Royal Gold Cup Print 1893–1906 Appraisal

The Royal Gold Cup—also known as the Saint Agnes Cup—is one of the finest surviving medieval goldsmiths’ works, a French enamelled drinking vessel of the late 14th century now in the British Museum. Its fame led museums, publishers, and photographic studios to issue high-quality prints in the late 19th and early 20th centuries. If you have a print dated 1893–1906, this guide explains how to identify the process and publisher, place it within that date range, assess condition, and estimate market value.

What Exactly Do You Have? Understanding the Object and Its Reproductions

• The subject: The Royal Gold Cup is a richly enamelled gold cup with scenes of Saint Agnes, a showpiece of medieval court art. Its acquisition by the British Museum in the 1890s boosted public interest and reproduction.
• Why so many prints: Museums and commercial houses produced reproductions to document and popularize masterpieces. For decorative arts, two main streams exist:
  • Photographic processes in monochrome, prized for fidelity and subtle tonal range.
  • Color lithographic plates (chromolithographs), valued for approximating the enamel colors.

Within the 1893–1906 window, you are most likely looking at one of the following:

• Photogravure or collotype on heavy wove paper, sometimes mounted to card.
• Carbon (autotype) print with a matte to semi-gloss surface, often sepia-toned.
• Chromolithograph, typically on thinner wove paper or mounted, with multiple color layers.
• High-grade halftone plates in museum catalogues around 1900–1906 (less collectible as separate prints unless removed from deluxe editions).

Identifying Your 1893–1906 Royal Gold Cup Print

Start with physical clues. Lay the print on a clean, flat surface under raking light.

1. Technique (quick tests, no chemicals)

• Photogravure: Rich, velvety blacks; fine, even ink deposit; slight plate impression (indented rectangle) around the image; under magnification, a random aquatint-like grain (not dots).
• Collotype: Continuous tone without visible halftone dots; no plate impression; very fine reticulation (micro-crackle) visible under magnification.
• Carbon (Autotype) print: Matte to satin surface, extremely sharp detail; image is in a pigmented gelatin layer; no dot pattern; sometimes a gentle relief feel.
• Chromolithograph: Color built from many flat layers; under magnification, you’ll see solid colored areas, slight mis-registration along edges, and often a varnish or glaze effect on enamelled areas.
• Halftone: Dot pattern visible under a loupe; even distribution of dots increases in density in darker areas; usually on thinner paper from a book.

2. Publisher and studio marks to look for

• Braun, Clément & Cie (Dornach/Paris): Blindstamp or printed credit; known for collotypes/carbon prints of museum objects in this era.
• Berlin Photographic Company / Photographische Gesellschaft (Berlin, London, New York): Blindstamp or printed credit; produced photogravures and carbon prints; date lines like “1893” with later printing dates occur.
• The Autotype Company (London): “Autotype” credit; often on mounts for British Museum subjects in the 1890s.
• W. Griggs (London): Often credited as “Chromo-Lithographer”; excellent color plates tied to museum publications.
• Mansell & Co. (London): Photographic reproductions with printed credit, sometimes on mounts.
• British Museum or “Trustees of the British Museum” imprint: May appear with departmental credit and publication date.

3. Text and typography

• Caption: “Royal Gold Cup,” “Saint Agnes Cup,” or “British Museum” often appear below the image. Multi-line captions may include inventory or exhibition details.
• Dual dates: It’s common to see two dates—one for the original photograph or copyright (e.g., 1893), another for the printing or revised edition (e.g., 1906).
• Plate numbers: Portfolios often assign plate numbers (e.g., “Plate XXIII”). These can be crucial for matching to a known set.

4. Paper and mounts

• Paper types: Heavy wove papers with watermarks such as Arches, Rives, or Van Gelder appear on finer photogravures and collotypes.
• Mounts: Many prints from the 1890s–1900s were issued mounted on stout board with printed titling; separation, cockling, or oxidized adhesive lines along the window are typical age signs.

5. Size

• Photogravures and collotypes: Commonly large folio (image heights 9–15 inches), with wider margins.
• Chromolithographs: Vary; some are smaller plates extracted from museum publications, others are large single-plate issues by Griggs.

Document every mark and measurement—they guide you to an edition and affect value.

Dating and Edition Clues: Why You See 1893 and 1906

The “1893–1906” range aligns with how institutions and publishers updated successful reproductions:

• 1893 as a baseline: Following the British Museum’s late-19th-century acquisition and display, studios created master negatives and plates around the early 1890s. First issues often carry an 1893 line for copyright or first publication.
• 1906 as a reissue or revised state: Publishers frequently reprinted popular plates after plate wear or to upgrade paper quality, changing imprints to later dates (e.g., 1906). Some photogravure plates were steel-faced to prolong life; reissues can have subtly lighter impressions.
• Mixed-date lines: You may see “© 1893” paired with “Printed 1906” or two separate lines indicating original and later states. That does not make it a modern reproduction; it simply marks a later authorized printing from the period.
• Portfolio and catalogue contexts:
  • Museum-authorized portfolios of “Masterpieces” often appeared in multiple waves (e.g., 1890s, early 1900s).
  • Deluxe museum catalogues sometimes issued a special “India paper” or “Japan paper” state around 1900–1906; those copies can command premiums.

If your print shows sharper ink deposition, a clear plate mark, and earlier typography, it may be closer to the 1893 issue. Later 1906 impressions can have slightly cleaner, more standardized titling and fresher paper but occasionally lighter tone from plate wear.

Condition Grading and Conservation Notes

Condition drives value. Grade conservatively with clear notes:

• Paper color: Even, creamy tone is expected. Browning/toning reduces value; edge toning from old mats is common.
• Foxing: Rust-colored specks, often in the margins. Light foxing is forgivable; heavy foxing in the image field depresses value substantially.
• Surface: For photogravures, look for scuffing or burnishing in dark areas. For carbon prints, check for cracking in the gelatin layer. For chromolithographs, inspect for abrasion that exposes underlayers.
• Mount issues: Acidic mounts can stain edges. Original mounts in decent shape add value if the credit line survives; badly stained mounts may warrant professional de-mounting, but only by a paper conservator.
• Tears and losses: Small margin tears are common and can be mended; losses or tears intruding into the image field are serious.
• Stamps and inscriptions: Publisher blindstamps, early collector stamps, or neat period annotations generally add credibility; modern ink stamps or pressure-sensitive tape detract.

Conservation tips:

• Avoid surface cleaning with erasers unless trained—abrasion is irreversible on gravures and carbon prints.
• Store flat in acid-free folders or frame with museum-quality mats, UV-filter glazing, and reversible hinges.
• Deacidification or foxing reduction should be entrusted to a qualified paper conservator.

Market Values and Appraisal Ranges

Values vary by technique, size, publisher, state, and condition. For the Royal Gold Cup subject in 1893–1906 prints, approximate ranges (single prints, unframed, typical retail/auction environments) are:

• Photogravure by a recognized publisher (e.g., Berlin Photographic Co., Photographische Gesellschaft), large folio, good margins: $300–$900 in very good condition; exceptional states or scarce mounts can reach $1,200+.
• Collotype or carbon print by Braun, Clément & Cie or The Autotype Company, comparable size: $250–$800; premium for crisp impressions and original mounts with intact blindstamp.
• Chromolithograph by W. Griggs or comparable top-tier color lithographer: $300–$850, depending on color quality and freshness; rare large plates can exceed $1,000.
• High-grade halftone plates extracted from deluxe museum catalogues (circa 1900–1906): $80–$250; more if on Japan/India paper issue and with full margins.
• Matched pairs or sets (e.g., obverse/reverse views of the cup): apply a set premium of 20–40% over individual values.

Factors that increase value:

• Clear, period publisher’s blindstamp and crisp imprint lines.
• Full, untrimmed margins and original mount with titling.
• Provenance to a scholarly collection or early museum sale.
• Larger formats and superior papers (Japan, India, or laid with known watermark).

Factors that decrease value:

• Trimming into the platemark or caption.
• Heavy foxing, water staining, or sun-fading.
• Later restrikes on modern paper (values drop significantly versus period impressions).
• Over-cleaning, bleaching, or non-reversible repairs.

Note: These ranges are typical for decorative-arts subject prints of this era; standout examples and rare variants can exceed them.

Selling, Insurance, and Documentation Tips

• Photograph everything: front, back, details of blindstamps, imprints, plate marks, watermarks, margins, and flaws. Include measurements of image, plate mark (if present), and sheet/mount.
• Identify the process and publisher before offering for sale; accurate listing titles (e.g., “Photogravure by Berlin Photographic Co., c. 1906”) attract the right buyers.
• Compare like with like: Use recent sales of the same publisher and process, not generic “Royal Gold Cup poster” results.
• Frame wisely: If selling, consider leaving the print unframed or in a simple archival mat to let buyers inspect margins. For insurance, provide condition notes and clear images; include a conservative valuation report.
• Beware modern reproductions: Later photomechanical posters or inkjet prints have dot or dithering patterns and lack period credits; their value is decorative only.

Practical Appraisal Checklist

• Confirm subject: “Royal Gold Cup” / “Saint Agnes Cup,” British Museum.
• Identify process: photogravure, collotype, carbon (autotype), chromolithograph, or halftone.
• Find publisher marks: Braun, Berlin Photographic Co./Photographische Gesellschaft, The Autotype Company, W. Griggs, Mansell, or British Museum imprints.
• Note dates: Is there an 1893 line, a 1906 line, or both? Record exact wording.
• Measure: image size, plate mark (if any), sheet and mount sizes.
• Inspect condition: toning, foxing, tears, abrasions, mount acidity; grade honestly.
• Check margins: full, trimmed, or cut into image/caption.
• Look for watermarks or blindstamps; photograph them in raking light.
• Research comparables: same publisher/process/size; note sale venue and date.
• Determine value range: adjust for technique, condition, and rarity; assign a conservative estimate for insurance or sale.

FAQ

Q: How can I tell the difference between a photogravure and a collotype? A: Under magnification, photogravure shows an irregular aquatint grain and often has a plate impression around the image. Collotype has a continuous tone with a fine reticulation pattern and no plate mark. Photogravures also tend to have richer, velvety blacks.

Q: My print shows both “1893” and “1906.” Is it a reprint? A: Most likely it’s a period reissue or later state from the original publisher, not a modern reproduction. The first date often indicates the original photograph or copyright; the later date indicates a reprinting or updated edition within the historical period.

Q: Does framing help or hurt value? A: Archival framing protects the print; however, for sale, many buyers prefer unframed or simply matted works to inspect margins and back. Non-archival frames and mats can cause staining and reduce value.

Q: Can foxing be removed? A: Light foxing can sometimes be reduced by a trained paper conservator. DIY methods risk abrasion or chemical damage and are not recommended. Always request a treatment proposal and test areas first.

Q: Are chromolithographs worth less than photogravures? A: Not necessarily. High-quality chromolithographs by noted printers (e.g., W. Griggs) can equal or exceed many photogravures, especially when color is fresh and registration is excellent. Technique, publisher, size, and condition all matter.

By carefully identifying process and publisher, recognizing the significance of the 1893–1906 dates, and evaluating condition with a conservator’s eye, you can arrive at a confident appraisal and position your Royal Gold Cup print effectively—whether for insurance, sale, or scholarly cataloguing.