07 Dec




















and was used during 1852-3. Baxter, now having granted Licences to work his process, as in the case of Leighton, was once again the victim of resemblance, his No. 4 Stamp being affected this time. From the columns of the " Art Journal Advertiser" of 1854 we quote the following extract: "Oil colour pic- tures. Caution. Many complaints having been made at Mr. Baxter's offices of parties attempting to pass off their hastily got up and inferior subjects as Mr. Baxter's productions, by closely imitating his private stamp which he had introduced to verify the genuineness of his pictures and pre- vent their being taken for the works of other persons, he begs to give notice to the public that all his future productions will be embossed with his autograph in the centre of the die. . . . The penalties attached to the imitation of an autograph are well known. To that protection Mr. * This would have been probably more correct if it had read " thousands," as the most Baxter ever printed from one plate was about 700,000, i.e. "The Holy Family." Baxter's Stamps 57 Baxter feels that he may add the sense of justice of the public who are best able to appreciate his productions. Attention is requested to the fact that while the name of Baxter is conspicuous on the imitation of the patentee's private stamp, the names of the licensees are put upon the pictures so huddled together as not to appear to a common observer. Another licensee has also made similar attempts to pass off his work, more closely imitating the private stamp of the patentee by adding the crown to the imitation." These two Stamps can be seen on the stamped mounts of the Licensees in question, i.e., Print, View near Bingen on the Rhine (Brad- shaw & Blacklock Stamp); Print, The Prodigal Son (W. Dickes & Co.,

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