George Baxter - Gems of The Great Exhibition

Gems of The Great Exhibition, # 1

George Baxter's "Gems of The Great Exhibition, # 1" is an original Baxter oil print printed upon mid nineteenth century wove paper and with full margins as published by George Baxter in London in 1852. Catalogue # 166, First State before the division of the plate. This is affixed to its original grey mount.

George Baxter (Lewes, 1804 - London, 1867)
#	Title & Artist	Date	Medium	Notes	-
1.-	Gems of The Great Exhibition, # 1 by George Baxter	1852	Original Baxter Oil Print	Catalogue # 166, First State before the division of the plate.	Sold
2.-	The Crystal Palace and Gardens by George Baxter	1854	Original Baxter Oil Print	Catalogue # 193	Sold
3.-	The Prima Donna Waltz by George Baxter	1851	Original Baxter Print on Letterpress	Catalogue # 147 (music Cover Edition)	Sold

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Title:	Gems of The Great Exhibition, # 1
Artist:	Baxter, George (Lewes, 1804 - London, 1867)
Date:	1852
Medium:	Original Baxter Oil Print
Publisher:	George Baxter, London
Note:	George Baxter: The most famous of Victorian England's colour printmakers, George Baxter began his career as an apprentice engraver in his native city of Lewes. He moved to London in 1827 and established his own engraving business there two years later. Experiments with colour printing began shortly thereafter but none were published until 1834, when Baxter first produced modestly coloured frontis-piece engravings for books. From the early 1840's, however, George Baxter created and published individual colour prints of outstanding complexity and detail until the day he closed his business in 1860.
	George Baxter invented a complicated process where both metal plates and wood blocks were engraved and used in succession to construct a multitude of shades and hues within each colour. Sometimes as many as twenty blocks would be printed for the same composition! As well, Baxter employed actual oil colours for his engravings rather than the customary printing inks.
	George Baxter's complicated and painstaking technique produced spectacular art, and, as a result of his success in this artistic medium he was dogged throughout his working life by both imitators and outright forgers. Therefore as early as 1835 Baxter obtained a patent for his process, but such legal efforts did little to curtail competitors such as Mansell, Le Blond and others.
	To identify George Baxter's original art from those of his imitators is not difficult. Firstly, George Baxter was a meticulous craftsman and both the subtlety of his printing and the amazing range of his colouration were far superior to the others. Secondly, the patent (while it did not prevent competitors from copying the image) prevented others from using either Baxter's name or address on their productions. Thus the large majority of Baxter forgeries contain no name nor address.
Raisonne:	A. Ball and M. Martin, The Price Guide to Baxter Prints, Antique Collectors' Club, Suffolk, 1983 (2nd. ed.)
	Catalogue # 166, First State before the division of the plate.
Size:	4 7/8 X 9 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	Framed and Matted with 100% Archival Materials
Condition:	Printed upon mid nineteenth century wove paper and with full margins as published by George Baxter in London in 1852. Affixed to its original grey mount. As usual, slight rippling to the paper has occurred, else with fine, unfaded colours and in good condition throughout.
Price:	Sold - The price is no longer available.
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