15930002670001578573212000Standard Recordobject-239744170206279851616734320740001702062268427fitz-onlineadlib-object-239744https://data.fitzmuseum.cam.ac.uk/id/object/2397449cc0d746-4324-3adb-b151-f835258cc6f66referenceterm-98032adlib-term-9803282c0807b-e8e4-3d5c-ac68-1a6390880feaprintPaintings, Drawings and PrintsA group of villagers, women with baskets of laundry and a man with two goats, are waiting for the return of the rowing boat which will take them across the river.P.14915-R1accession numberP.14915-R239744priref239744Courtney Lewis107urihttps://data.fitzmuseum.cam.ac.uk/id/object/239744https://data.fitzmuseum.cam.ac.uk/id/object/239744referenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumGiven by G.H.W. Rylandsreferenceagent-151478adlib-agent-1514782074e5a7-51c1-3bd3-aa50-9f830f8160ecRylands, G.H.W.given187518751875circa18751884118841884circa1884printmakerreferenceagent-198053adlib-agent-198053565047fb-f18d-3a24-af79-482879a76dbfLe Blond, Abrahampublisherreferenceagent-198410adlib-agent-198410a1e87ed5-405a-3c8a-9b6b-f715f8aa9752Le Blond & Copublisherreferenceagent-200620adlib-agent-200620fb5c3303-5be9-3e9e-a3c9-f61942e5a79bL.A. Elliott & CoStamped at lower centre: 'EL BLOND & CO LONDON / L.A. ELLIOT & CO BOSTON U.S.' From a set of 32 Baxter-process prints by George Baxter licensee, Abraham Le Blond known as 'The Ovals'. In a departure from Baxter, who stuck his prints onto embossed or printed mounts, Le Blond printed this set, probably with a view to economy, directly onto mounts after which an embossed border, title and number were then added. Lycett and Martin state that the stamp 'EL Blond' indicates a London print. (Lycett and Martin, p.32) The stamp of L.A. Elliot & Co of Boston, which appears along with that of Le Blond & Co on many of The Ovals, indicates export to the U.S. and a later production date sometime between 1875 and 1884, as the Boston firm of Lucius A. Elliot was only known in the form 'L.A. Elliot & Co' between these dates. (Lycett and Martin, 1994, p.18). The Le Blond Ovals, almost certainly in all 32 cases, are reproductions after a series of small oval oil paintings on board by the artist, John Anthony Puller (1799-1886). Puller exhibited regularly at the Royal Academy Summer exhibition between 1821 and 1862 and at the British Institution between 1825 and 1867. Many of his painted ovals, which compare exactly with the compositions of the Le Blond Ovals, have appeared at auction quite regularly during the last 20 years and it has been possible to trace 22 of Puller's compositions to the Le Blond Ovals. It is thought that Puller was probably contracted to produce the small oval paintings for Le Blond, although no evidence of this arrangement has come to light. (See New Baxter Society) Moreover, the fact that a number of small ovals on board by Puller of scenes which are not included in the Le Blond Ovals (such as 'A Travelling Pedlar' and 'A Picnic'), may indicate that a series of small oval compositions for the popular market originated with Puller and that it was Le Blond who struck a deal with Puller for the right to reproduce a selected number for his Baxter process series. For the transfer from painting to print, Le Blond employed the artists George Stone, his eldest son, Francis Le Blond and later his youngest son, Bernard Maynard Le Blond. (Lycett and Martin, 1994, p.19) The Le Blond Ovals, almost certainly in all 32 cases, are reproductions after a series of small oval oil paintings on board by the artist, John Anthony Puller (1799-1886). Puller exhibited regularly at the Royal Academy Summer exhibition between 1821 and 1862 and at the British Institution between 1825 and 1867. Many of his painted ovals, which compare exactly with the compositions of the Le Blond Ovals, have appeared at auction quite regularly during the last 20 years and it has been possible to trace 22 of Puller's compositions to the Le Blond Ovals. It is thought that Puller was probably contracted to produce the small oval paintings for Le Blond, although no evidence of this arrangement has come to light. Moreover, the fact that a number of small ovals on board by Puller of scenes which are not included in the Le Blond Ovals (such as 'A Travelling Pedlar' and 'A Picnic'), may indicate that a series of small oval compositions for the popular market originated with Puller and it was Le Blond who struck a deal with Puller for the right to reproduce a selected number for his Baxter process series. For the transfer from painting to print, Le Blond employed the artists George Stone, his eldest son, Francis Le Blond and later his youngest son, Bernard Maynard Le Blond. (Lycett and Martin, 1994, p.19)referenceterm-106853adlib-term-10685325492eb4-1164-35eb-8dce-3601486f341519th Centuryreferenceterm-98032adlib-term-9803282c0807b-e8e4-3d5c-ac68-1a6390880feaprinthistory noteGiven by G.H.W. Rylandsreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam Museumreferenceterm-9168adlib-term-91686b0c59e1-73cc-3b5c-8e54-56f42806ba6fBritishreferenceterm-98032adlib-term-9803282c0807b-e8e4-3d5c-ac68-1a6390880feaprintprintreferenceterm-134359adlib-term-134359939ffa38-49f7-34c2-8a19-d9e61afdf904Baxter-process printreferenceterm-26881adlib-term-2688188d2ea1e-d238-34e8-8bde-82e4187f5ad4embossingWaiting at the FerryseriesOval No. 91object
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