Samuel William Reynolds, British 1773-1835- Portrait of Sir Joseph Paxton, after Octavius Oakley; mixed-method mezzotint, proof, published May 1st 1851 by R. Moseley 58, London St, P. & D. Colnaghi & Co., 13 & 14, Pall Mall East, and J.L. Grundy...

Samuel William Reynolds, British 1773-1835- Portrait of Sir Joseph Paxton, after Octavius Oakley; mixed-method mezzotint, proof, published May 1st 1851 by R. Moseley 58, London St, P. & D. Colnaghi & Co., 13 & 14, Pall Mall East, and J.L. Grundy, 130, Regent Street, London, 60.5 x 43 cm.: Louis Hague, Belgian 1806-1885- Her Majesty's Picture of the Transept of the Great Exhibition, after David Roberts RA; hand-coloured lithograph, from Dickinson's Comprehensive Pictures of the Great Exhibition of 1851, published May 1st 1852 by Dickinson Brothers, 114, New Bond Street, 65.5 x 46.8 cm.: Robert Carrick, British 1829-1904- Looking over the Dam, after Philip Branon; hand-coloured lithograph published by Ackermann & Co., June 9th 1851, bears label for Baynton-Williams, Knightsbridge, to the reverse of the frame, 33.5 x 49 cm.: W L Walton, British fl. 1834-1856- The East End, after Phillip Brannan; hand-coloured lithograph published by Ackermann and Co. in 1851, bears label for Baynton-Williams, Knightsbridge, to the reverse of the frame, 33.5 x 50 cm.: together with a contemporary etching of an interior at the Crystal Palace Exhibition, numbered '4/10' in pencil (lower left) (part mounted/unframed) (5)
Sir Joseph Paxton: Framed and glazed, unexamined put of frame. Light marks and chips to the frame generally. Light cockling to the sheet within the frame. Discolouration to the sheet generally, alongside dark marks towards the upper and left edges, and further marks to the sheet in areas. Evidence of spots of light foxing in areas. Otherwise in fair condition overall. Great Exhibition: Framed, mounted, and glazed, unexamined out of frame. Light marks and scuffs to the frame generally. Light cockling to the sheet within the frame. Evidence of light horizontal folds running down the sheet, visible to the left-hand side, with a noticeable fold to the lower edge of the sheet. Light discolouration to the sheet in areas. No evidence of further creasing or of tears to the sheet. Otherwise in fair condition overall. Looking over the Dam: Framed, mounted, and glazed, and unexamined out of the frame. General marks and chips to the frame. Very light cockling to the sheet, and evidence of very light creases in areas, consistent with handling. Evidence of very minor marks to the sheet in areas. Otherwise in good condition overall. The East End: Framed, mounted, and glazed, unexamined out of frame. General marks and chips to the frame. Evidence of minor discolouration to the sheet. Evidence of very minor creases in areas, consistent with handling. Possible very minor spots of foxing, and spots of restored foxing, in areas. Otherwise in good condition overall. Crystal Palace etching: Discolouration to the sheet where it has been exposed to the light. Evidence of very minor spots of foxing in areas. No evidence of creases, tears, or water damage to the sheet. Otherwise in good condition overall.