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The Gouttelette® Printing System

The Gouttelette® print is the next stage along the evolutionary chain from the Giclée.


For centuries people repeatedly asked the timeless question "what is art in concept, content and process".

At the end of the 18th Century, German actor and playwright Alois Senefelder invented lithography, which was a revolutionary way to produce printed materials. Over the following two decades many artists became intrigued by this new printing technology, which involved printing from a flat surface, treated to repel the ink except in those places in which it was required for printing. The technique's popularity in the fine art print market increased and ebbed for most of the 19th Century and gained acceptance towards the end of the Century and was eventually adopted by many famous artists, led by the French artist, Henri de Toulouse-Lautrec. They included Georges Braque, Alexander Calder, Marc Chagall, Raoul Dufy, Fernand Léger, Henri Matisse, Joan Miró and Pablo Picasso. It took almost 120 years for lithography to become an established art form.

In a similar vein, silkscreen printing, which dates back thousands of years to the Ancient Chinese, took a very long time to overcome its commercial status and find acceptance in fine art galleries. Silk-screens most visible proponent was Andy Warhol who, in the 1960's, did more than anyone else to put it on the art world map and many fine art publishers still found full acceptance difficult and artists renamed their fine art silk-screen prints as "serigraphs" to distance their products from silk-screens commercial routes.

Photography is, perhaps, the best example of a technology earning acceptance as a fine art and, eventually, photographers like Edward Steichen, Edward Weston and Ansel Adams became household names and allowed Museums, Auction Houses and Collectors to recognise the medium.

Each of these technologies has few things in common, their origins as technologies rather than art forms, their rapid acceptance into more commercial applications and their slow acceptance into the fine art world.

Value is a matter of perception and thus, for example, a Picasso painting becomes worth millions while a Joe Bloggs has no value whatsoever. Graham Nash of the band Crosby, Stills, Nash & Young was also a photographer, facing the issue of needing to print his work and he started with an inkjet printer producing giclées, which was quickly followed by other manufacturers producing much more affordable print technologies, such as the brand leader, Epson. It was far more versatile than any previous printing technology and allowed users a great deal of flexibility. Digital prints are neither hand made nor even hand pulled and thus Rosenstiel's took the process forward with a new and different printing process, exclusive to the Company, combining huge technological developments in the printing world, with the traditional expertise and years of training of our own craftsmen.

The Gouttelette® system allows us now to print reproductions of the very highest quality and fidelity to the original. Gouttelette® prints can be published exactly to the customer's specifications. We can be fully flexible on the size, the shape and the material.

Many artists and galleries can produce their own editions as giclées but, for the true connoisseur, the Gouttelette® is the top of the range printing process that gives a quality which has to be seen to be appreciated.


Rosenstiel's Exclusive Editions

Exclusive Edition prints provide anaffordable way to own the work of the best contemporary artists.

Exclusive Edition images have restricted print runs to create rarity for the collector. Each limited edition is individually quality-checkedand accompanied by a Certificate of Authenticity signed by the Artist or the Master Printer.

Limited editions can be published in standard offset lithograph format on paper but also in other formats, such as silk screens or on to linen or canvas.


Limited Editions