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52 
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The ERKINS STUDIOS 
226 Lexington Avenue New York 
Quaint Color Prints of the Victorian Age 
(Continued from page 15) 
blocks, and some of them had com¬ 
bined metal plate impressions and litho¬ 
graphic (stone) impressions with those 
from the wood. However, none before 
him and none after him were able to 
give quite “just the look” which Bax¬ 
ter’s own prints exhibited, and in Oc¬ 
tober, 1835, he obtained a patent—a 
miraculous piece of good fortune, as one 
collector has put it! 
With his work thus protected he swept 
the field of rivals and controlled “the 
market” against others. In the ’50s his 
patent was about to expire. Thereupon 
the indefatigable proprietor petitioned 
the Privy Council for an extension. Had 
not the Queen, the Prince Consort, the 
Queen Dowager and other great per¬ 
sonages been his patrons? Lord Broug¬ 
ham presided at the “pros and cons” 
when the matter came up for action, and 
again Baxter won out—again a miracle! 
However, only for five years! 
With the extension of the patent thus 
secured Baxter made hay while the sun 
still shone by licensing his process to 
others. £210 was the fee he exacted in 
Great Britain and £50 the fee exacted 
from firms in France, Belgium or Ger¬ 
many where he had also managed to 
secure patents. That is why various 
color-prints were issued by Le Blond, 
J. Dickes, J. M. Kronheim, Myers and 
Bradshaw & Blacklock in the “Baxter 
Process.” None of them appear to me 
ever fully to have reached the full beauty 
of the original Baxter productions. 
How To Know These Prints 
Baxter’s own prints usually bore im¬ 
printed, or else embossed on the mount, 
the legend “Printed in Oil Colours by 
Geo. Baxter” (or “by G. Baxter”) “Pat¬ 
entee” together with one of the following 
addresses here given in chronological 
order: 29, King Square; 3, Charterhouse 
Square; 11, Northampton Square; 11 
and 12 Northampton Square. 
As the imprints of the licensees often 
contain the word “Baxter,” the collector 
should not be misled. However, the in¬ 
feriority of the licensee prints to the 
real Baxter prints is quickly evident. 
The collector will find the finest Bax¬ 
ter prints on special mounts with the 
Baxter legend embossed in a colorless 
impression thereon. This is not, of 
course, to exclude from interest the 
charming and exquisite book prints for 
which it is well worth one’s while to be 
on the lookout. The mounted prints 
were issued separately or in series, and 
these Baxter prints are nearly always 
found with a glaze. One of the most 
interesting of the separate Baxter prints 
is the Baxter’s original composition, in 
the “Coronation” print, 21%"xl7^" in 
size, (and its companion “masterpiece” 
“The Arrival of the Most Gracious 
Majesty Queen Victoria, at the House of 
Lords, to open the First Parliament of 
her Reign,” a print measuring 21 Yz" x 
16^g". Both of these historic designs 
are filled with a multitude of figures, 
and each one is a portrait! As the old 
Parliament Buildings were destroyed by 
fire in October, 1834, this latter print 
has an added architectural interest to the 
antiquarian. Fortunate indeed would be 
the collector who might chance to ac¬ 
quire either print in undamaged con¬ 
dition ! 
Only a few weeks ago the writer found 
on the sidewalk table of a second-hand 
shop a little book the title of which 
arrested his curiosity—“The Artist or, 
Young Ladies’ Instructor in Ornamental 
Painting, Drawing, etc.,” by B. F. Gan- 
dee, published by Chapman & Hall, Lon¬ 
don, 1835. On opening the cover of 
this little gilt-topped 16mo.—its pages 
were only 6jKs" x ifi "—there was an 
exquisite title page in colors, a Convol- 
volus wreath, and facing it a little gem 
of a landscape, both color prints by Bax¬ 
ter ! Thirty-five cents for this treasure, 
and treasure indeed it proved. This lit¬ 
tle print was from two pictures by 
Gainsborough in the National Gallery, 
London. A close examination shows the 
white to have been printed on. The 
preface to this little book says, “The 
frontispiece is a very successful speci¬ 
men of a new art, which will no doubt, 
before long, be brought to such a degree 
of perfection as to produce fac-simile 
copies of the finest oil paintings; it is 
done by taking successive impressions 
from wood blocks; and when it is stated 
that no less than twelve are used in this 
instance, and consequently that each 
plate goes through the press twelve times, 
some idea may be formed of the ingenu¬ 
ity and skill required to conduct so diffi¬ 
cult a process.” 
Baxter Portraits 
The portraits by Baxter are numerous 
and interesting. With this phase of his 
art Baxter showed sympathy and great 
ability in their design and reproduction. 
Those of Queen Victoria are especially 
lovely. Baxter’s “Portrait of Mrs. 
Chubb” (a companion print to the 
“Portrait of Charles Chubb”) is" exces¬ 
sively rare. Mr. and Mrs. Chubb lived 
at a day when photography had not de¬ 
veloped to its practicable stage They 
had eight children and desired to give 
them each portraits of their parents. 
Sixteen canvases or sixteen separate- 
miniatures on ivory were not to be 
thought of for obvious reasons. Fortu¬ 
nately (for the collector as well as for 
the Chubbs!) the father and mother 
turned to George Baxter’s art and he 
accepted the commission for a very 
limited numb'ef of sets (I doubt if more 
than fourteen pairs were issued) to be 
printed by his process. Mr. and Mrs. 
Chubb died in 1846. One wonders if 
they could ever guess that probably $500 
might willingly come some day to be 
given by an advanced collector for this 
pair of prints! 
Prices and Collecting 
However, one does not need to spend 
hundreds for Baxter prints which, if 
less rare, are still just as beautiful. In¬ 
deed with an “eye for antiques” a mod¬ 
erate outlay will result in a truly de¬ 
lightful collection of examples of George 
Baxter’s art. I would not advise re¬ 
moving the prints from any of the vol¬ 
umes containing them which one may 
come across and acquire. The separate 
prints can be left on the original mounts 
—indeed, they should be—and protected 
by a portfolio. 
Baxter also made many prints of 
miniature proportions for needle-cases, 
pocket-books, card-board boxes and for 
music. The “Prince of Wales Galop” 
the “Hibernian Quadrille” and the 
“Mandolina Valse” so dear to the hearts 
of the young ladies of the Victorian age, 
were enlivened by George Baxter’s art, 
and so was “Ring out Old England’s 
Bells” a national song occasioned by 
the marriage of the Princess Royal. The 
book-lover and print-lover will find 
Baxter prints a fascinating field in which 
to exercise one’s acquisitive proclivities. 
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