Specimens of Polyautography: The Lost Apple - Thomas Stothard

An early British lithograph from 1803, this print by Thomas Stothard demonstrates the experimental nature of polyautography through delicate line work and narrative composition.

This work is a notable example from the early history of lithography in Britain. Published in 1803, the collection titled Specimens of Polyautography was an experimental venture intended to demonstrate the artistic potential of the new medium, then known as polyautography. Thomas Stothard, a prolific painter and illustrator, was among the first British artists invited to contribute to this project. His contribution, The Lost Apple, displays the characteristic linear fluidity he brought to his book illustrations and historical scenes.

The composition features a young woman standing in a rural setting, her posture suggesting a moment of quiet contemplation or minor distress. To the left, a small figure is visible near a structure, adding a narrative element typical of Stothard's work. The artist employs a variety of mark-making techniques, using dense cross-hatching to define shadows and lighter, more gestural lines to suggest the surrounding foliage and the texture of the woman's dress. The print captures the immediacy of the lithographic crayon on stone, a quality that distinguished these early experiments from the more rigid processes of engraving or etching.

Stothard was a central figure in the London art world during the late eighteenth and early nineteenth centuries. His work often focused on literary and sentimental subjects, reflecting the aesthetic preferences of his era. By participating in the polyautography project, he helped bridge the gap between traditional drawing and the emerging mechanical reproduction methods. This print offers a clear view into the technical infancy of lithography, where the artist's hand remains visible in every stroke. It is a piece of historical interest for those studying the development of printmaking techniques and the transition toward more accessible forms of visual media in the nineteenth century.