Mid1800 Baxter Print Le Blond – L.a. Elliot: Lake Lucerne, Switzerland
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Mid1800 Baxter Print Le Blond – L.a. Elliot: Lake Lucerne, Switzerland :
Mid-1800 Baxter Print Method: Le Blond – L.A. Elliot:
Lake Lucerne, switzerland
Showing Original Glaze
I got this print as part of a large lot of prints at a recent antiquarian book sale. It wasn’t until later that I noticed someone had written on the matting “I am sure this is a Le Blond” that I took a closer look. After removal of the soiled matting, indeed, in the lower right hand corner of the print it is clearly signed: Le Blond & Co. London, L.A. Elliot & Co. Boston, U.S.
Condition: Very good. The color of the peasants’ clothing is still bright and vivid; there is a 3” longitudinal crease in the right lower corner (basically only visible when held at an angle that reflects the light); in that same area there are two flee-bite scratches (see pic); the remainder is without stains or scratches. The board that it is mounted on shows the remnants of the matting that I removed. This doesn’t at all interfere with the print itself. The print measures approx. 15” by 10 ½” tall.
About Le Blond & Co.:
Le Blond & Co. was formed by brothers Abraham and Robert, in Stepney, London. They were the first company to take a license from Baxter in 1849. Their first print by the Baxter Process - The Royal Family at Windsor - was produced in the following year.
They produced over 100 prints and are considered to be the best exponent of Baxter's process. The set of 32 ovals are particularly fine and sort after fetching more than a lot of Baxter's own prints. Later production runs of the ovals and other prints also show the name 'L.A. Elliot & Co., Boston, U.S. who was Le Blond’s agent in the USA. Lucius Alvin Elliot or L.A. Elliott (1825-1881) of Boston, Massachusetts, USA. ran the company
About the Glaze which is very clearly present on this print (see pic also): “It is also believed Baxter occasionally applied glaze via an additional printing step all over the image, composed of his usual varnish with a ‘hard drier’ added to make it insoluble in water. More often, however, it is thought that Baxter glazed areas of the print selectively by hand using a glaze composed of gum arabic, egg white and Castile soap.”
(From various sites on the internet, including Baxter.com)