, on the right-hand side, are the words, " From a drawing by Mr. Carstensen and Mr. Gildimeister, the architects of the Building." The print was produced from eleven blocks. SIZE, i2j x 5|. On mount. V.R. 2 12s. 6d. Without mount. M.R. 1 5s. 190. The Crystal Palace, New York. A series of five D. different views of the Exhibition, a little larger than needle-box prints, on one strip, upright. They are often sold as Baxter's. The workmanship is, however, un- like his, and the views are not of the New York Ex- hibition, but of the London Exhibition of 1862 ; so they could not be by him. They are probably by Le Blond, as he published a larger single print of the same subject. Baxter had no such plate in his 1860 catalogue. SIZE OF THE 5 PRINTS, 6x2. EACH PRINT, 2 x i|. Published probably 1862. R. 7s. 6d. "GEMS OF THE CRYSTAL PALACE, SYDENHAM" 191. No. 1. The Exterior. Signed on the left centre, in P. the roadway, "Published, June loth, 1854 [the date of the opening], by G. Baxter, London, Proprietor & patentee," in three lines. On the Baxter stamp it is stated to be " Published and sold by special desire of the directors by George Baxter at the Crystal Palace." THE EXHIBITION SERIES I4Q The view is taken from the Dulwich Road. A soft and beautiful view of a difficult subject. The Palace is slightly in the background, and its whole length as it then existed (without towers) is shown. According to the Daily News of May, 1854, the directors arranged for Baxter to make a series of pictorial records of the Palace. This print is No. i, but apparently he never finished or even continued the series. Under the print, in the plate margin, in one line, is " Gems of the Crystal Palace. No. i. The Exterior. Engraved, printed, and published, June 10, 1854, by the proprietor, George Baxter, the Inventor and patentee of oil colour picture printing, n & 12, Northampton Square, London (Entered at Stationers' Hall)." The print was produced from eleven blocks. Originally sold at 3^. 6d. SIZE, sk x n i- M.R. 1 5s. Le Blond. See Arctic Expedition, No. 342. 192. The Pompeian Court of the Crystal Palace, p. Digby Wyatt, Esq., architect. A fine piece of colouring, and said by the catalogue of 1860 to be " perfect in every point of detail and perspective." The print was produced from eleven blocks. SIZE, ii x 7|. Published probably 1834. Unsigned. V.E. 2 10s. 193. Crystal Palace and Gardens. Signed very low P. down, in the centre, "Published Octr. 3oth, 1854, by G. Baxter, Proprietor and patentee, London." It shows the Crystal Palace (as it then was, without its towers), with its fountains and grounds in the background, and in the foreground the antediluvian animals of Mr. Water- house Hawkins, which were set up in 1854. Under the 150 GEORGE BAXTER print, in the plate margin, in one line, is " The Crystal Palace, drawn by W. Hawkins, and engraved, printed, and published, October 3Oth, 1854, by Geo. Baxter, the inventor and patentee of oil colour picture printing, II & 12 Northampton Square (entered at Stationers' Hall)." The print was produced from eight blocks. Originally sold at is. 6d. SIZE, 6 x 4|. On mount. R. 1 10s. Without mount. M.E. 15s. Le Blond. Signed. 194. The Assyrian Court. A plate of this exists ; but D. probably Baxter never printed from it. It has no lettering. It is about the same size as the Pompeian Court. CHAPTER XIII CATALOGUE OF AUSTRALIAN GOLD DIGGINGS AND CRIMEAN WAR PRINTS AUSTRALIAN GOLD DIGGINGS 195. Australia. News from home. Music, No. 13. P. Companion to No. 196. Settlers at the gold-fields, in their hut. One is reading an account of the Great Exhibition. A native has just brought a letter from home. There were great gold discoveries in Australia in 1853. When on music the print has, in gold letters, under it, " Printed in oil colours by G. Baxter, the Inventor and patentee." Although the companion print is signed, this is not, and the circumstance has been pointed to as another instance of Baxter's erratic methods ; but it must be recollected that, in this case, more than fifteen months elapsed between the publication of the two. Under the print, in the plate margin, in one line, is " Australia. News from home. Designed by H. S. Melville, and engraved, printed, and published by G. Baxter, patentee, 11 & 12, Northampton Square, January 3ist, 1853 (Entered at Stationers' Hall)." The print was produced from twelve blocks. This and the companion are two of Baxter's most popular prints. Sometimes said to be from a painting by Freeman. Originally sold at is. 6d. SIZE, 6 x 4^. Unsigned. C. 1 5s. Le Blond. Crude colouring ; no bloom on faces ; print chalky and out of register, and no depth of colour. 152 GEORGE BAXTER 196. News from Australia. Companion to No. 195. P. Signed on the hearth-stone, on left, " Published May loth 1854, by G. Baxter, proprietor and patentee, London," in four lines. An old cobbler and his wife listen whilst their daughter reads the ship letter, which has enclosed them a ^100 note. On the bottom margin of the plate is " News from Australia. Engraved, printed, and published May loth, 1854, by the proprietor, George Baxter, the inventor and patentee of oil colour picture printing, n & 12, Northampton Square (Entered at Stationers' Hall)." From a painting. A most popular print. The print was produced from twelve blocks. Originally sold at is. 6d. SIZE, 6 x 4^. M.R. 1 10s. Le Blond. Signed. THE CRIMEAN WAR 197. ReYiew of the British Fleet at Portsmouth. P. Companion to No. 198. Signed on the extreme right, in one of the stones of the battery, "Published May 3ist, 1854, by G. Baxter, patentee and proprietor, London," in four lines. The review was held in August, 1853. In the immediate foreground a salute is being fired from the old saluting battery, before the erection of the Clarence Pier, apparently with ball ; and yet, in the 1860 catalogue, this print is described as a "Guide to the coast Volunteers." In the bottom plate margin is " Review of the British Fleet, &c. Engraved, printed, & published May 3ist, 1854, by the proprietor, George Baxter, the Inventor and patentee of oil colour picture printing, n & 12, Northampton Square (Entered at Stationers' Hall)," in one line. The print was produced from twelve blocks. Originally sold at 3^. 6d. SIZE, 10 x 5. M.R. 1 15s. Le Blond. See Arctic Expedition, No. 342. CRIMEAN WAR PRINTS 153 198. Charge of the British Troops on the road to P. Windlesham. Companion to No. 197. Signed on the extreme left, in the foreground, " Published April 24th, 1854, by G. Baxter, Proprietor and patentee," in five lines. Some well-known regiments of that day may be distinguished in the print. On the hill are the guns ; on the left distance, the camp, then at Chobham ; and in the centre is a " British square." In the bottom plate margin of the print is the above title, and " Engraved, printed, and published, April 24, 1854, by the proprietor, George Baxter, the Inventor and patentee of oil colour picture printing, II & 12, Northampton Square (Entd. at Stationers' Hall)," in one line. The print was pro- duced from ten blocks. Originally sold at $s. 6d. SIZE, 10 x 5. M.R. 1 15s. Le Blond. See Arctic Expedition, No. 342. 199. The Siege Of Sebastopol. The allied fleets are P. shown bombarding the Russian stronghold. There is here some very minute work, such as the troops on the heights in the distance. The smoke and dstant hills are capitally arranged. The plate has no lettering. The print was produced from eight blocks. Published about the time of the siege. SIZE, 6 x 4j. Published about fSjj. Unsigned. R. 2 2s. 200. The Soldier's Farewell, or Parent's Gift. Signed P. on the left, under the broom, " Published, Sept. 24th, 1855, by G. Baxter, proprietor and patentee, London," in seven lines. The parent is presenting a Bible to his son, a departing Guardsman. The landscape is buried in snow, emblematic of what the troops went through. 154 GEORGE BAXTER In the bottom plate margin is the above title. The print was produced from eight blocks. Originally sold at u. (xi. SIZE, 6 x 4. M.K. 1 10s. Le Blond. Signed. See also needle-box prints Nos. 141 and 142 for further reminders of this war. CHAPTER XIV PORTRAITS T)AXTER loved to depict the human features, JL) and, apart from the numerous likenesses in his large prints of the " Coronation " and " Opening of Parliament," he produced about forty, which are avowed portraits ; but there is reason to suppose that some other prints are also portraits, although they are not described as such. These include " Flora," '"So Tired ! '"" Little Red Riding Hood," and others. Baxter's first portrait appeared in 1837 ; his last in 1859 ; but in and about 1853 that charming series was issued which are so much sought after to-day, on account of their delicacy of colour, minuteness of detail, and general re- semblance to miniatures. In the catalogue in this chapter we set forth all known portraits, except those that are given in Chapter VIII. CATALOGUE OF PORTRAITS (EXCEPT THOSE IN CHAPTER VIII) PORTRAITS OF THE ROYAL FAMILY 201. Her Majesty Queen Victoria. Books, No. 62. Baxter's first portrait of Her Majesty. The Queen stands in a stall of the Garter, in her robes and jewels 156 GEORGE BAXTER as Sovereign of the Order. The sword hilt and some other parts are gilt. There is no name or description on or under the print. SIZE, 12 x 9. Published 1842. Unsigned. R. 2 10s. 202. The Royal Christening. Baptism of His Royal D. Highness the Prince of Wales. Advertisements by Baxter appeared, immediately after the event, of his intention to produce a print ; but it is almost certain that no colour print of this ceremony by him actually appeared. There is, in the Baxter family, a very beauti- ful water-colour which is probably the original from which the print was to be taken, and in it Baxter's own portrait is visible amongst the assembled company on the royal platform on this January 25, 1842. Mr. Holman states in his " Some Lewes Men of Note," referring to this picture : " The King of Prussia was in treaty for purchasing it at the time of his death." It was exhibited by Baxter in the Royal Academy miniature-room in the 'forties. The print was to be a companion to the " Coronation." The water-colour is about the same size and is the same shape as the "Coronation" when cut with an oval top. Published, if at all, about 1842 or 1843. V.R. Price, if the print exists, a matter of arrangement. 203. England's Queen, or Her Most Gracious Majesty P. the Queen. Companion to No. 204. Books, No. 85. Excluding No. 131, this and Nos. 204 and 234 are the first three prints signed by Baxter. The signature is in four lines, transversely, on one of the squares of the tesselated pavement, as follows, " Baxter's patent oil colour printing " ; and under that, in one straight line, is " 1 1, Northampton Sq." Her Majesty is full length, and stands on a balcony near Windsor, the Castle and PORTRAITS 157 river being seen in the distance. She is wearing Garter robes and jewels. She wears lace also, and this is very excellently managed. It was a very popular print, and some hundreds of thousands were sold. We have been unable to procure a print showing the plate lettering, but we think, like the companion print, it is an original design. In the book it is on a plain mount, with a blue-lined edge and square top, but no stamp on mount ; when on a mount it usually has a dome top, with gold border. The print was produced from thirteen blocks. Probably not on a Baxter mount until 1850, and then sold at 2s. See No. 204. SIZE, 6x4. Published 1848. C. 110s. 204. His Royal Highness Prince Albert. Companion to No. 203. Books No. 85. See Nos. 203 and 205. The signature is on the right, upon the marble floor, " Baxter's patent oil printing, XI., Northampton Square," in three lines. The Prince is full length, in military costume, with Garter riband, and stands on a balcony near Windsor ; he is wearing Prussian " blue breeches " ; hence the print is known by that characteristic. Above the print, in plate margin, is the above title, in one line ; and under the print, in plate margin, is " Designed, en- graved, printed, and published by G. Baxter, patentee, n, Northampton Square, Octr. 2nd, 1848," in one line. In the book the print is on a plain mount, with a blue- lined edge and square top, but no stamp on mount. Baxter saw the Prince Consort in 1850, who then pointed out that alterations were desirable, and the print was modified. This and the companion print were amongst those produced to the Privy Council on the application by Baxter to renew his patent in 1849 5 an d Lord Brougham was so struck with them, he at once desired to purchase them. Probably never on a mount. SIZE, 6x4. B. 2. 158 GEORGE BAXTER 203. His Royal Highness Prince Albert. An original P. design. Companion to No. 203. Similar to No. 204, but the signature is on the left of the marble floor, " Printed in oil colours by G. Baxter, patentee, XI., Northampton Square," in three lines ; and in this print the Prince wears cream buckskin breeches, and top boots, and an order suspended from his neck. Notwithstanding these altera- tions, the print is from the same plate as No. 204 altered. When on a mount the print usually has a dome top, with gold border. Upwards of 500,000 copies of the print were sold. In some prints it is said the charger at the foot of the steps is darker in colour. This is the print after Baxter had seen the Prince, as stated in No. 204. The print was produced from twelve blocks. Originally sold at 2s. SIZE, 6x4. Published 1850. C. 110s. With dark charger. V.R. 2 2s. 206. Her Majesty Queen Victoria. Signed in one of the squares of the tesselated pavement, transversely, " Baxter's patent oil printing," in four lines ; and under that, in one straight line, is " II, Northampton Square" ; and in another square is " Pub. by De la Rue & Co." Except for size, nearly the same as No. 203 ; but there are a few other slight differences. It was printed for De la Rue, who did much to improve playing- cards, and this print was used and probably designed for the outside cover of their packs of cards, as also were, possibly, Nos. 207, 211, and 281, all three being on one plate ; but on another plate this print appears in lieu of No. 207 with the other two prints. There is no other lettering on the plate for this print, and it will probably never be found on a Baxter mount. SIZE, 3f x 2|. Published about 1850. M.R. lls. Print No. 207. HER MOST GRACIOUS MAJESTY QUEEN VICTORIA. Commonly known as "The Queen on dais." PORTRAITS 159 207. Her Most Gracious Majesty the Queen. Usually P. called " The small Queen," or " Queen on dais." Full- length portrait of Her Majesty, who is seated on the throne, clad in scarlet and ermine robes, at the back being the Royal Arms and other elaborate ornaments. A splendid piece of minute work. For plate see No. 206. There is no lettering on this print ; but there is sometimes found, printed under the picture, when on the wrapper, the above title, in two lines ; and below that is " Printed in oil colours by G. Baxter, the In- ventor and Patentee," in two lines. It will probably never be found on a Baxter mount. The print, with the two others on the same plate, was produced from twelve blocks. Mr. Mockler reproduced it in sepia, which is sometimes coloured by hand and passed as Baxter's. SIZE, 4^ x 3. Published about 1850. Unsigned. V.R. 6 to 8. 208. Victoria, Queen of Great Britain. Her Majesty is depicted three-quarter length, dressed in black, with diamond tiara, Garter riband and star, and large neck- lace ; and she stands against a table, which has a dispatch-box on it. In her hand she holds a lace handkerchief and fan. A most excellent and refined print. Originally sold at is. SIZE, 4^ x 3. Published probably / I Without mount. M.R. 1 10s. 21$. The Princess Royal, Princess of Prussia. Com- P. panion to No. 215. The Princess is full face, three- quarter length, in a white, low-cut dress, red sash, and lace, and wears a diamond tiara and other jewels. From a miniature executed prior to her leaving England. Sometimes erroneously called the " Princess of Wales." The plate has no lettering. The print was produced from eight blocks. Originally sold at is. SIZE, 4^ x 3%. Published probably 1858. TT ^n^ 5 On mount. V.R. L Slgnea> j Without mount. V.R. JB2 10s. Le Blond. Prints are very numerous. Face without bloom, lips uncoloured, and all the flesh-tints are the colour of brick-dust. In Baxter's prints the jewels to pendants and earrings are not coloured ; but in Le Blond's they are tinted red. A very bad print, and entirely unglazed, and often out of register. A novice can tell the difference. 215. Prince Frederick Wm. of Prussia. Companion P. to No. 214. A full-face, half-length portrait. The Prince is shown in blue military costume, white epaulettes, and red cloak, and wears a riband and orders. Taken from a miniature, and was produced from nine blocks. SIZE, 4 x 3 J. Published probably 1858. _ . , (On mount. V.E. 3 10s. Unsigned. ( without moimt< 2 . PORTRAITS 163 216. Victoria, Queen of Great Britain, India, etc. P. The largest and last of Baxter's portraits, and it is usually called "The large Queen." Her Majesty is shown full length, seated in a state chair, wearing robes of scarlet and ermine. On the table, on a scarlet cushion, is the Crown of India. The foundation of the print is for the most part mezzotint, like the portraits of Williams and Moffat in 1843, an d m this respect differs from most of Baxter's other prints. The colouring is rich and deep as a whole, and, in certain details in particular the print is effective ; in others, especially the foot, floor, and cushion, it has an unfinished appearance. Taken from the painting by Jas. Stewart, R.A. ; but the two ladies-in-waiting, the Duchess of Sutherland and the Marchioness of Normanby, who appeared in the background in the painting, are not produced in the print, although there are said to be, and there may be, certain prints (which probably were only trial prints) in existence which have them, but they are extremely rare. The print appeared about the time that India was added to the British Crown, and was produced from twelve blocks. The plate has no lettering. SIZE, i s| x ii. Published about 1859. Unsigned. R. From J68 to 10. VOCALISTS 217. Jetty Treffz, Madelle. Companion to No. 218. Music, No. 8. Signed on the carpet, on the right, " Baxter's patent oil colour printing," in one line. Full- length portrait of this famous songstress, who is standing, holding a piece of music. The colouring is delicate, and the workmanship admirable. The print is the same, with slight alterations, as No. 213, and from the same plate. Under the print, in the plate margin, is " Jetty Treffz. Engraved, printed, & published by G. Baxter (patentee), u, Northampton Square, from a painting by H. Gubbins (entered at Stationers' Hall), November i5th, 1850," in two lines ; but in some prints the " November 164 GEORGE BAXTER 1 5th" is omitted, and "entered at Stationers' Hall" is contracted, so as to get the lettering in one line. Both on music and mount, it is dome-shape, with gold border. On the music, under the print, in gold letters, in type, in one line, is "Printed in oil colours by G. Baxter, patentee " ; and under that is " Madelle. Jetty Treffz," in one line, in large letters ; but some music omits this, Originally sold at 2s. SIZE, 6 x 4. M.R. 1 10s. 218. Jenny Lind, Madelle. Companion to No. 217. P. Music, Nos. 8 and 12. Signed on the left, in the ground, "Baxter's patent oil colour printing, n, Northampton Square," in four lines. Full-length portrait of the great songstress, who is shown standing in a cornfield. or "comin'thro' the rye," in a white low-cut dress and pink sash. The colouring is very refined and delicate. Under the print, in plate margin, is "Jenny Lind. En- graved, printed, & published by G. Baxter, patentee, XL, Northampton Square, from a painting by H. Gubbins. Entered at Stationers' Hall, November 15th, 1850," in two lines ; but in some prints it appears in one line, slightly abbreviated. Jenny Lind went to America in 1850. Both on music and some mounts the print has a dome top, with gold border ; on other mounts it has a square top. When on music it has " Printed in oil colours by G. Baxter, patentee," in one line, in type, under the print ; and below that is " Madelle Jenny Lind," in one line. It is curious to note the effect of light on this and other prints. The reds disappear, and blue appears in their place. The print was produced from eleven blocks. Originally sold at 2s. SIZE, 6 x 4. M.R. 1 10s. 219. The Daughter of the Regiment. Signed on the PORTRAITS 165 right-hand corner, in the ground, " Published July 1856, by G. Baxter, Proprietor and Patentee, London," in four lines. Full-length portrait of Jenny Lind in this character. She is wearing a bright-red skirt and blue jacket, and is marching, hat in hand, at the head of the troops. The plate had on it at one time also No. 267, and a complete print or tint showing the two subjects on one plate would be a rarity ; but print No. 267 was produced four years earlier than this. Designed from a print of Grisi. Under the print, in the plate margin, is the above title, in the centre. Although not produced until 1856, it was announced in the list attached to Bax- ter's " Pictorial Key," published in 1851, as "about to be published." Jenny Lind left the stage and re-appeared in 1855. Originally sold at is. 6d. SIZE, 6 x 4. M.R. 1 10s. Le Blond. Signed. STATESMEN, SOLDIERS, SAILORS, AND OTHERS 220. Sir Robert Peel. Signed on the extreme right, under P. the arm, " Baxter, patentee." The statesman is shown in black coat and white stock, facing slightly to right. The left hand, with all the fingers closed, holds the lapel of his coat. On the same plate as No. 222, which was altered by erasing the extended finger, as shown in the next print. See No. 221. Under the print, in plate margin, is " Sir Robert Peel. Engraved, printed, and published, April 2oth, 1853, by the proprietor, George Baxter, the Inventor and patentee of oil colour picture printing, n and 12, Northampton Square (entered at Stationers' Hall)," in two lines. On the right-hand side of the mount, in some prints, is " Published by permission of Messrs Colnaghi& Co., from the picture by Sir Thomas Lawrence." The painting is full length, but the print is three-quarter only. In the 1860 catalogue two of the 1 66 GEORGE BAXTER blocks were said to be out of chase. Originally sold at is. SIZE, 4! x 3. M.R. 1 15s. Le Blond. See Arctic Expedition, No. 342. 221. Sir Robert Peel (another variety). The same as last, except that one finger of the left hand is extended, which is not according to Sir T. Lawrence's picture. This is the plate before alteration. On mount. In colours. V.R. 2 10s. In sepia. Without mount. M.R. 1. 222. Lord Nelson. Signed on the right, between the arm P. and the body, " Baxter, patentee," but the signature is often invisible. Half-length portrait, in uniform, of the great Admiral. He is bareheaded and facing to left. The Victory is in the left distance. From the painting by Lemuel Abbot. Under the print, in the plate margin, is " Lord Nelson." Otherwise the same lettering, and on the same plate, as No. 220. Originally sold at is. about the time of the Nelson Memorial Fund. SIZE, 4 x 3. Published 1853. R. 3 10s. Le Blond. See Arctic Expedition, No. 342. 223. Edmund Burke. As a boy, with long brown hair. Half-length portrait of this statesman, who is shown facing left, with a lace collar, and red cloak. There is a green curtain at the back. Lord Brougham was much interested in this print, and it is possible it is from a picture in his possession. Writing to Baxter, in August, 1856, he says: " Th<; Burke which we have is much admired" ; but probably very few were printed. A print exists and there may be others mounted in a gold margin (not having, however, any Baxter stamp), and under it is, either written or engraved in coloured ink, SIR ROBERT PEEL. The rare variety. PORTRAITS 167 " From a sketch taken when young by his bosom friend, Sir J. Reynolds. Presented to me by Dr. Wolcot. (Signed) John Opie, 1791." Neither the plate nor apparently any print was in the 1860 catalogue. SIZE, 3^ x 2|. Published probably 1853. Unsigned. V.R. From 5 to 8. 224. The Emperor Napoleon I. Half-length portrait. He P. is represented in military uniform, and red riband and orders ; he stands in front of a tricolour, which has on it the large " N." The " Invalides " is seen in right distance. The print is from a miniature. The plate had originally another subject on it, probably Napoleon III., but it was sold in 1860 as a separate plate. It has no lettering. Sometimes found in an oval metal frame similar to Nos. 227 and 228. The print was produced from twelve blocks. Originally sold at I s. SIZE, 4j x 3. Published about 1853. Unsigned. M.R. 3. Le Blond. See Arctic Expedition, No. 342. 225. The late Duke of Wellington. Half-length portrait. The " Iron Duke," who died in 1852, is shown in uniform, and wearing the riband and star of the Garter, and other orders. Neither arm is shown in this print, so it is usually called " Wellington without arm." From its comparative rarity, from the fact that Le Blond never printed it, that some prints show rivet marks, and that only one plate was included in the 1860 catalogue, it is probable this plate was broken, and that No. 226 is from a second plate. It has no lettering. Originally sold at is. SIZE, 4 x 2|. Published 1833. Unsigned. K. 1 15s. 1 68 GEORGE BAXTER 226. The late Duke Of Wellington (another variety). P. Same as last, but half an inch longer. The right arm is shown folded across the left breast ; the blue riband suspended from the neck in No. 225 is replaced in this by a yellow riband ; there are slight differences in colouring ; and the hair is whiter. This print is usually called "Wellington with arm." The plate is without lettering. The sale reached many thousands. The print was produced from eight blocks. Originally sold at is. SIZE, 4 x 3J. Published 1833. Unsigned. M.R. 1 10s. Le Blond. Lips uncoloured ; without glaze ; generally unfinished. The Garter riband is no decided colour. Complexion poor. 227. " Yiye L'Empereur ! " Napoleon III. Companion to No. 228. Half-length, full-face portrait turning to right. The Emperor is in military costume, with red riband and orders, and has a long pointed moustache and Imperial. The white-gloved left hand is drawn too large. The plate has no lettering. The print is taken from a miniature. Sometimes found in an oval metal frame, in which case, under the print, in gold letters, is " Napoleon III." Probably this and No. 229 are from the same plate ; but, if not, this would be the first, and originally it had on it another, possibly Napoleon I. ; but at the time of the 1860 sale they were divided. Only one plate of this subject was included in that sale. Published about the time of his marriage, and originally sold at is. SIZE, 4 x 3. Published 1853. Unsigned. M.R. 1 5s. Le Blond. A bad print ; complexion brick-dust colour; no glaze; and a kind of transverse shading on the white glove. NAPOLEON III. The rare variety. PORTRAITS 169 228. Eugenie, Empress of the French. Companion to P. No. 227. Music, No. 7. Nearly full length, face turning slightly to right. The Empress is shown wearing a white lace-trimmed low-cut dress, showing her re- nowned neck. On the table is the Imperial crown. The plate has no lettering. Under the print, when on music, in one line, in gold letters, is " Printed in oil colours by Baxter, Inventor and Patentee." Sometimes found in an oval metal frame ; and in that case, under the print, in gold letters, is " The Empress of the French." On the music it has a dome top with a thin gold line round the print. The print was produced from nine blocks. Published probably about the time of her marriage, and originally sold at is. SIZE, 4 x 3. Published 1853. Unsigned. M.E. JE1 10s. Le Blond. A bad print. Out of register ; complexion like brick-dust. The background is a different shade to Baxter's. 229. "YiYe L'Empereur ! " Music, No. 17. Similar to P. No. 227, except that the Emperor has a short moustache and Imperial, and looks older. Under the print, on the music, in type, in gold letters, is " Printed in oil colours by Baxter, Inventor and Patentee." This and No. 227 are probably from the same plate ; but, if not, this would be the second. Published about the time they were in England. The print was produced from twelve blocks. SIZE, 4 x 3. Published about 1833. <*Tint. . 2 10s. Unsigned. I music. V.R. 2. 230. ReY. John Wesley. An excellent oval print, showing P. this divine in wig, gown, and bands, taken from a miniature on ivory now in the Wesleyan Missionary Society Museum. Baxter obtained permission to copy I7O GEORGE BAXTER it from the then Secretary (the Rev. Dr. Hoole, who married one of Mr. Chubb's daughters). The plate has no lettering. In the 1860 catalogue it is stated, "This portrait is the only one which has been produced from the last miniature ever painted of this celebrated divine. The original is in the possession of the Wesleyan Missionary Society, and highly prized by that body." The print was produced from nine blocks. Published about the I5oth anniversary of his birth, and originally sold at is. SIZE, 3^ x 2f. Published / E _ 2 2s> 260. The Bridesmaid. The catalogue of 1860 recommends P. this and Nos. 333 and 362 (in centre) as a trio. Signed between the dress and the door, on the left, low down (the background being dark, it is not always easy to see the signature), " Published May igth, 1855, by G. Baxter, Proprietor & patentee, London," in three lines. A lady in curls and figured costume of the period stands facing left, holding in her right hand a small bouquet. It is said she is a member of Lord Londesborough's family. The light from the door is thrown on the face. 183 184 GEORGE BAXTER Under the print, in the plate margin, is the above title. It is taken from a painting by Brooks. The print was produced from nine blocks. Originally sold at los. 6d. SIZE, 15 x io. C. 2. Le Blond. Signed. 261. Christmas Time. A lad calling at a suburban villa P. to sell his Christmas holly receives a present of cake and wine ; his gratification is evinced by the merry twinkle in his eye. The purpose of this and Nos. 269 and 271, and some other prints may have been in the nature of Christmas cards. After a painting by Fitz- gerald. Under the print, in the plate margin, in the centre, is the above title, and " by Baxter, patentee," all in one line. The print was produced from ten blocks. Originally sold at is. 6d. SIZE, 6 x 4^. Published about 1859. Unsigned. R. 1 15s. Le Blond. Not much difference, but there is the usual absence of colour in face, eyes, and lips ; and the scarf round the boy's neck in Le Blond's is a more distinct scarlet. 262. The first lesson. Signed on the extreme right corner, P. " Published March a8th, 1855, by G. Baxter, proprietor and patentee, London," in three lines. From a painting by S. B. Halle (a French artist). A lady in a lace cap, bodice, sleeves, and collar, yellow dress, and blue bow, is seated in a chair, and holds in her lap a little girl, to whom she is teaching the A. B. C. This print was pro- duced from thirteen blocks. Originally sold at 3^. 6d. SIZE, 8 x 6|, E. 3 SB. Le Blond. Signed. INTERIORS 185 263. "I don't like it ! "Companion to No. 267. Often P. erroneously called " ' So Nasty ! ' " Signed low down, on the left-hand side, in the floor, "Published Novr. nth, 1854, by George Baxter, proprietor & patentee," in two lines. A youngster, battledore in hand, and tears in eyes, stands beside a table, on which is his black draught. The face does not show much colour perhaps by design, as the black draught is necessary. Probably from a picture. The print was produced from eight blocks. Originally sold at is. 6d. SIZE, 6 x 4. M. R. 1 5s. Le Blond. Signed. 264. Infantile Jealousy. Signed on the right, under the P. chair, " G. Baxter, patentee." A lady on a sofa, giving herself up to luxurious ease, with her children. The elder child is jealous of the attention paid to the younger. After a painting by Kenny Meadows. In the bottom plate margin is " Infantile Jealousy. London : Published Octr. 24th, 1857," in one line. The print was produced from ten blocks. Originally sold at is. 6d. SIZE, 6 x 4j. V. R. J62 10s. Le Blond. Signed. 265. " Me warm now." Signed on the right-hand corner, P. "Published Deer, gth, 1853, by G. Baxter, proprietor & patentee, London," in three lines. After a painting by Hunt, and is the same design as " Master Crow " in his " Comic Sketches." A negro boy is seated on a barrel, blowing the fire. Under the print, in the centre of the plate margin, is the above title. Printed for the American market about the time Baxter was popular there, after exhibiting at the New York Exhibition, in the same year. This and No. 258 have reference to the Slavery question. l86 GEORGE BAXTER Harriet Beecher Stowe wrote " Uncle Tom's Cabin " in 1852. The first impression from the plate is sometimes a Bartolozzi red, but there are first impressions in other tints. The print was produced from eight blocks. SIZE, 6 x 4j. M.R. 1 10s. 6. PUSS Napping. Signed on the extreme right, " Pub- P. lished Jany. 2ist, 1856, by George Baxter, proprietor & patentee, London," in four lines. An unmistakable portrait of favourite " Tom," who sleeps while the mice run about. Stated in the 1860 catalogue to be drawn from life. Under the print, in the plate margin, is the above title. The print was produced from four blocks. Originally sold at is. 6d. SIZE, 6J x 4. M.R. 1. Le Blond. Signed. 267. " So Nice ! " Companion to No. 263. This is one of P. Baxter's best-known prints, and depicts one of the " hopes of the family " enjoying his morning meal. At one time it was on the same plate as No. 219. Under the print, in the plate margin, is the above title, and " Designed by F. J. Baynes. Engraved, printed, & published by G. Baxter, patentee, n & 12 Northampton Square, June i8th, 1852 (entered at Stationers' Hall)," all in one line. It was announced, in the list attached to Baxter's " Great Exhibition and Visitors' Guide " as " shortly to be published." Some prints are without the lettering ; these would probably be proofs, but this is not certain. There may have been two plates this in 1852, and another at the same time as No. 219, in 1856. Only this plate was in the 1860 catalogue. The print was produced from eight blocks. Originally sold at is. 6d. SIZE, 6| x 4. Unsigned. C. 1 5s. Le Blond. Face and eyes without colour or ex- j. pression ; the jug a more decided red. INTERIORS 187 268. " See Saw, Margery Daw." Sometimes called " Miss P. Mischief," or "Little Miss Mischief." Signed on the left-hand side, low down, " Published March 3rd, 1858, by G. Baxter, proprietor & patentee," in three lines. A child swinging across a chair, playing with a raven. The comic expression of the child's face and its utter abandon make the subject amusing. In the bottom plate margin, in the centre, is the above title. Probably from a picture. The print was produced from eight blocks. Originally sold at is. 6d. SIZE, 6 x 4j. On mount. V.R. 3 10s. Without mount. R. 2 2s. Le Blond. Signed. 269. Short change. After a picture, "J. Collinson, Esq., P. Pinx.," being on the left side of the body of the print. A rough-looking lad has returned to his widowed mother from marketing. She does not appear at all satisfied with his account of the expenditure. The stern counten- ance of the mother, and the half-frightened, half-cunning expression of " young hopeful " make the picture pleasing. The hardly concealed whistle tells its own tale. The holly in the window denotes it is Christmas. Under the print, in the centre of the plate margin, is the above title. The print was produced from ten blocks. Originally sold at is. 6d. SIZE, 4i x 6. Published about Christmas 1856. Unsigned. R. 1 15s. Le Blond. No colour on faces or lips. The berries on the holly are not coloured. The artist's name is generally cut off in order to conceal Le Blond's signature. 270. " Shall I succeed ? "Pocket Books, No. 109. Some- times called "The Coquette." A damsel in "Dolly l88 GEORGE BAXTER Varden " costume stands before a glass, arranging her toilette. An oval print. In the bottom plate margin of the oval, in the centre, in one line, is the above title ; and high up near the print, on the left, is " Baxter's patent oil printing," in one line ; and in a similar position on the right is " 1 1 Northampton Square," in one line. For plate see No. 314. Originally sold at bd. SIZE, 3J x aj. Published about 1847. p. ., I On mount. R. 1 10s. usg< I As in pocket-hook. M.R. 1 5s. 271. " So Tired ! "Said to be a portrait of the then Princess P. Royal, when a child, and, being by Winterhalter, there may be some truth in the idea ; but stated in the catalogue of 1860 to be "a female infant, easily recog- nised as the pet of the household." A little girl in her party frock is seated on a red settee, ready for bed. On the bottom margin of the plate is the above title, and " Designed by Winterhalter, and engraved, printed, and published by G. Baxter, patentee, n & 12 Northampton Sq., April 5th, 1853 (entered at Stationers' Hall)," all in one line. There are some prints, probably proofs, without the marginal lettering. The print was produced from eight blocks. Originally sold at i s. 6d. SIZE, 6 x 4j. Unsigned. C. 1 5s. Le Blond. No colour on eyes, cheeks, or lips ; the settee is a more brilliant red ; the cheeks are patchy and brick-dust colour. 272. Stolen Pleasures. The old village dame, having fallen P. asleep, the country lad whom she essays to instruct, hiding his face with his book, takes the opportunity to eat an apple. After a painting by Burgess, and said, in the 1860 catalogue, to be a perfect copy of the original. INTERIORS 189 Under the print in the plate margin in one line is "Stolen pleasures by Baxter's patent, n and 12 Northampton Square, London, Feby. vii., 1859." Prints vary somewhat in the colouring, and the plate got worn. The print was produced from ten blocks. Originally sold at is. 6d. SIZE, 6 x 4^. Unsigned. M.R. 1 10s. Le Blond. Faces and lips devoid of colour. The general tone more gaudy. The boy's cheeks, in Baxter, are decidedly rosy. CHAPTER XVIII CATALOGUE OF PRINTS OF FLOWERS AND FRUIT 273. Fruit No. 1. Companion to No. 274. After a painting P. by Lance, but taken by Baxter from a lithograph. On a table is a basket with grapes and other fruit. On the table-cloth, on the right, is " C." On the same plate as No. 274. This and the other print on the same plate were produced from twelve blocks. Originally sold at is. 6d. SIZE, 4! x 6|. Published about 1856. Unsigned. E. 1 10s. Le Blond. See note to No. 274. 274. Fruit No. 2. Companion to No. 273. Also after P. Lance, and taken from a lithograph. On a shelf are grapes, pine, and other fruit. On the same plate as No. 273, and the two were produced from twelve blocks. Originally sold at \s. 6d. SIZE, 4! x 6J. Published about 1856. Unsigned. E. JB1 10s. Le Blond. Very similar to Baxter's, but without glaze. The ladybird on the shelf, in Baxter's print, is coloured ; in Le Blond's it is not. 190 FLOWERS AND FRUIT IQI 275. The Gardener's shed. Companion to No. 276. P. Signed on the left, "Published April i6th, 1856, by George Baxter, proprietor & patentee, 11 & 12, Northampton Square, London," in five lines. From a painting by V. Bartholomew. A bunch of flowers stands in an earthenware pot, on a shelf, in the shed ; a bird's nest and eggs are on the right ; and to the left are a pineapple and other fruit. In the bottom plate margin, in the centre, is the above title. The 1860 catalogue recommends it as a trio with Nos. 346 and 106, the last- named being in the centre. The print was produced from thirteen blocks. Originally sold at lay. 6d. SIZE, 15 x ii. M.R. 1 15s. Le Blond. Signed. A lithograph. 276. Hollyhocks. Companion to No. 275. Signed on the P. left, " Published March loth, 1857, by G. Baxter, proprietor and patentee, London," in four lines. A group of these flowers is shown. In the bottom plate margin, in the centre, is the above title. From a painting by V. Bartholomew. The print was produced from eleven blocks. Originally sold at lay. 6 I Without mount. M.R. 10s. 284. Claremont. Pocket Books, Nos. 102 and 107. The mansion is seen surroAded by trees ; there are deer in the foreground. In the bottom plate margin, in the centre, is the above title ; and on the left is " Baxter's patent oil printing, n, Northampton Square," in two lines ; and on the right is " from a painting by S. Fisher," in two lines. Louis Philippe lived, and was buried from, here. Similar in colouring to No. 296. SIZE, 3 x 2^. Published 1848. , \ On mount. V.R. 4 4s. unsigned, j Aj} pocket . book illustration. V.R. 2 2s. VIEWS IN ENGLAND CORNWALL 285. River Camel, Cornwall. Pocket Books, No. 98. On the left is the river ; in the centre is a man on horseback ; 196 GEORGE BAXTER and on the right is a man asleep in a tent. In the bottom plate margin, in the centre, is the above title ; on the left is " Baxter's patent oil printing, n, Northampton Square," in two lines ; and on the right is " from a painting by T. Dingle," in two lines. See No. 314 for plate. Originally sold at 6d. SIZE, 2f x sf. Published about 1847. Unsigned. C. 10s. CUMBERLAND 286. Derwent Water, Cumberland. Books, No. 36, and P. Pocket Books, No. 93. There is a beautiful view of the lake on the right ; and on the left is a picnicing party. In the bottom plate margin, in the centre, is the above title ; and on the left is " Baxter's patent oil printing, u, Northampton Square," in two lines. The print was produced from eight blocks. It is probably an original design. SIZE OF PAGE, 5% x 4. PRINT, 3! x 2. Published 1849. p. . , I On mount. E. 15s. unsignea ' I As in pocket-book. M.K. 10s. DERBYSHIRE 287. Dove Dale. Pocket Books, No. 101. A charming little print. The river runs down the centre and right ; on the left are trees, foliage, eight figures, and a dog. In the bottom plate margin, in the centre, is the above title ; on the right is " from a painting by S. Fisher Esq.," in two lines ; and on the left is " Baxter's patent oil printing, n, Northampton Square," in two lines. For plate see No. 323. SIZE, 3 x 2i Published 1847. TJ , I On mount. V.R. 4 4s. unsigned. ^ Ajj ^ pocket _ book DOVEDALE. Print No. 287. LANDSCAPES HAMPSHIRE 288. Netley Abbey. Pocket Books, No. no. The ruins P. are shown from the interior. The print has a dome top when on a mount. There is no lettering, and no division of subject on the plate, which has on it also Nos. 306, 313, and 324. Probably printed for the outside of needle or handkerchief boxes and scrap-books, but cut smaller it was used also for pocket-books ; the lettering then is the above title, in type, below the print, in the centre ; on the left is " Baxter's patent oil printing," in two lines ; and on the right, in two lines, is " n, North- ampton Square." This and the three others on the same plate were produced from eleven blocks. Originally sold at 6d. SIZE, 2f x 4|. Published about 1850. Unsigned. C. 7s. 6d. KENT 289. Near Folkestone, Mid-day. Pocket Books, Nos. 89 and 96. Described as " A part of the British Channel and of the rocky rampart which girdle our Native Isle in the S.E. coast." In the bottom plate margin, in the centre, is the above title ; and on the left is " Baxter's patent oil printing, n, Northampton Square," in two lines ; and on the right is " from a painting by A. Clint, Esq.," in two lines. For plate see No. 309. Sometimes prints are found of No. 305 bearing this lettering, showing clearly that that print is from an alteration of this plate, as is obvious by comparing them ; and sometimes prints are found with an extra boat on the shore in the foreground. SIZE, 2| x 3J. Published 1847. n , i On mount. R. 1 Is. unsigned, j Ajj ^ p 0cket . book> M R 158t ig8 GEORGE BAXTER 290. The Hop Garden. Signed in the bottom centre, P. " Published July igth, 1856, by G. Baxter, proprietor & patentee, London," in four lines. An interesting and pretty scene in a Kentish hop-garden. It is difficult to believe it is not a painting. The print was produced from twelve blocks. Originally sold at is. 6d. SIZE, 6 x 4^. On mount. V.R. 2 10s. Without mount. R. 1 10s. Le Blond. Signed. LONDON 291. London, from Greenwich Observatory. Books, No. 13. On the left is the Observatory ; and on the right is a distant view of London. The print is oval oblong. For further information see No. 242. In the bottom plate margin, in the centre, is the above title ; and below that is " Printed in oil colours by George Baxter, patentee, u, Northampton Square," in two lines. Probably on the same plate as No. 242. Never found on a mount. SIZE, 3^ x 2^, AND OF PAGE, 3^ x 5$. Published 1848. Unsigned. M.R. 10s. 292. Funeral of the late Duke of Wellington. P. Sketched from No. i. St. Paul's during the funeral. The cortege is drawing up to St. Paul's Cathedral, at 12.10 by the clock (November 18, 1852). Every detail is complete ; and each figure in itself forms a complete miniature. There is no lettering on the plate. The print was much bought by strangers for its view of the Cathedral. The print was produced from eight blocks. SIZE, 6 x 4$. Published 1833. Unsigned. | M 1 - I Without mount. 15s. LANDSCAPES 199 293. London, Nine small views in. This print is D. inserted, as it has been stated to be by Baxter. As the centre view is the Great Exhibition, it could not therefore have been printed before 1851. In 1850 Bradshaw & Blacklock took up a license from Baxter, and published an exact copy of this print. No plate of the subject, nor any print, was included in the 1860 catalogue of the sale of Baxter's plates and prints ; possibly some confusion has arisen with Bradshaw & Blacklock's print. The other views are : Royal Exchange, Mansion House, St. Paul's, The Tower, Buckingham Palace, London Bridge, Nelson Monument, and London Monu- ment. Unsigned. R. 10s. 294. The Royal Exchange, London. The Exchange, the P. Wellington Statue, and the traffic are seen. The last- named, as showing the style of vehicles then, is interesting. On the same plate as Nos. 160 and 164. It has no lettering. This and the other two prints on the same plate were produced from ten blocks. Originally sold at is. SIZE, 4x3. Published 1831. Unsigned. C. 10s. MIDDLESEX 293. Harrow on the Hill. Showing Harrow Church, half P. hidden by trees. The plate has no lettering ; but some- times prints are found on which, in type, below the print, is the above title ; and on the left is " Baxter's patent oil printing"; and on the right is "11, Northampton Square." This shows it was used as a pocket-book illustration. It is on the same plate as Nos. 283, 298, 200 GEORGE BAXTER and 300. This and the three others on the same plate were produced from eleven blocks. SIZE, 2f x 3$. Published about 1850. Unsigned. C. 10s. SURREY 296. Duke of Buccleuch's residence, Richmond. The residence is shown ; and there are boats and swans on the river. It is a pocket-book illustration, and very similar in style and colouring to No. 284, and dissimilar to most of Baxter's other small prints. In the bottom plate margin, on the left, in two lines, is " Baxter's patent oil printing, 1 1, Northampton Square" ; and in the centre, in one line, is the above title ; and on the right is " from a painting by S. Fisher," in two lines, SIZE, 2 x 3$. Published about 1848. Unsigned I 0nmOTmt ' V ' R ' 44s ' I As in pocket-book. V.R. 2 2s. 297. Surrey Zoological gardens, Exhibiting a view of Edinburgh. Books, No. n. An upright oblong print. In the background is a view of Edinburgh (a portion of a panorama then in the gardens) ; and in the foreground are animals. Probably on the same plate as No. 280. Under the print is the above title, in two lines ; and below that, on the right, is " Baxter's patent oil printing, n, Northampton Square," in two lines. For further information see No. 242. In these gardens Jullien's concerts were held. Never found on a mount. SIZE, ABOUT 4x3, AND OF PAGE, 3^ X 5^. Published about 1846. Unsigned. E. 15s. LANDSCAPES 2OI 298. Richmond Bridge A charming little print. The P. river is shown running from left to right, and in the distance is the bridge. The old City state barge, Maria Wood, is seen. The plate has no lettering, and has on it also Nos. 283, 295, and 300. This and the three others on the same plate were produced from eleven blocks. SIZE, 2l x 3$. Published about 1850. TTr, nad . - unsigned, -, witnout mount> MiR< 10s . 299. Yiew from Richmond Hill, Morning. Books, Nos. 22 and 25. This well-known view is shown in the distance ; and donkeys and figures in the foreground. The design is somewhat similar to No. 300, but the colour- ing is quite different from any other of Baxter's prints, except perhaps Nos. 284 and 296. In the bottom plate margin, in the centre, is the above title ; and on the right, in two lines, is "Baxter's patent oil printing, 11, North- ampton Square." On the print, on the right, is " H. Warren," which is the artist's name. Never on a mount. SIZE, 5x3. Published 1845. Unsigned. C. 10s. 300. Yiew from Richmond Hill. This well-known view P. is in the distance ; on the river are seen boats. There is no lettering on the plate, which also has on it Nos. 283, 295, and 298. This and the three others on the same plate were produced from eleven blocks. SIZE, 2 1 x 3. Published about /SfO. - , C On mount. R. 15s. unsigned, j Without mouilt 202 GEORGE BAXTER SUSSEX 301. Dripping Well, Hastings. Signed in the ground, on the left, " Baxter's patent oil printing," in two lines. Three figures are shown at the well ; there is a lady on the right, with a dog (this, cut out, was a favourite needle-box print) ; on the left are four seated figures ; and in the centre is a lady in a red cloak. The stream (with stones in it) runs down the centre of the print. On the same plate as Nos. 133, 303, and 320. In the bottom plate margin, in the centre, is the above title, in one line ; and under that is "Designed, engraved, printed, & published by G. Baxter, patentee, n, Northampton Square"; and on the right is " (Entered at Stationers' Hall) " ; and above that is " Jany. 15th, 1850." For further informa- tion see No. 320. Originally sold at 6d. SIZE, 2| x 4- M.E. 15s. 302. Dripping Well, Hastings (another variety). Similar to No. 301, except that this print is without signature, the three figures at the well, the four on the left, and the stones in the water are missing, the well is different, and there is additional foliage. For further information see Nos. 320 and 321. SIZE, 2| x 4j. Unsigned> { On mount. V.E. 1 11s. 6d. 303. Lovers' Seat, Hastings. Signed on the left, in the ground, " Baxter's patent oil printing," in two lines. On the same plate as Nos. 133, 301, and 320. In the left distance are shown the setting sun, the sea, ships, and the shore. In the centre are figures picnicing, beyond whom is the well-known fortune-teller. In the bottom plate margin, in the centre, is the above title, and otherwise there is the same lettering as on Nos. 301 and 320. See Nos. 320 and 321 for plate and other details. Originally sold at bd. SIZE, 2f x 4. M.R. 15s. LANDSCAPES 203 304. Lovers' Seat, Hastings (another variety). Same as No. 303, but without signature ; and there is no setting sun. The ships and " Lovers' Seat" are slightly varied ; there is no shore, or distant figures ; the two central persons in the foreground are absent ; and more vegeta- tion is added. See No. 320 for plate and other details. SIZE, 2| x 44. _ . , i R. 15s. Unsigned. I O n. mount V.R. 1 11s. 6d. 305. Brighton Chain Pier. The same print practically as No. 289, but with the pier and some detail added. There are no plate marks applicable to this print, the lettering to this and No. 289 being the same. In most prints, however, the " Folkestone, Mid-day " does not appear, so that perhaps it was at some time obliterated. For plate see No. 309. It was probably used for one of Suttaby's pocket-books. SIZE, 2j x 3i Published about 1850. T* . , \ On mount. R. 1. unsignea< I Without mount. M.R. 15s. WARWICKSHIRE 306. Warwick Castle. Pocket Books, No. 1 10. The river P. Avon is seen running down the centre of the print ; the castle is in the distance. There is no lettering and no division of subjects on the plate, which has on it also Nos. 288, 313, and 324. Usually, when on a mount, the print is dome-shape. Cut smaller, it was used, with lettering in type, for the 1851 " Le Souvenir" pocket- book. Originally sold at 6d. This and the three others on the same plate were produced from eleven blocks. SIZE, 2| x 3f. Published about 1830. n ^ i On mount. M.R. 10s. u nsignea. 204 GEORGE BAXTER WESTMORELAND 307. Brougham Castle. Pocket Books, Nos. 104 and 109. The castle is seen high up on the left ; the river runs down the centre of the print. In the bottom plate margin, in the centre, is the above title ; on the right is " from a painting by J . Varley," in two lines ; and on the left is "Baxter's patent oil printing, 11, North- ampton Square," in two lines. For plate see No. 314. Originally sold at 6d. SIZE, 2 f x 3f. Published about 1847. Unsigned. M.R. 10s. YORKSHIRE 308. Bolton Abbey. Pocket Books, Nos. 106 and in. The P. abbey is seen in the distance ; the river runs from right to left ; two recumbent figures on the bank are on the right. In the bottom plate margin, in the centre, is the above title ; on the right is " from a painting by C. F. Buckley, Esq.," in two lines ; and on the left is "Baxter's patent oil printing, n, Northampton Square," in two lines. This print, with the other two on the same plate, was produced from eight blocks. For plate and other details see No. 309. SIZE, 2f x 3f . Published 1847. Unsigned. M.R. 15s. 309. Yiew near Ilkley. Pocket Books, No. 105. The river P. runs down the centre of the print, and cattle are seen standing in the water. In the bottom plate margin, in the centre, is the above title ; on the left is " Baxter's patent oil printing, II, Northampton Square," in two lines ; and on the right is " from a painting by C. F. Buckley, Esq.," in two lines. Originally on the same plate as Nos. 152, 156, 289, 308, and 325, but some were detached ; and LANDSCAPES 205 at the sale of 1860 there were only three on one plate viz. No. 308, and probably No. 325, and this. This print, with the other two on the same plate, was pro- duced from eight blocks. Originally sold at 6d. SIZE, 3^ x 2$. Published 1847. TT a'oTiPd J On mollnt - V.R. 3 3S. unsigliea - ] As in pocket-book. V.B. 1 10s. VIEWS IN WALES, INCLUDING THE WYE 310. Bala Lake, N. Wales. Pocket Books, No. 109. The lake is shown in the distance ; and on a prominence in the foreground are a sailor nursing a child, and other figures. In the bottom plate margin, in the centre, is the above title; on the right is "from a painting by W. S. Lacey," in two lines ; and on the left is " Baxter's patent oil printing, n, Northampton Square," in two lines. For plate and details see No. 314. Prints vary in quality. Originally sold at 6d. SIZE, 3! x 2. Published about 1848. Unsigned. M.R. 10s. 311. Llangollen. This and No. 312 may be original de- P. signs. Mountain shown in the distance ; the river runs down the centre of the print ; two men are fishing on the left. For plate see No. 322. Usually dome- shape when on mount. The plate has no division for the prints, which run into one another. This and the three others on the same plate were produced from eleven blocks. Originally sold at 6d. SIZE, 2f x 3. Published about 1850. Unsigned. C. 7s. 6d. 206 GEORGE BAXTER 312. Cader Idris. The mountain in the distance ; and on P. the right, a rustic bridge, and two figures crossing. For plate see No. 322. Usually dome-shape on mount. The plate has no divisions for the prints, which run into one another. This and the three others on the same plate were produced from eleven blocks. Originally sold at 6d. SIZE, 2f x 3J. Published about iSjo. Unsigned. C. 7s. 6d. 313. River Tiefy, Cardiganshire. Pocket Books, No. no. P. Mountains are seen in the distance ; a man is driving four cows into the water, in the centre. There is no lettering on any part of the plate, and no division of subject, the prints running into one another. There are also on it Nos. 306, 288, and 324. Prints are usually dome-shape when on mount, and, when used for pocket-books, were cut smaller, and had lettering in type. This and the three others on the same plate were produced from eleven blocks. Originally sold at 6d. SIZE, 4x3. Published about 1850. Unsigned. C. 10s. 314. Welsh Drovers. View in Wales. The River Wye runs down the centre of the print, and cattle are seen crossing, with two men on horses, and one walking. In the bottom plate margin, in the centre, is the above title ; and on the right is "from a painting by J. Tennant," in two lines ; and on the left is " Baxter's patent oil printing, u, Northampton Square," in two lines. Probably an illustration to a pocket-book. A beauti- ful little print. On the same plate as Nos. 270, 285, 307, 3 IO 3 I 5i 3 l %, an d 338. Originally sold at 6d. SIZE, 2 x 3f. Published about 1848, n . , i On mount. R. 15s. uslgnea> I As in pocket-book. M.R. 15s. LANDSCAPES 207 315. Tintem Abbey. Pocket Books, No. 109. This abbey, in Monmouthshire, is shown on the right distance ; in the foreground is a man sitting on a rock, patting a dog, and another fishing. In the bottom plate margin, in the centre, is the above title ; and on the right is " from a painting by W. S. Lacey," in two lines ; and on the left is "Baxter's patent oil printing, n, Northampton Square," in two lines. For plate see No. 314. Originally sold at 6d. SIZE, 2f x 3f. Published about 1847. Unsigned. M.R. 12s. 6d. 316. Crucis Abbey. Pocket Books, No. 95. Probably this is the same as Valle Crucis Abbey, Denbighshire, near Llangollen. The abbey is seen in the distance ; the river runs down the centre of the print ; on the right is a ferry boat, and people landing. In the bottom plate margin, in the centre, is the above title ; and on the left is " Baxter's patent oil printing, n, Northampton Square," in two lines. On the same plate as No. 279, one above the other, and probably an original design. Originally sold at &/. SIZE, 2 x 3$. Published about 1830. Unsigned. C. 10s. 317. View from a deserted rock-quarry on the Wye. Sometimes called by Baxter " View of the Wye from Symond's Yatt." On the left are the river and landscape ; on the right, the quarry, and a man with a dog. Probably a pocket-book illustration. In the bottom plate margin, in the centre, is the above title ; on the left is "Baxter's patent oil printing, n, North- ampton Square," in two lines ; and on the right is " from 208 GEORGE BAXTER a painting by J. Tennant,'' in two lines. On the same plate as No. 369. SIZE, 2i x 3|. Published about 1849. _ . j I On mount. E. 15s. unsigned, j As pocket . book illustration. M.E. 12s. 6d. 318. Water mill on the Wye. Pocket Books, No. 109. The river runs down the centre of the print, on which is shown the mill, which is upright oblong. Under a tree, on the left, is a man with a dog. In the bottom plate margin, in the centre, is the above title ; on the left is " Baxter's patent oil printing, 1 1, Northampton Square," in two lines ; and on the right is " from a painting by J. W. Allen," in two lines. For plate see No. 314. Originally sold at 6d. SIZE, 3^ x 2j. Published about 1847. n . , ] On mount. E. 12s. 6d. unslgnea< ) As in pocket-book illustration. M.E. 10s. 319. The Welsh Harper. Books, Nos. 64 and 76. The harper is seen sitting on a tombstone, playing to a lady and children. The earliest print is a chiaroscuro, from wood blocks only, and is probably the finest Baxter ever did in that style ; the later print has a key plate. Under the print, in type, in the earlier one, in the centre, is the above title ; and under that, in one line, is " Engraved and printed in oil colours by G. Baxter, 29, King Square, London." The later one has, in the bottom centre of the plate margin, the above title ; on the left, " J. Brown del.," in one line ; and on the right, " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square," in two lines. SIZE OF BOTH, 4$ X 3, AND OF PAGE, 6 X 4. First print published 1835. Later print published 1844. Early print. E. 15s. Later print M.E. 12s. 6d. LANDSCAPES 20Q VIEWS IN SCOTLAND 320. Ben Nevis, Scotland. Signed on the left, in the ground, " Baxter's patent oil printing," in two lines. The mountain and lake are seen in the distance ; there are many figures in the foreground, some in Highland costume. Baxter frequently cut from this print for needle-boxes. On the bottom margin of the plate is the above title in the centre ; below that is " Designed, engraved, printed, & published by G. Baxter, patentee, 1 1, Northampton Square " ; and on the right is " (Entered at Stationers' Hall) " ; and immediately under the print, on the right, is "Jany. 15, 1850." On the same plate as Nos. 301, 303, and 133. There were at least two plates : one containing Nos. 301 and 303, and this print ; the other, Nos. 302, 304, and 321. All three prints on the one plate are signed in identical terms ; and on the other none of them are signed. The prints on the first plate are amongst the very few small prints that were signed. Originally sold at 6d. SIZE, 2| x 4. On mount. M.R. 10s. Without mount. 7s. 6d. 321. Ben Nevis, Scotland (another variety). Same as No. 320, except for a few very minute differences ; and this print is unsigned. This plate bears evident traces of having been altered, but it is more marked in the other prints on it than on this. T, . I On mount. V.E. 1 11s. 6d. Unsigned. 322. St. Ruth's Priory. It is somewhat doubtful where P. this place is. The view is at night ; the Priory is on the right ; and in the foreground is a gipsy fire. On the same plate as Nos. 311, 312, and 158. This print is usually, when on a mount, dome-shape, with a gold border. The prints on this plate were all probably used for the outside of packets of "Baxter's patent 14 210 GEORGE BAXTER pictorial note paper, containing illustrated sheets printed in oil colour," and may have been printed for that purpose, though used for other purposes also. There is no lettering on any part of the plate. This print is upright oblong. This and the three others on the same plate were produced from eleven blocks. Originally sold at f)d. SIZE, 4 x 2|. Published about 1850. Unsigned. M.R. 10s. VIEW IN IRELAND 323. Lake Luggellaw. Pocket Books, No. 88. This blue P. lake in Co. Wicklow, known also as Lough Tay, runs down the centre of the print ; and there are mountains in the distance. In the bottom plate margin, in the centre, is the above title ; on the left is " Baxter's patent oil printing, u, Northampton Square," in two lines; and on the right is " from a painting by S. Fisher, Esq.," in two lines. On the same plate as Nos. 287, 337, 351, and 358, and a title-page scroll for a Suttaby pocket- book ; but, at the sale in 1860, there were only three subjects on the plate, Nos. 287 and 337 and the scroll being probably the three removed. This and the two others on the same plate were produced from eight blocks. SIZE, 3f x 2f. Published 1847. Unsigned I ^ n mount - MiR> 15s * ' I As book illustration. 10s. VIEWS ABROAD ITALY 324. Lake Como. Pocket Books, No. 1 10. In the middle P. distance is the lake ; in the foreground are figures LANDSCAPES 211 two are dancing ; the woman and child sitting on the left are the same (only smaller) as those in the foreground in No. 334. The print is usually mounted dome-shape. On the same plate as this print are Nos. 288, 306, and 313. The plate has no lettering. When the print is used in the pocket-book the lettering is in type. The subjects on the plate are not divided, but run one into the other. This and the three others on the same plate were produced from eleven blocks. Originally sold at (>d. SIZE, 4x3. Published about 1830. Unsigned. U.K. 10s. 325. Lake Garda. Pocket Books, Nos. 90 and 96. The P. lake runs from right to left of print ; a castle is seen high up on the hill on the left. In the bottom plate margin, in the centre, is the above title ; on the right is "from a painting by J. Crouch, Esq.," in two lines; and on the left is " Baxter's patent oil printing, ii, Northampton Square," in two lines. For plate see No. 309. This and the three others on the same plate were produced from eight blocks. Originally sold at &/. SIZE, 2^ x 3$. Published 1847. Unsigned. M.R. 10s. 326. La Biondina in gondoletta. Sometimes called by P. Baxter " La Gondoletta," and sometimes " The Gondola in Venice." Oval print, with square border, of a gondola on the Grand Canal, Venice. In the bottom plate margin, in the centre, is the above title ; on the left is " Baxter's patent oil printing, n, Northampton Square," in two lines; and on the right is "from a painting by C. Vacher," in two lines. On the same plate as No. 366. On the mount all the print is cut away but the oval. 212 GEORGE BAXTER This and the other two prints on the same plate were produced from twelve blocks. SIZE, AS POCKET-BOOK ILLUSTRATION, & x 4i- ON MOUNT, 2j x 3^. Published about 1847. IT . , I On mount. E. 1 Is. unsigned, j Ag ^ pocket . booki Milli 15g> 327. Italy. In the immediate foreground is shown a brook ; in the middle distance are houses ; and in the background are mountains. A typical scene of the Val d'Aosta. It was stated in the Baxter Journal that " Baxter never printed a coloured impression. Chiaroscuro blocks cut by Le Blond's Manager." Certainly the print is some- thing of a mystery. Neither the plate nor any print was included in the 1860 catalogue ; and Baxter's name no- where appears on it, the only lettering being very low down, in the centre " Verres Val D'Aosta, Italy," in one line in such a way as to give the impression it was a book illustration, which, if so, would account for the print never being found on a Baxter mount. The solution may be that Baxter engraved the plate after his retirement and that the print was produced by Vincent Brooks. Prints in colour, showing the lettering, are rarely seen ; but in sepia they may sometimes be found. The date of publication is uncertain, but pro- bably about the time of the Franco-Italian War. SIZE, 8x6. Unsigned. V.E. J64 4s. Le Blond. The plate was altered for the Le Blond prints, bushes being added in the bottom right and left corners, and parts of the buildings slightly changed. Le Blond prints are crude and gaudy. 328. Yerona (Evening scene). Music, No. 3. Somewhat P. similar to, but must not be confused with, the print of the same name in the " Cabinet of Paintings." Typical Italian houses and a bridge in the distance are shown, and Print No. 377. ITALY. LANDSCAPES 213 there are a canal and gondolas in the foreground. Signed on the gondola, " Baxter, patentee." It is usually mounted dome-shape in a gold border. It was used as the outside illustration for needle and handkerchief boxes. When on music, in gold letters, under the print, in type, is either " Printed in oil colours by Baxter, patentee," or " Printed by G. Baxter, the Inventor and patentee of oil colour printing." In the bottom plate margin is the above title, and "Engraved, printed, & published by G. Baxter, patentee, 11, Northampton Square, from drawings by Prout, etc. (Entd. at Stationers' Hall), 1850," in one line. See No. 329. The print was produced from twelve blocks. Originally sold at 2s. SIZE, 6x4. C. 15s. Le Blond. Signed. 329. Yerona (another variety). Signed in the water, on the right, and not on the gondola, " Printed in oil colours & published by G. Baxter, patentee, n, Northampton Square," in three lines. Otherwise the same as No. 328. It is uncertain whether there were two plates. It may be that Baxter altered the plate, or perhaps the first broke, and he then engraved another ; if so, No. 328 would be the one included in the 1860 sale, and this would be the first plate. R. 1108. FRANCE 830. Abbeville. A charming little print of this Normandy town. The print was used for one of the pocket-books. The church is on the left ; and there are some picturesque old houses shown ; the river Somme is seen down the centre of the print. On the same plate aj No. 339. In the bottom plate margin, in the centre, is the above title ; and below that, in three lines, is " Printed in oil colours 214 GEORGE BAXTER by George Baxter, patentee, 11, Northampton Square, from a painting by H. Grillen." SIZE, 3 x 2j. Published about 1847. Unsigned. { 0nmOT1!lt As pocket-book illustration. R. 1 10s. 331. The King of the French leaving Eu for Paris, P. Sepr. 12, 1843. An illustration to one of the pocket- books. A charming little print full of minute detail. King Louis Philippe's procession, as he leaves Eu after the visit of Queen Victoria, is coming round the east end of the Cathedral by moonlight. It is on the same plate as No. 259. In the bottom plate margin, in the centre, is the above title, in three lines ; and below that, in two lines, is " Sketched during the procession by G. Baxter, paten tee* of oil colour printing, n, North- ampton Square." This indicates that Baxter was in France in September, 1843, tne year he produced the " Wreck of the Reliance off Boulogne," and the year he moved to Northampton Square. This and the other print on the same plate were produced from twelve blocks. SIZE, 3 x 2j. Published about 1847. TT Q ^ ] On mount. E. 2 10s. unsigned j Ag book illustratioiL Rt 1 10s . 332. The Reconciliation. Music, No. 9. Two lovers, in P. the dress of the period of the " Grand Monarque," are seen in a garden, in which are also a fountain and a pea- cock. A reconciliation is taking place between them. The plate has no lettering. Prints when on mounts have sometimes, and on music usually, a dome top, with gold border. The music was advertised as " 2nd edition, beautifully illustrated with an original subject after Watteau executed in oil colours by Baxter, LANDSCAPES 215 patentee." On the music, below the print, in gold letters in type, is " The Reconciliation. Printed in oil colours by G. Baxter, the inventor & patentee." Probably from a painting. A charming print. It was produced from eleven blocks. Originally sold at 3J. (xi. SIZE, 8 x 6J. Published about TTr,o **A . V.R. 3 3S. * I Without mount. E. 1 10s. Le Blond. Less depth of colour, and cheeks without colour ; but a good print, and difficult, without experience, to distinguish from Baxter's. 333. The Fruit Girl of the Alps. Copied from a picture P. by Huet, a French artist. The damsel has a straw hat hanging down her back, and large black bows at her neck and wrists, and carries a basket of fruit. The 1860 catalogue recommends this and Nos. 359 and 334 as a trio, and also this and Nos. 260 and 362 as another. The print is reminiscent of the Franco- Italian War in 1859. The plate has no lettering. The print was pro- duced from eleven blocks. Published just before Baxter retired, and then sold at lor. &/. SIZE, 1 5^ x ii. Published about 1859. _ . , I On monnt. R. 3 3s. Unsigned | without mou nt. M.R. 2. Le Blond. Very difficult to tell one from the other, and the two require very careful comparison. The most sure way is to obtain a Baxter print on a mount. Baxter's is more refined and delicate. SWITZERLAND 334. Lake Lucerne, Switzerland. Signed on the path, in P. centre, "Published June 2oth, 1857, by G. Baxter proprietor & patentee, London," in two lines. The 2l6 GEORGE BAXTER 1860 catalogue recommends this as a trio with Nos. 359 and 333. Probably from the painting by Turner, and so stated in Le Blond's list of Baxter's prints in the Bazaar in 1898. The picture was exhibited in the Royal Academy in 1813; but perhaps it is not an exact copy. Taken from the landing-place at Fluelen, looking towards Tell's Chapel. The town is shown in the rays of the setting sun in autumn, and market people are landing. The similarity of the two seated figures in the foreground with those in No. 324 may be noted. Certain tints exist without these two figures, and without other details. In the bottom plate margin, in the centre, is the above title. Notwithstanding the title in the plate margin, Baxter generally called the print " Switzer- land"; and under the title of "View in Switzerland" it was announced in the list appended to " Baxter's Pictorial Key to the Great Exhibition," published in 1851. The print was produced from eleven blocks. Originally sold at los. 6d. SIZE, 15 x 10 . On mount. V.R. 4 4s. Without mount. M.R. 3 3s. Le Blond. There is an excellent print by Le Blond, which, except for the absence of signature, approaches Baxter's. There are other prints of later date which are almost pure lithographs. 335. Dogs of St. Bernard (The). After Sir E. Land- P. seer, R.A. One of Baxter's largest prints. The dogs are seen succouring a traveller. Priests are also hasten- ing to render help. The original picture was painted when Landseer was eighteen, and was later lent to Baxter so that he might make his drawings ; and in the 1860 catalogue it is stated to be " the only facsimile which has ever been attempted, no opportunity ever having been afforded for the purpose of copying direct from the great original. This privilege was granted to Mr. Baxter especially by the proprietor, who has expressed himself LANDSCAPES 217 as delighted with the extreme faithfulness of the copy. It has lately been published, and received by the public with great enthusiasm." Baxter's print is not, however, a perfectly faithful copy. It should be noted that Baxter, very early in his career, made a wood-cut of this picture, and it is an illustration to an early book. Published about the time of the Franco- Italian War. Afterwards printed by other printers, and given away some years after as a supplement to Bow Bells, that print pro- bably being by Dickes. Baxter's print was produced from fourteen blocks. SIZE, 17^ x 24. Published about 1859. . , \ On mount. V.R. 6 6s. Unsigned, j withoutmotult 336. The Ascent Of Mont Blanc. Four interesting P. but not very artistic prints showing as many different parts of the ascent, which are described as: No. I. The Glacier du Taconnay ; No. 2. Leaving the Grands Mulcts ; No. 3. The Mur de la Cote ; No. 4. The summit. From sketches by J. MacGregor. A long, but not a particularly entertaining letterpress description was published with the prints. About this time Albert Smith was lecturing on his well-known ascent, and the subject was popular in London. There is no lettering on the plates. Baxter described the prints in the 1860 catalogue as " from drawings made actually on the spot by a recent traveller." The prints were produced from sixteen blocks and four plates, four blocks to each plate. Originally sold at is. 6W. SIZE OF EACH, 4^ x 6. Published about 1856. _ , j On mount. E. 15s. each. a> | Without mount. 10s. each. Le Blond, Chalky, gaudy, and entirely lacking the ivory-like surface of Baxter's ; and with no depth of colour. 2l8 GEORGE BAXTER GERMANY, AUSTRIA, HOLLAND, SPAIN, AND ELSEWHERE IN EUROPE 337. Nuremberg, Bavaria. Pocket Books, No. 106. A delightful little print showing the Cathedral, well, and old buildings. Full of detail. In the bottom plate margin, in the centre, is the above title ; on the right is "from a painting by S. Prout, Esq.," in two lines; and on the left is " Baxter's patent oil printing, 1 1, Northamp- ton Square," in two lines. For plate see No. 323. SIZE, 3j x 2j. Published 1847. Unsigned I On mount - V - R - ^ 3 3s - ' I As in pocket-book. R. 2 2s. 338. Stolzenfels on the Rhine. Pocket Books, No. 97. On the right is the Rhine ; in the centre is a castle ; and on the left are soldiers. In the bottom plate margin, in the centre, is the above title ; on the right is " from a painting by W. S. Lacey," in two lines ; and on the left is "Baxter's patent oil printing, n, North- ampton Square," in two lines. On the same plate with others as No. 314, which see. The Stolzenfels was visited by Queen Victoria in 1845. Originally sold at 6d. SIZE, 2 x 3f. Published about 1847. Unsigned. C. 10s. 339. River Scene, Holland. A delicate little print of a Dutch river, and is an illustration to one of the pocket- books. On the same plate as No. 330. In the bottom plate margin, in the centre, is the above title ; on the left is "Baxter's patent oil printing, u, Northampton NUREMBERG. Print Nc. 33 7 THE ANDALUSIANS. Print No. 341. LANDSCAPES 219 Square," in two lines ; and on the right is " from a painting by H. Lancaster," in two lines. SIZE, 2i x 3 . Published about 1847. Unsigned. \ On moTmt - V - R - & ^- 6d. I As in pocket-book. M.R. 12s. 6d. 340. Returning from prayer" Music, Nos. n and 18. P. Signed on the left, "Published Octr. ist, 1855, by G. Baxter, proprietor & patentee, London," in four lines. When on music it has a gold border ; and under the print, in type, in gold letters, on some is " Printed by G. Baxter, the inventor and patentee of oil colour printing," in one line ; and on others is " G. Baxter, Inventor and patentee, II & 12, North- ampton Square " ; and under that, in gold fancy letters, is " Vespers." In the bottom plate margin is " Returning from prayer " ; but on the stamp on mount is sometimes added " From a painting by Lee." The print represents a Flemish girl returning from her devotions ; and when on mount is often with a gold border. The print was produced from ten blocks. Originally sold at is. 6d. SIZE, 5f x 4. On mount. V.R. 2 2s. Without mount. M.K. 1. Le Blond. Signed. 341. The Andalusians. Pocket Books, Nos. 107 and in. A charming little print of two Spanish ladies seated on the ground, under a vine. In the bottom plate margin, in the centre, is the above title ; and under that is " Printed in oil colours by George Baxter, patentee, 11, Northampton Square, from a painting by Miss F. Corbaux," in three lines. SIZE, 3 x 2^. Published about 1848. . , ( On mount. V.R. 5 5s. unsigned. ( Ajj in pocket . book V .R 4 4s. 220 GEORGE BAXTER VIEWS OUT OF EUROPE 342. The Arctic Expedition in Search of Sir John Franklin. An effective and interesting print. Of the three expeditions sent out about this time, this print probably represents that of the Enterprise and In- vestigator, under Sir John Ross, which sailed in 1848. In May, 1849, Sir John and party set out on an ex- ploring expedition, and experienced the incident with the bears here depicted. The plate has no lettering. When on a mount, the print has a gold border. It is a matter of dispute whether this print was produced also by Le Blond as well as the following : Nos. 158, 191, 197, 198, 210, 211, 220, 222, 224, 230, 254, and 292. On the one hand, a catalogue has been produced of Le Blond's prints from Baxter's plates (in the Bazaar, January 21, 1898), in which they are included ; but, on the other hand, it is said that the catalogue was printed in advance, and that these prints were never in fact produced. It would appear, however, that Le Blond did produce some of them, but quite certain his prints are very rare of these subjects. A panorama was ex- hibited of this event, in Leicester Square, in 1850. Originally sold at y. 6d. SIZE, 8 x 6f. Published 1850. Unsigned. M.R. \ 5s. 343. Chimborazo. Books, No. 34. This great snow-capped mountain is shown ; and in the plain are figures, animals, and cacti. In the bottom plate margin, engraved in the centre, is the above title ; and on the right is " Baxter's patent oil colour printing, XI., Northampton Square," in two lines. The print is taken from a sketch by the author of the book. Some prints have an intense blue sky ; and some have a green, others a purple mountain base. Never on a mount. SIZE, 3^ x 5f . Published 1850. Unsigned. C. 7s. 6d. LANDSCAPES 221 344. Circassian lady at the bath. signed on the right, P. in the water, " Printed in oil colours by G. Baxter, patentee, XL, Northampton Square," in three lines. The nude was very exceptional with Baxter ; it did not suit the age, nor his missionary friends. The lady is seen going through the rushes into the water. In the bottom plate margin is the above title, and " Engraved, printed, & published by G. Baxter, patentee, 11, Northampton Square (Entd. at Stationers' Hall), 1850, from a paint- ing by Wingael," in one line. There are some prints (probably proofs) without the marginal lettering. This print was produced from twelve blocks. Originally sold at 2s. SIZE, 6 x 4f . M.R. 110s. Le Blond. Signed. 345. View in Madeira. Pocket Books, No. 91. The stream runs to left ; on the right path are figures and trees ; and in the background are mountains. In the bottom plate margin, in the centre, is the above title ; and on the right, low down, is " Baxter's patent oil printing, II, Northampton Square," in two lines. The print is oblong, and may be an original design. There were missionary troubles in this island about this time. SIZE, 3^ x 2\. Published about 1847. TT n * \ On mount. V.R. 4 is. Unsigned. j Asinbook> y>E> 3 ^ 346. The Mountain Stream. (Indians reposing.) P. Signed in the water, on the left, " Published Feby. 25, 1856, by G. Baxter, proprietor & patentee, London," in four lines. A gorgeous scene of Indian vegetation ; the stream is shown running along a rocky bed. The 1860 catalogue recommends this and Nos. 365 and 368 as 222 GEORGE BAXTER a trio, and also this and Nos. 275 and 106 as another. Taken from a painting which was from a drawing made on the spot, and is said by the same catalogue to realise "all the sublime effects peculiar to those countries." In the bottom plate margin is the above title. This print was produced from eleven blocks. Originally sold at los. ()d, SIZE, 14! x ii. , On mount. M.R. 2 10s. Without mount. M.R. 2. Le Blond. Signed. 347. Temples of Philse, Egypt. Pocket Books, No. 92. The Nile runs across the print, which shows the cele- brated temples on the further bank. In the bottom plate margin, in the centre, is the above title ; and on the left is " Baxter's patent oil printing," in one line ; on the right is " n, Northampton Square," in one line. SIZE, 2f x s|. Published 1848. ., i On mount. V.E. 3 3s. unsigned, j Ag ^ o^^oi. E . #3 2s EXTERIORS AND LANDSCAPES PLACE NOT DEFINED 348. The Belle of the Village. Music, Nos. 2 and 10. P. Signed on the right centre, "Published Octr. 7th, 1854, by G. Baxter, proprietor & patentee, London." A rustic damsel rests on the ground against a corn stack ; she has poppies and corn in one hand and a sickle in the other. From a painting by Louis. In the bottom plate margin, in one line, is "The Belle of the Village. En- graved, printed, and published October 7th, 1854, by George Baxter, the Inventor and patentee of oil colour picture printing, 11 & 12, Northampton Square (Entered LANDSCAPES 223 at Stationers' Hall)," in one line ; and when on music there is printed on some, in gold letters, under the print, "Printed in oil colours by G. Baxter, the Inventor and patentee ; " but on others there is " Belle of the Village," under the print only, in large type. Mr. Mockler says in the Baxter Journal (Part III.) that "unsigned prints, which must be called proofs, are sometimes found." This, however, is open to some question. The print was produced from eleven blocks. Originally sold at 3^. 6d. SIZE, 8^ x 6f. On mount. R. 2 2s. Without mount. M.R. 1 5s. Le Blond. Signed. 349. Come, pretty Robin. Signed in the centre, below the P. window, "Published July nth, 1857, by G. Baxter, pro- prietor & patentee, London." A little damsel leans out of a casement window, and, with a saucer of bread and milk, tries to persuade a robin to be caught. In the bottom plate margin, in the centre, is the above title. The print is probably from a painting, and was produced from nine blocks. Originally sold at is. 6d. SIZE, 6 x 4^. On mount. M.R. JB1 10s. Without mount. 1. Le Blond. Signed. 350. "Copper, your honour." Companion to No. 360. P. Signed on the right-hand side, in the ground, " Published Augst. 10, 1853, by George Baxter, proprietor & patentee, London," in four lines. A ragged, bareheaded urchin solicits a copper. The 1860 catalogue describes it as " the portrait of a character well known in the London streets." This and Nos. 360 and 267 may perhaps be considered the three most popular of Baxter's smaller prints. In the bottom plate margin, in the centre, is 224 GEORGE BAXTER the above title. Probably either a copy of, or adapted from, a picture. It will be seen Baxter does not claim it as his design. This print was produced from eight blocks. Originally sold at is. 6d. SIZE, 6 x 4$. C. 1 10s. 351. Crossing the Brook. Pocket Books, Nos. 96 and 106. P. A charming little oblong print of a maiden with her dog crossing a stream. In the bottom plate margin, in the centre, is the above title ; on the left is " Baxter's patent oil printing, n, Northampton Square," in two lines ; and on the right is " from a painting by R. Westall, Esq., R.A.," in two lines. The picture was lent to Baxter by R. Harrild, Esq. For plate and details see No. 323. The prints vary considerably in depth of colour. This print, with the two others on the same plate, was produced from eight blocks. SIZE, 3 i x 2. Published 1847. -. . , i On mount. R. 17s. 6d. unsigned, j ^ in pocket . book< MtRi 13s . 6d. 352. The Cornfield. Signed on the extreme right-hand P. corner, "Published Novr. 29th, 1857, by G. Baxter, proprietor, London," in two lines. From a painting by Shayer. On the left is the cornfield ; and in the distance is the church. In the bottom plate margin, in the centre, is the above title. The print was produced from ten blocks. Originally sold at is. 6d. SIZE, s x 3$. On mount. R. 1 15s. Without mount. R. jl 5s. Le Blond. Signed. LANDSCAPES 225 353. The day before marriage. The 1860 catalogue re- P. commends this, No. 359, and No. 362 as a trio. Signed on the right, " London : Published by the proprietor, George Baxter, patentee, u & 12, Northampton Square, f March ist, 1854,^ \ June 1 2th, 1853, f . VT i xi. 0. f m two lines. ) July 30th, 1853, ( v [undated]," Some prints are undated, and some have the 1853 dates, others the 1854 one. A lady is shown, in the dress of the period, sitting on the trunk of a tree, considering a letter. In the bottom plate margin is the above title, and " Designed by Fanny Corbaux. Engraved, printed, and published, March ist, 1854, by the proprietor, George Baxter, the Inventor & patentee of oil colour picture printing, n & 12, Northampton Square, London (Entered at Stationers' Hall)," in two lines ; but the dates vary, as above. There was probably, from what is stated above, more than one plate ; but the signature on the print looks, in many cases, as if it had been altered. If there was only one plate, it shows how possible it was to make material alterations. The print is announced in the key to the " Great Exhibition and Visitors' Guide to London, 1851," as "shortly to be published." The print was produced from fourteen blocks. Originally sold at i or. 6R - 3> I Without mount. V.R. 2. 855. Gathering Apples. Books, No. 77. A circular print, enclosed in an ornamental scroll, showing a man on a ladder, by the side of a cottage, gathering the fruit ; children and baskets below. On the right is " Baxter's patent oil printing, n, Northampton Square," in two lines. In some prints, instead of the word " printing," it is "printer." Later prints of this subject were by Kronheim. See print No. 97. Never on a mount. SIZE, 4x3. Published 1844, Unsigned. 10s. 356. Harvest Time (The Gleaners). Signed on the left, P. low down, " Published June i6th, 1856, by G. Baxter, proprietor & patentee, London." The gleaners are seen resting against a stile. In the bottom plate margin, in the centre, is the above title, in one line. Probably after a picture by Shayer. Sometimes prints by G. Baxter, Jun., are found. The print was produced from twelve blocks. SIZE, 6x4. On mount. E. 1 10s. Without mount. M.R. 1 Is. 357. Little Red Riding Hood. She is shown in her red P. hood and cape, and with hands folded over her basket. It is in reality a portrait of Lady Rachel Eveline Russell LANDSCAPES 227 (a daughter of a Duke of Bedford, and afterwards wife of Lord, J. W. Butler), when six years old, and it is probably taken from a painting by Landseer. In the bottom plate margin is the above title, in the centre ; and on the left is " Published Dec. 3rd, 1856, by G. Baxter, Proprietor & patentee, London," in three lines. The hands are drawn obviously too large. The print was produced from eight blocks. Unfaded Baxters are very rare. Originally sold at is. bd. SIZE, 6i x 4j. mount E 10s. Unsigne . ( Without mount M R 15s Le Blond. Entire absence of the colours on the lips and face that are very marked in an unfaded Baxter. Le Blond s signature is so high up, the print cannot be cut, but this signature is sometimes painted over. 358. Little Gardeners. Pocket Books, No. 105 and 106. P. Sometimes Baxter called it " Les petits jardiniers." A little boy is held up on a wall by his sister ; he is holding flowers. In the bottom plate margin, in the centre, is the above title ; on the right is " from a painting by E. Magnus, Esq.," in two lines ; and on the left is " Baxter's patent oil printing, n, Northampton Square." For plate and details see No. 323. The print was produced from eight blocks with the two others on the same plate. SIZE, 3 x 2|. Published 1847. Unsigned, j On mount. R. 1. I As in pocket-book. M.R. 15s. 359. The LoYers' letter box. The 1860 catalogue recom- P. mends this and Nos. 333 and 334 as a trio, or this and Nos. 353 and 362. Signed on the wall, on the left, " Published August 3Oth, 1856, by George Baxter, pro- prietor & patentee, London," in four lines. From a 228 GEORGE BAXTER painting by Jessie McLeod. A young lady is placing her love-letter in a hole in a tree. The 1860 catalogue describes it as an " interesting love episode." In the bottom plate margin is " Love's letter box," but on the stamp is the above title. The print was produced from twelve blocks. Originally sold at los. 6d. SIZE, 15 x i of. M.R. 3 10s. Le Blond. Signed. 360. The Morning Call. Companion to No. 350. Signed P. on the step, "Published Sepr. ist, 1853, by G. Baxter, proprietor and patentee, London," in six lines. In the bottom plate margin, in the centre, is the above title. The sweep has called, and left his mark on the door of No. n, on which is a brass plate marked " G. Baxter, Offices, No. 12." This is generally thought to represent Baxter's houses in Northampton Square ; but, if so, they were afterwards altered in construction, and the catalogue of 1860 does not say so. It is probably not an original design, nor does Baxter claim that it is. This and Nos. 350 and 267 vie with each as being the public favourites of the smaller prints. The print was produced from eight blocks. SIZE, 6 x 4|. C. 1 10s. 361. Parhelia. Books, No. 41. An illustration of the natural phenomena of mock suns, as seen in England in 1698. This beautiful little print shows a river and bridge, and a city in the distance ; and probably is the last work done by Baxter for Snow. It has not been possible to show the false suns in our illustration. Under the print, in the centre of the plate margin, is the above title ; and below that, in one line, is " London : John Snow, Paternoster Row, 1843" J an d on *he right, in one LANDSCAPES 229 line, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square." Never found on a mount. SIZE, 4^ x 2|. Unsigned. V.R. 1 11s. 6d. 362. The Parting Look, from a painting by E. H. Cor- bould, Esq. Signed on the right, "Published Feby. 6th, 1858, by G. Baxter, proprietor & patentee, London." From the painting called " The Parting Glance." It has been stated the scene represents Olivia, in "The Vicar of Wakefield," leaving home ; but this does not seem to be the fact. The print contains some minute work in the lace and other details. It is also said that Prince Albert took an interest in the production, and that it was at his suggestion the man carrying the portmanteau down the path was inserted or omitted. This may or may not be the fact ; but, as the print is avowedly from a painting, and is so stated on Baxter's stamp, it would be a great liberty to take. Prints, however, do exist both with and without this man and box. Writing to Baxter in February, 1857, Mr. E. H. Corbould, the artist, quotes some lines (not from " The Vicar of Wakefield ") which he thinks applicable to his picture, and refused his leave to Baxter to copy another of his works then exhibiting in the Crystal Palace, Sydenham ; and he says : " I have no sort of idea that the most accurate rendering of a work of art (so close a copy, in fact, that each print shall appear a facsimile of the original) would add to the value of the picture ; but, on the contrary, my belief is that no persons could be found who would give the full price for it when perhaps they could purchase fifty copies for the same sum." The letter, by implication, negatives the idea of the picture having any reference to Goldsmith's book. The plate was inserted in the 1860 catalogue, and was described as follows : " A most gorgeous picture, after the original by Corbould ; a great favourite with the public ; and one of the richest productions ever issued by the patentee." In some prints there is a dark sky 230 GEORGE BAXTER and the appearance of evening. In the bottom plate margin is the above title. The same catalogue also recommends this and Nos. 353 and 359 as a trio, and also this and Nos. 260 and 333 as another. The plate has been printed from (probably only in black) by some one else, and the signature erased, and prints are some- times found hand-coloured. The print was produced from twelve blocks. SIZE, 25 x i8. w+1, v >*A , ./Onmonnt. M.R. 7 7s. With man and box { with(mt mOTint M>R< 5 5s> 868- Parting Look (another variety). Same as last, except P. for the absence of the man with the box. He has been erased ; and the place where he has been eliminated from the plate is plainly visible. On mount. V.R. 7 7s. Unmounted. M.R. 6 6s. 364. Parting Look (another variety). The same as last, with the addition of some extra lace round the woman's neck. On mount. V.R. 7 7s. Unmounted. M.R. 6 6s. 365. Summer. Companion to No. 368. Usually called " The P. large Summer." It is after a painting by W. E. Jones. The village inn, with porch and figures, and knife- grinder, is shown. The plate has no lettering. The 1860 catalogue recommends this and Nos. 368 and 346 as a trio. The print was produced from ten blocks. Originally sold at los. 6d. SIZE, 15 x ioj. Published Christmas 1859. rr^-^nA I 011 mount. V.R. 3 3s. tt> I Without mount. M.R. 2 2s. Le Blond. Baxter's print has greater depth of colour and finish, and also the sign of the inn appears to have LANDSCAPES 23! an inscription on it ; but not so in Le Blond's. Le Blond's signature is high up, and is often therefore coloured over, as the print could not be cut. Le Blond's prints are rare, and, when complete, very good, and care must be taken to distinguish them from Baxter's. 366. Summer. Usually called "The small Summer." An P. exquisite little print, nearly square. Two haymakers are resting on a bank, while a damsel is making a nosegay. No doubt an illustration to one of the pocket-books. On the same plate as No. 326. In the bottom plate margin, in the centre, is the above title ; on the left is " Baxter's patent oil printing, u, Northampton Square," in two lines ; and on the right is " from a painting by J. Noble," in two lines. This and the other on the same plate were produced from twelve blocks. SIZE, 2 x 2. Published about 1847. fOn mount. R. jfil 10s. in pocket-book. E. 1. Unsigned.| 367. Summer" Half light, half shade, she stood." P. Signed on the ground, on the left/' Published Dec. ist, 1856, by G. Baxter, proprietor & patentee, London," in two lines. A damsel in a garden, in dainty costume, is reaching to gather roses ; and for this reason the print is often called " Gathering roses." It is after a painting by Edward Corbould, and is a beautiful piece of dainty colouring when unfaded ; but all prints with cochineal colour are very susceptible to light. The print was produced from ten blocks. Originally sold at is. 6d. SIZE, 6 x 4^. On mount. V.R. 2 10s. Without mount. R. 1 5s. Le Blond. Signed. 232 GEORGE BAXTER 368. Winter. Companion to No. 365. Usually called "The P. large Winter," and is after a painting by W. E. Jones. The church and frozen pond are shown on the right ; there is a cottage on the left ; the path runs up the centre, on which are a woman in a red dress, and men hauling Christmas boughs. The plate has no lettering. The 1860 catalogue recommends this and Nos. 346 and 365 as a trio. The haze round the setting sun generally appears to be hand work. The print was pro- duced from eight blocks. Originally sold at los. 6d. SIZE, 15 x io. Published Christmas 1859. Unsigned. ? . u ? *1 , 1 Without mount. R. 2 2s. Le Blond. Usually found highly varnished. The ice looks like water. 369. Winter. Pocket Books, No. 103. Usually called "The small Winter." A pretty little oblong print. In the foreground are a frozen pond and water-mill, and three children playing. It is on the same plate as No. 317. In the bottom plate margin, in the centre, is the above title ; and below that is " Printed in oil colours by George Baxter, patentee, 11, Northampton Square, from a painting by J. Pettitt," in three lines. SIZE, 3! x 2 . Published about 1849. Unsigned I On mount - R - 15s - I As in pocket-hook. M.R. 12s. 6d. CHAPTER XX CATALOGUE OF SOME MISCELLANEOUS PRINTS 370. Shells and their inmates. Books, No. 73. A group of shells. Under the print, in the centre, in large letters, is " Frontispiece " ; and under that, in one line, is " Printed in oil colours by G. Baxter (patentee), 3, Charterhouse Square." Others, in later editions, may have the address of Northampton Square. SIZE, ABOUT 3 x 3. Published 1841. Unsigned. C. 5s. 371. Yggdrasill, the Mundane Tree. Books, No. 39. An allegorical design from a Scandinavian myth that the earth is in the centre of a vast ocean encircled by a great serpent holding its tail in its mouth. Under the print is "Baxter's patent oil printing, 11, Northampton Square," in one line ; and under that the above title, in two lines. SIZE, ABOUT 4^ x 3$. Published 1847. Unsigned. C. 7s. 6d. 372. Designs for Title-pages of Pocket Books. Baxter executed several coloured designs for the title-pages of Suttaby's pocket-books. At the commencement of his 233 234 GEORGE BAXTER pocket-book illustration, in 1847, he engraved six different designs on one plate for the following pocket- books : (i)"Carnan's Ladies' Complete Pocket Book"; (2) "Poole's London Annual Repository"; (3) "The Ladies' Own Memorandum Book, or Daily Pocket Journal"; (4) "Poole's Elegant Pocket Album"; (5) "The Sovereign"; and (6) "Marshall's Cabinet of Fashion." There were also possibly others besides the one for " Le Souvenir." Each one has, in very minute letters, low down on the left, "Baxter"; and on the right, " patentee." In later editions this scroll is generally uncoloured; and there are then, on the left, the words " Baxter Sc." SIZE, 4^ x 3. M.R. 5s. each.. 373. Map. Sometime about 1859 Baxter effected a map (not in colours), which he called " Baxter's historical map of the victories gained by the French and Sardinian troops in Italy, under the command of the Emperor Napoleon III. Executed by George Baxter, the Inventor and patentee of oil colour printing, n & 12, Northampton Square, London." It has on it some beautiful little views of the different battles, in miniature. Some copies are slightly tinted. Published about the time of the Franco- Italian War in 1859. SIZE, 21 x 14!- E. 2. 374. Diagrams, Plate Of. In colours. Under the print, on the right, is " Baxter's patent oil printing, n, Northamp- ton Square " ; and, in the centre, is " Taylor and Ashton, Upper Gower Street, 1845." SIZE, 7x9. Published 1845. R. 15s. SOME MISCELLANEOUS PRINTS 235 375. Book Cover. Books, No. 69. Designs for the covers of the book, in red, blue, green, and gold, on one side ; and under this design is " Baxter, Bronze printer, &c., II, Northampton Square," in one line ; on the other side is a convolvulus wreath ; there is also a design at the back of the book. R. 7s. 6d. 376. Book Cover. Books, No. 70. Designs for the covers of the book, in blue, green, and gold, and floral pattern on one side ; and under this design is " Baxter, Bronze printer, &c., u, Northampton Square," in one line ; and on the other side is a design ; and another at the back of the book. E. 7s. 6d. CHAPTER XXI ILLUSTRATIONS FOR BOOKS AND MUSIC IN Part I. of this chapter we set forth a catalogue of the books, including pocket-books, illustrated by Baxter in colours ; and in Part II., a catalogue of music with embellishments by him. It will be observed that in the very early work the same print frequently appeared in more than one book. We may take this as an indication of the novelty in those days of any printed coloured illustrations, and the consequent desire of the publishers to obtain speci- mens as aids to the sale of their books ; and, as a proof of novelty, we refer those of our readers who care to pursue the subject further, to the prefaces to Books 27, 29, 43, 56, 58, and 61, and to an article, " Printing in Colours," which is in " Records of Science," by D. Thomson and Thomas Thomson, published by John Taylor in 1835. The prices of the books where we have not set them out may be taken as a few shillings in excess of the value of the prints contained in them ; but in a few exceptional cases we have appended their value. The value of the music when the sheet containing the print is complete is also about the same value as the same print on a mount. The number set opposite the 236 BOOKS 237 books and music refers to the number of the print in the catalogue of prints. No pocket-book with Baxter illustrations was published before 1847 ; and all music so illustrated was published between 1850 and 1860. Some of the books, besides the above, contain interesting prefaces or other references to Baxter and his work, especially Nos. 3, 4, 5, 9, and 68. It is quite likely that there may be other books containing Baxter prints not here catalogued ; any information will be warmly welcomed. PART I CATALOGUE OF BOOKS 1. Abbott, Jacob. "China and the English ; or, the Character and Manners of the Chinese, as illustrated in the History of their Intercourse with Foreigners." London. 1837. Some editions have No. 55. 2. Barbould, Anna Letitia, Mrs. (nee Aikin). " Even- ings at Home ; or, the Juvenile Budget." London : Darton. 1838. Some editions have No. 54. Books No. 60 contains the same print. 3. Baxter's Agricultural and Horticultural Gleaner. London : Simpkin, Marshall & Co. Sussex Agricultural Press, Baxter & Son, Lewes. 8vo. 1836. Some editions contain an interesting preface ; and there is also an advertisement by Baxter at the end. The frontispiece is No. 25. Vignette on the title-page is No. 26. 238 GEORGE BAXTER 4. Baxter's Gems of the Great Exhibition. N.D. Fcp. 8vo. See Nos. 166 to 172, where the book is more fully described. It contains an interesting letterpress. Its value is about 7. 5. Baxter's Pictorial Key to the Great Exhibition, and Visitors' Guide to London. Forming a com- panion to the official catalogue. In English, French, and German. London : Published at the Patentee's Offices, ii & 12, Northampton Square. Thomas Harrild, Printer, Silver Street, Falcon Square, London (price $s.). Sm. 4to. N.D., but introduction dated July, 1851. Frontispiece is No. 164. On the title-page is No. 165. The book contains an interesting preface and list of Baxter's prints. Its value is about .3 los. 6. Baxter's two specimens of printing in oil colours : one representing the reception of the Rev. J. Williams at Tanna in the South Seas ; the other, the massacre of that lamented missionary on the Island of Erromanga, where he and his friend Mr. Harris became the proto-martyrs of Christianity in the Australian Seas. Executed by Geo. Baxter, Inventor and patentee ; with a description by J. Leary, one of the survivors of the massacre, and an account of the Islands when visited by Captn. Cook and Captn. Dillon. Published by the patentee, 1841. It has a vignette on the title-page a wood-cut of " The Missionary ship Camden leaving Tanna for Erromanga." The letterpress description is divided into three heads : (i) " The last two days of The Revd. J. Williams and Mr. Harris " ; (2) " Description of the Islands of Tanna and Erromanga, New Hebrides, when visited by Captn. Cook and Captn. Dillon " ; (3) <( Description of the pic- tures." The book contains print No. 81 and an interesting letterpress. Its value is about 6. 1. British and Foreign Institute Transactions of the Christian Commonwealth for 1845. London : BOOKS 239 Fisher, Son & Co., Angel Street, Newgate Street. 4to. 1845. The illustration (facing p. 414) is No. 241 ; and Books No. 45 contains the same print. 8. Campbell, John, D.D. " Maritime Discovery and Chris- tian Missions considered in their Mutual Relation," etc. London : John Snow, 35, Paternoster Row. 1840 and later editions. 8vo. Frontispiece is No. 104. 9. Campbell, John, D.D. "The Martyr of Erromanga; or, the Philosophy of Missions, illustrated from the Labours, Death, and Character of the late Revd. John Williams." London : J. Snow. 1842. 8vo. Frontispiece is No. 83. 10. Campbell, ReT. William (Missionary to India for the L.M.S.). "British India in its Relation to the Decline of Hindooism and the Progress of Christianity," etc. London : J. Snow. 8vo. 1839 and later editions. Frontis- piece is No. 94. 11. Child's Companion and Juvenile Instructor. The New Series. Religious Tract Society. 1846. i6mo. Frontispiece is No. 297. 12. Child's Companion and Juvenile Instructor. 1847. i6mo. Frontispiece is No. 280. 13. Child's Companion and Juvenile Instructor. 1848. i6mo. Frontispiece is No. 291. 14. Child's Companion and Juvenile Instructor. 1849. i6mo. Frontispiece is No. 242. 15. Child's Companion and Juvenile Instructor. 1850. i6mo. Frontispiece is No. 282. 240 GEORGE BAXTER 16. Child's Companion and Juvenile Instructor, 1851. i6mo. Frontispiece is No. 240. 17. Cook, Eliza. " Melaia, and other Poems." Published by R. J. Wood, Despatch Office, Fleet Street, London. 1838. I2mo. Frontispiece is No. 57. Vignette on title- page is No. 58. 18. Elliott, Mary (nee Mary Belson). Tales for Boys. i8mo. Darton. 1839. Frontispiece is No. 67. 19. Elliott, Mary. Tales for Girls. i8mo. Darton. 1839. Frontispiece is No. 68. Books No. 23 contains the same print. 20. Elliott, Mary. Tales of Truth for Young People. London: Darton. 1836. Frontispiece is No. 28. 21. Elliott, Mary. Tales of Truth. Darton. 1839. Con- tains No. 70. Books No. 35 contains the same print. 22. Elliott, Mary. Juvenile Tales. Darton. 1845 and later editions. Contains No. 299. Books No. 25 con- tains the same print. 23. Elliott, Mary. Rural Employments. Darton. 1839. Contains No. 68. Books No. 19 contains the same print. 25. Elliott, Mary. The Evergreen. A selection of Religious and perceptive poetry. Darton. 1836. Con- tains probably No. 69. Books No. 30 contains the same print. 25. Ellis, Charles. " Richmond, and other Poems." Lon- don : Madden & Malcolm. 1845. 8vo. Frontispiece is No. 299. Books No. 22 contains the same print. BOOKS 241 26. Ellis, ReY. Wm. (London Missionary Society.) " His- tory of Madagascar." 2 vols., 8vo. London : Fisher & Co. N.D. (1838 date of preface). Vol. I. frontispiece is No. lor. 27. Fisher's Drawing Room Scrap Book. By L. E. L. With practical illustrations. Published by H. Fisher, R. Fisher, & H. Jackson. 1834. 410. The preface contains a reference to this print. Frontispiece is No. 5. Books Nos. 63 and 71 contain the same print. 28. Freeman, J. J., and Johns, D. " A Narrative of the Persecution of the Christians in Madagascar ; with Details of the Escape of the Christian Refugees now in England (formerly Missionaries in the Island)." London : J. Snow. 1840. I2mo. Frontispiece is No. 100. 29. Gandee, B. F. " The Artist ; or, Young Ladies' Instructor in Ornamental Painting, Drawing," etc. London: Chap- man & Hall, 1 86, Strand. 1835. 8vo. The book con- tains an interesting preface. Frontispiece is No. 7. Title-page is No. 8. 30. Garland of Love; or, Wreaths of Pleasant Flowers Gathered in the Field of English Poesy. London : Chapman & Hall, Strand, and A. K. Newman & Co., Leadenhall Street. 1836 and other dates. Frontis- piece is No. 69. Books No. 24 contains the same print. 31. History of the Society for Promoting Female Education in the East. London : Ed. Suter, 321 Cheapside. 1847. Folding plate is No. 99. 16 242 GEORGE BAXTER 32. Hoole, Elijah. Madras, Mysore, and the South of India ; or, a Personal Narrative of a Mission to those Countries from 1820 to 1828." London: Longman, 1844. I2mo. Frontispiece is No. 96. Books No. 42 contains the same print. 33. Horsfield, ReY. T. W. "The History of Sussex." J. Baxter, Lewes. 1835. Contains No. 10. 3?. Humboldt, Alexander Yon." views of Nature ; or, Contemplation son the Sublime Phenomena of Creation." Scientific illustrations. Translated from the German by E. C. Otte and Henry G. Bohn. With a frontispiece from a sketch by the author, etc. London : Henry G. Bohn, York Street, Covent Garden. 1850 and later editions. 8vo. Frontispiece is No. 343. 35. Jackson, John. "A Treatise on Wood Engraving, Historical and Practical." London. 1839. Charles Knight & Co., Ludgate Street. 410. Contains an interesting account of Baxter's process. Fronting p. 712 is No. 70. Books No. 21 contains the same print. 36. Letterings among the Lakes of Cumberland and Westmoreland. By the Author of " Wanderings in the Isle of Wight [Moggridge]." Religious Tract Society. N.D. (1849). Frontispiece is No. 286. 37. Mclntosh, Charles. " The Flower Garden ; with Se- lected Lists of Annual, Biennial, and Perennial Flowering Plants." By Charles Mclntosh (gardener to the King of the Belgians at Claremont). Orr Co., London. 1838. 8vo. Illustrations.by Baxter, see prints Nos. 50, 51, 53, 5?0, and 53. BOOKS 243 38. MclntOSh, Charles." The Greenhouse, Hothouse, and Stove." London : Orr & Co. 1838. 8vo. Illustrations, see Nos. 50, 51, 52, 52^, and 53. This book is a continua- tion of No 8. 39. Mallet, M. " Northern Antiquities ; or, an Historical Account of the Manners, Customs, &c., of the Ancient Scandinavians." Translated from the French of M. Mallet by Bishop Percy. New edition by J. A. Black- well, Esq. London : Henry G. Bohn, York Street, Covent Garden. 1847. 8vo. Frontispiece is No. 371. 40. Medhurst, W. H. " China, its State and Prospects ; with especial reference to the Spread of the Gospel," etc. By W. H. Medhurst, of the L.M.S., twenty years a Missionary to the Chinese. London: J. Snow. 1838 and later editions. 8vo. Frontispiece is No. 98. 41. Milner, Rev. J." Astronomy and Scripture ; or, Some Illustrations of that Science." John Snow, London. 1843. 8vo. Frontispiece is No. 361. 42. Missionary Memorial. Walker, New York. 1846. Frontispiece is No. 96. Books No. 32 contains the same print. 43. Moffat, J. M. " The Book of Science." Second series. London : Chapman Hall, Strand. Frontispiece is No. 9. Books No. 66 has the same print. Contains an interesting account of colour printing. 244 GEORGE BAXTER 44. Moffat, Robert. "Missionary Labours and Scenes in Southern Africa." By R. Moffat, twenty-three years an Agent of the L.M.S. in that continent. Published by J. Snow, Paternoster Row. 1842. Frontispiece is No. 91. 45. Morgan, John Minter. "The Christian Common- wealth." London : Chapman & Hall. 1845. Contains No. 241. Books No. 7 contains the same print. 46. Mudie, Robert. " Spring ; or, the Causes, Appearances, and Effects of the Renovations of Nature in all Climates." The book contains a preface relating to Baxter's illus- trations in it. London : Ward & Co., 27, Paternoster Row. 1837. I2mo. Frontispiece is No. 29. Vignette on title-page is No. 30. 47. Mlldie, Robert. "Summer; or, the Causes, Appearances, and Effects of the Grand Nuptials of Nature in all its Departments." London : Ward & Co., 27, Paternoster Row. 1837. I2mo. Frontispiece is No. 31. Vignette on title-page is No. 32. 48. Mudie, Robert. "Autumn ; or, the Causes, Appearances, and Effects of the Seasonal Decay and Decomposition of Nature." London : Ward & Co. 1837. I2mo. Frontispiece is No. 33. Vignette on title-page is No. 34. 49. Mudie, Robert. " Winter ; or, the Causes, Appearances, and Effects of the Great Seasonal Repose of Nature." London : Ward & Co. 1837. i2mo. The book contains a preface referring to, Baxter's illustrations. Frontis- piece is No. 35. Vignette on title-page is No. 36. 50. Mudie, Robert. " Man in his Relations to Society." By R, Mudie, Author of "The Heavens," "The Four BOOKS 245 Seasons," " The British Naturalist," etc., etc. London : Orr & Co., Amen Corner, Paternoster Row. 1840. I2mo. Frontispiece is No. 63. Vignette on title-page is No. 64. 51. Mudie, Robert. " Man in his Intellectual Faculties and Adaptations." London: Orr & Co. 1839. I2mo. Frontispiece is No. 61. Vignette on title-page is No. 62. 52. Mudie, Robert." Man in his Physical Structure and Adaptation." Orr & Son, London. 1838. I2mo. Frontispiece is No. 59. Vignette on title-page is No. 60. 53. Mudie, Robert. "Man as a Moral and Accountable Being." Orr & Son, London. 1839. I2mo. Frontis- piece is No. 65. Vignette on title-page is No. 66. 5i. Mudie, Robert." The Earth." London : Ward & Co. 1835. I2mo. Frontispiece is No. 14. Vignette on title- page is No. 15. Other editions, 1836 and 1838. 55. Mudie, Robert. " The Air." London: Ward & Co. 1835. I2mo. Other editions, 1836 and 1838. Frontis- piece is No. 16. Vignette on title-page is No. 17. 56. Mudie, Robert." The Heavens." London : Ward & Co. 1835. I2mo. Later editions, 1836 and 1838. Frontispiece is No. 12. Vignette on title-page is No. 13. The book contains an interesting preface. 57. Mudie, Robert." The Sea." London : Ward & Co. 1835. i2mo. Other editions, 1836 and 1838. Frontis- piece is No. 1 8. Vignette on title-page is No. 19. 58. Mudie, Robert. " The Feathered Tribes of the British Isles." Whittaker & Co., London ; Waugh & James, Edinburgh ; and John Gumming, Dublin. 1834. The 246 GEORGE BAXTER book contains a most interesting preface. Vol. I. vignette on title-page is No. 2. Vol. II. vignette on title-page is No. 3. Also other editions. 59. Mudie, Robert. "The Natural History of Birds." London: Orr & Smith, Paternoster Row. 1834 and later editions. Frontispiece is No. 4. 60. Neale, M. A. "Smiles and Tears." Published by Davis & Porter, 104, Sloane Street. 1838. Books No. 2 contains the same print. Vignette on title-page, is No. 54. 61. New Year's Token; or, Christmas Present. Darton & Son. Printed by Stewart, Old Bailey. 1836. The book contains a most interesting preface. Frontis- piece is No. 21 . Vignette on title-page is No. 22. Books No. 75 contains the same print. 62. Nicolas, Sir N. Harris, K.C.M.G. " History of the Orders of Knighthood of the British Empire, and of the Order of the Guelphs of Hanover ; with an Account of the Medals, Clasps, and Crosses conferred for Naval and Military Services." 4 vols. Published by William Pick- ering, Chancery Lane, London. 1841. The preface is of interest. The book contains Nos. 107 to 127 and No. 201. 63. Parlour Table Book, The; or, Pictorial Mis- cellany. London: 4to. N.D. Books Nos. 27 and 71 contain the same print. Frontispiece is No. 5. BOOKS 247 63. Paxton, Mrs. "Life as It is." A second series of original tales by Mrs. Paxton, Author of "The Veil Lifted." London : Darton & Clark. 1844. Books No. 76 contains the same print. Frontispiece is No. 319. 65. Perennial, The. A collection of moral and religious poetry. London : Darton & Son, Holborn Hill. N.D. (1835). Frontispiece is No. n. 66. Peter Parley's Annual. One of the early numbers probably in 1835 contains No. 9. Books No. 43 contains the same print. 67. Phelps, William. "History and Antiquities of Somer- setshire." 4to. London. 1836-9. Contains No. 27. 68. Pictorial Album and Cabinet of Paintings. Pub- lished by Chapman & Hall, London. 1837. See prints Nos. 39 to 49, both inclusive. The book contains a most interesting preface. 69. Pike, J. G. " Persuasives to Early Piety." Published by the Religious Tract Society. N.D. Print No. 375. 70. Pike, J. G. "Female Excellence; or, Hints to Daughters." Religious Tract Society. N.D. Print No. 376. It is not certain this book is by Pike. 71. Roberts, Emma. " Views in India, China, etc., and the Shores of the Red Sea." By Emma Roberts. London : H. Fisher, R. Fisher, & H. Jackson. 1835. Some editions have No. 5. Books Nos. 27 and 63 contain the same print. _ 248 GEORGE BAXTER 72. Saunders, Sir Edwin (Dentist.) "Advice on the Care of the Teeth." London : Ward & Co. 1837. Also other editions. Frontispiece is No. 38. 73. Shells and their Inmates. London : Religious Tract Society. 1841. i6mo. Also other editions. Frontis- piece is No. 370. 73. Sherwood, Mrs. (nee M. M. Butt)." Caroline Mor- daunt j or, the Governess." London : Darton & Son. I2mo. N.D. (1835). Frontispiece is No. 20. NOTE. Other editions contain an illustration in sepia not by Baxter. 75. Sherwood, Mrs., Mary Howitt, Mary Elliott, Bourne Hall Draper, etc." A Gift of Friendship." London : Wm. Darton & Son. N.D. Contains No. 21. Books No. 6: contains the same print. 76. Sherwood, Mrs." Social Tales for the Young." Lon- don : Darton & Clark, Holborn Hill. N.D. (1840). I2mo. Frontispiece is No. 319. Books No. 64 contains the same print. There is an early edition, about 1835. 77. Sights in all Seasons. Religious Tract Society. N.D. (about 1844). Frontispiece is No. 355. NOTE. The later editions contain an illustration from the same plate by Kronheim & Co. 78. Sketches of Germany and the Germans ; with a glance at Poland, Hungary, and Switzerland BOOKS 249 in 1834-5-6. By an Englishman resident in Germany [Edmund Spencer]. 2 vols. London : Whittaker & Co., Ave Maria Lane. 1836. 8vo. Vol. I. frontispiece is No. 23. Vol. II. frontispiece is No. 24. 79. Tytler, Margaret Fraser. " Tales of the Great and Brave." London : Harvey & Barton, Gracechurch Street. 1838. Frontispiece is No. 56. 80. Water-house, ReY. J. W. " Vah-ta-ah, the Feejeean Princess ; with occasional allusions to Feejeean Customs, and illustrations of Feejeean Life." London : Hamilton, Adams & Co. N.D. (1857). Frontispiece is No. 88. 81. Wesleyan Juvenile Offering, The. A miscellany of Missionary information for young persons. Vol. III. 1846. London: Sold at the Wesleyan Mission House, 66, Paternoster Row. Frontispiece is No. 86. 82. Wesleyan Juvenile Offering, The. Vol. IV. 1847. Frontispiece is No. 97. 83. Wesleyan Juvenile Offering, The. Vol. V. 1848. Frontispiece is No. 95. Williams, Rev. John." A Narrative of Missionary Enterprises in the South Sea Islands ; with remarks upon the Natural History of the Islands," etc. By the Rev. John Williams, of the L.M.S. Published for the author by J. Snow & J. R. Leifchild, Piccadilly, London. 1837. 25O GEORGE BAXTER Some editions in 1837, 1838, 1839, and 1841 have as frontispiece No. 79 ; the fourth thousand has as frontis- piece No. 71, but does not contain No. 79 ; the fifth and sixth thousands have as frontispiece No. 72, and No. 79 in the body of the book. The book contains an interesting preface. 85. Wilson, Harrison Corbett. "England's Queen and Prince Albert of Saxe-Coburg and Gotha." A poem in two cantos by Harrison Corbett Wilson, Esq., "the Warwickshire poet." London : Longman & Co. and Simpkin, Marshall & Co. N.D. (dedication dated 1849). Frontispiece, Nos. 203 and 204. 86. Wilson, ReY. S. S. "A Narrative of the Greek Mission ; or, Sixteen Years in Malta and Greece, in- cluding Towns in the Peloponesus, in the /Egean and Ionian Islands," etc. By the Rev. S. S. Wilson, member of the Literary Society of Athens. London : J. Snow. 1839. Frontispiece is No. 102. 87. Woodland's Nursery Catalogue of Horticulture. Maresfield. 1836. Contains No. 37. POCKET BOOKS 88. Suttaby's Carnan's Ladies' Own Memorandum Book, or Daily Pocket Journal, 1847. No. 323. 89. Suttaby's Poole's London Annual Repository, 1847, No. 289. POCKET BOOKS 90. Suttaby's Poole's Elegant Pocket Album, 1847. No. 325. 91. Religious Tract Society's Scripture Pocket Book, 1847. No. 345. 92. Religious Tract Society's Scripture Pocket Book, 1848. No. 347. 93. Religious Tract Society's Scripture Pocket Book, 1849. No. 286. 94. Religious Tract Society's Scripture Pocket Book, 1850. No. 279. 95. Religious Tract Society's Scripture Pocket Book, 1851. No. 316. 96. Suttaby's The Sovereign Pocket Book, 1847. Nos. 351, 325, and 289 97. Suttaby's The Sovereign Pocket Book, 1858. No. 338. 98. Suttaby's The Sovereign Pocket Book, 1859. No. 285. 99. Suttaby's Marshall's Ladies' Fashionable Re- pository, 1847. No. 156. 100. Suttaby's Marshall's Ladies' Fashionable Re- pository, 1848. No. 154. It is probable, but not certain, this book contains this particular print. 101. Suttaby's Carnan's Ladies' Complete Pocket Book, 1847. No. 287. 252 GEORGE BAXTER 102. Suttaby's Carnan's Ladies' Complete Pocket Book, 1848. No. 284. 103. Suttaby's Carnan's Ladies' Complete Pocket Book, 1849. No. 369. 104. Suttaby's Carnan's Ladies' Complete Pocket Book, 1858. No. 307. 103. Suttaby's Marshall's Ladies' Cabinet of Fashion, 1847. Nos. 358, 152, and 309. 106. Suttaby's Le Souvenir, 1847. Nos. 308, 156, 351, 358, and 337. 107. Suttaby's Le Souvenir, 1848. Nos. 146, 148, 341, 154, and 284. 108. Suttaby's Le Souvenir, 1849. Possibly contains some of the following: "Welsh Drovers"; "Duke of Buccleuch's residence " ; " View from a deserted rock- quarry on the Wye " ; " King of the French at Eu " ; "small Summer"; "small Winter" ; "small Paul and Virginia " ; " Fisherman's Home " ; " Abbeville " ; " View in Holland " ; " Brighton Chain Pier " ; and " Harrow " which are all pocket-book illustrations, but unaccounted for as such in this catalogue. 109. Suttaby's Le Souvenir, 1850. Nos. 307, 310, 318, 270, and 315. 110. Suttaby's Le Souvenir, 1851. Nos. 158, 306, 288, 324 and 313. 111. Suttaby's Poole's Select Pocket Remembrancer, 1848. Nos. 308 and 341. MUSIC 253 PART II CATALOGUE OF MUSIC ILLUSTRATED BY BAXTER IN COLOURS The prints here enumerated may also have been used for other music. 1. The Adoration, by W. H. Callcott, published by R. Cocks & Co. in 1859, has on it No. 239. 2. Belle of the Village Yalse, by Koenig, published by Jullien & Co., has on it No. 348. 3. Mandolina Yalse, by K.irl Buller, published by Jullien & Co., has on it No. 328. 4. Holy Family Sacred Melodies, arranged by W. H. Callcott, published by Jullien & Co., has on it No. 234. 5. Jullien's Keepsake for 1851 (missing from British Museum) has a print. 6. Jullien's Cadeau for 1853 and Paul et Yirginie Yalse have on them No. 151. 7. Jullien's Album for 1849 has on it No. 228. 8. Jullien's Album for 1851 has on it Nos. 217 and 218. 9. Jullien's Album for 1852has on it No. 332. 10. Jullien's Album for 1855 has on it No. 348. 254 GEORGE BAXTER 11. Jullien's Album for 1856 has on it No. 340. 12. Deutsche Lieder Yalse, by w. H. Callcott, published by Jullien & Co., has on it No. 218. 13. News from Home Quadrille, published by Jullien & Co. in 1853, has on it No. 195. li. Prima Donna Yalse, published by Jullien & Co. in 1852, has on it No. 147. 15. Prince of Wales Galop, by Charles d' Albert, published about 1858 by Chappell & Co., has on it No. 212. 16. Hibernian Quadrille and The Queenstown Galop have on them No. 277. 17. " Yive L'Empereur ! " Galop, published by Jullien & Co., has on it No. 229. 18. Yespers, by Lindahl, published by Jullien & Co., has on it No. 340. 19. Princess Royal (full ength). No. 213 is on a piece of music published about 1858. There are probably others. APPENDIX FROM a mass of interesting material bearing on Baxter, his life and work, we propose to give in this appendix a few extracts and references as a guide and help to any students and others whose interest in the matters dealt with in the previous chapters should prompt them to go still deeper into the subject. BAXTER'S PATENTS The following are the references taken from the Patent Office: (1) "A.D. 23 October, 1835. No. 6916. Steel and copper plate engravings." (2) "A.D. 30 Augt., 1849. No. 12753. Letters patent to George Baxter, of Northampton Square, Clerkenwell, engraver and printer. An extension for the term of 5 years." (3) " A.D. 1857. No. 1620. Printing in Colours. Provisional specification left by G. Baxter at the office of the Commissioners of Patents with his petition on 9 June, 1857." (4) "A.D. 14 Oct., 1858. No. 2295. Colouring photographic pictures," 256 APPENDIX BAXTER'S APPLICATION FOR AN EXTENSION OF PATENT IN 1849 We append an account, taken from the Morning Post of June 22, 1849, f the proceedings before the Judicial Committee of the Privy Council, which sat in the Council Chamber, Whitehall, on June 21, to hear Baxter's application. (For the names of the Judges see p. 20.) " Mr. Serjeant Shee, with whom was Mr. Montague Smith, conducted the case for the petitioner ; the Attorney-General watched the case for the Crown ; and an apprentice named Leighton, late in the employ of the petitioner, opposed the application. " In this case the inventor, Mr. Geo. Baxter, made appli- cation for an extension of letters patent, in order that he might carry out more effectually certain improvements in the art of block printing generally. A large number of specimens were produced for the inspection of the Committee. The colours and tints were beautifully preserved in every instance ; and the noble and learned Lords present passed the highest eulogiums upon the petitioner's success. " Two specimens of Her Majesty and Prince Albert having been handed to the Committee, " Lord Brougham said : I will purchase these two. How much will you take for them ? " Mr. Serjeant Shee was understood to say that the petitioner would feel much satisfaction in presenting the noble and learned Lord with these specimens. " Lord Brougham : I am reminded by my noble friend [Lord Langdale] that, if I don't pay, I am accepting a present in an official capacity. I should therefore be liable to impeachment. (Laughter.) "After some further remarks Mr. Leighton, the late apprentice of the petitioner, addressed the Committee, and contended that, if the petitioner were allowed to exercise the exclusive privilege sought for by the extension of the patent, he should [would] be debarred from exercising the art and mystery of APPENDIX 257 block printing, which he submitted he was clearly entitled to do by the terms of his indentures. " Several witnesses were called in support of Mr. Leighton's case. " Lord Brougham, in delivering thejudgment of the Committee, said their Lordships were clearly of opinion that great merit was due to the patentee. It was an invention of great public utility. It had, however, hitherto failed to be profitable to the petitioner. That it was an original invention was shown by the evidence. It was a cheap and innocent resource, and was conducive to the advancement and improvement of the morals of the people. It had been alleged that several persons had served a seven years' apprenticeship to the petitioner under the impression that at the expiry of that term they would be allowed to print in that particular way. That idea, however, had no foundation ; and the patent would be extended for a period of five years without any limitation whatever." BAXTER'S PROPOSED PRINT OF THE BAPTISM OF KING EDWARD VII " THE ROYAL ARTISTS. The only artists who received Her Majesty's commands to be present at the Royal Baptism at Windsor were Mr. Hayter, and Mr. Geo. Baxter, the son of Mr. Baxter of Lewes, who is about to publish in his new and beautiful art of oil colour printing, a splendid historical painting of this interesting ceremony, to correspond with those of the ' Coronation ' and the ' Opening of the first Parliament.' Several of the London morning journalists mistook Mr. Baxter for Sir. Wm. Newton, the Academician, who was not present. Mr. Baxter took his sketch from the Royal platform." Sussex Express, January 29, 1842. BAXTER'S MISSIONARY PRINTS The number of articles and other references to Baxter's missionary prints in the contemporary Press was very 17 258 APPENDIX considerable and instructive. We will not, however, do more than give one interesting example in each case, as follows : "Landing of the Revd. J. Williams af| p Tanna, and his Massacre at Erro- V 1041. manga" ...... J Large portraits of the Revs. R. Motfat} Congregational and J. Williams ..... / Magazine, 1843. ... . . ,, (Patriot. May 5, Missionary Portrait Gallery . . .-I _ ' " Abolition of Slavery . (P**** August 31, \ 1843- " Ordinance of Baptism " . . ^Baptist Reporter, ' ( 1844. " Queen Pomare " and " Captain r\\.-\Evangelical Ma- chard" ....... / gazine, 1845. "Landing of the Missionaries at Tara-'l Wesleyan Juvenile naki" ....... } Offering, 1845. The dispute between Baxter and Snow, as exemplified in the columns of the Patriot, began about January, 1843, an d continued to the end of that year. CORRESPONDENCE WITH Miss SAVAGE The following is the interesting correspondence which took place in the Daily News between Baxter and Miss Savage in 1856. The first letter appeared in the issue of December 9, 1856 : "SIR, "An article appearing in your impression of yesterday, Deer. 5, on Mr. Baxter's beautiful specimens of the art of printing in colours, induces me to trouble you with a few lines on the subject. It is perfectly right that Mr. Baxter should receive all the praise due to his great merit for the zeal and skill with which he has pursued this interesting branch of art, APPENDIX 259 and the sincere thanks of the public are his unquestioned right for the many artistic productions he has given to the world ; but, though I would willingly accord the highest meed of praise to him for all that he has done, there is a name besides that of Baxter which deserves precedence for the revival, introduction, and improvement of this beautiful art in England, and that name is Savage. I speak of my father, who spent so many years of his life in endeavouring to render it available for the purposes to which it is now applied. It cannot, there- fore, be justly said that Mr. Baxter is the inventor, when another had to overcome all the difficulties necessarily belong- ing to the accomplishment of an unknown art. " In the year 1822, after many years of unwearied labour and expense, my father brought out his work on ' Decorative Printing ' ; but, the price of the book being so unavoidably high, and the number of copies so small, its circulation was limited. The price of the large-paper edition was 10 ictf., that of the small paper $ 5-r. It is, however, to be found in most of the public libraries of the country, as well as those of many noblemen and patrons of art, and its pages will confirm this statement, which I beg to apologise for troubling you with, but which I feel to be due to the memory of a parent who devoted very many years of his life to the subject, and whose most earnest wish it was that this style of printing should be rendered generally available, so that all classes might enjoy such works of art as were formerly beyond their reach, and must ever have remained so as long as the painter's hand and easel were the only means of production. " I am, &c., "H. SAVAGE. " THURLOE SQ., BROMPTON, " December 6." This was followed by a letter in the issue of December n, 1856, which ran : "SIR, " I see by a letter published in your influential journal of yesterday, that your correspondent Miss H. Savage has thought 260 APPENDIX fit apparently to impugn my right to be considered as the in- ventor of the art of picture printing in oil colours, a right which I have proved and maintained before the highest judicial autho- rities of my country, both upon the occasion of my original patent being granted for the term of fourteen years for my in- vention, and also upon the occasion of its further extension for a period of five years. I then produced incontestable evidence before the Judicial Committee of the Privy Council of my right and title to the honour of being the sole inventor of the art of picture printing in oil colours. Upon that occasion there were produced many specimens of ordinary block printing of more modern date than referred to by your correspondent, more finished and superior ; that art has been long known and practised for the purposes of ornamental block printing, the illustration of children's books, and other general purposes, and is entirely a distinct process from my invention. I admit that it is perfectly right for a daughter to cherish the memory and exertions of her father ; but I deny that, in the work spoken of by your correspondent, there was shown any evidence that it consisted of any improvement upon a long known and practised process, any revival of it, or any combinations cal- culated to add to previous experiences ; and I claim, in justice to myself, for the exertions I have used, for the capital I have expended, for the years of labour and study and anxiety I have endured in bringing my process to its present admitted perfection, that it is an invention novel in itself and strictly original, whereby I have acquired the art of reproducing in all their variety of tone, beauty, and richness of colour, the grandest gallery picture or the most delicately finished minia- ture. In corroboration of the proofs of the originality of my invention, I beg to quote from the judgment of Lord Brougham, as Chairman of the Committee of the Privy Council, upon the occasion of the renewal of my patent (a privilege not often granted, except under peculiar circumstances) : ' Their lord- ships are clearly of opinion there is great merit in this in- vention, that it has been of very considerable public utility, and therefore we are of opinion that an extension must be given. We consider it a very useful invention to the public, that it has sufficient ingenuity to show great merit in itself, APPENDIX 26l and that it is original is past all doubt from the evidence of the different persons who have been examined.' As a further proof of the totally opposite combinations on my process, compared with the ordinary method of block printing, allow me to say that several eminent printing firms have each thought it necessary to pay me the sum of ,50 per annum for several years, as licensees, for the privilege of using my invention. Surely this would not have occurred if my art had not been totally different from that described by your corre- spondent. I shall feel obliged for a space for the above in your valuable paper. " I am, &c., "GEORGE BAXTER, " Inventor and patentee of oil colour picture printing ; " ii & 12, NORTHAMPTON SQ. , " December 10." And was concluded by a letter in the issue of December 15, 1856: " COLOUR PRINTING " SIR, " I beg to trouble you for a second and last time on the subject of printing in colours. It is only to say that the Society of Arts awarded my father their large silver medal and a sum of money for his improvements, in the year 1825 ; that his work entitled 'Decorative Printing' may be seen in the library of the Royal Institution, together with the 4$rd Vol. of the ' Transactions of the Society of Arts,' in which the act is recorded. Dates must ever remain incontrovertible evidence. "H. SAVAGE. " THURLOE SQ., " December 12." COPIES OF TWO EARLY AND INTERESTING LETTERS IN BAXTER'S HANDWRITING TO HIS BROTHER WILLIAM (THE DATES ARE UNCERTAIN) "DR. WILLIAM, " I have enclosed a rough sketch of the improvement to your Machine (it is sketched by Mr. Reynolds, first attempt APPENDIX in that line), the Graver, &c., is drawn backwards and forwards by 2 wheels with string, enclosed is a proof of the first Missionary cut finished, the straight lines in the sky are done with the above and has saved me nearly one day in the first cutting, it will be of great use to me, I shall do all my skies with it. " I know not anything that could have given me greater pleasure a few months back than to have heard the Brighton work was likely to be finished, but I now hear it with regret in consequence of the publication which I have in view, there remains not a doubt in my mind but the Annual will be the foundation of our future prosperity, indeed I am so far involved I see no possibility of extricating myself. I have already seen some of the Gents at the London Missionary Society, they were delighted with the idea, and have promised me their influence. I have also five engravings in hand for the work besides the view of Benares enclosed, therefore if I now resign I shall be at a considerable loss independent of that, by this time I expect it is in the hands of a Missionary Publisher, as the Revd. J. Arundel said he would mention it and endeavour to get his assistance in writing a few pages. Had you mentioned when in London that the Brighton work was at all likely to have been brought out, I should immediately have abandoned every thought, at least for the present, of the Missionary work, but you gave me no hopes of its being out for years, and advised me by all means to turn my mind from that to something else. " I have not had the pleasure of seeing Mr. Betts and hope you have. I should feel greatly obliged if you would send me word if he will undertake to commence writing it immedi- ately, as there is no time to lose, and what he will do it for. Enclosed are the numbers, and am very anxious to see the work, never mind about binding the book, I should like to see it in any shape. No other means for dependence can I see than the Annual, as I shall always be able to have a yearly stock, it is the same case with Bonner, Branstons, Sears, &c., which are engravers on wood, who cannot find a regular supply of work. (Please to send word which day we shall see Father in town.) Perhaps you will be able to forward me a letter on Sunday with yours and father's opinion. APPENDIX 263 " We are most obliged to Father and Mother for the kind presents. We are all well, hoping you are the same. " From your affectionate brother, "G. BAXTER. "N.B. How do you get on with the subscribers to your Agriculture work ? Mr. F. Spilling informs me Ann is coming up soon. I hope you will persevere for me in respect to the author of my Annual in seeing that no time may be lost. (When shall we see you in town again ?) I have some excellent original designs for the Annual." "LONDON, Jany. 24 [1830 or 1835]. " DEAR WILLIAM, " Since I wrote, my eye has been very bad and is now much better. The Dr. wished me to have Luchaske again, as before. It is occasioned through the head of the lamp, I am going to use a flat decanter filled with water to prevent the above. " We hope mother is recovered from her late illness. " Sorry to hear of Mr. Berney's return in consequence of ill health, he did not look well when we saw him last. We are much surprised at hearing of the death of Mrs. Tugwell. We have not since heard of Mrs. Doling. " Glad to hear you are getting on well with the subscribers to your new work. About 3 months ago I received orders from Dr. Epps for 3 small cuts to the new work, they are 3 portraits, he wanted them immediately, as he said he had several more to do, but I could not possibly get them done. "Messrs. Whittaker wished me to do 17 engravings, views in East India, &c., &c., but I have so much in hand I can- not undertake the whole. Mr. Cape of Covent Garden sent me an order for some cuts to Simpson's which he wanted in 3 months' time. I was forced to refuse. I could get work for one dozen hands. I am also engaged on one of the Annuals, for which I must try my best. The wood cuts have not been removed from the corner of the cupboard for some time. I have work in hand for a carriage lady by the name of Williams, quite a don, I assure you. I sent the 264 APPENDIX last parcel by coach. Mr. Joy's establishment was closed. Please to tell Father and Mother we are much obliged to them for wine, game, sausages, &c. " I have already said I have plenty of work, but I have yet to say that I am very short of money, in consequence of being forced to give such extreme long credit. You will much oblige by asking father to send me 4 or 5 pounds up as early this week as possible. Mrs. B. is not very well, Elizabeth has got 8 teeth and does great mischief to the cupboard, and nearly as fat as George Drowley. (Hoping you are all the same.} " From your Afife. brother, "G. BAXTER. "N.B. It is a long time since we saw father, please to send word when he expects to be in town. " MR. WM. BAXTER, Printer, &c., Lewes." ALPHABETICAL INDEX TO THE PRINTS Title of Print. in Abbeville .... 330 Abolition of slavery, The (from Haydon's picture) 105 Advice on the care of the teeth .... 38 Affection (needle print) . 144 Air bird, The . . .17 Albanian lovers, The (needle print) .... 144 Albert, H.R.H. Prince, on balcony : (a) with top boots . 205 (6) with darker charger . 205 (c) with blue breeches . 204 (d) in nth Hussar uni- form . . . .210 (e) portrait (needle print) 133 Aldersey, Miss, school at Ningpo .... 99 Alfred the Great and his mother .... 168 Allied sovereigns and the commanders of their forces . . . .141 (another variety) . . 142 Alps, Fruit girl of the . 333 Amazon, The . . .171 A mother presenting her son with the Bible . .181 Ananias, Death of . . 251 Andalusians, The . . 341 Animals at Crystal Palace gardens . . . 193 Annuals (Mclntosh) . . 53 Aosta, Val d', Italy . . 327 Apples, Gathering . . 355 Arctic expedition, The, in search of Franklin . 342 Title of Print. fc Armida and Rinaldi . 168, 180 Arrival of Her Most Gracious Majesty at the House of Lords to open her first Parliament . . -131 Ascension, The, or "The third day He rose again " . 238 Ascent of Mont Blanc : (1) Glacier duTacconay. 336 (2) Grand Mulcts . . 336 (3) Mur de la Cote . . 336 (4) The summit . . 336 Assyrian Court, Crystal Palace .... 194 Athens, St. Paul preaching at 253 Attack of the Eagle . .184 Attack, The (Dog and ser- pent) . . . 169, 182 Australia, News from . . 196 Australia. News from home 195 Austrian department, Great Exhibition . . .170 Autumnal artist . . 34 Avalanche at Lewes . . 35 Bala Lake, North Wales . 310 Balmoral (needle print) . 133 Balmoral Castle . . . 279 Bangalore, View from mis- sion house at 94 Baptism, Ordinance of . 93 Baptism of H.R.H. Prince of Wales . . 128, 202 Bath, Circassian lady at the 344 Beauchamp Chapel, War- wick .... 45 Belgian department, Great Exhibition . . .167 265 266 ALPHABETICAL INDEX TO THE PRINTS Title of Print. 348 Belle of the village . Ben Nevis, Scotland : (a) signed . . . 320 (b) unsigned . . .321 Bethlehem .... 240 Bible, a mother presenting her son with . . . 181 Biondina, La, in gondoletta . 326 Bird of spring, A . -30 Bird's nest, Boy with a . 22 Birth of the Saviour, The . 239 Blessing bread, The Saviour 232 Boa Ghaut (two varieties) . 46 Boaz and Ruth (needle print ) 139 Bohemian peasants near Toplitz .... 23 Bolton Abbey . . . 308 Book covers . . 375-6 Bouquets, 10 . . 134-6 Boy sitting on a table . 56 Boyithrowing stones at|ducks 67 Boy with a bird's nest . . 22 Boy with a kite in a tree . 28 Bread, The Saviour blessing 232 Bridal wreath (needle print) 138 Bride, The (large) . .147 (small) .... 146 Bridesmaid, The . .260 Brighton Chain Pier . . 305 British fleet, Review of, at Portsmouth . . -197 British troops, Charge of, at Windlesham . . .198 Brook, Crossing the . . 351 Brougham Castle, West- moreland . . .307 Brutus, Judgment of . . 65 Buccleuch, Duke of, resi- dence at Richmond . 296 Buckingham Palace (needle print) . . . .133 Buonaparte, Napoleon . 224 Burke, Edmund . . . 223 Burns and his Highland Mary .... 39 Butterflies i Cader Idris .... 312 Caleb and his daughter (needle print) . .139 Cambridge, Duke of . 141, 143 Camden, Departure of the . 80 Camden, The, passing the Isle of Wight . .81 Title of Print. Camel River . . .285 Campbell, Gem. Sir Colin (needle print) . . 143 Canrobert, General (needle print) . . . 141-2 Cape Wilberforce, Australia 40 Captain Pritchard . . 85 Captive jewels (needle print) 138 Captured prize (needle print) 138 Caroline Mordaunt . . 20 Carrier pigeon . . -41 Cartoons. See Raphael car- toons. Cattle drinking ... 7 Cerito, Mdlle. (needle print) 140 Chain Pier, Brighton . . 305 Chalees Satoon (large) . 155 (small) .... 154 Charge of the British troops on the road to Windles- ham .... 198 Child on a bed ... 64 Child, dog, and serpent 169, 182-3 Children outside gates of a mansion ... 68 Chimborazo . . . 343 Chinese scene (needle print) 137 Choo-tih-Lang and Med- hurst, Mr. ... 98 Christ blessing bread (needle print) . . . .139 (with nimbus) . . 232 (without nimbus) . . 233 Christ's charge to Peter 247-53 Christening, Royal . . 202 Christian commonwealth . 241 Christians, The six Malagasy, at Tamatave . . 100 Christmas Time . . .261 Chubb and wife . . .231 Circassian lady at the bath . 344 Circassian slave, The (needle print) .... 138 Claremont . . . .284 Cleopatra .... 43 (Queen of Egypt) . . 43 Clouds, Modification of . 9 Cluster of passion flowers and roses . . .37 Colin Campbell, Genl. . . 143 Columbus, Landing of . 104 " Come, pretty robin ". . 349 Commonwealth, Christian . 241 Communist settlement . 241 ALPHABETICAL INDEX TO THE PRINTS 267 Title of Print. No. of Print. 324 149 148 Como, Lake .... Conchologists, The (large) (small) .... Convolvulus leaves, flower, and bud .... 26 Convolvulus scroll or wreath 8 "Copper, your honour" 350 Coquette, The . . 270 Cornfield, The . . 352 Coronation, The . . 129 (needle print) . . 133 Cove [Queenstown], Landing of Her Majesty at . . 277 Crimea, Allied sovereigns and the commanders of their forces . . 141-2 Cross, The descent from the (a) with star . . 237 (b) without star . 236 Crossing the brook . 351 Crucifixion, The (large Bax terotype) . . 243 (small Baxterotype) 245 Crucis Abbey . . 316 Crystal Palace, New York 189 (small views) . . 190 Crystal Palace, The, Assy rian Court . 194 Exterior . . . 191 Pompeian Court . 192 Crystal Palace and gar dens, The . . 193 Cupid and Psyche . 166, 174 Cupids bathing (needle print) .... 140 Cupids' dance (needle print) 140 Dance, The (needle print) . 138 Dance in the harem. See Harem dance, The. Dance of cupids (needle print) .... 140 " Daughter of the regiment," Jenny Lind as . .219 David (needle print) . . 139 Day before marriage, The (three varieties) . -353 Dead mother, The . . 169 Deans', Jenny, interview] with the queen . . 49 Death of Ananias . -251 Deerstalking (needle print) . 133 Defence, The (Dog and ser- pent) . . . 169,^183 Title of Print. De la Rue's Queen. See Victoria. Departure of the Camden, The 80 Derwent water, Cumberland 286 Descent from the cross, The : (a) with star . . . 237 (b) without star . . 236 Deserted rock quarry on the Wye, View from . -317 Designs for title-pages of pocket-books . . .372 Destruction of Sodom (Gen. xix. 24) .... 48 Destruction of the Tanjore by lightning off Ceylon . 96 Diagrams, Plate of . . 374 Dippers and nest ... 2 Dog and the serpent, and companion print . 169, 182-3 Dogs of St. Bernard . . 335 Dovedale, Derbyshire. . 287 Dover coast . . . 254 Dripping Well, Hastings : (a) signed . . . 301 (b) unsigned . . . 302 Drovers, Welsh . . -314 Duchess of Sutherland (needle print) . . . 133 Ducks, Boys throwing stones at 67 Duke of Buccleuch's resi- dence, Richmond . . 296 Duke of Cambridge . 141, 143 Duke of Wellington, Funeral of 292 Duke of Wellington, por- traits of. . . 225-6 Dying gladiator, The . . 60 Eagle and vulture . . 4 Eagle, attack of the . .184 Eastern temples (needle print) . . . .137 "EcceHomo!" . . . 257 Edmund Burke . . . 223 Egypt, Temples of Philae . 347 Elymas struck blind . . 248 Emperor Napoleon I. . . 224 Emperor Napoleon III. 227, 229 (needle print) . . 142-3 Empress Eugenie . . 228 Enchantress, The (needle print) .... 140 End of time, The . . n 268 ALPHABETICAL INDEX TO THE PRINTS Title of Print. England's Queen . . 203 Erromanga, First interview of Revd. J. Williams with natives of .82 Erromanga, Massacre of Williams and Harris at 82 Escaped bird (needle print) 137 Eu, King of French leaving, for Paris . . .331 Eugenie, Empress of French 228 (needle print) . . .143 Evening on the sea . . 18 Exchange, Royal, The . 294 Exhibition, Great, The, of 1851, prints of . iGoetseq. Exterior of Crystal Palace 191 "Fairies" (needle prints) 140 Fairy flight, The (needle print) .... 140 Fairy tempter, The (needle print) .... 140 Faithful messenger, The 167,177 Favourite in the harem (needle print) . .138 " Feed My sheep " . . 250 Fejeean Princess, Vah-ta-Ah, The .... 88 Figures at a window (needle print) . . . .137 Figures and landscapes set (needle prints) . . 145 Finding of Moses (needle print) . . . .139 First impression, The (large) 159 (small) . . . .158 First interview with natives of Erromanga by Revd. J. Williams ... 83 First lesson, The . . .262 Fisherman's home . . 259 Fishes, Miraculous draught of 252 Fleet, Royal, in Kilkenny Bay (needle print) . .133 Flora the gipsy girl . . 354 Floral needle subject (con- volvulus, nasturtium, and rose) .... 136 Floral needle subjects (ten pieces) .... 134 (three pieces) . . . 135 Floral print (passion flower, roses, etc.) ... 37 Title of Print. CM> Flower subjects (Mclntosh) 50-3 Flowers, one group . 135 3 bouquets (needle prints) 136 Folkestone, Near, mid-day . 289 Foreign department, Great Exhibition . . .169 Fortune telling (needle print) 137 Franklin, Search for Sir John 342 Frederick William of Prussia, Prince . -215 (needle print). . . 144 French department, Great Exhibition . . .166 Fruit gatherers (Gathering apples) . . . -355 Fruit girl of the Alps, The 333 Fruitpiece (after Lance) No. i (grapes and peaches) . 273 (after Lance) No. 2 (pine- apple, etc.) . . . 274 Fry (Chubb) . . .231 Funeral of the late Duke of Wellington . . . 292 Garda, Lake . . . 325 Gardener's shed, The . .275 Gardeners, Little . . 358 Garter stall .... 107 Gathering apples . . 355 Gathering roses . . . 367 Gehol, View of park at . 55 "Gems of Crystal Palace, Sydenham" : (1) Exterior . . . 191 (2) Pompeian Court . 192 (3) Crystal Palace and gardens, showing ani- mals . . . 193 (4) Assyrian Court . . 194 "Gems of the Great Exhibi- tion" : (1) French department . 166 (2) Belgian department . 167 (3) Russian department . 168 (4) Foreign department . 169 (5) Austrian department . 170 (6) Kiss's Amazon . . 171 (7) Veiled vestal . .172 (8) General view of ex- terior . . . 162 (9) General view of in- terior . . .163 (h) Single statues on mounts . . 173-88 ALPHABETICAL INDEX TO THE PRINTS 269 Title of Print. General Havelock . . 143 Genl. Sir J . Outram (needle print) . . . .143 Gipsy girl, Flora the . . 354 Girl by side of stream (needle print) . . . .137 Girls fishing . . 170,185 Glacier du Tacconay . . 336 Gladiator dying, The . . 60 Gleaners, The (Harvest time) .... 356 Gondola in Venice, The . 326 Gondoletta, La Biondina in 326 Grahn, Mdlle. Lucille (needle print) .... 140 Grands Mulcts . . . 336 Great Britain, Queen of. See Victoria. Great Exhibition, Exterior (large) .... 162 (small) .... 164 Great Exhibition, Interior . 163 Great Exhibition, Opening of . . . . 160- i Greathed, Col. (needle print) 143 Grebes, Little, and nest . 3 Greek bride (needle print) . 144 Greek dance (needle print) . 138 Greek monastery . . 102 Greek slave . . 1 68, 179 Greenhouse perennials (Me Intosh) .... 50 Greenhouse shrubs (Mcln- tosh) .... 51 Greenwich Observatory, London from. . .291 Grisette and Sterne . 158-9 Group of shells . . . 370 Guitar, The (needle print) . 138 Gyah Behar, Hindoo tem- ple at . . . -97 Hagar and Ishmael . 170, 187 (needle print ). . . 139 "Half light, half shade, she stood" .... 367 Harem dance, The (needle print) .... 138 Harris, Mr., Massacre of . 83 Harrow-on-the-Hill . . 295 Harvest time (The gleaners) 356 Hastings, Dripping Well 301-2 Hastings, Lovers' Seat 303-4 Title of Print. Havelock, General (needle print) . . -143 Haydon's picture, Abolition of slavery . . .105 Head-dress, Queen with. See Victoria. Head of woman (Saunders) 38 Heroes of India, Queen and 143 Her Majesty delivering her speech (needle print) . 133 Her Majesty leaving the Isle of Wight (needle print) . 133 Her Majesty Queen Victoria. See Victoria. Her Majesty and H.R.H. Prince Albert leaving Kingstown, Ireland . 278 Her Majesty's marine resi- dence, Isle of Wight . 280 Her Most Gracious Majesty Queen Victoria receiving the sacrament at her coronation . . .129 Her Most Gracious Majesty the Queen . . . 203 Highland Mary, Burns and his 39 Hindoo temple at Gyah Behar .... 97 Hindoo and Mohamedan buildings (two varieties) 5 His Royal Highness Prince Albert. See Albert, H.R.H. Prince. His Royal Highness the Prince of Wales. See Prince of Wales. Holland, River scene . . 339 Hollyhocks. . . . 276 Holy Family (Murillo) (large) . . . .244 (small) .... 246 Holy Family (Raphael), with and without Broug- ham inscription . . 234 Hop garden, The . . .290 Houses of Parliament, The 165 Hungarian peasants de- scending the Drave . 24 Husband, wife, and children, and the domestic cat . 63 "I don't like it!" Ilkley, View near 263 309 270 ALPHABETICAL INDEX TO THE PRINTS Title of Print. Impression, First (large) . 159 (small) .... 158 India, Queen and heroes of . 143 Indian settlement (British Guiana) (large) . . 157 (small) .... 156 Indians reposing, Moun- tain stream . . . 346 Infant, The (Playful child, The) (needle print) . 138 Infant Samuel . . .256 Infantile jealousy . . 264 Inglis, Sir J. (needle print) . 143 Interior of Great Exhibition 163 Interior of Lady Chapel, Warwick ... 45 Ireland, Her Majesty leav- ing .... 278 Ireland, Landing of Her Majesty in . . 277 Isle of Wight, Her Majesty's marine residence at . 280 Isle of Wight, Queen leav- ing. See Victoria. Isola Bella, Lago Maggiore, Italy .... 31 Italy 327 "It is finished" (Baxtero- type) . . . .255 Jardiniers, Les petits . -358 Jealousy (needle print) . 138 Jenny Deans' interview with the queen . . 49 Jenny Lind . . . 218 J enny Lind as ' 'The daughter of the regiment " . .219 Jerusalem from the Mount of Olives . . . 242 "Jesus cried with a loud voice" .... 235 Jetty Treffz . . .217 Joseph sold (needle print) . 139 Judgment of Brutus, The . 65 Kilkenny Bay, Royal fleet in (needle print) . . 133 King of the French leaving Eu for Paris . . . 331 King Saul (needle print) . 139 Kingstown, Her Majesty and Prince Albert leav- ing .... 278 Kite, Boys with, in a tree . 28 Title of Print. Knibb, Revd. William . 92 Knighthood," "Orders of 107-27 Kuruman station, Mission premises at . . . 91 La Biondina in gondoletta . 326 La gondoletta . . . 326 La Tarantella (large) . .153 (small) . . . -152 Ladies of the harem (needle print) .... 138 Lady Chapel, Warwick, In- terior of . . -45 Lago Maggiore, Isola Bella . 31 Lake Bala . . . 310 Lake Como . . 324 Lake Garda . . 325 Lake Lucerne . . 334 Lake Luggellaw . -323 Landing from his boat, The Prince of Wales . .211 Landing of Columbus . .104 Landing of Her Majesty and Prince Albert in Ireland 277 Landing of the missionaries at Taranaki, New Zea- land .... 87 Large Queen. See Victoria. Late t Duke of Wellington : (a) without arm . . 225 (b) with arm . . . 226 Launch of the Trafalgar . 132 "Le Souvenir," Title-page to 372 Les petits Jardiniers . . 358 Lesson, First, The . . 262 Lewes, Avalanche at . 35 Lind, Jenny . . . 218 Lind, Jenny, as " The daugh- ter of the regiment " . 219 Lion in love, The . 167, 176 Little gardeners . . . 358 Little grebes and nest . . 3 Little Miss Mischief . . 268 Little Red Riding Hood . 357 Llangollen . . . .311 Lo Studio 61 London from Greenwich Observatory . . . 291 London, Royal Exchange . 294 London, Small views in .293 Long Walk, Windsor Castle from .... 282 Lord Nelson . . . 222 Lord Raglan (needle print) 141-2 ALPHABETICAL INDEX TO THE PRINTS 271 Title of Print. aof Love sleeping (needle print ) . 140 Love and jealousy (needle print) .... 138 Love's letter-box . . 359 Lovers' Seat, Hastings: (a) with setting sun, signed . . . 303 (b) without setting sun, unsigned . . . 304 Lovers standing under a tree 69 Lucerne, Lake of . -334 Lugano, Lake of . . .44 Luggellaw, Lake . . 323 Lystra, St. Paul and Barna- bas at . . . . 253 Madeira (needle print) . 137 Madeira, View in . . 345 Madras, Wesleyan chapel at 95 Maggiore Lagp, Isola Bella . 31 Malagasy Christians, Six, at Tamatave . . . 100 Map 373 Margery Daw," "See Saw . 268 Marine residence, Her Ma- jesty's, Isle of Wight . 280 Marshal St. Arnaud (needle print) . . . 141-2 Massacre of the lamented missionary, the Revd. J. Williams, and Mr. Harris, at Erromanga . . 82 May Queen set (needle prints) .... 144 Mazeppa . . .', 170, 186 Mclntosh's books, Illustra- tions to ... 50-3 "Me warm now" . . 265 Medhurst, Mr., in conversa- tion with Choo-tih-Lang 98 Messenger, The faithful 167, 177 Michael Angelo's Moses . 62 Milo of Crotona rending the oak 59 Miraculous draught of fishes 252 Miss Aldersey's school at Ningpo .... 99 Miss Mischief, Little . . 268 Mission house, View from, Bangalore ... 94 Mission premises at the Kuruman station . . 91 Mission station, Wesleyan, at Waingaroa . . 86 Title of Print. Missionary vine . . Modi fi^c a t i o n of the clouds .... Moffat, Revd. Robert (in colours) ... (in mezzotint) . . Mohamedan and Hindoo buildings ... Monastery, Greek, A . . Monsoon, Turn of the . . Mont Blanc, Ascent of . Moonlight at sea by night . Mordaunt, Caroline . . Morning Call, The . . Mosaic pavement at Pitney, The . . . Moses, Finding of (needle print) .... Moses, Michael Angelo's . Mother, dead, The . . Mount of Olives, Jerusalem from .... Mountain stream (Indians reposing) . . . Mt. St. Bernard. Vineyard near Mundane tree, The . . Mur de la Cote . . . Mutiny, Indian. See Vic- toria. 103 89 90 5 102 29 336 58 20 360 27 139 62 169 242 346 33 371 336 Napier, Sir Charles (needle print) . . . 141-2 Napoleon I. (Buonaparte) . 224 Napoleon III. : (a) short moustache . 229 (6) long moustache . . 227 (needle-box prints) 141-3 Napoleon, Prince (needle print) . . . .143 Natives of Erromanga, Williams' first interview with .... 83 Nativity, Birth of the Sa- viour .... 239 Near Folkestone, mid-day . 289 Needle-box prints : (1) Regal set. . . 133 (2) Queen's floral set 134-6 (3) Tarantella set . . 137 (4) Greek dance and harem set . . .138 (5) Scriptural subjects . 139 (6) "Fairies" set . . 140 272 ALPHABETICAL INDEX TO THE PRINTS Title of Print. (7) Allied sovereigns set 141-2 (8) Queen and heroes of India . . . 143 (9) May Queen set . . 144 (10) Figures and land- scapes set . . 145 Nelson, Lord . . . 222 Netley Abbey . . .288 Nevis, Ben, Scotland : (a) signed . . . 320 (6) unsigned . . .321 New Houses of Parliament . 165 New Shoreham, Norfolk Bridge at . .10 News from Australia . .196 News from home . . . 195 Nicolas. See " Orders of Knighthood" . 107-27 Ningpo, Miss Aldersey's school at ... 99 Ninth hour, The . . .235 Norfolk Bridge, New Shore - ham .... 10 Nuremberg . . . 337 Nymph, A . . . 1 66, 175 Old watermill, The . -57 Olives, Jerusalem from the Mount of ... 242 Olivia leaving home, The parting look . . 362-4 Omar Pasha (needle print) . 143 Opening of first Parliament by Queen Victoria . . 131 Opening of the Exhibition, 1851 (two horses) . . 161 (eight horses) . . . 160 Orchidae (Mclntosh) . . 50-2 " Orders of Knighthood " : (a) Garter . . 108-11 (b) Thistle . . 112-3 (c) Bath t . . 114-6 (d) St. Patrick. . 117-8 (e) St. Michael and St. George . . 119-21 (/) Medals, crosses, and clasps . . . 122-3 (g) Guelphs . . 124-7 Ordinance of Baptism, The . 93 Outram, Genl. Sir J. (needle print) . . . .143 Ovingham, Parsonage at . 70 Parent's gift, The soldier's farewell . . . 200 Title of Print. Parhelia . Parliament, New Houses of Parliament, Opening of Parsonage at Ovingham Parting look : (a) with man and box (b) without man and box (c) extra lace . " Pas des Trois " (needle prints) : (a) with torch . (b) with floral pole . Passion flower, roses, etc., Cluster of ... Paul, St., preaching at Athens .... Paul, St., and Barnabas at Lystra . Paul and Virginia (large) . (small) . Peasants, Bohemian, near Toplitz . Peasants, Hungarian, de- scending the Drave Peel, Sir Robert : (a) index-finger extended (b) fingers closed Perennials, Greenhouse (Mc- lntosh) . Persian lovers (needle print) Peter, Christ's charge to Philae, Temples of, Egypt . Pitney, Mosaic pavement at Plan and perspective of pro- posed Communist settle- ment of the Christian commonwealth Playful child, The (needle print) . . . . Pocket books, Title-pages of Polar sky .... Pomare, Queen of Tahiti Pompeian Court, Crystal Palace .... Pophams Broadway, Madras, Chapel at ... Portsmouth, Review of fleet at Prayer .... Prayer, Returning from Prince Consort. See Albert, H.R.H. Prince. Prince Frederick William of Prussia . No. of Print. 361 165 ALPHABETICAL INDEX TO THE PRINTS 273 Title of Print. Prince Frederick William of Prussia (needle print) . 144 Prince Napoleon. See Na- poleon, Prince. Prince of Wales, Baptism of 128, 202 Prince of Wales, H.R.H. landing from his boat . 211 Prince of Wales, H.R.H., in military uniform . . 212 Princess Royal (full length) 213 (half length) . . . 214 (needle print) . . . 144 Pritchard, Captain . . 85 Proposed Communist settle- ment of the Christian commonwealth . .241 Prussia, Frederick William, Prince of ... 215 (needle print). . . 144 Prussia, Princess of. See Princess Royal. Psyche . . . 1 66, 174 Puss napping . . . 266 Queen delivering her speech (needle print) . . 133 Queen and the heroes of India (needle print) . 143 Queen of Tahiti, Pomare . 84 ueen's floral needle set 134-6 ueenstown, Landing of Her Majesty at Cove . 277 Queen Victoria. See Victoria. Queen Victoria opening her first Parliament . -131 Queen Victoria's corona- tion .... 129 Rafaralahy . . . 101 Raglan, Lord (needle print) 141-2 Raphael cartoons : (1) St. Paul preaching at Athens . . . 247 (2) Elymas struck blind . 248 (3) St. Peter and St. John healing the sick . .249 (4) Christ's charge to Peter .... 250 (5) Death of Ananias . 251 (6) Miraculous draught of fishes .... 252 (7) St. Paul and Bar- uabas at Lystra. . 253 Title of Print. j n Reception of Revd. J. Wil- liams at Tanna . . 82 Reconciliation . . . 332 Red Riding Hood, Little . 357 Regal set (needle prints) . 133 Reliance in full sail, off Hong- Kong, The . . . io6a Reliance, Wreck of the . 106 Religious events No. i (needle prints) . . 139 Religious events No. 2 . 139 Rending the oak, Milo of Crotona . . . -59 Returning from prayer (Vespers) . . . 340 Returning from stag-hunt- ing, Windsor Castle . 281 Revd. J. Waterhouse super- intending the landing of the missionaries at Ta- ranaki, New Zealand . 87 Revd. J. Wesley. . .230 Revd. J . Williams. See Wil- liams, Revd. John. Revd. R. Moffat . . 89-90 Revd. William Knibb . . 93 Review of British fleet at Portsmouth . . . 197 Rhine, View on (needle print) . . . .144 Richmond, Duke of Buc- cleuch's residence . . 296 Richmond Bridge . .298 Richmond Hill, View from . 300 Richmond Hill, Morning . 299 Rinaldi and Armida . 168, 180 River Camel, Cornwall . 285 River scene, Holland . . 339 River Tiefy, Cardiganshire . 313 Rock quarry on the Wye, Deserted . . . 3*7 Roman pavement at Pitney 27 Royal Arms : (a) on prospectus to coro- nation . . .130 (6) on prospectus to open- ing of Parliament . 130 Royal christening, The . 202 Royal Exchange . . 294 Royal fleet in Kilkenny Bay (needle print) . . 133 Russian department, Great Exhibition . . .168 Rustic felicity (needle print) 144 18 274 ALPHABETICAL INDEX TO THE PRINTS Tide of Print. n Ruth and Boaz (needle print) . . . .139 Ruth's Priory, St. . . 322 Sabrina . . . 1 66, 173 Sacrificing the bullock . . 253 Salutation, The (needle print) .... 139 Samuel, The infant . . 256 Satoon, Chalees (large) . 155 (small) .... 154 Saul, King (needle print) . 139 Saviour, The (" Ecce Homo!") . . . 257 Saviour, The (needle print) 139 Saviour, Birth of the . . 239 Saviour blessing the bread, The: (a) with nimbus . .232 (6) without nimbus . 233 Scene on the mountain tops 16 School at Ningpo, Miss Al- dersey's ... 99 Scriptural subjects (needle prints) .... 139 Sea, Evening on the . . 18 Search for Sir John Franklin 342 Seasons, The . . .13 Sebastopol, Siege of . .199 "See Saw, Margery Daw" . 268 " Shall I succeed ?" . . 270 Sheep," "Feed My . . 250 Sheep, Southdown . . 25 Shells and their inmates . 370 Shore, The . . . .19 Shoreham, New, Norfolk Bridge at . .10 Short change . . . 269 Siege of Sebastopol . .199 Sir Robert Peel . 220-1 Six Malagasy Christians waiting at Tamatave . 100 Slave, The Greek . 168, 179 Slavery, Abolition of, from Haydon's picture . . 105 Slaves, The (Baxterotype) . 258 Small Queen. See Victoria. "So nice !" . . . 267 "So nasty!" . . . 263 "So tired!" . . . 271 Socrates .... 66 Sodom, Destruction of . 48 Soldier's farewell (The pa- rent's gift) . . . 200 Title of Print. Southdown sheep . . 25 Souvenir," "Le . . . 372 Speech, Queen delivering her. See Victoria. Spring, Bird of . . .30 St. Arnaud, Marshal (needle print) . . . 141-2 St. Bernard dogs . . 335 St. Bernard, Vineyard near Mt 33 St. Paul preaching at Athens 247 St. Paul and Barnabas at Lystra . . . 253 St. Peter and St. John heal- ing the sick . . . 249 St. Ruth's Priory . . 322 Stag-hunting, Return from, Windsor Castle . . 281 Stall of the Garter . .107 Sterne and Grisette . 158-9 Stolen pleasures . . . 272 Stolzenfels on the Rhine . 338 Studio, Lo . > . .61 Sultan, The (needle print) 141-2 Summer Jarge) . . . 365 (small) .... 366 Summer fly . . -32 Summertime, Gathering roses .... 367 Summit, The . . . 336 Sunshine and cloudy sky . 54 Surprise, The (needle print) 140 Surrey Zoological Gardens . 297 Sutherland, Duchess of (needle print) . .133 Switzerland. See Lucerne. Taccpnay, Glacier du . . 336 Taglioni, Mdlle. (needle print) .... 140 Tahiti, Pomare, Queen of . 84 Tamatave, Six Malagasy Christians at . . .100 Tanjore, Destruction of the 96 Tanna, Reception of Revd. J. Williams at .82 Taranaki, Landing of mis- sionaries at . . . 87 Tarantella (needle print set) 137 Tarantella, La (large). . 153 (small) .... 152 Te Po, a chief of Rarotonga 79 Teeth, Advice on care of . 38 Temperate . . . i 15 ALPHABETICAL INDEX TO THE PRINTS 275 Title of Print. fc Temple, Hindoo, at Gyah Behar .... 97 Temples, Eastern (needle print) . . . .137 Temples of Philae, Egypt . 347 "The third day He rose again" .... 238 Three figures at a window (needle print) . . 137 Tiefy River . . -313 Time, End of . .11 Tintern Abbey . . . 315 Title-page of N. H. Nicolas's "Orders of Knighthood " 107 Title-page to pocket-books . 372 Torrent, The (needle print) . 137 Trafalgar, Launch of the . 132 Treffz, Jetty . . . 217 Tropical scenery . . 14 Turn of the monsoon . . 29 Two lovers standing under a tree .... 69 Unhappy child, The . 167, 178 Vah-ta- Ah, The Feejeean Princess ... 88 Val d'Aosta, Italy . . 327 Veiled vestal, The . 172, 188 Verona (" Cabinet of Paint- ings") .... 42 Verona (evening scene) : (a) signed on boat . . 328 (b) signed in water . . 329 Verre's Val d'Aosta, Italy . 327 Vespers (Returning from prayers) . . . 340 Vestal, Veiled, The . 172, 188 Victoria, H.M. Queen : (a) sitting in robes of state (large Queen) : (1) with ladies-in-wait- ing . . . 216 (2) without ladies-in- waiting . . .216 (b) standing in stall of Order of the Garter (from Sir N. H. Nicolas's book). . 201 (c) seated on a dais (small Queen) . . . 207 (d) standing on balcony at Windsor . . 203 (;) (de la Rue's) . . 206 Title of Print. 133 (/) (needle print). (g) standing at a table : (1) with head-dress . 209 (2) with tiara . . 208 (h) on horseback (needle print) . . .133 (i) leaving the Isle of Wight (needle print) . 133 (;') delivering her speech . 133 (k) opening her first Par- liament . . . 131 (I) coronation of . . 129 (m) (needle print) . 133 (n) portrait, oval . 141-3 (o) on horseback (needle print) . . .133 View from a deserted rock quarry on the Wye . 317 View from Richmond Hill . 300 (Morning) . . . 299 View from the mission house at Bangalore ... 94 (needle print). . . 137 View in Arctic regions . 342 View in Madeira . . . 345 View near Ilkley . . . 309 View of the park at Gehol . 55 View on the Rhine (needle print) . . . .144 Vine missionary, The . . 103 Vineyard near Mt. St. Bernard . . 33 Virginia Water . . .21 "Vive L'Empereurl" 227, 229 Vulture and eagle . . 4 Waingaroa, Wesleyan mis- sion station at . .89 Wales, His Royal Highness. See Prince of Wales. Warwick Castle . . 306 Warwick, Interior of Lady Chapel at . -45 Waterhouse, Revd. J., super- intending the landing of missionaries . . 87 Watermill, The old . -57 Watermill on the Wye . 318 Wellington, Duke of : (a) without arm . . 225 (b) with arm . . . 226 Funeral of . . 292 Welsh drovers . . . 314 276 ALPHABETICAL INDEX TO THE PRINTS Title of Print. * Welsh harper : (a) early print . . 6 (b) later print . . . 319 Wesley, Revd. John . .230 Wesleyan chapel, Popham's Broadway, Madras . 95 Wesleyan mission station at Waingaroa (New Zea- land). Natives assem- bling for worship . . 86 Wilberforce, Cape, Australia 40 Williams, Revd. John: (a) portrait, large, in study ... 74 (b) (in mezzotint) . 75 (c) with landscape back- ground . . 76 (d) portrait, full length, on board ship . 77 (e) portrait, small (in colours) . . .71 (/) (in aquatint) . . 72 (g) portrait, full length . 78 (h) portrait, small (wood- cut) .... 73 (t) Reception of, at Tanna 82 (/) Massacre at Erro- manga ... 82 (k) First interview with natives at Erromanga 83 Title of Print. Windlesham, Charge of British troops at Windsor Castle (needle print) .... Windsor Castle, from the Long Walk . Windsor Castle, The return from stag-hunting . Windsor Forest, View from . Winter (large) . . . (small) .... Winter bird Wreath dance, or Bridal wreath (needle print) Wreck, The (needle print) . Wreck of the Reliance . Wye, Deserted rock quarry on the, View from. Wye, Watermill on the . No. of Print. 198 133 282 281 283 368 369 36 138 137 106 317 " Yes, I am come of high degree," etc. ... 56 Yggdrasil, The mundane tree . . . . 371 Zenobia . . . -47 Zoological Gardens, Surrey, Exhibiting a view of Edinburgh . . . 297 Printed by Hanell, Watson & Viney, Ld., London and Aylesbury. oO THE LIBRARY UNIVERSITY OF CALIFORNIA Santa Barbara THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW. AFTER SEP 11 1970 ries 9482 \\ 111! Hill Hill IIHI mil in '"" |lul "' A 000 659 025 1