1880 “Pink Terrace, Rotomahana” Chromolithograph

1880 “Pink Terrace, Rotomahana” Chromolithograph

Print Code: 10140

Antique Print

Image size in millimetres: 370 x 285

Very early “chromolithograph”, a photolithograph overprinted in colour. Printed by the “Phillip-Stephan Photo-litho and Typographic Process Company” in the 1880s. Shows the famous Pink Terrraces, part of the Pink & White Terraces that were destroyed by the eruption of Mt Tarawera in 1886.  There is a caption below the image on the print border "Pink Terrace: Rotomahana New Zealand".

The Phillip-Stephan Photo-Litho. & Typographic Process Company was formed in late 1887 in Australia by Samuel Phillip, a photographer, and Adam Stephan, a lithographic printer, following their registration of a patent for a process of photochromolithography. This printing process was promoted in the company prospectus as a “new discovery in the photo-litho art. Its principal and main features are: - That in a perfect, cheap, and expeditious manner any photo negative is placed upon stone, zinc, china, or other substance, giving all the delicate detail that no living artist would attempt to produce; and having done so, the stone may be worked in an ordinary litho. machine, or the zinc work may be used in a common printing press. Its incalculable worth is the commercial value of the process, which discloses an invention that will adapt itself to every branch of commerce by producing fac-similes of nature, portraits, animal life, reproductions of oil painting and water-colour, buildings (external and internal) machinery, carriages, plans, posters, almanacs, catalogue work, and manufactures of all kinds at such a price that success is assured. 

Furthermore this printing process will reproduce any coloured plan, map, or other subjects no matter in what colour painted; thus; if a plan is coloured by the surveyor and taken to the ordinary lithographer, it will have to be re drawn on the stone or transfer paper; this clearly necessitates a new drawing, which is entirely avoided by the “Phillip-Stephan” process. In ordinary drawing the artist requires a photo, or drawing, which he has to re-trace; we obviate the difficulty by placing directly on the stone. There is no necessity to keep the key stone, as the photo-negative always supplies that whenever required at a less cost than one shilling, hence the great outlay required by ordinary lithography is avoided, and a great pecuniary saving is the result.”

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