Art Print Lover’s Guide

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.