Old Master Prints

What makes an Old Master print?

The term refers to any printed image that was created from the genesis of printmaking in Europe in the 14^th century through the early 19^th century. The most common printing techniques during this time were woodcuts and engravings. 

How were the first Old Master Prints produced?

China had already established a history of printmaking for over 1,000 years before printed images appeared in Europe in the 14^th century. In the West, printing presumably emerged as a tool for creating repeatable patterns on textiles.

To create a print, a craftsman would carve a design into a wooden block. Then, the carved surface would be inked and stamped onto a fabric to transfer the image. Over time, craftsmen began to create more intricate, stand-alone images which they stamped onto cloth and, with the establishment of the first paper mills in Europe, onto paper.

How did printmaking techniques develop over time?

A few decades after the first woodcuts appeared in Europe, engravings emerged in central Italy and Alsace in gold and silversmith workshops. Not surprisingly, Martin Schongauer, the first known northern engraver, came from a family of goldsmiths in Alsace. The legendary Albrecht Dürer of the following generation was also the son of a goldsmith.

The inception of engravings started as a method to record the engraved decorations on metalworks such as armour. Gold and silversmiths would cover the metal surface with ink and then press a sheet of paper against it to reveal the mirrored image. From there, engravings became widespread as artists realized that by engraving metal plates, they could create striking images and produce many impressions.

What are the differences between woodcuts and engravings?

A woodcut is a relief printing technique, so the image is created by carving away the negative space and leaving the raised lines that you would like printed. Engravings are the opposite as they are intaglio prints. This means that the image is created by incising lines into a metal plate that will hold the ink of the printed image. Etchings, aquatints, and drypoints all fall under the umbrella of intaglio prints.

What does it mean when Old Master prints list different ‘states’?

For many Old Master prints, especially for famous printmakers like Albrecht Dürer and Rembrandt, several subsequent printings exist from the same original woodblock or printing plate, known as a matrix. Each iteration is called a different ‘state.’ The artist would examine the printed result and make changes to the plate as they saw fit to create the desired final image. Some final states were created by authorized printers long after an artist’s passing.

Depending on the print, the hard evidence within the image that signifies the state could range from removing an entire figure to adding the most miniscule hidden line of shading. Catalogue raisonnés describe the visible differences of each state whether it be an intentional change by the artist or an accidental change from the deterioration of the printing plate. No matter how minor the change between each state or the impetus, the difference is crucial in determining the time period of the impression and, therefore, the value.

What can the paper reveal about the print?

For Old Master prints, paper is a major factor in determining when the impression was printed. Throughout history, paper mills created intricate watermarks to label their paper. Until 1520, Dürer often used paper from a mill that had a watermark in the shape of a Bull’s Head and early Rembrandt etchings during the 1640s are on paper with a Fool’s Cap watermark.

Knowing the time period of certain watermarks can then tell you when the image was printed, and if a paper has a more contemporary watermark, you know the impression is a much later printing. In some cases, the image might have been printed on an area of the sheet of paper that only has part of the watermark or no watermark. For these works, if you know what to look for, it is still possible to determine the age of the paper based on the texture and structure.

Beyond the date of printing and the quality of the impression, what other factors can affect the value of a print?

While the age and quality of the impression are significant factors in determining the value of an Old Master print, the condition, rarity, and provenance are also crucial. In the 17^th century, major institutions and collectors started to mark their prints with small, personalized ink stamps. These ink stamps were recorded by Frits Lugt, a fervent collector himself, who compiled a listing of all collector stamps and a corresponding biography of the owner. The stamps create a concrete provenance trail, which can boost the value of an impression as it further solidifies the importance of the piece.

All these factors are key to determining the value of an Old Master print. This exciting market provides entry points for every collector as prices can range from a few thousand to hundreds of thousands, making it possible for every collector to become a temporary custodian in the long history of these impressions' lifespans.