Antique Print Club: Antique maps and prints. Classic-style reproductions and Limited Editions.

French Cartography - 1 of 4 weekly instalments.

2012-02-20T15:27:00.000-08:00

There are few things as fascinating and evocative as an antique map. Unlike the highly functional maps of today, maps used to be decorative works of art, that not only portrayed a country's geography but also its culture and history.

Creative Cartography..
Some French mapmakers had a reputation for a fairly creative approach to the art of making maps. One of the most famous examples of this kind of map is a mid-18th century map by the Hydrographical Engineer of the French Navy, Hydrographer to the King, and member of the Royal Society of London, Jacques Nicolas Bellin (1703-1772). Bellin was commissioned by the King of France to survey all the known coastlines of the world.

On his Cartes Reduite des Terres Australes (Reduced Chart of the Southern Lands) map of Australia (Nouvelle Hollande as it was then known) Bellin used a dotted line to join Tasmania to Vanuata (Espritu Santu) and Papua New Guinea.

His supposition followed European thoughts of the time - 20 years prior to Captain Cook's discovery and charting of the east coast, which he then named New South Wales. At least Bellin printed along the wavery dotted line (in French) "I suppose that Van Diemen's Land could join with the Land of the Holy Ghost, but without proof.

Australian botanical ‘natives’.. or ‘exotics’?

2011-08-05T03:59:00.000-07:00

In botany, the word ‘exotic’ is used to indicate a botanical specimen has been introduced from another country. Many people think of our own native plants as ‘exotic’ – having different foliage and flowers from the better-known introduced annuals and perennials. Australia's flower emblem is the Acacia - better known as Wattle.

Hundreds of years ago explorers travelled from Europe in search of new lands to take advantage of - whether to claim and settle, or to use as a source for trade. Whether by a professional botanist, a ship’s doctor, or an artistic crew member given the task, on these early voyages wonderful sketches were made of the first European sightings of Australian flora – limited only by accuracy in scientific observation and artistic skill of the artist.

In England in the eighteenth century, following public demand, many works were published to illustrate beautiful botany from around the world. William Curtis (1746-1799) was Praefectus Hortis of Chelsea Physic Garden in London. He began lectures at Kew Gardens in London in 1787 and began illustrating the plants he discussed. “The Botanical Magazine; or Flower-Garden Displayed” was published by Curtis to illustrate plants from around the world “in response.. to.. solicitations for a work.. (combining) Botany and Gardening”. Continuously published since then, it is now known as “The Kew Magazine”. Finely engraved, partially coloured to show the dissection details of flowers and leaves, the narrow upper right image is an excellent example of Curtis hand-coloured engravings.

William Curtis nurtured the artistic talent of many botanical artists. In the same year as the first series of botanical plates was issued, Curtis was introduced to and was impressed by the artistic ability of a young Welshman, Sydenham Teast Edwards (1769-1819). Curtis brought him to London and trained him in the art of botanical illustration. For over twenty years until William Curtis died, Sydenham Edwards sketched most of the illustrations for "Curtis’s Botanical Magazine". From his sketches, Francis Sansom created finely engraved copperplates which were printed on hand-made paper and individually hand-coloured with natural pigments. Curtis illustrations with their fine detail, which often includes dissections of the flower, have always been revered, not only for their beauty but also for their scientific accuracy. When the interesting accompanying text has also survived with the botanical study, they are a wonderful treasure.

Pierre Joseph Redouté (1759-1840) was born in Luxembourg and became a painter and interior decorator like his father and grandfather. In 1782 he worked in Paris with his older brother, but was persuaded to illustrate flowers instead, by two botanists who appreciated his artistic skill. Except during 1787-8 when he studied botanical specimens at Kew Gardens in London, Redouté spent most of his life sketching and painting for numerous botanical publications in France. He was appointed to the court of Marie Antoinette, and after the revolution worked at the Museum of Natural History in Paris. A master of the stipple engraving process he learned in England and introduced to France, Redouté dominated botanical painting in France from 1790 to 1830.

Napoleon Bonaparte had always been interested in gardening and science. His first wife, Josephine, acquired a large collection of plants from around the world for her famous gardens at Petite Trianon and later Malmaison. She was patron to Redoute and later appointed him court artist. Although Redouté is probably best known today for his beautiful illustrations of Roses and Lilies, his largest work was his Choix des Plus Belles Fleurs.., (his choice of most beautiful flowers and fruit). We are indebted to Napoleon’s love of science and exploration, for wonderful, large, rarely-seen botanical images of Australian flora by Redouté, published around 1800.

In England, Benjamin Maund (1790-1863) was a pharmacist, botanist, printer, bookseller, and fellow of the Linnean Society (from 1827). Maund published botanical illustrations from 1825 in “The Botanist: containing accurately coloured figures, of tender and hardy ornamental plants..”. Maund’s charming botanical images have uncoloured sections of the main beautifully drawn floral specimen, as well as of the additional flower and foliage detail. They are delightful works, showing meticulous detail in each finely hand-coloured engraving.

The superbly coloured botanical lithographs and engravings that were published by Joseph Paxton are quite a contrast in style. Almost glamorous by comparison, on thicker paper (not hand-made), they usually show slight age discolouration; but I think this actually adds to the charm of these brightly coloured antique prints.

Despite little education Joseph Paxton (1803-1865) had considerable talent as both architect and engineer, but was better known as a landscape gardener after being head gardener at one of the finest landscaped gardens in England, Chatsworth House. In 1831 Paxton began publishing botanical illustrations as a monthly magazine, “The Horticultural Register”. This was followed from 1834 to 1849 with hundreds of superb aquatints and hand-coloured lithographs for his “Magazine of Botany”. Paxton published other botanical works, but no antique prints surpassed the quality of these, with the depth and crispness of their colour.

Today, as cities become more densely populated and people move into apartment buildings and lose their gardens, the benefit of botanical pictures on our walls cannot be over-estimated. As well as being decorative, botanical artwork brings peace to a structural environment. Whether a haven away from work, an educational and active family environment, or a place where you spend a relaxing retirement, homes can all be improved by framed botanical artwork. Select from a great collection of antique prints of Australian native flora at www.antiqueprintclub.com/c-20-botanicalsfruit.aspx

Map Collecting. An enjoyable affliction!

2011-04-25T19:10:00.001-07:00

Starting a collection in a new subject can be a thrilling affair. Collecting maps can begin in many ways: perhaps a long time interest results in a conscious decision to begin collecting antique maps, or finding an old chart among papers triggers a desire to research family history, or maybe receiving an antique map as a gift, leads to a desire to know more about it.. Great enjoyment and never-ending interest can be derived from a single antique map. As with all truly satisfying collections, the wonder of discovery that is experienced with the first unusual or fascinating map, continues for a lifetime. Map collecting appeals to everyone - young and old. Anyone with an interest in geography, history, art, genealogy or even general nostalgia can be captivated. These days, even "junior" finances can be accommodated by reproduction prints or Heritage Editions of early charts. The (hand-coloured) Limited Edition map at the right is from Emanuel Bowen's first map published in English circa 1744, showing only Australia, See https://wwwantiqueprintclub.com/c-8-maps.aspx

Map enthusiasts also have different motivations for collecting. Some may wish simply to create a fine display of framed maps along a hallway of their home for everyone to enjoy; others may wish to add a prestigious perspective to their office. When hung on the wall, a well-framed map or chart adds a touch of distinction to any environment. In the office, the atmosphere created may be just that little bit more intellectual and conducive to doing business. Early maps are certainly a good talking point, and the pleasure they give is endless.

Sometimes a collector will secrete antique maps in special conservation storage - to be brought out on rainy days and peered at through a magnifying glass, or revealed to captive friends and family. The narrative of early voyages and discoveries are told within the scientific parameters of mapmaking. The finely engraved geographic detail, vignettes (engraved views), cartouches (title pieces), and decorative borders all reveal hours of painstaking artistry. The charting of coastlines, as well as representing the progress of discoveries, sometimes revealed through their inaccuracy, the competitive and artistic nature of their creators.

The wonderful map (pictured left) of Australia (New Holland as it was called in 1753 before the arrival and charting by Captain Cook in 1770), has a dotted line down an inaccurately guessed east coast, and wording along this line saying that it is assumed that Tasmania joins to Vanuatu and Papua New Guinea, but without proof! Among the world's most recently discovered coastlines, early Australian maps vary greatly - depending on the reliability of their authorship. This map would be one of the most popularly collected. As an original copperplate engraving is rarely available, and not always affordable, it has been reproduced as one of our Heritage Editions, and can be found on our website under the maps on Australia. www.antiqueprintclub.com/c-8-maps.aspx

2011-04-04T22:25:00.000-07:00

Brisbane River charting by John Oxley in 1823

PLAN DE LA RIVIERE BRISBANE (Nouvelle Hollande)

Plan of the Brisbane River (New Holland). [Australia]

Découverte par M. OXLEY, Ingenieur Géographe au Port Jackson ( Décembre 1823. )

Chart of the Brisbane River Discovered by John Oxley, Geographical Engineer at Port Jackson. (December 1823)

John Oxley's "Plan of the Brisbane River (New Holland)" was first published in a French world atlas by Louis Isidore Duperrey. Complete with depth soundings, Oxley's recording of the river was drawn by Hacq and engraved on a copperplate by Ambroise Tardieu, for inclusion in Duperrey’s narrative of his voyages that included charts of the areas surveyed around the world at that time. “Voyage autour du Monde.. Atlas Hydrographie” was published in Paris in 1824.

In 1823 John Oxley was sent north from Sydney in search of a suitable site for the extension of the settlement of Port Jackson. He was commissioned to explore Moreton Bay, Port Curtis and Port Bowen, which had been discovered in 1799 by Matthew Flinders. After visiting Port Curtis, Oxley returned to Moreton Bay where he was apparently directed to the Brisbane River by an ex-convict of the name of Pamphlett, who had been living with local aborigines. Oxley carried out expeditions along the Pine River and Brisbane River and the adjacent countrysides.

On his return to Sydney in December 1823, Oxley lodged his report. Soon after his return to Port Jackson, Oxley was made Surveyor-General of the Australian colony known as New South Wales. He recorded that “a fine river of major proportions has been discovered in northern New South Wales, New Holland.” and that “the river is navigable a full 40 miles upstream and looks certain to be opened up for development". The Moreton Bay penal colony was proposed for the following year. John Oxley named the river, and later the town, after the Governor of New South Wales, Thomas Brisbane.

Brisbane was still part of New South Wales until "separation" of the State of Queensland in 1859. The name Brisbane was in the balance at one stage, with several eminent people suggesting the town be called Edenglassie. For some reason, Governor Thomas Brisbane decided that 'Brisbane' was better..

Oxley's charting of the river, with depth soundings, is acknowledged as being extremely accurate in its detail and scope. Despite the periodic abuse by tides and river traffic, this chart is still of considerable relevance and interest – particularly to those who live nearby or use the river. It is a beautiful and usually clean river - important to anyone with an interest in the history of Brisbane.

Copperplate-engraved maps circa 1824 are rare. Antique Print Club has published a fine Heritage Editions Limited Edition from an original copper engraving of John Oxley's in depth charting of the Brisbane River. These fine Limited Edition prints are available with outline of the Brisbane River highlighted by hand-colour (see framed). To purchase this wonderful Limited Edition map of the Brisbane River as charted by John Oxley in 1823, go to https://www.antiqueprintclub.com/c-8-maps.aspx

China Revealed to the west..

2011-02-27T00:12:00.000-08:00

"China and the Chinese. A series of views from original sketches, displaying the scenery, architecture, social habits, etc., of this ancient and exclusive empire. by Thomas Allom Esquire."

China is a vast country with a huge population and a long history of dynastic empires and battles spanning thousands of years. In 1842, at the end of the first Opium War with Britain, China became accessible to the West through the newly-acquired British port of Hong Kong. China’s different customs, dress, transport and architecture, combined with unfamiliar religious and superstitious beliefs, created an exotic image. China's amazing natural land formations, engineering achievements, and their production of porcelain, silk, cotton, tea and rice, all fascinated the British.

The Opium Wars resulted when the Chinese authorities tried to stop the British East India Company’s supply of opium from India. Britain sent war ships from India to protect their ships and their trade. Chinese junks were no match for the British navy. With surrender, the Chinese ceded Hong Kong to the British. Pictured are two of the wonderful finely engraved scenes illustrating this battle.

One of the first westerners to accommodate the enormous British interest in China was English architect and Royal Academy-trained artist, Thomas Allom (1804-1872), whose passion was historical art. For circulation to the British population (and for us enjoy today), skilled topographical engravers were commissioned to produce steel-engravings of Allom’s sketches for publication in London in 1843. They proved so popular that they were re-issued in 1845 and again in 1849. Today it is the 1845 edition of these engravings that are mostly seen, as they were issued in groups of six with flimsy paper wrappers that rarely survived handling. Traditionally, these engravings were hand-tinted with watercolour to highlight their fine detail.

Allom drew intricate architectural scenes incorporating grand city gates, temples, homes of mandarins and wealthy merchants, and the beautiful porcelain tower (pictured). He showed the elaborate lifestyle of the ruling classes and the general populace at work and relaxing – including an infamous opium den. Along with commodity production processes, Allom shows an “itinerant” barber and “itinerant” doctor at work, and the more leisurely trade of fishing using the cormorants. Elegantly composed scenes incorporate practical bamboo aqueduct and irrigation wheels, colourful celebrations of the 5^th day of the 5^th moon with the dragonboat, the 9^th day of the 9^th moon with kite-flying, and many other traditional spectacles – and even famous burial sites.

As populations grow, traditions change, and constructions disappear, we are fortunate that Thomas Allom used his architectural and artistic skill, dedication and passion, to create a marvellous historic overview of China and the Chinese. These images of a fascinating centuries-old country, are available from time to time. View Thomas Allom's China at www.antiqueprintclub.com/c-29-views-general .

Appreciate the makings of Antique Prints

2010-09-20T15:27:00.000-07:00

For a better understanding of your finely detailed antique print, you might like to know a little about the process involved in its printing. Firstly, “printing” entails the transference of ink from a prepared printing surface (the block, plate or stone carrying the image) to the piece of paper. Ink can be carried on raised parts of a printing surface (relief process), in lowered carved or etched grooves (intaglio process), or on the surface itself (planographic or surface printing).

The relief process is an ancient method, where the relief surface is ready for printing once all the non-printing areas have been cut away from the original surface (as with a rubber stamp), leaving the area raised to receive the ink from a roller.

The intaglio process is almost the reverse of this, as the ink is held in the grooves that have been carved or etched into the engraving plate. The varying intensity of the ink is achieved by the different width and depth of the grooves incised by a hand-guided tool or by etching with the application of acid. After the ink has fully penetrated the recesses, the plate is wiped. The paper is then dampened and is subjected to considerable pressure to transfer the ink from the grooves of the engraving plate. This pressure leaves a plate mark known as the intaglio impression.

The planographic style of printing is the most in use today. With a lithograph the printing surface remains flat as the process relies on the principle that grease repels water. The design is drawn on to the prepared stone with greasy ink; previously a zinc crayon was used. The plate is then washed with water that is absorbed by the stone yet repelled where the image has been drawn. The plate is then rolled over with a greasy printer’s ink that adheres only to the drawn marks as the water repels the ink from the rest of the plate. Then the ink is transferred to the paper through a press. Lithography is rather a complex process even though the principle is straightforward.

For multiple copies nowadays, offset lithography is generally used. For individual instantaneous images, printing is usually done by ink-jet or laser-printing of an image captured by a digital camera. This of course negates the need for all the effort and skill of bygone days; however, the clarity of a digital image, no matter how skillful, will never capture the personal style of the engraving or linework of the early artists. Nor is the amazing history of early discovery imparted in modern direct representation.

The romance of a voyage of discovery, as delineated by an engraver, whether of the charting of a newly discovered coastline or the unusual flora or fauna seen there, was often imaginatively embellished, either from disbelief of the sketch from afar, or personal belief in rumour of alternate knowledge. Antique prints and maps portray the story of the world’s development and sophistication. Unlike digital replication, the fine details of original antique engravings was often also combined with an artist’s skillful colouring by blending watercolours with gouache, gum Arabic, and even in some works, gold or silver leaf, to achieve the exceptional style of each individual work. Antique prints and maps will always be treasured, not only for their beautiful combination and science and art, but also because the rarity of each illustration on paper increases with the passage of time.

Giovanni Battista Piranesi (1720-1778)

2010-07-29T23:44:00.000-07:00

A brilliant classical artist whose work is popular today - even though his name is often unknown.

An architect by profession, Giovanni Battista Piranesi was a graphic artist of technical brilliance and of great expressive range. His amazing stone structures often combined fantasy themes from his Baroque training, with his Roman archaeological discoveries. Piranesi's extensive work in the field of Roman archaeology was acknowledged by his election to the Society of Antiquaries of London.

His absorption with classical antiquity was reflected in Piranesi's imaginative restoration of antiquities he found, their subsequent sale, and also their incorporation into creations for his many British patrons and collectors. He is perhaps most famous for his superb well-defined copperplate illustrations of these works - in particular his Urns - which are still appreciated as contemporary decor. These he engraved and etched for "Vasi, Candelabri, Cippi y Sarcofagi, Tripodi Lucerne ed Ornamenti Antichi” published in Rome between 1773 and 1778. They are available as original Antique Prints at www.antiqueprintclub.com/c-22-classicaldesign and Heritage Editions fine reproduction prints at www.antiqueprintclub.com/c-46-classicaldesign.

Grand 18th century Classical Architecturals

2010-07-02T23:29:00.000-07:00

Have you ever had a great holiday at the other end of the world, and returned, still marvelling at the wonderful classical style found in the centuries old buildings there? You may not be able to build your own stone chateau or even construct a country mansion like you saw in Europe, but have you considered bringing the style into your own home with the stunning designs from wall decoration you saw? The intricate carving and painting of walls and ceilings by important artisans of earlier centuries, were engraved onto copperplates and published to enable the rest of the world to enjoy them.

Some of the grandest of all wall decor interpreted as antique prints are the "pilaster" frescoes designed by Raphaello di Giovanni Santi d' Urbino (1483-1520) for the pillars of the loggia (arcade) to the Pope's private residence at the Vatican. In the 1770's, two hundred years after Raphael and his assistants painted the walls, doors and ceiling arches at the Vatican, an impressive set of grand copperplate engravings were created. Today these are the finest record of Raphael's decorative genius. Two large plates were engraved for each pilaster by skilled artists and engravers. Each pair of original prints from these plates was joined after printing, for publication. These magnificent engravings are remarkable not only as an important visual record of Raphael's stunning designs, but also for the quality and depth of colour that was done by hand with gouache and watercolour.

So great was the importance placed on the grand images of Raphael's pilasters, that ten years later, pairs of the pilasters were engraved half the size of the first publication. Raphael's designs were transposed this time as exquisite finely detailed copperplate engravings that were published in Paris. Once again, they are appreciated not only for their excellent engraving but also for the brilliance of their hand-colouring.

Wall decoration today is able to be moved from one location to another with comparative ease. Today we are able to enclose the work of art with conservation materials for preservation, and display it within a suitable frame. If you too would like to own your personal piece of classical antiquity, just visit our gallery at Milton in Brisbane, Australia (Wednesday to Friday, from 10am to 5pm); or visit the Classical Antique Print section in our virtual gallery anytime at http://www.antiqueprintclub.com/

Gazette du Bon Ton Parisian Fashion 1913-1925

2010-03-05T20:00:00.000-08:00

The fashions of the eminent designers of Paris were circulated exclusively to the wealthy, in the fashion plates by prominent artists for "Gazette du Bon Ton" (Journal of Good Style). The styles of pochoir (stencils) varied as much as the fashions. Many fashions were shown in a suitable setting, sometimes with a suitable (often amusing) caption - as for example where a lady and her "gentleman" outside an open door is looking at his watch and saying to the lady inside "You are never ready" while the young lady is showing off her pretty new dress; or (illustrated) "Have you been good today?" with the mother in her superb evening dress, and the little girl with her finger in her mouth, considering her answer. The elegant simplicity of the fashion "croquis" (sketch), usually by the David sisters, is a complete contrast from the more graphic 'fashion narrative' style pochoir.

"Gazette du Bon Ton" was popular because of these charming pochoir fashion studies. Not only did they represent the latest styles designed by the foremost French designers of the time, they also indicated where and how they should be worn. The 'pochoir' (stencils) were skilfully rendered, and are some of the finest ever done of this labour intensive method of printing. Several stencils were carved from zinc plates, and the different tone built up by successive applications of water colour and gouache, to ensure the colours did not run together during printing. They can be viewed under Fashion/Design Antique Prints at http://www.antiqueprintclub.com/c-23-fashionpochoir.aspx

2009-12-02T20:32:00.000-08:00

Surprise and Delight with a gift.

Have you considered the ultimate gift for your friend or associate? One that will continue to intrigue and provide entertainment as it is shared with others over the years? A well-chosen gift can instill a passion in a new subject – and temporarily erase any worries of work or home. The ultimate gift can inspire enthusiasm where there might be concerns for what may lie ahead, after retirement perhaps from a vocation that has absorbed years of commitment and hard work? (That’s “vocation” not “vacation”!). .
If you need another reason to Surprise and Delight with a gift of an antique map or antique print, visit our "Recent Articles" section at our site.
(Illustrated is beautifully coloured "New and Accurate Map of Ireland" circa 1747 by Emanuel Bowen.) Bowen was renowned for his entertaining personal comments - as in this map with comments on the fishing in the region of the Nymph Bank, in the lower right corner of the map.

If the gift is for someone who does not like maps, I'm sure we can help you to select a suitable fine antique print - that will not only be appreciated, but will also suit any budget.

Musical Instruments. Historic, Rare, Unique..

2009-12-02T20:21:00.000-08:00

Music is never boring. Often controversial, it can be guaranteed to affect a response of some kind in most listeners - and often a different response from different people. Music can be passionately enjoyed by one listener, and also total irritation to someone else.

Not only can a musical composition be the subject of disparate views, the way an instrument is played can also cause quite a variety of reactions. Skill in playing a musical instrument and the actual performance of the musician are both important in playing a composition - for the audience’s enjoyment, as well as for the satisfaction of the musician.

At our gallery in Milton, Brisbane we have many wonderful lithographs of old and rare musical instruments, that even today are considered the finest musical illustrations ever done. You will find a selection of these at http://www.antiqueprintclub.com/c-28-sportentertainment.aspx?pagenum=1

Heritage Editions: Limited Editions of affordable antique-style maps

2009-12-02T18:05:00.000-08:00

It's always nice to be able to afford an original antique engraving of a map, chart or in fact any image. However, it is not necessary to deprive yourself of their enjoyment simply through shortage of funds. Comfort yourself by the fact that many of the most sought after early maps and prints are very rarely seen. Many of the more interesting and decorative maps, particularly world maps, are now available as modern reproduction prints. More importantly, in Australia, the few really special maps that are important in chronicling the discovery of our country (and also panorama views of Brisbane in colonial times) have been published as Limited Editions, and are available as Heritage Editions from http://www.antiqueprintclub.com/c-8-maps.aspx

Illustrated, is the first English-published map showing Australia by itself, and not as part of a region or world map, as the previously named miss-shapen "Terra Australis Incognita" (unknown land of the south). This excellent map from the original copperplate engraving circa 1744 by Emanuel Bowen, has the usual descriptive text added by Bowen. This Limited Edition has watercoloured cartouche (title piece) and the charted coastlines.

Fine Porcelain - 19th century lithographs.

2009-12-02T13:34:00.000-08:00

Short History of the Manufacture of fine French Porcelain.
Venetians, Portuguese and Dutch all brought Chinese porcelain to Europe. Although it was known that Kaolin or “hard” porcelain from China, was composed of treated white clay, the ability to manufacture any kind of porcelain in Europe was not achieved until the beginning of the 18th century.

Bottger manufactured the first ‘true’ porcelain after suitable kaolin clay was found at Aue in Germany in 1709. Roughly explained, “hard” porcelain is created by mixing water with alumina (white clay) and silica (often seen in grains of quartz or sand), to form a paste. The composition of “artificial” or “soft” porcelain, varied with the manufacture of each production style. “Soft” porcelain indicates firstly that the porcelain cannot resist as high a temperature as “hard” porcelain, and secondly that the “soft” glaze of the porcelain can be scratched more easily.

The creation of the first “soft” porcelain is attributed to Louis Poterat, sieur de Saint-Étienne, a potter of Rouen in France who was responsible for producing the beautiful style of soft earthenware porcelain we now know as Faience – the production of which established Rouen as the centre of the French ceramic industry during that time.

Original lithographs, illustrating the finest of Faience porcelain, were printed in colour by Ris-Paquot in Amiens, for Histoire des Faiences de Rouen published in Paris circa 1870 by Eugene Delaroque. Faience porcelain was soft-coloured, warm milky white, and very translucent, traditionally decorated by foliated patterns and floral designs of typical French style, or ornamented by coloured designs in imitation of the old Chinese and Japanese porcelain. You will find some beautiful examples on our website at http://www.antiqueprintclub.com/c-24-porcelainartifacts.aspx

Around 1719 at Dresden in Germany, Johann Friederich Bottger managed the factory and was responsible for producing the earliest White Saxon porcelain, Meissen. The French were renowned for all styles of objet d’art, but the popularity of Dresden porcelain from Saxony inspired the French to greater efforts in making finer porcelain. New factories around France attempted to imitate Faience porcelain – at Lille in 1711, Chantilly in 1725, and at Mennecy around 1735. The porcelain developed at Chantilly under the protection of royalty soon gained greatest recognition.

The enamel or glaze acquired a particularly fine delicacy of tone and harmony of colour, but the factory was only able to proceed with regular financial support from King Louis V. In 1748, in France, the Comptroller-general of Finance, Count d’Arnouville, together with Louis XV’s mistress and intellectual benefactor Madame de Pompadour, recommended Louis XV to extend his patronage of the factory at Vincennes. The Director of the Academy of Sciences in Paris, Monsieur Jean Hellot (1685-1766), was appointed to oversea all aspects of the manufacture of the porcelain. Duplessis, the Court Jeweller, a skilful artist, was commissioned to design the forms and supervise their execution. The painting and gilding was supervised by enamel painter, Mathieu, - and later by Bachelier who created more original and stylish designs. The result was the exquisite porcelain we know today as Sevres.

Extensive development in the manufacture of Sevres necessitated larger premises. To bring the factory closer to the royal residence, it was established between Paris and Versailles at Sevres, in 1756. Louis XV decreed that the soft porcelain pate tendre of Sevres was to be named Manufacture Royale de la Porcelaine de France, so it became known as the Royal Porcelain of France. During a twenty-year exclusive contract and monopoly in its production, the deep colours and finest glazes from the Sevres factory established their reputation across the whole of Europe for the most superior of all porcelain.

Beautiful original chromolithographs (many heightened with gold) by Gillot, showing the exquisite luminosity, and the richness of colour and gilding of Sevres porcelain are available at http://www.antiqueprintclub.com/c-24-porcelainartifacts.aspx?pagenum=2 These antique lithographs represent some of the 250 watercolours of the finest examples of Sevres porcelain (many now in famous collections around the world), selected from the factory’s glory years of production during the eighteenth and nineteenth centuries, for Le Porcelaine Tendre de Sevres by Edouard Garnier, published in Paris in 1891 by Maison Quantin.

Antique Print Club

Collecting Antique Prints and Antique Maps

2009-08-23T23:38:00.000-07:00

Antique prints and maps need not be expensive.
It's evident from attending auctions and antique fairs, that people of all ages and from all walks of life love antiques. Collecting antiques is not a hobby for only the wealthy. Antique prints and maps can cost as little as $30 – or as much as $30,000. It's not necessary to spend a large amount of money to buy something of value that you can treasure.

Love it and you won't want to lose it.
Spend some time, choose carefully, and you will find something that will give you years of enjoyment. The artwork on your wall could be enjoyed in a rented flat, and then taken to a more expensive abode in years to come. Framed well, they look good with both traditional and modern architecture.

Collecting antique maps and prints can be addictive.
Find out as much as you can about something you like. Find out where and for what the antique map or print was published. Once you appreciate the finer artistic detail, the method of its creation, and understand its rarity as an original print, you will want to search for others to love.

Historic Record.
Antique Maps have a more obvious historic value as the country, state and town names, delineated borders, and coastlines changed over the years. We are lucky here in Australia that our coastlines were among the last to be charted, so they show more interesting changes over the past few hundred years. Someone who “gets the bug” of collecting antique maps is said to have acquired “Map Pox”.

Antique Prints, in particular those created from the sketches on early voyages of exploration, also tell us a lot about the acceptance or lack of acceptance of unfamiliar scenes, flora, fauna and peoples from foreign lands. When the artist is a scientist with good artistic ability, the result is quite important historically, and would have been published to circulate new discoveries or knowledge. However, if the artist was challenged by not only limited artistic ability but also the movement or changes of the subject viewed, strange and equally collectable images result. Often these were published because no one else knew any better!

Benefits of Collecting.
In most cases, the enjoyment derived from the fascination of an antique map or print, can be combined with its appreciating value, to provide great enrichment when selling it. However, in poor economic times it is usually not wise to expect to make a profit when selling, unless you have been fortunate and either inherited an item or bought extremely well. The full financial value of most items would not be realized when sold during poor economic times - unless you find a buyer who particularly wants the item, or unless the item is of particular special historic importance, in which case wealthy collectors or "Institutions" would most likely be the only interested buyers at full value. If you wish to sell or 'trade up', it would be wiser to wait until the economy improves.

Our first Blog

2009-08-20T02:24:00.000-07:00

Antique Print Club aims to share information about antique maps and prints with enthusiasts and collectors around the world.

We realise the largest portion of our customers cannot visit our gallery in Brisbane, Australia, so we will be unable to meet with you and share our enthusiasm about the wonders of antique maps and prints.

We try to do a blog each time we have a 'major' exhibition in our gallery; but we are also continually writing articles for publication in magazines and newspapers. Don't forget to check out our 'Reference Library' on our website http://www.antiqueprintclub.com/

We hope you find something you would like from our website. If we can give you more information about any of our maps or prints, please just ask. We look forward to hearing from you.