Image of Gallery in South Kensington
Request to view at the Prints & Drawings Study Room, level F , Case EDUC, Shelf 9, Box B

The Lover's Letter Box

Print
1856 (published)
Artist/Maker
Place of origin

George Baxter (1804–67) is one of the few printmakers who have given their name to a printmaking technique. His patented process combined intaglio and relief printing methods. The foundation plate, which printed the main features of the design, was etched, stipple engraved or, more usually, aquatinted. Oil colours superimposed from wood blocks gave the resulting prints a richness of colour that earlier attempts at full colour printing lacked. The Baxter process was later overtaken by colour lithography as a method of printing in colour.
In this print after a painting by Jessie McLeod (active 1845–75) the aquatint tone is printed in black and is clearly visible when viewed through a magnifier. The light areas of the print are best for comparing the aquatint tone and the shapes of colour that were applied using the wood blocks.


Object details

Categories
Object type
TitleThe Lover's Letter Box (assigned by artist)
Materials and techniques
Baxter print on paper
Brief description
Print by George Baxter after Jessie McLeod, 'The Lover's Letter Box,' Baxter-process print, England, 1856
Physical description
Colour print depicting a woman, in a wooded garden, posting a letter into a hole in the trunk of a tree.
Dimensions
  • Height: 14.75in
  • Width: 10.625in
Dimensions taken from Victoria & Albert Museum Department of Prints and Drawings and Department of Paintings, Accessions 1932. London: HMSO, 1933
Style
Marks and inscriptions
  • 'Published August 30th 1856 by George Baxter, Proprietor & Patentee, London.' (Lettered)
  • 'Gift:- Miss C.W.B.' (Inscribed in red ink on mount)
Credit line
Bequeathed by Francis William Baxter
Subjects depicted
Summary
George Baxter (1804–67) is one of the few printmakers who have given their name to a printmaking technique. His patented process combined intaglio and relief printing methods. The foundation plate, which printed the main features of the design, was etched, stipple engraved or, more usually, aquatinted. Oil colours superimposed from wood blocks gave the resulting prints a richness of colour that earlier attempts at full colour printing lacked. The Baxter process was later overtaken by colour lithography as a method of printing in colour.
In this print after a painting by Jessie McLeod (active 1845–75) the aquatint tone is printed in black and is clearly visible when viewed through a magnifier. The light areas of the print are best for comparing the aquatint tone and the shapes of colour that were applied using the wood blocks.
Bibliographic references
  • Victoria & Albert Museum Department of Prints and Drawings and Department of Paintings, Accessions 1932. London: HMSO, 1933
  • Lewis, C. T. Courtney. George Baxter (colour printer) his life and work: a manual for collectors. London: S. Low, Marston & Co. Ltd., 1908. cat. no. 359
Collection
Accession number
E.3069-1932

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.

Suggest feedback

Record createdJune 30, 2009
Record URL
Download as: JSONIIIF Manifest