Anna Atkins's Ptilota plumosa cyanotype as a 50 × 70 cm giclée print, unframed, 25 cm above a 140 cm oak sideboard

Fine art prints · Free shipping worldwide

Museum plates,
printed whole

Giclée prints on 200 gsm fine art paper, made from the institutions’ own open-access files. Every listing names the source, the file and the exact size.

Browse the prints

The collections

Four bodies of work, each with its own reason for being here.
Hokusai, Under the Wave off Kanagawa — Japanese woodblock prints at Museartis

Japanese Woodblock Prints

Dürer's Rhinoceros — natural history prints at Museartis

Natural History

Anna Atkins cyanotype — early photography at Museartis

Photography

Edvard Munch, Starry Night — paintings at Museartis

Paintings

The prints

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Albrecht Dürer, The Rhinoceros, 1515 — the woodcut sheet reproduced whole, the armoured animal in profile under the eight lines of German letterpress

Albrecht Dürer – The Rhinoceros, 1515 | Giclée Print

Albrecht Dürer – The Rhinoceros, 1515 | Giclée Print
CHF 49.00
Andreas Cellarius, Planisphaerium Copernicanum, plate 4 of the Harmonia Macrocosmica, Amsterdam 1661 — the whole plate as printed

Andreas Cellarius – Planisphaerium Copernicanum, 1661 | Giclée Print

Andreas Cellarius – Planisphaerium Copernicanum, 1661 | Giclée Print
CHF 59.00
Andreas Cellarius, Planisphaerium Ptolemaicum, plate 1 of the Harmonia Macrocosmica, Amsterdam 1661 — the whole plate as printed

Andreas Cellarius – Planisphaerium Ptolemaicum, 1661 | Giclée Print

Andreas Cellarius – Planisphaerium Ptolemaicum, 1661 | Giclée Print
CHF 59.00
Anna Atkins and Anne Dixon, Achrosticum simplex, Jamaica, 1853 — two undivided fern blades on curving stalks, white on Prussian blue, with the handwritten species name

Anna Atkins & Anne Dixon – Achrosticum simplex, 1853 | Giclée Print

Anna Atkins & Anne Dixon – Achrosticum simplex, 1853 | Giclée Print
CHF 49.00
Anna Atkins and Anne Dixon, Aspidium trifoliatum, Jamaica, 1853 — a broad three-lobed fern leaf as a white silhouette on Prussian blue, with the handwritten species name

Anna Atkins & Anne Dixon – Aspidium trifoliatum, 1853 | Giclée Print

Anna Atkins & Anne Dixon – Aspidium trifoliatum, 1853 | Giclée Print
CHF 49.00
Anna Atkins and Anne Dixon, Athyrium molle, 1853 — the fern cyanotype reproduced whole, a white frond on Prussian blue with the handwritten species name at the foot

Anna Atkins & Anne Dixon – Athyrium molle, 1853 | Giclée Print

Anna Atkins & Anne Dixon – Athyrium molle, 1853 | Giclée Print
CHF 49.00
Anna Atkins and Anne Dixon, Onoclea sensibilis, New Jersey, 1853 — the sensitive fern as a single broad white frond on Prussian blue, with the handwritten species name

Anna Atkins & Anne Dixon – Onoclea sensibilis, 1853 | Giclée Print

Anna Atkins & Anne Dixon – Onoclea sensibilis, 1853 | Giclée Print
CHF 49.00
Anna Atkins and Anne Dixon, Osmunda regalis, 1853 — a frond of the royal fern as a white silhouette on Prussian blue, with the handwritten species name

Anna Atkins & Anne Dixon – Osmunda regalis, 1853 | Giclée Print

Anna Atkins & Anne Dixon – Osmunda regalis, 1853 | Giclée Print
CHF 49.00

What you get

From the source. Every print starts from the holding institution’s own high-resolution open-access file — never from a re-scan, a screenshot or an upscale. The listing names the file and the institution.

The plate, whole. Plate marks, paper tone and the artist’s handwriting stay in. Only the museum’s mount around the sheet is trimmed away, and nothing is retouched or colour-corrected.

Two honest sizes. One format shows the work at its original size, 1:1. The other enlarges it. Both are stated in centimetres and inches, with the resolution at that size.

200 gsm fine art paper. Giclée, unframed, with a white border sized to the optical centre. Printed in the production house nearest you and shipped rolled in a tube — free, worldwide.

Chosen by an art historian, not an algorithm

Museartis is run by Dr Walther Fuchs, an art historian trained at the University of Zurich, with three decades spent among photographic and print collections. Every sheet on this site was chosen by hand and had to pass five tests before it was printed — documented origin, sufficient resolution, a clean rights position, a size that can be stated honestly, and a reason to hang it.

Read the five criteria  ·  About Museartis

Notes

Rembrandt's The Three Trees as a giclée print at the original plate size, unframed, hung above a sideboard in a domestic interior

The Radical Act of Hanging a Copy on Your Wall

|Walther Fuchs
In an art world driven by market hype and museum crowds, living with a meticulously crafted reproduction isn't a compromise. It might be the purest way to actually see.
Rembrandt, The Three Trees, 1643 — the etching reproduced whole to the platemark

What a Reproduction Was For

|Walther Fuchs
A reproduction of Rembrandt's Three Trees, inherited from a great-uncle, and the argument it makes: reproductions were once an instrument of education, nobody apologised for them, and the thing that...
A papyrus fragment with lines from Homer's Odyssey, written in Egypt around 285–250 BCE, shown whole and in detail

A Papyrus We Cannot Print

|Walther Fuchs
The Metropolitan Museum has a fragment of the Odyssey written around 285–250 BCE. We measured it as a print and decided against it — here is the arithmetic, and what...