A Cabinet des Estampes is more than a shop; it is a dedicated sanctuary for the printed leaf. Historically, these rooms were the private domains of scholars and aristocrats—spaces where the tactile history of the world was preserved in ink, woodcut, and copperplate.
Our collection is anchored in this tradition. We do not deal in mass-produced reproductions or fleeting trends. Instead, we source ‘physical history’—from the rigorous geometry of rare woodcuts to the avant-garde spirit of the Belle Époque.
Every piece in our Cabinet is hand-selected for its graphic power and historical resonance. Whether it is a 19th-century satirical lithograph from Cocorico or an 18th-century playing card, we prioritise the ‘Objecthood’ of the print. Our mission is to bridge the gap between the archival prestige of institutions like the BnF and the modern collector’s home.
We invite you to explore, to collect, and to become a temporary steward of these paper treasures.
The Cabinet des Estampes is the result of a lifelong intersection between technical discipline and artistic passion.
With a background in Engineering and a career leading medical technology, my approach to art has always been defined by a deep respect for precision, material integrity, and the ‘state’ of the object. My formal studies in Art History and Printmaking in Canada, followed by specialised training in Art Restoration in London, provided the foundational skills required to transition from a mere admirer of paper to a disciplined steward of it.
What began as a private pursuit—sourcing rare woodcuts and Belle Époque lithographs from auctions and private dealers across Europe—has grown into this curated Cabinet. My process is rooted in the ‘Research and Development’ mindset: I am committed to the rigorous identification of editions, the verification of provenance, and the detection of authenticity.
While the Cabinet is a personal passion project, the standards of care are professional. Every piece in this collection is handled, stored, and prepared using archival, acid-free materials and museum-grade techniques.
I do not view these prints merely as inventory, but as historical artifacts that deserve a place in a well-considered home. My goal is to share my eye for the ‘exceptional’ with fellow collectors and designers who value both the beauty of the Belle Époque and the precision of our limited editions.
Every print that leaves the Cabinet is prepared to museum-grade standards. This is not a marketing claim—it is an engineering discipline applied to the care of paper.
Each print is examined under raking light and magnification to confirm the state and condition before listing and again before dispatch.
We use only pH-neutral, acid-free mounting boards and museum-grade hinge tapes. No adhesive ever touches the print surface.
Engineering-grade protection. Prints are shipped in heavy-duty, moisture-resistant archival packaging to ensure they arrive in the exact state they left the Cabinet.
“Every piece in this collection is handled, stored, and prepared using archival, acid-free materials and museum-grade techniques.”
