{"title":"All Prints","description":"\u003cp\u003eEvery Museartis giclée print, unframed and shipped rolled.\u003c\/p\u003e","products":[{"product_id":"albrecht-durer-the-rhinoceros-1515-giclee-print","title":"Albrecht Dürer – The Rhinoceros, 1515 | Giclée Print","description":"\u003cp\u003eIn May 1515 a rhinoceros arrived in Lisbon, a gift from the Sultan of Cambay to King Manuel I of Portugal. Word travelled north with a letter and a rough sketch. Dürer, in Nuremberg, never laid eyes on the animal. He cut this woodcut from the description alone.\u003c\/p\u003e\n\u003cp\u003eHe got things wrong. The plates of skin become riveted armour. A second small horn sprouts from the shoulder. The legs are scaled like a lizard's. And none of it mattered: for the next two hundred and fifty years, European schoolbooks drew their rhinoceros from this sheet rather than from life. It outlasted the animal itself, which drowned off the Italian coast on its way to the Pope.\u003c\/p\u003e\n\u003cp\u003eIt is the finest example I know of an image defeating a fact — and a reminder that a picture can be wrong and still be true to the thing it wants to show.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\nMost print shops stretch any image onto any sheet without comment. We do not. This sheet is offered at the size Dürer cut it, and once enlarged, with the factor named.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAlbrecht Dürer (1471–1528), \u003cem\u003eThe Rhinoceros\u003c\/em\u003e, 1515; woodcut with letterpress, image 23.8 × 30.1 cm.\u003cbr\u003e\nThe Cleveland Museum of Art, John L.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-durer-rhinoceros\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/the-rhinoceros-durer-never-saw\"\u003eThe Rhinoceros Dürer Never Saw\u003c\/a\u003e · \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 30 cm \/ 15.7 × 11.8 in — Original size, 1:1","offer_id":65758331306333,"sku":"MUS-001-4030","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Enlarged, 1.4× original","offer_id":65742209548637,"sku":"MUS-001-5040","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-durer-rhinoceros-plate.jpg?v=1788192563"},{"product_id":"john-james-audubon-american-flamingo-1838-giclee-print","title":"John James Audubon – American Flamingo, 1838 | Giclée Print","description":"\u003cp\u003eAudubon drew the American Flamingo in 1838, near the end of \u003cem\u003eThe Birds of America\u003c\/em\u003e. The bird stands over four feet tall. The page he was working to — the double elephant folio, the largest book anyone had seriously attempted — measured about thirty-nine inches by twenty-six. It was not enough.\u003c\/p\u003e\n\u003cp\u003eSo he bent the bird. The flamingo lowers its head to the water in a curve that fills the sheet corner to corner, neck folded back on itself, the whole animal compressed into the only rectangle available. It is a solution to a printing problem, and it produced one of the most recognisable images in ornithology.\u003c\/p\u003e\n\u003cp\u003eAbove the bird, small and precise, Audubon set nine studies: the beak seen from several angles and opened in section, and the webbed foot. He was a hunter and a showman, but he was also keeping notes.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\nMost print shops stretch any image onto any sheet without comment. We do not. Audubon's folio is larger than any sheet we print, so this one goes the other way: both sizes are reductions, and the factor is named.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone and hand-colouring of the original are kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eJohn James Audubon (1785–1851), \u003cem\u003eAmerican Flamingo; Greater Flamingo\u003c\/em\u003e, Plate CCCCXXXI from \u003cem\u003eThe Birds of America\u003c\/em\u003e, London 1827–1838; hand-coloured aquatint engraving after the watercolour of 1838, engraved, printed and coloured by Robert Havell Jr., sheet 97.2 × 65.1 cm \/ 38.25 × 25.625 in.\u003cbr\u003e\nDarlington Collection, Archives \u0026amp; Special Collections, University of Pittsburgh Library System, pitt:aud0431.\u003cbr\u003e\nThe work is in the public domain worldwide; the University of Pittsburgh publishes its digitisation under the rights statement “No Copyright – United States”.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-audubon-american-flamingo\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Reduced, 0.59× original","offer_id":65758548132189,"sku":"MUS-003-5070","price":89.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 100 cm \/ 27.6 × 39.4 in — Reduced, 0.82× original","offer_id":65742269579613,"sku":"MUS-003-70100","price":129.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/audubon-american-flamingo-1838-giclee-print.webp?v=1788128631"},{"product_id":"anna-atkins-dictyota-dichotoma-1853-giclee-print","title":"Anna Atkins – Dictyota dichotoma, 1853 | Giclée Print","description":"\u003cp\u003eAnna Atkins made this image without a camera. She laid a piece of dried seaweed on paper coated with iron salts, put it in the sun, and rinsed it in water. What the plant covered stayed white. Everything else turned Prussian blue.\u003c\/p\u003e\n\u003cp\u003eShe did this several thousand times. Between 1843 and 1853 she produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs, published eight months before Talbot's \u003cem\u003ePencil of Nature\u003c\/em\u003e. Perhaps twenty-five copies were ever assembled, each plate printed by hand, each caption written by hand.\u003c\/p\u003e\n\u003cp\u003eShe was a botanist, not an artist, and the intention was documentary: a visual key to species that line engraving rendered badly. The result is something else. A brown-branched alga on white paper is a specimen. The same alga as a white silhouette on deep blue is a drawing made by the plant itself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in — The New York Public Library\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 2.03× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003eDictyota dichotoma, in the young state; and in fruit\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003cbr\u003e\nThe New York Public Library, Spencer Collection — the copy presented to Sir John Herschel.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-dictyota-dichotoma\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65752620237149,"sku":"MUS-004-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65752620269917,"sku":"MUS-004-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dictyota-plate-v2.jpg?v=1788200361"},{"product_id":"anna-atkins-ptilota-plumosa-1853-giclee-print","title":"Anna Atkins – Ptilota plumosa, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003ePtilota plumosa\u003c\/em\u003e is a red alga that grows in fine, opposite branches, like a feather cut from wire. Under the sun, on iron-salted paper, it left this: a white plume on Prussian blue, every side branch separated, nothing drawn.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on coated paper, exposed it to daylight and rinsed it in water. Between 1843 and 1853 she did this several thousand times and produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs. Perhaps twenty-five copies were ever assembled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in — The New York Public Library\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.95× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003ePtilota plumosa\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003cbr\u003e\nThe New York Public Library, Spencer Collection — the copy presented to Sir John Herschel.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-ptilota-plumosa\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65752625676637,"sku":"MUS-005-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65752625774941,"sku":"MUS-005-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-ptilota-plate-v2.jpg?v=1788200361"},{"product_id":"anna-atkins-delesseria-hypoglossum-1853-giclee-print","title":"Anna Atkins – Delesseria hypoglossum, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eDelesseria hypoglossum\u003c\/em\u003e grows in thin translucent blades, one leaf springing from the midrib of the last. Laid on sensitised paper and left in the sun, it printed as a chain of pale leaves — a plant that looks drawn, and was not.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on coated paper, exposed it to daylight and rinsed it in water. Between 1843 and 1853 she did this several thousand times and produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs. Perhaps twenty-five copies were ever assembled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in — The New York Public Library\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 2.05× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003eDelesseria hypoglossum\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003cbr\u003e\nThe New York Public Library, Spencer Collection — the copy presented to Sir John Herschel.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-delesseria-hypoglossum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65752625709405,"sku":"MUS-006-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65752625807709,"sku":"MUS-006-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-delesseria-plate-v2.jpg?v=1788200361"},{"product_id":"attributed-to-felix-thiollier-lady-and-horse-in-the-snow-1899-giclee-print","title":"Attributed to Félix Thiollier – Lady and Horse in the Snow, 1899 | Giclée Print","description":"\u003cp\u003eA woman in a long dark coat walks away from us across a snow-covered paddock, a thin whip trailing from her right hand. Behind her a dark horse breaks into a gallop along the rail. Bare trees stand in the falling snow, and the light is so flat that everything except the two dark shapes dissolves into grey.\u003c\/p\u003e\n\u003cp\u003eIt is an ordinary working moment — a horse being exercised on a winter morning — held with the compositional care of a painting. Two black silhouettes on an almost white field, placed off centre, moving apart. Nothing in the picture explains itself.\u003c\/p\u003e\n\u003cp\u003eThe photograph is generally published as the work of Félix Thiollier (1842–1914) and dated 1899. Thiollier was a Saint-Étienne industrialist who left business early for art and archaeology, taught himself photography, and spent more than twenty years photographing the Forez — its monuments, its ruins, its people and above all its weather — leaving some three to four thousand negatives. He composed like a painter: deliberate framing, subdued light, deep texture. His descendants gave the surviving archive to the Musée d'art moderne et contemporain de Saint-Étienne Métropole in 2024.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks, in the warm grey of the surviving print rather than converted to neutral black and white.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 30 cm \/ 11.8 × 11.8 in\u003c\/strong\u003e — image 24 × 24 cm\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The warm tone of the surviving print is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAttributed to Félix Thiollier (1842–1914), \u003cem\u003eLady and Her Horse on a Snowy Day\u003c\/em\u003e, 1899; photograph.\u003cbr\u003e\nPrivate collection; no inventory number.\u003cbr\u003e\nPublic domain: the photograph is well over a century old and free in every market this shop serves, whoever made it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-thiollier-lady-and-horse\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 30 cm \/ 11.8 × 11.8 in — Image 24 × 24 cm","offer_id":65754118586717,"sku":"MUS-007-3030","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-thiollier-lady-and-horse-plate.jpg?v=1788171997"},{"product_id":"anna-atkins-polysiphonia-fastigiata-1853-giclee-print","title":"Anna Atkins – Polysiphonia fastigiata, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003ePolysiphonia fastigiata\u003c\/em\u003e grows in dense tufts on the wracks of the North Atlantic, each frond a bundle of parallel tubes no thicker than a hair. Five of them lie on this sheet. The light did the rest — no line was drawn.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on coated paper, exposed it to daylight and rinsed it in water. Between 1843 and 1853 she did this several thousand times and produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs. Perhaps twenty-five copies were ever assembled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in — The New York Public Library\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.97× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003ePolysiphonia fastigiata\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003cbr\u003e\nThe New York Public Library, Spencer Collection — the copy presented to Sir John Herschel.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-polysiphonia-fastigiata\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65755226538333,"sku":"MUS-008-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65755227226461,"sku":"MUS-008-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-polysiphonia-plate-v2.jpg?v=1788200377"},{"product_id":"anna-atkins-zygnema-curvatum-1853-giclee-print","title":"Anna Atkins – Zygnema curvatum, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eZygnema curvatum\u003c\/em\u003e is a freshwater alga of ponds and slow ditches — a mat of green threads so fine that a handful feels like wet silk. Dried and laid on the sensitised paper, it printed as one luminous mass, closer to a cloud than to a plant. It is the least plant-like picture in the whole album, and the most modern.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on coated paper, exposed it to daylight and rinsed it in water. Between 1843 and 1853 she did this several thousand times and produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs. Perhaps twenty-five copies were ever assembled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in — The New York Public Library\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 2.05× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003eZygnema curvatum\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003cbr\u003e\nThe New York Public Library, Spencer Collection — the copy presented to Sir John Herschel.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-zygnema-curvatum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65755226833245,"sku":"MUS-009-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65755227259229,"sku":"MUS-009-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-zygnema-plate-v2.jpg?v=1788200378"},{"product_id":"hokusai-great-wave-off-kanagawa-giclee-print","title":"Katsushika Hokusai – Under the Wave off Kanagawa (The Great Wave), 1830–33 | Giclée Print","description":"\u003cp\u003eA wave the height of a house is about to fall. Under its claw three fast boats of oarsmen bend flat to the hulls, and far away, small and calm, stands Mount Fuji. The mountain is the subject; the wave is only weather. That reversal is why the sheet has never stopped working.\u003c\/p\u003e\n\u003cp\u003eHokusai was around seventy when he made it, the first sheet of \u003cem\u003eThirty-six Views of Mount Fuji\u003c\/em\u003e. The deep blue was new — Prussian blue, freshly imported and cheap enough for a commercial print run — and he used it for water, sky and outline alike. Impressions were pulled by the thousand and sold for the price of a bowl of noodles. Fewer than a hundred early ones are known today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of the Art Institute of Chicago's impression, printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 25.4 × 37.6 cm \/ 10 × 14.8 in — The Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.6× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eKatsushika Hokusai (1760–1849), \u003cem\u003eUnder the Wave off Kanagawa (Kanagawa oki nami ura)\u003c\/em\u003e, also known as \u003cem\u003eThe Great Wave\u003c\/em\u003e, from the series \u003cem\u003eThirty-six Views of Mount Fuji (Fugaku sanjūrokkei)\u003c\/em\u003e, 1830–33; colour woodblock print (nishiki-e), ōban yoko-e, ink and colour on paper, 25.4 × 37.6 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Clarence Buckingham Collection, Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-great-wave\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Original size, 1:1","offer_id":65756452520285,"sku":"MUS-010-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Enlarged, 1.6× original","offer_id":65756458516829,"sku":"MUS-010-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hokusai-great-wave-plate-v2.jpg?v=1788190974"},{"product_id":"hiroshige-sudden-shower-shin-ohashi-bridge-giclee-print","title":"Utagawa Hiroshige – Sudden Shower over Shin-Ōhashi Bridge and Atake, 1857 | Giclée Print","description":"\u003cp\u003eRain is drawn as rain: thousands of straight black lines cut across the sheet at two slightly different angles, printed from two blocks so the downpour crosses itself. Below it people run over a wooden bridge with mats and umbrellas over their heads, and a raft drifts on grey water. Nobody looks up.\u003c\/p\u003e\n\u003cp\u003eHiroshige made it in 1857, the year before he died, for \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e. Thirty-odd years later Vincent van Gogh copied it in oil, line for line, and added a red border of invented Japanese characters. He was not quoting a famous picture — at the time it was a cheap sheet from a print shop.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of the Art Institute of Chicago's impression, printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 37 × 25.4 cm \/ 14.6 × 10 in — The Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.7× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eSudden Shower over Shin-Ōhashi Bridge and Atake (Ōhashi Atake no yūdachi)\u003c\/em\u003e, from the series \u003cem\u003eOne Hundred Famous Views of Edo (Meisho Edo hyakkei)\u003c\/em\u003e, 1857; colour woodblock print (nishiki-e), ōban tate-e, ink and colour on paper, 37 × 25.4 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Mary and Earle Ludgin Collection, Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-sudden-shower\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65756457369949,"sku":"MUS-011-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65756458549597,"sku":"MUS-011-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-sudden-shower-plate-v2.jpg?v=1788190974"},{"product_id":"hiroshige-maples-at-mama-giclee-print","title":"Utagawa Hiroshige – Maples at Mama, 1857 | Giclée Print","description":"\u003cp\u003eRed maple leaves hang across the whole top of the sheet, so close that the branch is cut off by the frame. Underneath, far below and very small, a teahouse, a pine, the roofs of the Tekona shrine and a strip of water. The eye is put where a person standing under the tree would have it — a piece of framing so modern it looks like a photograph taken by accident.\u003c\/p\u003e\n\u003cp\u003eHiroshige made it in the first month of 1857 for \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, his last great series. Mama, in what is now Chiba, was a half-day trip from the city and famous for its autumn colour. The deep red is a printed gradation, wiped onto the block by hand before each pull, so no two impressions are quite alike.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal sheet: 35.5 × 24.2 cm \/ 14.0 × 9.5 in — Minneapolis Institute of Art\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 21.09 × 32.36 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eMaples at Mama (Mama no momiji)\u003c\/em\u003e, from the series \u003cem\u003eOne Hundred Famous Views of Edo (Meisho Edo hyakkei)\u003c\/em\u003e, 1857, 1st month; colour woodblock print, ōban, 35.5 × 24.2 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-maples-at-mama\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65756457402717,"sku":"MUS-012-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-012_MaplesAtMama_plate_v2.jpg?v=1788244357"},{"product_id":"hiroshige-asakusa-ricefields-cat-giclee-print","title":"Utagawa Hiroshige – Asakusa Ricefields and Torinomachi Festival, 1857 | Giclée Print","description":"\u003cp\u003eA white cat sits on a windowsill with its back to us, looking out. Beyond the lattice: rice fields, a line of low roofs, geese in the sky and Mount Fuji, small and pale. On the sill behind the cat lie a hairpin and a folded paper — the room is a brothel in the Yoshiwara, and the guest has left at dawn.\u003c\/p\u003e\n\u003cp\u003eHiroshige tells the whole story by leaving the people out. It is the most quietly modern picture in the series: a framed view, a foreground object cut off by the edge, an animal standing in for everyone who is not shown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 35.9 × 24.8 cm \/ 14.1 × 9.8 in — Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.7× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eAsakusa Ricefields and Torinomachi Festival (Asakusa tanbo Torinomachi mōde)\u003c\/em\u003e, from the series \u003cem\u003eOne Hundred Famous Views of Edo (Meisho Edo hyakkei)\u003c\/em\u003e, 1857; colour woodblock print, ōban, 35.9 × 24.8 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Gift of Chester W.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-asakusa-ricefields\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65757020553565,"sku":"MUS-013-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65757021962589,"sku":"MUS-013-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-asakusa-ricefields-plate.jpg?v=1788193710"},{"product_id":"hiroshige-plum-garden-kameido-giclee-print","title":"Utagawa Hiroshige – Plum Garden at Kameido, 1857 | Giclée Print","description":"\u003cp\u003eA plum trunk stands hard against the picture plane, so close that it is out of focus in the mind's eye, and the garden — visitors, fences, a hundred more trees in flower — is pushed far behind it. The sky is a flat band of red shading to white. Nothing recedes the way European pictures recede.\u003c\/p\u003e\n\u003cp\u003eVincent van Gogh copied this sheet in oil in 1887 and framed his copy with invented Japanese characters. He was not quoting a masterpiece; it was a cheap print he had bought by the bundle. What he was after is exactly what stops you here: a foreground that refuses to get out of the way.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 34.9 × 23.9 cm \/ 13.7 × 9.4 in — Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.8× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003ePlum Garden at Kameido (Kameido Umeyashiki)\u003c\/em\u003e, from the series \u003cem\u003eOne Hundred Famous Views of Edo (Meisho Edo hyakkei)\u003c\/em\u003e, 1857; colour woodblock print, ōban, 34.9 × 23.9 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Gift of Mr. and Mrs.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-plum-garden-kameido\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65757020651869,"sku":"MUS-014-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.8× original","offer_id":65757022093661,"sku":"MUS-014-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-plum-garden-kameido-plate-v4.jpg?v=1788335348"},{"product_id":"hiroshige-shono-driving-rain-giclee-print","title":"Utagawa Hiroshige – Shōno: Driving Rain, c. 1833 | Giclée Print","description":"\u003cp\u003eRain falls in two directions at once. Hiroshige printed it from two separate blocks, one set of lines crossing the other at a different angle, so the shower reads as wind rather than weather. Nothing in the picture is still: the bamboo grove bends away up the slope, the hillside behind is a wash of grey with no outline at all, and the path itself tilts.\u003c\/p\u003e\n\u003cp\u003eTwo groups pass each other going opposite ways, and neither looks up. Bearers carry a covered kago uphill; below them a man runs with a straw cape over his head and another has turned his umbrella into a roof. The umbrella carries the publisher's advertisement — Hiroshige put the shop's name in the middle of the storm, which is either commerce or a joke.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\nThe sheet Hiroshige printed measures 24.2 × 36.2 cm. What we reproduce is the picture inside it, trimmed to a clean rectangle — see the note below.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The tone of the aged paper is kept, not corrected away. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eShōno: Driving Rain (Shōno hakuu)\u003c\/em\u003e, from the series \u003cem\u003eFifty-three Stations of the Tōkaidō (Tōkaidō gojūsan tsugi no uchi)\u003c\/em\u003e, also known as the Hōeidō Tōkaidō, c. 1833–34; colour woodblock print, ōban yoko-e, 24.2 × 36.2 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Clarence Buckingham Collection, Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-shono-driving-rain\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Original size, 1:1","offer_id":65758999544157,"sku":"MUS-015-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Enlarged, 1.8× original","offer_id":65758999576925,"sku":"MUS-015-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-shono-plate-v2.jpg?v=1788243833"},{"product_id":"hiroshige-enoshima-caves-giclee-print","title":"Utagawa Hiroshige – Sagami Province: The Caves at Enoshima, 1853 | Giclée Print","description":"\u003cp\u003eLow tide at Enoshima. The sea has drawn back far enough to walk in, and Hiroshige puts us down at the waterline, looking up at the eroded rock and into the dark mouth of the cave. Above the cliff, a few wind-bent pines; across the bay, Mount Fuji, pale and small under a band of early pink.\u003c\/p\u003e\n\u003cp\u003eThe caves — \u003cem\u003eiwaya\u003c\/em\u003e — were the reason people made the crossing to the island: inside was a shrine to Benzaiten, and it could be reached only when the tide allowed. Hiroshige leaves the pilgrims out. What is left is water, rock and the black opening, stacked up the tall sheet of the ōban format he used throughout this series.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 37 × 25.3 cm \/ 14.6 × 10.0 in — Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.7× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eSagami Province: Entrance to the Caves at Enoshima (Sagami, Enoshima iwaya no kuchi)\u003c\/em\u003e, from the series \u003cem\u003eFamous Places in the Sixty-odd Provinces (Rokujūyoshū meisho zue)\u003c\/em\u003e, 1853; colour woodblock print, ōban, 37 × 25.3 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Gift of Mr. and Mrs.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-enoshima-caves\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65761681342813,"sku":"MUS-016-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65761681375581,"sku":"MUS-016-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-enoshima-caves-plate-v4.jpg?v=1788335391"},{"product_id":"hiroshige-mount-daisen-ono-giclee-print","title":"Utagawa Hiroshige – Hōki Province: Distant View of Mount Daisen from Ono, 1853 | Giclée Print","description":"\u003cp\u003eRain over the rice fields at Ono. Hiroshige rules the whole sheet with fine diagonal lines — the woodblock shorthand for rain, each stroke cut into the block by hand — and behind them Mount Daisen stands flat and grey-blue, more a presence than a mountain.\u003c\/p\u003e\n\u003cp\u003eIn the paddies below, people go on working under wide hats, bent over the flooded terraces, while a line of dark pines holds the middle distance. It is the least dramatic subject in the series and one of the best: weather, distance and labour, held in three bands of colour.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 33 × 22.2 cm \/ 13.0 × 8.7 in — Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.8× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eOno, Distant View of Mount Daisen in Hōki Province (Hōki, Ono, Daisen enbō)\u003c\/em\u003e, from the series \u003cem\u003eFamous Places in the Sixty-odd Provinces (Rokujūyoshū meisho zue)\u003c\/em\u003e, 1853; colour woodblock print, ōban, 33 × 22.2 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Frederick W.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-mount-daisen\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65761699856733,"sku":"MUS-017-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.8× original","offer_id":65761699889501,"sku":"MUS-017-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-mount-daisen-plate-v4.jpg?v=1788335435"},{"product_id":"hiroshige-peacock-and-peonies-giclee-print","title":"Utagawa Hiroshige – Peacock and Peonies, 1830s | Giclée Print","description":"\u003cp\u003eA peacock stands in a bank of peonies, its tail running up the right edge of the sheet and out of the picture. The format is \u003cem\u003eōtanzaku\u003c\/em\u003e — a tall, narrow panel of about 38 by 17.5 centimetres, the shape used for poem-slips and for pictures meant to hang in the narrow space between two posts.\u003c\/p\u003e\n\u003cp\u003eHiroshige is remembered for landscapes, but he made hundreds of bird-and-flower panels like this one, and they are the sheets in which his colour is boldest: a flat teal ground, the pink of the peonies laid on in two strengths, the eyes of the tail feathers printed in a blue that still reads as metal. The poem in the upper left belongs to the design, not to the catalogue.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 38 × 17.5 cm \/ 15.0 × 6.9 in — ōtanzaku, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 17.12 × 37.22 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — enlarged, 1.7× original. Image 28.52 × 62.00 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003ePeacock and Peonies\u003c\/em\u003e, 1830s; colour woodblock print, ōtanzaku, 38 × 17.5 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Clarence Buckingham Collection, Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-peacock-and-peonies\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65761862648157,"sku":"MUS-018-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65761862680925,"sku":"MUS-018-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-018_PeacockPeonies_plate.jpg?v=1788246145"},{"product_id":"lips-odysseus-gates-of-hades-giclee-print","title":"Johann Heinrich Lips – Odysseus at the Gates of Hades, 1785 | Giclée Print","description":"\u003cp\u003eOdysseus has dug the pit at the edge of the world and poured the offering, and the dead have come up to it. He stands with his sword drawn — in Homer he keeps the shades back from the blood until the seer Tiresias has spoken. At his feet a veiled woman reaches towards him: his mother Anticlea, who died while he was away and whom he may not touch. Behind her the armed dead wait their turn; at the left the crowd of shades presses in, drawn in thin brown ink and left half-finished, as though they were not quite there.\u003c\/p\u003e\n\u003cp\u003eIt is Book 11 of the \u003cem\u003eOdyssey\u003c\/em\u003e, the passage that gave the underworld to European literature. Lips drew it in 1785 in pen and brown ink over grey wash, with ruled framing lines — a finished sheet, not a study, of the kind an engraver made when the print was the point.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks — not a drawing, and not sold as one. The original is a unique sheet in Chicago.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 45.4 × 67 cm \/ 17.9 × 26.4 in — Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e100 × 70 cm \/ 39.4 × 27.6 in\u003c\/strong\u003e — original size, 1:1. Image 67.54 × 46.41 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — reduced, 0.87× original. Image 58.80 × 40.41 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eJohann Heinrich Lips (Swiss, 1758–1817), \u003cem\u003eOdysseus, at the Doors of Hades, Meets the Shades of Tiresias and Anticlea\u003c\/em\u003e, 1785; pen and brown ink and black ink wash, with brown ink wash, on blued-white laid paper, 45.4 × 67 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Margaret Day Blake Endowment Fund, Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-lips-odysseus-hades\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/a-papyrus-we-cannot-print\"\u003eA Papyrus We Cannot Print\u003c\/a\u003e · \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Reduced, 0.87× original","offer_id":65761995260253,"sku":"MUS-019-7050","price":89.0,"currency_code":"CHF","in_stock":true},{"title":"100 × 70 cm \/ 39.4 × 27.6 in — Original size, 1:1","offer_id":65761995293021,"sku":"MUS-019-10070","price":129.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-019_OdysseusHades_plate.jpg?v=1788247743"},{"product_id":"hiroshige-sparrows-camellia-snow-giclee-print","title":"Utagawa Hiroshige – Sparrows and Camellia in Snow, c. 1831–33 | Giclée Print","description":"\u003cp\u003eTwo sparrows drop through falling snow past a camellia branch, its leaves loaded and its flowers still open. The format is \u003cem\u003eōtanzaku\u003c\/em\u003e — a tall, narrow panel of about 38 by 17.3 centimetres, the shape used for poem-slips and for pictures meant to hang in the narrow space between two posts.\u003c\/p\u003e\n\u003cp\u003eHiroshige is remembered for landscapes, but he made hundreds of bird-and-flower panels like this one. The snow in them is not painted on: it is the paper itself, left unprinted — the drift on each leaf, the breasts of the birds, the flakes in the air. The picture is built out of what the blocks were cut to leave alone.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOriginal: 38 × 17.3 cm \/ 15.0 × 6.8 in — ōtanzaku, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 16.96 × 37.18 cm.\u003cbr\u003e\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — enlarged, 1.7× original. Image 28.28 × 62.00 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003eGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eSparrows and Camellia in Snow\u003c\/em\u003e, c. 1831–33; colour woodblock print, ōtanzaku, 38 × 17.3 cm.\u003cbr\u003eThe Art Institute of Chicago, Gift of H.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-sparrows-camellia\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65762086224221,"sku":"MUS-020-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65762086256989,"sku":"MUS-020-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-020_SparrowsCamellia_plate_v2.jpg?v=1788321992"},{"product_id":"hiroshige-wild-duck-in-snow-giclee-print","title":"Utagawa Hiroshige – Wild Duck in Snow, 1830s | Giclée Print","description":"\u003cp\u003eA wild duck swims along a snow-covered bank. Above it the reeds bend under their own load of snow; below, the water is a deep, even blue with white flakes falling across it. The bird is the only warm thing in the picture — buff and brown against the cold — and it is drawn with the economy of someone who had watched ducks for a long time.\u003c\/p\u003e\n\u003cp\u003eThe format is \u003cem\u003eōtanzaku\u003c\/em\u003e, a tall narrow panel of about 38 by 17 centimetres, the shape used for poem-slips and for pictures hung in the narrow space between two posts. The snow is not painted on: it is the bare paper, left unprinted, with the blue laid around it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 38.2 × 17 cm \/ 15.0 × 6.7 in — ōtanzaku, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 16.63 × 37.35 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — enlarged, 1.7× original. Image 27.61 × 62.00 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eA Wild Duck Swimming by a Snow-covered Bank beneath Snow-laden Reeds\u003c\/em\u003e, 1830s; colour woodblock print, ōtanzaku, 38.2 × 17 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Clarence Buckingham Collection, Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-wild-duck-in-snow\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65762950316381,"sku":"MUS-021-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65762950349149,"sku":"MUS-021-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-021_WildDuckSnow_plate.jpg?v=1788250467"},{"product_id":"munch-starry-night-giclee-print","title":"Edvard Munch – Starry Night, 1893 | Giclée Print","description":"\u003cp\u003eIn the summer of 1893 Edvard Munch was painting at Åsgårdstrand, the small beach resort south of Oslo where he spent his summers from the 1880s onward. \u003cem\u003eStarry Night\u003c\/em\u003e is that coastline after dark. The abstract mound at the right is a clump of linden trees; a white fence runs diagonally in front of it; the shoreline is drawn with a single undulating line that continues up into the branches. Stars reflect in the water, and a flash of light shines out of the trees.\u003c\/p\u003e\n\u003cp\u003eThe picture was painted in the same year as the first version of \u003cem\u003eThe Scream\u003c\/em\u003e, and it shows the other half of the same ambition. Munch was after the emotion the night calls up rather than its picturesque qualities, and the blue carries it. The vaguely defined shape on the fence may be the shadow of two lovers — a motif that recurs throughout his work. Some passages are laid on thickly, others left almost bare, so that the lighter ground comes through the weave of the canvas.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Getty Museum's own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 135.9 × 140.3 cm \/ 53.5 × 55.2 in — oil on canvas, The J. Paul Getty Museum\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.42× original. Image 58.80 × 57.06 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.30× original. Image 42.00 × 40.76 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eEdvard Munch (Norwegian, 1863–1944), \u003cem\u003eStarry Night\u003c\/em\u003e, 1893; oil on canvas, 135.9 × 140.3 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-munch-starry-night\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.30× original","offer_id":65763567075677,"sku":"MUS-022-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.42× original","offer_id":65763567108445,"sku":"MUS-022-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-022_StarryNight_plate.jpg?v=1788251489"},{"product_id":"monet-water-lilies-giclee-print","title":"Claude Monet – Water Lilies, 1906 | Giclée Print","description":"\u003cp\u003eBy 1906 Monet had been painting the water garden at Giverny for a decade, and he had taken away almost everything a landscape usually gives you. There is no bank, no horizon, no sky except as reflection. The canvas is the surface of the pond seen from above, with the lily pads laid across it in bands and the sky and willows arriving from underneath. A shadow falls across the upper third — the trees on the far side, present only as darkness on the water.\u003c\/p\u003e\n\u003cp\u003eThis canvas belongs to the group Monet showed at Durand-Ruel in 1909 under the title \u003cem\u003eLes Nymphéas, série de paysages d'eau\u003c\/em\u003e. He had been working on them for years and repeatedly refused to release them. What he was after was not the pond but the light on it at one hour, and the difficulty was that the hour kept moving.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 89.9 × 94.1 cm \/ 35.4 × 37.0 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.62× original. Image 58.80 × 56.48 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.45× original. Image 42.00 × 40.34 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eClaude Monet (French, 1840–1926), \u003cem\u003eWater Lilies\u003c\/em\u003e, 1906; oil on canvas, 89.9 × 94.1 cm.\u003cbr\u003e\nArt Institute of Chicago, Mr. and Mrs.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-monet-water-lilies\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.45× original","offer_id":65770165961053,"sku":"MUS-023-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.62× original","offer_id":65770165993821,"sku":"MUS-023-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-023_WaterLilies_plate.jpg?v=1788264726"},{"product_id":"van-gogh-irises-giclee-print","title":"Vincent van Gogh – Irises, 1889 | Giclée Print","description":"\u003cp\u003eVan Gogh painted this in the first week after he admitted himself to the asylum at Saint-Paul-de-Mausole, outside Saint-Rémy-de-Provence, in May 1889. He was not yet allowed beyond the walls, so he painted what was inside them: a bed of irises in the garden. He called painting «the lightning conductor for my illness» and worked without a preparatory drawing, straight onto the canvas.\u003c\/p\u003e\n\u003cp\u003eThe composition owes its flatness and its cropped edges to the Japanese woodblock prints he collected. Every plant is different — leaves crossing, bending, doubling back — and one white iris stands alone at the left edge. His brother Theo sent the painting to the Salon des Indépendants that September. Its first owner was the critic Octave Mirbeau, who wrote of how well Van Gogh had understood «the exquisite nature of flowers».\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the J. Paul Getty Museum's own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 74.3 × 94.3 cm \/ 29.3 × 37.1 in — oil on canvas, The J. Paul Getty Museum\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e80 × 60 cm \/ 31.5 × 23.6 in\u003c\/strong\u003e — reduced, 0.68× original. Image 63.84 × 50.40 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.45× original. Image 42.00 × 33.16 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eVincent van Gogh (Dutch, 1853–1890), \u003cem\u003eIrises\u003c\/em\u003e, 1889; oil on canvas, 74.3 × 94.3 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-van-gogh-irises\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.45× original","offer_id":65770876600669,"sku":"MUS-024-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"80 × 60 cm \/ 31.5 × 23.6 in — Reduced, 0.68× original","offer_id":65770876633437,"sku":"MUS-024-8060","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-024_Irises_plate.jpg?v=1788268265"},{"product_id":"hokusai-bullfinch-weeping-cherry-giclee-print","title":"Katsushika Hokusai – Bullfinch and Weeping Cherry, c. 1834 | Giclée Print","description":"\u003cp\u003eA bullfinch hangs upside down from a branch of weeping cherry, and the whole sheet is the colour of a night sky. This is one of the small bird-and-flower prints Hokusai made around 1834, in the same years and for the same publisher as \u003cem\u003eThirty-six Views of Mount Fuji\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the sheet. It is not a nineteenth-century impression and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 25.4 × 19.1 cm \/ 10 × 7.5 in — colour woodblock print, chūban, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e27 × 35 cm \/ 10.6 × 13.8 in\u003c\/strong\u003e — original size, 1:1. Image 18.87 × 25.40 cm.\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — enlarged, 1.72× original. Image 32.39 × 43.60 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eKatsushika Hokusai 葛飾北斎 (Japanese, 1760–1849), \u003cem\u003eBullfinch and Weeping Cherry (Uso, shidarezakura)\u003c\/em\u003e, from an untitled series of flowers and birds, c. 1834.\u003cbr\u003e\nColour woodblock print, chūban; 25.4 × 19.1 cm.\u003cbr\u003e\nArt Institute of Chicago, Clarence Buckingham Collection, Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-bullfinch-weeping-cherry\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"27 × 35 cm \/ 10.6 × 13.8 in — Original size, 1:1","offer_id":65771551850845,"sku":"MUS-025-2735","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.7× original","offer_id":65771551883613,"sku":"MUS-025-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-025_Bullfinch_plate.jpg?v=1788270905"},{"product_id":"blechen-palm-house-pfaueninsel-giclee-print","title":"Carl Blechen – The Interior of the Palm House on the Pfaueninsel, 1834 | Giclée Print","description":"\u003cp\u003ePalms under glass, a shaft of daylight down the middle of the house, and figures in silk arranged among the leaves as if they were part of the planting. Carl Blechen painted this in 1834, for the king who had built the glasshouse.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a nineteenth-century painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 135 × 126 cm \/ 53.1 × 49.6 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.31× original. Image 39.10 × 42.00 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.41× original. Image 51.21 × 54.98 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eCarl Blechen (German, 1798–1840), \u003cem\u003eThe Interior of the Palm House on the Pfaueninsel Near Potsdam\u003c\/em\u003e, 1834.\u003cbr\u003e\nOil on canvas; 135 × 126 cm.\u003cbr\u003e\nArt Institute of Chicago, acc. no. 1996.388.\u003cbr\u003e\nPainted for Friedrich Wilhelm III of Prussia, who paid the artist 1000 Taler; probably given by him to his daughter Charlotte, as Tsarina Alexandra Fedorovna; in a Swiss collection by about 1920; to the Art Institute in 1996.\u003cbr\u003e\nPublic domain.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-blechen-palm-house\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.31× original","offer_id":65773761495389,"sku":"MUS-026-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.41× original","offer_id":65773761528157,"sku":"MUS-026-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-026_PalmHouse_plate.jpg?v=1788276892"},{"product_id":"sargent-olive-trees-corfu-giclee-print","title":"John Singer Sargent – Olive Trees, Corfu, 1909 | Giclée Print","description":"\u003cp\u003eAn olive grove on Corfu, painted outdoors in 1909. Sargent was fifty-three, had walked away from the society portraits that made his name, and spent his summers travelling with a paintbox. This is what he did instead.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the sheet. It is not an original watercolour and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 50.8 × 35.6 cm \/ 20 × 14 in — watercolour on ivory wove paper, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.83× original. Image 42.00 × 29.44 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 50.80 × 35.61 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eJohn Singer Sargent (American, 1856–1925), \u003cem\u003eOlive Trees, Corfu\u003c\/em\u003e, 1909.\u003cbr\u003e\nWatercolour and opaque watercolour with scraping and wax resist over graphite on ivory wove paper; 35.6 × 50.8 cm.\u003cbr\u003e\nArt Institute of Chicago, Olivia Shaler Swan Memorial Collection, acc. no. 1933.505.\u003cbr\u003e\nMr and Mrs Lewis Larned Coburn, Chicago, by 1 May 1930; given to the Art Institute in 1933.\u003cbr\u003e\nPublic domain.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-sargent-olive-trees-corfu\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.83× original","offer_id":65774519779677,"sku":"MUS-027-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Original size, 1:1","offer_id":65774519812445,"sku":"MUS-027-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-027_OliveTrees_plate.jpg?v=1788279338"},{"product_id":"vangogh-poets-garden-giclee-print","title":"Vincent van Gogh – The Poet’s Garden, 1888 | Giclée Print","description":"\u003cp\u003eA garden filling the whole canvas: tall grass with white flowers in front, a grove of bushes and trees behind, and above them a sky that is not blue but yellow-green. There is no horizon to speak of and almost nothing that is not foliage. Measured pixel by pixel, this is the greenest sheet in the shop.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a nineteenth-century painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 92.1 × 73 cm \/ 36.3 × 28.7 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.46× original. Image 42.00 × 33.18 cm.\u003cbr\u003e\n\u003cstrong\u003e80 × 60 cm \/ 31.5 × 23.6 in\u003c\/strong\u003e — reduced, 0.69× original. Image 63.80 × 50.39 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eVincent van Gogh (Dutch, 1853–1890), \u003cem\u003eThe Poet's Garden\u003c\/em\u003e, 1888.\u003cbr\u003e\nOil on canvas; 73 × 92.1 cm.\u003cbr\u003e\nArt Institute of Chicago, Mr. and Mrs.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-van-gogh-poets-garden\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.46× original","offer_id":65775612199261,"sku":"MUS-028-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"80 × 60 cm \/ 31.5 × 23.6 in — Reduced, 0.69× original","offer_id":65775612232029,"sku":"MUS-028-8060","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-028_PoetsGarden_plate.jpg?v=1788280891"},{"product_id":"vangogh-pont-de-clichy-giclee-print","title":"Vincent van Gogh – Fishing in Spring, the Pont de Clichy, 1887 | Giclée Print","description":"\u003cp\u003eThe Seine at Asnières in spring, seen from under the willows, with two moored punts and a fisherman. Everything is broken into short separate strokes — green, blue, yellow, pink — laid side by side rather than mixed. This is Van Gogh in Paris in 1887, painting beside Paul Signac and trying out what the divisionists had worked out about light.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a nineteenth-century painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 60 × 50.5 cm \/ 23.6 × 19.9 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.67× original. Image 40.27 × 33.60 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — reduced, 0.84× original. Image 50.34 × 42.00 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eVincent van Gogh (Dutch, 1853–1890), \u003cem\u003eFishing in Spring, the Pont de Clichy (Asnières)\u003c\/em\u003e, 1887.\u003cbr\u003e\nOil on canvas; 50.5 × 60 cm.\u003cbr\u003e\nArt Institute of Chicago, Gift of Charles Deering McCormick, Brooks McCormick and Roger McCormick, acc. no. 1965.1169.\u003cbr\u003e\nFrom the artist's sister-in-law Johanna van Gogh-Bonger to Cornelis Hoogendijk, The Hague; through family collections in Amsterdam and Switzerland; Knoedler \u0026amp; Co. to Chauncey and Marion Deering McCormick, Chicago, May 1947; given to the Art Institute in 1965.\u003cbr\u003e\nPublic domain.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-van-gogh-pont-de-clichy\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.67× original","offer_id":65775761064285,"sku":"MUS-029-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Reduced, 0.84× original","offer_id":65775761097053,"sku":"MUS-029-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-029_PontDeClichy_plate.jpg?v=1788281679"},{"product_id":"monet-woman-with-a-parasol-giclee-print","title":"Claude Monet – Woman with a Parasol, 1875 | Giclée Print","description":"\u003cp\u003eCamille Monet stands on a hillside at Argenteuil with a green parasol against a fast, windy sky; her son Jean is behind her in the grass. Monet painted it outdoors and quickly — the canvas shows through the sky in places, because he did not go back to fill it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the National Gallery of Art's own open-access photograph of the canvas. It is not a nineteenth-century painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 81 × 100 cm \/ 31.9 × 39.4 in — oil on canvas, National Gallery of Art, Washington\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.41× original. Image 33.60 × 41.64 cm.\u003cbr\u003e\n\u003cstrong\u003e60 × 80 cm \/ 23.6 × 31.5 in\u003c\/strong\u003e — reduced, 0.62× original. Image 50.40 × 62.47 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eClaude Monet (French, 1840–1926), \u003cem\u003eWoman with a Parasol — Madame Monet and Her Son\u003c\/em\u003e, 1875.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-monet-woman-with-a-parasol\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Reduced, 0.41× original","offer_id":65776016228701,"sku":"MUS-030-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"60 × 80 cm \/ 23.6 × 31.5 in — Reduced, 0.62× original","offer_id":65776016261469,"sku":"MUS-030-6080","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-030_Parasol_plate.jpg?v=1788283311"},{"product_id":"rousseau-equatorial-jungle-giclee-print","title":"Henri Rousseau – The Equatorial Jungle, 1909 | Giclée Print","description":"\u003cp\u003eA wall of leaves, painted leaf by leaf. Two small apes look out from the middle of it and a third hangs above; three pink blossoms and one white spike are the only breaks in the green. Measured pixel by pixel this is the greenest sheet in the shop — ninety-five per cent of the canvas carries colour, and nine tenths of that colour is green.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the National Gallery of Art's own open-access photograph of the canvas. It is not a twentieth-century painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 129.5 × 140.6 cm \/ 51 × 55.4 in — oil on canvas, National Gallery of Art, Washington\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.30× original. Image 38.57 × 42.00 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.42× original. Image 54.00 × 58.80 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eHenri Rousseau (French, 1844–1910), \u003cem\u003eThe Equatorial Jungle\u003c\/em\u003e, 1909.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-rousseau-equatorial-jungle\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.30× original","offer_id":65776142483805,"sku":"MUS-031-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.42× original","offer_id":65776142516573,"sku":"MUS-031-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-031_Jungle_plate.jpg?v=1788284432"},{"product_id":"monet-irises-1914-giclee-print","title":"Claude Monet – Irises, 1914–17 | Giclée Print","description":"\u003cp\u003eGreen from edge to edge, with violet irises running through it and no horizon anywhere. Monet painted this in his late seventies at Giverny, on a canvas two metres square, at the point where the garden stopped being a view and became a surface.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a twentieth-century painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 200.7 × 200 cm \/ 79 × 78.7 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.21× original. Image 42.00 × 41.93 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eClaude Monet (French, 1840–1926), \u003cem\u003eIrises\u003c\/em\u003e, 1914–17.\u003cbr\u003e\nOil on canvas; 200 × 200.7 cm.\u003cbr\u003e\nArt Institute of Chicago, Art Institute Purchase Fund, acc. no. 1956.1202.\u003cbr\u003e\nThe artist; by descent to his son Michel Monet, Giverny; Katia Granoff, Paris, by 1956; sold to the Art Institute of Chicago, 1956.\u003cbr\u003e\nPublic domain.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-monet-irises-1914\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.21× original","offer_id":65776232038749,"sku":"MUS-032-5050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-032_Irises_plate.jpg?v=1788285024"},{"product_id":"atkins-dixon-athyrium-molle-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Athyrium molle, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eAthyrium molle\u003c\/em\u003e is a soft-leaved lady fern. Anne Dixon pressed it, Anna Atkins printed it, and the sun did the drawing — a white frond standing in Prussian blue, every pinnule separated, no line drawn by hand. The species name at the foot of the sheet is written in Atkins's own hand.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. She had done this several thousand times already for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet belongs to what came after: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made together with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the Getty catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in — The J. Paul Getty Museum\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.56× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eAthyrium molle\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-athyrium-molle\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65776589668701,"sku":"MUS-033-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.56× original","offer_id":65776589701469,"sku":"MUS-033-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-athyrium-molle-plate.jpg?v=1788287328"},{"product_id":"atkins-dixon-aspidium-trifoliatum-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Aspidium trifoliatum, 1853 | Giclée Print","description":"\u003cp\u003eThis is a fern, and it does not look like one. No feathery pinnules, no lace — one broad three-lobed blade with a torn, saw-toothed edge, closer to a maple leaf or a fig. \u003cem\u003eAspidium trifoliatum\u003c\/em\u003e grew in Jamaica, and it reached a house in Kent as a pressed specimen in an envelope.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. What the plant covered stayed white; everything else turned Prussian blue. She had already done this several thousand times for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet comes from what followed: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the Getty catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in — The J. Paul Getty Museum\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.62× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eAspidium trifoliatum, Jamaica\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-aspidium-trifoliatum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65776771924317,"sku":"MUS-034-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.62× original","offer_id":65776771957085,"sku":"MUS-034-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-aspidium-trifoliatum-plate.jpg?v=1788289059"},{"product_id":"atkins-dixon-onoclea-sensibilis-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Onoclea sensibilis, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eOnoclea sensibilis\u003c\/em\u003e is called the sensitive fern because it dies at the first touch of frost — not gradually, overnight. This one was picked in New Jersey while it was still whole, pressed flat, and carried across the Atlantic in an envelope. The single white frond on this sheet is what light made of it in an English garden in 1853.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. What the plant covered stayed white; everything else turned Prussian blue. She had already done this several thousand times for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet comes from what followed: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the Getty catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in — The J. Paul Getty Museum\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.59× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eOnoclea sensibilis, New Jersey\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-onoclea-sensibilis\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65776959029597,"sku":"MUS-035-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.59× original","offer_id":65776959062365,"sku":"MUS-035-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-onoclea-sensibilis-plate.jpg?v=1788289490"},{"product_id":"atkins-dixon-osmunda-regalis-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Osmunda regalis, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eOsmunda regalis\u003c\/em\u003e is the royal fern, the largest that grows in Britain — two metres in a wet ditch, given years and no one to dig it up. What lies on this sheet is one frond, laid flat, its leaflets standing apart from one another like a diagram someone drew very slowly.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. What the plant covered stayed white; everything else turned Prussian blue. She had already done this several thousand times for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet comes from what followed: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the Getty catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in — The J. Paul Getty Museum\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.58× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eOsmunda regalis, British\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-osmunda-regalis\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65777137353053,"sku":"MUS-036-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.58× original","offer_id":65777137385821,"sku":"MUS-036-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-osmunda-regalis-plate.jpg?v=1788290924"},{"product_id":"atkins-dixon-achrosticum-simplex-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Achrosticum simplex, 1853 | Giclée Print","description":"\u003cp\u003eTwo blades on two curving stalks, and nothing else. \u003cem\u003eAchrosticum simplex\u003c\/em\u003e is a fern whose leaf is not divided at all — no pinnules, no lace, no branching. On the sheet it reads as two brushstrokes, which is why this is the quietest plate in the album and the one that looks least like 1853.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. What the plant covered stayed white; everything else turned Prussian blue. She had already done this several thousand times for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet comes from what followed: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the Getty catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in — The J. Paul Getty Museum\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.56× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eAchrosticum simplex, Jamaica\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-achrosticum-simplex\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65777183719773,"sku":"MUS-037-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.56× original","offer_id":65777183752541,"sku":"MUS-037-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-achrosticum-simplex-plate.jpg?v=1788291029"},{"product_id":"rembrandt-three-trees-giclee-print","title":"Rembrandt van Rijn – The Three Trees, 1643 | Giclée Print","description":"\u003cp\u003eThree trees on a ridge, and a storm coming in from the left. Below them the flat Dutch country runs to a horizon with the spires of Amsterdam on it; a cart climbs the road, a fisherman sits at the water, and in the field at the right a couple lie half-hidden in the scrub, which most people never notice. The rain is drawn as ruled diagonal lines across the upper left — not shading, actual lines, and they are the boldest thing Rembrandt ever did with a needle.\u003c\/p\u003e\n\u003cp\u003eIt is his most famous landscape, and it is small. The copperplate measures 21.4 × 28 cm, about a sheet of A5 turned sideways. Nearly everyone who knows this picture knows it larger than it has ever been.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of an etching, made with pigment inks. It is not an etching and is not sold as one — an etching is pulled by hand from an inked plate, and the burr of the drypoint, which holds ink like velvet and wears away after a few dozen impressions, is the one thing no reproduction carries.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: plate 21.4 × 28 cm \/ 8.4 × 11.0 in; sheet 21.8 × 28.7 cm — National Gallery of Art, Washington\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e35 × 27 cm \/ 13.8 × 10.6 in\u003c\/strong\u003e — Original size, 1:1. Image 28.00 × 21.18 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eRembrandt van Rijn (Dutch, 1606–1669), \u003cem\u003eThe Three Trees\u003c\/em\u003e, 1643; etching with drypoint and engraving on laid paper.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-rembrandt-three-trees\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/what-a-reproduction-was-for\"\u003eWhat a Reproduction Was For\u003c\/a\u003e · \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"35 × 27 cm \/ 13.8 × 10.6 in — Original size, 1:1","offer_id":65777917690205,"sku":"MUS-038-3527","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-rembrandt-three-trees-plate.jpg?v=1788296021"},{"product_id":"william-henry-fox-talbot-articles-of-china-1843-44-giclee-print","title":"William Henry Fox Talbot – Articles of China, 1843–44 | Giclée Print","description":"\u003cp\u003eFour shelves of porcelain, set out the way a clerk would set them out. Cups with their saucers, a lidded pot, two little figures, an openwork basket in the middle of the third shelf because that is where it fitted. Nothing is arranged to charm. Then the sun was allowed to do the recording, and it recorded everything — the gilding on the rims, the painted sprigs, the shadow each piece throws on the shelf behind it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. It is not a salt print and is not sold as one — a salt print is a contact print made in sunlight from a paper negative, and Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: image 13.7 × 18.2 cm \/ 5.4 × 7.2 in — The Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e35 × 27 cm \/ 13.8 × 10.6 in\u003c\/strong\u003e — Original size, 1:1. Image 17.72 × 14.58 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — Enlarged, 2.1× original. Image 37.20 × 30.62 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eArticles of China\u003c\/em\u003e, 1843–44; salted paper print from a paper negative, image 13.7 × 18.2 cm, sheet 18.7 × 22.4 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-articles-of-china\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"35 × 27 cm \/ 13.8 × 10.6 in — Original size, 1:1","offer_id":65791169495389,"sku":"MUS-039-3527","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Enlarged, 2.1× original","offer_id":65791169528157,"sku":"MUS-039-5040","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-articles-of-china-plate_4cfc5630-078d-4a63-94cb-a88110e02ff6.jpg?v=1788422641"},{"product_id":"william-henry-fox-talbot-two-plant-specimens-1839-giclee-print","title":"William Henry Fox Talbot – Two Plant Specimens, 1839 | Giclée Print","description":"\u003cp\u003eTwo plants laid on a sheet of sensitised paper and carried into the sun. A honeysuckle branch down the left, in flower and still carrying its leaves; a single umbel on a long stalk to the right, opened flat. Where the plants lay, the paper stayed pale. Everywhere else it darkened. Talbot did not draw any of this, and he did not photograph it either — there was no camera in the room.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a photogenic drawing, made with pigment inks. It is not a photogram and is not sold as one — a photogram is a unique object made in sunlight, and Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: sheet 18.1 × 22.1 cm \/ 7.1 × 8.7 in — The Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1. Image 18.10 × 22.10 cm.\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.75× original. Image 31.68 × 38.68 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eTwo Plant Specimens\u003c\/em\u003e, 1839; photogenic drawing, image and paper 22.1 × 18.1 cm, mount 29 × 21.5 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-two-plant-specimens\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65792126222685,"sku":"MUS-040-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.75× original","offer_id":65792126255453,"sku":"MUS-040-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-two-plant-specimens-plate.jpg?v=1788415568"},{"product_id":"william-henry-fox-talbot-wrack-1839-giclee-print","title":"William Henry Fox Talbot – Wrack, 1839 | Giclée Print","description":"\u003cp\u003eA frond of seaweed laid on sensitised paper and left in the sun. Every filament of it, down to the last forked tip, printed itself pale against the ground — and there are hundreds of tips. Nobody drew this and no camera was pointed at it. The plant is its own draughtsman, at the exact size it grew.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. It is not a photogram and is not sold as one — a photogram is a unique object made in sunlight, and Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 17.5 × 22 cm \/ 6.9 × 8.7 in — The Metropolitan Museum of Art\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1. Image 17.50 × 22.00 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eWrack\u003c\/em\u003e, 1839; salted paper print, 22 × 17.5 cm, irregularly trimmed.\u003cbr\u003e\nThe Metropolitan Museum of Art, New York — Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-wrack\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65792172228957,"sku":"MUS-041-3040","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-wrack-plate.jpg?v=1788415568"},{"product_id":"william-henry-fox-talbot-wild-fennel-1841-42-giclee-print","title":"William Henry Fox Talbot – Wild Fennel, 1841–42 | Giclée Print","description":"\u003cp\u003eA frond of wild fennel laid on sensitised paper and left in the sun. Every filament of it printed itself pale against the ground, thread by thread, down to hairs finer than a pencil could follow. Nobody drew this and no camera was pointed at it. The plant is its own draughtsman, at the exact size it grew.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. It is not a photogram and is not sold as one — a photogram is a unique object made in sunlight, and Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: 22.7 × 18.7 cm \/ 8.9 × 7.4 in — The Metropolitan Museum of Art\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e40 × 30 cm \/ 15.7 × 11.8 in\u003c\/strong\u003e — Original size, 1:1. Image 22.70 × 18.86 cm.\u003cbr\u003e \u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — Enlarged 1.35×. Image 30.65 × 25.47 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003e[Wild Fennel]\u003c\/em\u003e, 1841–42; salted paper print, 18.7 × 22.7 cm, corners clipped.\u003cbr\u003e The Metropolitan Museum of Art, New York — Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-wild-fennel\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 30 cm \/ 15.7 × 11.8 in — Original size, 1:1","offer_id":65797306843485,"sku":"MUS-042-4030","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Enlarged, 1.35× original","offer_id":65797306876253,"sku":"MUS-042-5040","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-wild-fennel-plate_7aecdd23-d2cc-4f38-989a-bb8d4512b785.jpg?v=1788420016"},{"product_id":"william-henry-fox-talbot-dandelion-seeds-c-1858-giclee-print","title":"William Henry Fox Talbot – Dandelion Seeds, c. 1858 | Giclée Print","description":"\u003cp\u003eDandelion clocks, seed head after seed head, each one a little wheel of spokes with a dark seed at the end of every spoke. The whole sheet is these wheels, overlapping, drifting off the edges. It is a photograph, and it is also an etching — which in 1858 was a new thing in the world.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a photoglyphic engraving, made with pigment inks. It is not an impression from Talbot's plate and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: sheet 15.1 × 11.3 cm, plate 12.5 × 9.4 cm, image 10.5 × 7.6 cm — The Metropolitan Museum of Art\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e20 × 25 cm \/ 7.9 × 9.8 in\u003c\/strong\u003e — Original size, 1:1. Image 10.43 × 13.43 cm.\u003cbr\u003e \u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Enlarged 1.9×. Image 19.81 × 25.52 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected — the foxing and the warmth of the 1858 sheet are printed as they are. Unframed. Shipped flat or rolled, depending on size.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003e[Dandelion Seeds]\u003c\/em\u003e, 1858 or later; photogravure — photoglyphic engraving from a copper plate.\u003cbr\u003e The Metropolitan Museum of Art, New York — Acc.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-dandelion-seeds\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"20 × 25 cm \/ 7.9 × 9.8 in — Original size, 1:1","offer_id":65797335908701,"sku":"MUS-043-2025","price":39.0,"currency_code":"CHF","in_stock":true},{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Enlarged, 1.9× original","offer_id":65797335941469,"sku":"MUS-043-3040","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-dandelion-seeds-plate_2cb1b878-a228-47b4-b7c0-ea4a004166ae.jpg?v=1788420016"},{"product_id":"william-henry-fox-talbot-a-scene-in-a-library-1844-giclee-print","title":"William Henry Fox Talbot – A Scene in a Library, 1844 | Giclée Print","description":"\u003cp\u003eTwo shelves of books, photographed in daylight in 1844, when a photograph of anything at all was a rarity. The spines are legible enough to read the gilding on them. Talbot put the plate in \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e, the first commercially published book illustrated with photographs, and wrote beside it a note about invisible rays and the idea that a camera might one day record what the eye cannot see.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. Not an original photograph; Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: image 13.3 × 18 cm \/ 5.2 × 7.1 in on a sheet of about 19 × 24 cm — The Metropolitan Museum of Art\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e40 × 30 cm \/ 15.7 × 11.8 in\u003c\/strong\u003e — Original size, 1:1. Sheet reproduced 23.75 × 19.37 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eA Scene in a Library\u003c\/em\u003e, before 22 March 1844; salted paper print from a paper negative, image 13.3 × 18 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-scene-in-a-library\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 30 cm \/ 15.7 × 11.8 in — Original size, 1:1","offer_id":65797394989405,"sku":"MUS-044-4030","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-scene-in-a-library-plate_aeed5f18-f054-4ca0-8757-70f5e38fd4cd.jpg?v=1788421678"},{"product_id":"william-henry-fox-talbot-the-open-door-1844-giclee-print","title":"William Henry Fox Talbot – The Open Door, 1844 | Giclée Print","description":"\u003cp\u003eA broom leaning in a doorway, a lantern on the wall, a bridle hanging beside it, and light falling across the threshold. Nothing happens in it, and that is why it is famous: in 1844 a photograph of an ordinary back door was an argument about what pictures could be about.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. Not an original photograph; Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: 14.3 × 19.4 cm \/ 5.6 × 7.6 in — The Metropolitan Museum of Art\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e35 × 27 cm \/ 13.8 × 10.6 in\u003c\/strong\u003e — Original size, 1:1. Image 19.40 × 14.52 cm.\u003cbr\u003e \u003cstrong\u003e40 × 30 cm \/ 15.7 × 11.8 in\u003c\/strong\u003e — Enlarged 1.25×. Image 24.25 × 18.15 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eThe Open Door\u003c\/em\u003e, before May 1844; salted paper print from a paper negative, 14.3 × 19.4 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-open-door\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"35 × 27 cm \/ 13.8 × 10.6 in — Original size, 1:1","offer_id":65797416059229,"sku":"MUS-045-3527","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 30 cm \/ 15.7 × 11.8 in — Enlarged, 1.25× original","offer_id":65797416091997,"sku":"MUS-045-4030","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-open-door-plate_e5798120-97d6-4f98-bfff-830aa5ad72c4.jpg?v=1788421679"},{"product_id":"claude-monet-stacks-of-wheat-sunset-snow-effect-1890-91-giclee-print","title":"Claude Monet – Stacks of Wheat (Sunset, Snow Effect), 1890–91 | Giclée Print","description":"\u003cp\u003eA stack of threshed wheat in a field under snow, with the sun going down behind it. Monet painted the stacks near his house at Giverny through the winter of 1890–91, returning to the same subject as the light moved; this is the canvas the Art Institute of Chicago holds, inscribed lower right «Claude Monet 91».\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a nineteenth-century painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 100.4 × 65.3 cm \/ 39 1\/2 × 25 11\/16 in — oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.42× original. Image 42.00 × 27.14 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — reduced, 0.51× original. Image 51.06 × 32.99 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eClaude Monet (French, 1840–1926), \u003cem\u003eStacks of Wheat (Sunset, Snow Effect)\u003c\/em\u003e, 1890–91.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-monet-stacks-of-wheat\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.42× original","offer_id":65798954221917,"sku":"MUS-046-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Reduced, 0.51× original","offer_id":65798954254685,"sku":"MUS-046-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-046_StacksOfWheat_plate.jpg?v=1788434462"},{"product_id":"andreas-cellarius-planisphaerium-ptolemaicum-1661-giclee-print","title":"Andreas Cellarius – Planisphaerium Ptolemaicum, 1661 | Giclée Print","description":"\u003cp\u003eThe Ptolemaic universe drawn as a machine: the earth at the centre of the world, the seven planetary orbs turning around it in coloured rings, the zodiac running round the rim, and Ptolemy himself seated in the lower left corner with an armillary sphere and a globe. Plate 1 of Andreas Cellarius's \u003cem\u003eHarmonia Macrocosmica\u003c\/em\u003e, printed from a copper plate in Amsterdam by Johannes Janssonius and coloured by hand.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Zentralbibliothek Zürich's own open-access scan of its copy, shelfmark T 12. It is not a seventeenth-century print and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: plate 51.34 × 43.75 cm — hand-coloured copper-plate print, Zentralbibliothek Zürich, T 12\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.82× original. Image 42.00 × 35.79 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — original size, 1:1. Image 51.34 × 43.75 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone and the hand colouring of the original are kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAndreas Cellarius (c. 1596–1665), \u003cem\u003ePlanisphaerium Ptolemaicum, sive machina orbium mundi ex hypothesi Ptolemaica in plano disposita\u003c\/em\u003e, plate 1 of \u003cem\u003eHarmonia macrocosmica, seu Atlas universalis et novus\u003c\/em\u003e.\u003cbr\u003e\nAmsterdam: apud Joannem Janssonium, 1661.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-cellarius-ptolemaicum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.82× original","offer_id":65801588932957,"sku":"MUS-047-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Original size, 1:1","offer_id":65801588965725,"sku":"MUS-047-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-cellarius-ptolemaicum-plate.jpg?v=1788452912"},{"product_id":"andreas-cellarius-planisphaerium-copernicanum-1661-giclee-print","title":"Andreas Cellarius – Planisphaerium Copernicanum, 1661 | Giclée Print","description":"\u003cp\u003eThe Copernican universe drawn as a machine: the sun in the middle, the earth carried round it on the third ring with the moon beside it, Jupiter with its four Galilean moons and Saturn out at the rim, and the zodiac closing the whole in a band of grey-violet cloud. Copernicus sits in the lower right corner with a globe; an older astronomer, dividers in hand, sits opposite. Plate 4 of Andreas Cellarius's \u003cem\u003eHarmonia Macrocosmica\u003c\/em\u003e, printed from a copper plate in Amsterdam by Johannes Janssonius and coloured by hand.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Zentralbibliothek Zürich's own open-access scan of its copy, shelfmark T 12. It is not a seventeenth-century print and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: plate 51.00 × 43.34 cm — hand-coloured copper-plate print, Zentralbibliothek Zürich, T 12\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.82× original. Image 42.00 × 35.69 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — original size, 1:1. Image 51.00 × 43.34 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone and the hand colouring of the original are kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAndreas Cellarius (c. 1596–1665), \u003cem\u003ePlanisphaerium Copernicanum, sive systema universi totius creati ex hypothesi Copernicana in plano exhibitum\u003c\/em\u003e, plate 4 of \u003cem\u003eHarmonia macrocosmica, seu Atlas universalis et novus\u003c\/em\u003e.\u003cbr\u003e\nAmsterdam: apud Joannem Janssonium, 1661.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-cellarius-copernicanum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.82× original","offer_id":65801708372317,"sku":"MUS-048-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Original size, 1:1","offer_id":65801708405085,"sku":"MUS-048-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-cellarius-copernicanum-plate.jpg?v=1788452919"},{"product_id":"piet-mondrian-lozenge-composition-with-yellow-black-blue-red-and-gray-1921-giclee-print","title":"Piet Mondrian – Lozenge Composition with Yellow, Black, Blue, Red, and Gray, 1921 | Giclée Print","description":"\u003cp\u003eA square canvas hung on its point. The black bands stay level with the floor, so they run off the edges at four diagonals, and the picture stops looking like something held inside a frame and starts looking like a piece cut out of a field that continues past it. That is the whole argument of Mondrian's abstraction, and the diamond is where he makes it plainest.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 60 × 60 cm canvas, hung on its point — 84.85 cm from side tip to side tip. Oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.49× original. Image 41.46 × 42.00 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.62× original. Image 52.43 × 53.11 cm, at exactly 300 dpi.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003ePiet Mondrian (Dutch, 1872–1944), \u003cem\u003eLozenge Composition with Yellow, Black, Blue, Red, and Gray\u003c\/em\u003e, 1921.\u003cbr\u003e\nOil on canvas, 60 × 60 cm.\u003cbr\u003e\nArt Institute of Chicago, Gift of Edgar Kaufmann, Jr., acc. no. 1957.307 (AIC object 109819).\u003cbr\u003e\nPublic domain.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-mondrian-lozenge-1921\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.49× original","offer_id":65802466066781,"sku":"MUS-049-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.62× original","offer_id":65802466099549,"sku":"MUS-049-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-mondrian-lozenge-plate.jpg?v=1788458574"},{"product_id":"piet-mondrian-farm-near-duivendrecht-c-1916-giclee-print","title":"Piet Mondrian – Farm near Duivendrecht, c. 1916 | Giclée Print","description":"\u003cp\u003eA low farmhouse behind bare trees, and the whole of it again upside down in the water. The sky is doing something Mondrian rarely allowed himself later: pink, apricot, a wash of green along the bank. Nothing here announces the man who would spend the 1920s painting three colours and a grid.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Art Institute of Chicago's own open-access photograph of the canvas. It is not a painting and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 86.3 × 107.9 cm, oil on canvas, Art Institute of Chicago\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.39× original. Image 42.00 × 33.37 cm.\u003cbr\u003e\n\u003cstrong\u003e80 × 60 cm \/ 31.5 × 23.6 in\u003c\/strong\u003e — reduced, 0.59× original. Image 63.44 × 50.40 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003ePiet Mondrian (Dutch, 1872–1944), \u003cem\u003eFarm near Duivendrecht\u003c\/em\u003e, c. 1916.\u003cbr\u003e\nOil on canvas, 86.3 × 107.9 cm.\u003cbr\u003e\nArt Institute of Chicago, Gift of Dolly J. van der Hoop Schoenberg, acc. no. 2001.479 (AIC object 144467).\u003cbr\u003e\nCatalogue raisonné: Joosten and Welsh, vol. 2, no.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-mondrian-duivendrecht\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.39× original","offer_id":65804271681885,"sku":"MUS-050-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"80 × 60 cm \/ 31.5 × 23.6 in — Reduced, 0.59× original","offer_id":65804271714653,"sku":"MUS-050-8060","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-mondrian-duivendrecht-plate_ee2cb36c-1d44-4e88-bc6a-282b4497003d.jpg?v=1788461398"},{"product_id":"william-morris-strawberry-thief-1883-giclee-print","title":"William Morris – Strawberry Thief, 1883 | Giclée Print","description":"\u003cp\u003eFour thrushes, in two facing pairs, caught in the act. Morris watched the birds stealing fruit in the kitchen garden at Kelmscott Manor and put them into a pattern where they meet beak to beak under strawberry runners and turning acanthus, on a ground of indigo so dark it reads almost black until you stand close to it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction, printed with pigment inks from the Cleveland Museum of Art's open-access photograph of a length of the printed cotton. Not the pattern redrawn in software, but this actual piece of cloth — the weave, the fraying, the selvedge and all. It is not a textile. It is a print on paper, and it is sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: a cut length of printed cotton, 88.3 × 99.1 cm. Cleveland Museum of Art\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.42× original. Image 42.00 × 37.47 cm.\u003cbr\u003e \u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.59× original. Image 58.80 × 52.45 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eDesigned by William Morris (British, 1834–1896), \u003cem\u003eStrawberry Thief\u003c\/em\u003e, registered 1883.\u003cbr\u003e Plain weave cotton, discharge printed.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-morris-strawberry-thief\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.42× original","offer_id":65808608428381,"sku":"MUS-051-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.59× original","offer_id":65808608461149,"sku":"MUS-051-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-morris-strawberry-thief-plate_929ad4fe-ffa2-450a-8305-d060aaf05195.jpg?v=1788502893"}],"url":"https:\/\/museartis.com\/collections\/all-prints.oembed","provider":"Museartis","version":"1.0","type":"link"}