Art Print Lover’s Guide

Explore original hand-coloured engravings from Henry Charles Andrews' The Botanist's Repository (1797–1814), a landmark of British botanical illustration. Featuring remarkable Proteas, Camellias, Peonies and other exotic ornamental plants, this curated collection reflects Britain's fascination with newly discovered species during the great age of botanical exploration.

A curatorial guide exploring why antique bird prints continue to fascinate collectors, bird lovers and interior enthusiasts, beginning with the movement, colour and wonder of nineteenth-century hummingbird illustrations.

A reflective essay on why antique botanical and natural history prints transform interiors not only through their subjects, but through paper, colour, craftsmanship and time.

Plate marks are subtle physical traces left by the printing process itself. This article explores how plate impressions form, what they reveal about traditional intaglio printing, and how collectors can read them as material evidence of authenticity in antique prints.

An overview of laid and wove paper in antique prints, with a focus on watermarks as material evidence for dating, authenticity, and historical context.

The Hidden Nobility of Nature Prints In the vast and fascinating world of antique natural history prints, there are works that shine not only for their beauty, but for their origin, craftsmanship, and the historical legacy they carry

In the world of antique print collecting, the difference between pochoir and color lithography is more than a technicality — it defines how we interpret, date, and value a work. For Eugène Grasset’s La Plante et ses Applications Ornementales (1896), this distinction is especially critical. Many sellers and even some collectors describe the prints from La Plante as pochoir — a term that conjures up vivid, hand-applied color and Art Deco elegance. But this is incorrect.