{"title":"Black + White","description":"\u003cp\u003eEtchings, engravings and early photographs in black, white and sepia. Works that carry a wall without competing with it — the easiest historical prints to place in a bedroom, a study or a hallway, whatever the colour of the room.\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":"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":"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":"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":"charles-t-scowen-co-two-christmas-orchids-sri-lanka-1876-93-giclee-print","title":"Charles T. Scowen \u0026 Co. – Two Christmas Orchids, Sri Lanka, 1876–93 | Giclée Print","description":"\u003cp\u003eTwo blooms of Cattleya trianae, photographed against a ground so dark that the flowers seem to float in it. The petals are the whole subject: the frilled lip of the left flower with its dark throat, the twisted sepals, the thick leaf below. Nothing else is in the picture — no vase, no hand, no room.\u003c\/p\u003e\u003cp\u003eThe orchid is Colombian, and it flowers around Christmas; that is why it is called the Christmas orchid. This one was photographed in Ceylon, where Charles T. Scowen ran a commercial studio in the 1870s and 1880s, selling albums of views and plants to travellers. The species name is written straight into the negative at the foot of the print, and the studio credit sits in the lower left corner — both are printed, not added by us.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the Rijksmuseum’s own open-access photograph of the albumen print. It is not a photograph from the negative and is not sold as one.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOriginal: 27.9 × 22.1 cm — albumen print, Rijksmuseum, Amsterdam\u003c\/em\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cstrong\u003e35 × 27 cm \/ 13.8 × 10.6 in\u003c\/strong\u003e — original size, 1:1. Image 27.90 × 22.03 cm.\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eOne size only. The museum file carries 338 dpi at original size and no more; anything larger would be an enlargement of thirteen per cent, which is not worth a second sheet.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003eGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, centred on the sheet. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eCharles T. Scowen \u0026amp; Co. (Ceylon, active 1870s–1890s), \u003cem\u003eTwo Christmas orchids, Sri Lanka\u003c\/em\u003e, 1876–93, albumen print.\u003c\/p\u003e\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=\"https:\/\/museartis.com\/pages\/sheet-record-scowen-christmas-orchids\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"https:\/\/museartis.com\/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":65852606513501,"sku":"MUS-062-3527","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-062-plate.jpg?v=1788816980"},{"product_id":"charles-marville-sky-study-paris-1856-57-giclee-print","title":"Charles Marville – Sky Study, Paris, 1856–57 | Giclée Print","description":"\u003cp\u003eParis, an afternoon in 1856 or 1857: Charles Marville turned his camera above the rooftops and made one of the earliest photographs of nothing but sky. The dome of the Pantheon sits low at the horizon; everything above it is cloud, in the long grey scale that a wet collodion negative and an albumen print can hold.\u003c\/p\u003e\u003cp\u003eMarville is remembered as the photographer of the old Paris that Haussmann tore down. This comes from before that commission, made when photographing clouds was still held to be impossible: one exposure could not carry both a landscape and a bright sky. He solved it by giving up the landscape.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e\u003cbr\u003eA giclee reproduction printed with pigment inks from the museum open-access photograph. It is not an original photograph and is not sold as one.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003eOriginal: 15.3 x 21.4 cm \/ 6 x 8.4 in, albumen print from a wet collodion negative, Cleveland Museum of Art, 1988.191.\u003cbr\u003e50 x 40 cm sheet: original size, 1:1 (image 21.40 x 15.32 cm).\u003cbr\u003e70 x 50 cm sheet: enlarged, 2x original (image 42.80 x 30.63 cm).\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eA note on the enlargement\u003c\/strong\u003e\u003cbr\u003eThe museum file holds 5976 pixels across a picture 21.4 cm wide, which is 709 dpi. That is why the large sheet can print the photograph at twice its original size and still keep 355 dpi. The file sets the limit, not a taste for big prints. At twice the size the albumen grain and the paper texture become visible. That is the photograph, not a fault of the print.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePrinting\u003c\/strong\u003e\u003cbr\u003e200 gsm fine art paper, twelve pigment inks. White border, centred on the sheet. The colour of the museum file is kept, not corrected. Unframed, shipped rolled in a tube.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eCharles Marville (French, 1813-1879), \u003cem\u003eSky Study, Paris\u003c\/em\u003e, 1856-57; albumen print from a wet collodion negative, 15.3 x 21.4 cm.\u003c\/p\u003e\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-marville-sky-study\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\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":65885282468189,"sku":"MUS-069-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Enlarged, 2× original","offer_id":65885282500957,"sku":"MUS-069-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-069-plate.jpg?v=1789054628"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/collections\/museartis-rembrandt-three-trees-plate.jpg?v=1789748800","url":"https:\/\/museartis.com\/collections\/black-white.oembed","provider":"Museartis","version":"1.0","type":"link"}