The Lover's Letter Box
Print
1856 (published)
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.
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 | |
| Title | The 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 |
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| Style | |
| Marks and inscriptions |
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| 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 |
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| Collection | |
| Accession number | E.3069-1932 |
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| Record created | June 30, 2009 |
| Record URL |
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