Gazette du Bon Ton Parisian Fashion 1913-1925

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 varied as much as the fashions. 

Many fashions were shown in a suitable setting, sometimes with a suitable (and often amusing) caption. To the left, the illustration shows a mother in her superb  evening gown, asking her daughter if she had been good today. The little girl in a very pretty dress, has a finger in her mouth while considers her reply.  Another example shows a lady and man outside a door, waiting for a young lady. The 'gentleman'  is looking at his watch and saying to the young lady "You are never ready" while the young lady is showing them her pretty new dress.

There are a wide variety of fashion studies in situations both inside and outside. The imaginative creativity of the artist adds considerably to the charm of the image. For instance, two ladies in their elegant day dresses standing outside after a garden party, while one looks concernedly at the ground and says "Oh my poor lawn".. At right, a lady in a beautiful dress rewards her hound. An outstretched finger controls him, while the other hand holds silver tongs with the rewarding cube of sugar! 

While the graphic 'fashion narrative' compositions are definitely more interesting, the fashion "croquis" (sketches) on a plain background, are a complete contrast in their elegant simplicity - and frequently showed fashions that are very modern in fabric and style. Many would not be out of place today.

"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 the new fashions 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 Antique Prints-Fashion/Design at http://www.antiqueprintclub.com/c-23-fashionpochoir.aspx?pagenum=2

Surprise and Delight with a gift.

Surprise and Delight with a gift.

Have you considered the ultimate gift for your friend or associate? - one that will continue to intrigue and give entertainment as it is shared with others over the years? A well-chosen gift can provide a passion in a new subject – and temporarily erase any worries of work or home.

As retirement looms, 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”!).

(Illustration is of an original hand-coloured antique map - beautifully coloured "A 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 and you don't know if they like maps, I'm sure we can help you to select a suitable fine antique print - that will be appreciated and treasured. 

We also have lovely Heritage Editions reproductions and Limited Edition prints (e.g. John Gould Australian Fiery Parrakeet, illustrated) if your budget is little and your desire is large and you want to give it framed.. We have a huge selection and a wide range of solutions that are guaranteed to please - and they are not all maps and prints, though we do have solutions in that area of a wide variety of sizes, styles, subjects and prices.

If you need inspiration, come and see us at the Antique Print Club-house at Neranwood in the hills behind the Gold Coast south of Brisbane in Australia (refreshments are provided if we know when you are coming). If that's geographically impossible, and this selection of Blogs doesn't help, browse through our Antique Print club website at http://www.antiqueprintclub.com, or phone us on 61(0)7 5525 1363. We may take a little while to reach the phone, so if we don't answer immediately, leave your contact details and we will return your call. Better still, email Kathryn at sales@antiqueprintclub.com .

Musical Instruments. Historic, Rare, Unique..

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.


Considered to be the finest illustrations of musical instruments ever done, a wonderful series of colour-printed lithographs by William Gibb for “Musical Instruments - Historic, Rare and Unique” by Alfred James Hipkins (1826-1903), were published in Edinburgh, circa 1888 by Adam and Charles Black.

We have a good selection of these fine lithographs from the rare first edition. They are available from the Antique Print Club-house at 95 Mt Nimmel Road in Neranwood, in the hills behind the Gold Coast. Take a drive in the country. We are open on Sundays or by appointment. Refreshments are available if we know you're coming, so email us and let us know where your interest lies - or phone us on 61 (0)7 5525 1363. If Neranwood (from the motorway, it's half way to Springbrook), you can always purchase online from our Antique Print Club website at Antique Prints-Sport/Entertainment/Humour at http://www.antiqueprintclub.com/c-28-sportentertainmenthumour.aspx?pagenum=2

Heritage Editions reproductions are affordable antique-style maps

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 today. Some exist only in Institutions. 
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 or from www.heritage-editions.com.au

Illustrated, is the first English-published map showing Australia by itself, and not on a map of the world or as part of a region. This excellent map from the original copperplate engraving circa 1744 by Emanuel Bowen, has the usual descriptive text added by Bowen to the French map of 1664 by Melchisedec Thevenot. The illustrated Limited Edition map has watercoloured cartouche (title piece) and the coastal outline. The map is also available as printed, in black and white.

Be aware however, that there are many antique maps that are less in demand, or perhaps are not in fine condition, but are just as affordable as modern reproduction prints - and there are a much larger variety of these available. Check out some of the alternative antique maps at www.antiqueprintclub.com. We have hundreds more that have not yet been scanned or listed on our website, so if there is a region that interests you, just let us know sales@antiqueprintclub.com.

Fine and rare French Porcelain lithographs.

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. 

“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 “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 produced the soft-coloured, warm milky-white earthenware porcelain we now know as Faience of Rouen – the production of which established Rouen as the centre of the French ceramic industry during that time. Faience porcelain was traditionally decorated by foliated patterns and floral designs of typical French style, or ornamented by beautiful coloured designs in imitation of the old Chinese and Japanese porcelain.

Original lithographs illustrating the finest 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. 

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 even 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. There, 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 the King 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 a reputation for the most superior of all porcelain.

The exquisite luminosity and the richness of colour and gilding of Sevres porcelain is shown in the beautiful original colour-printed lithographs by Gillot, to represent a selection of the best examples of Sevres porcelain from the factory’s glory years of production during the 18th and 19th centuries, for Le Porcelaine Tendre de Sevres by Edouard Garnier, published in Paris circa 1890 by Maison Quantin.

Select from the Antique Print Club-house at Neranwood behind the Gold Coast in Australia, or online at http://www.antiqueprintclub.com/c-24-porcelainartifacts.aspx