Antique Prints simply explained

To know more about antique prints, you should understand the processes involved in their creation. To start at the beginning, “printing” describes the transference of ink from a prepared printing surface (the block, plate or stone carrying the image) to a 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 in a rubber stamp), leaving the area raised to receive the ink for printing.

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

The planographic style of printing is the most in use today. It allows a completely facile drawing to be made. With a lithograph the printing surface remains flat as the process relies on the simple 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. Printing ink is then applied, and it adheres only to the drawn image, 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, offset lithography is now often used. These days, 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 early voyages of discovery were recorded by an artist and transposed by an engraver onto a plate for printing and circulation. Whether recording the charting of a newly discovered coastline or the unfamiliar flora or fauna seen there, antique prints and maps were often engraved with imaginative embellishment - 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 were often hand-coloured by blending watercolours with gouache, gum Arabic, and even sometimes, gold or silver leaf, to achieve the individual style of each published image. Antique prints and maps will always be treasured, not only for the beautiful combination of science and art, but also because the rarity of each illustration on paper increases with the passage of time.

Classical Design: Piranesi Vases or Piranesi Urns.

A brilliant classical artist whose work is still admired - even though his name is often unknown. The series of Piranesi Vases, often simply referred to as Urns, will always find a place in classic design.

An 18th century architect by profession, Giovanni Battista Piranesi was a graphic artist of technical brilliance and of great expressive range. At his workshop he restored and designed amazing stone structures. His creations  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.

Admiration of classical antiquity was reflected in Piranesi's imaginative restoration of the antiquities he found in Rome. Piranesi was commissioned by British patrons as well as wealthy locals, as is indicated in the elegant descriptive script on the copperplate engravings he produced to illustrate his work.

Piranesi's superb series of architectural design pieces are well-defined copperplate engraved illustrations on hand-made paper that were engraved and etched for "Vasi, Candelabri, Cippi y Sarcofagi, Tripodi Lucerne ed Ornamenti Antichi” published in Rome between 1773 and 1778. They make a dramatic statement in any decor - giving a stylish classical ambience to modern design.

There are many grand original engravings on hand-made paper, available from our website under Antique Prints-Classical/Design at  http://www.antiqueprintclub.com/c-22-classicaldesign.aspx?pagenum=8, or from the Brisbane Antique Emporium in Clayfield (open daily - except on public holidays).

Reproduction prints in the original size are available from the Heritage Editions-Classical/Design at http://www.antiqueprintclub.com/c-46-classicaldesign.aspx?pagenum=2 were printed during the 1990s to satisfy the demand by designers, bringing elegance and timelessness to modern contemporary living spaces.  (Please note that the digital images of our Heritage Editions prints do not do justice to the quality of these recently printed fine quality prints on heavy duty paper.)

Grand Raphael designs from the Vatican.

Have you ever had a great holiday, and returned, still marvelling at the wonderful classical style found in the centuries old buildings you saw? 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? Centuries ago, intricate carving and painting of walls and ceilings was done by important artisans. Illustrations of this beautiful work was circulated by engraving copperplates for printing and publishing to enable the rest of the world to enjoy them.

Some of the grandest antique prints ever created show the intricate wall decoration of Raphael pilaster frescos for the Vatican. The designs by Raphaello di Giovanni Santi d' Urbino (1483-1520) were painted on 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 magnificent copperplate engravings were created. These are the finest record of Raphael's decorative genius. 

Because of their grand size, two large plates were engraved by skilled artists and engravers for each pilaster. 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, for further circulation. 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.


We are fortunate today to be able to have personal ongoing enjoyment of the hand-coloured copper engravings of Raphael decoration of the Vatican walls and ceilings. The arches and ceililng vaults were also artistical genius. Images of wall decoration are able to provide grand decor in any environment. 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, visit the Antique Print Club-house at Neranwood in the hills behind the Gold Coast on Sundays or by appointment (refreshment provided!), or buy from our website at Antique Prints/Classical/Design at http://www.antiqueprintclub.com/c-22-classicaldesign.aspx?pagenum=2 We have a number of these superb original copperplate engravings, as well as some from the later smaller series - a group of them already framed -, so please let us know if you would like to see them.

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