{"title":"Made to be Multiplied","description":"\u003cp\u003eEvery sheet in this shop is a reproduction. These eleven are reproductions of things that were already reproductions — pictures made from a matrix, a block or a plate or a negative or a printing roller, and published so that they could travel to people who would never see the thing itself.\u003c\/p\u003e\n\n\u003cp\u003eDürer never saw a rhinoceros. He worked from a letter and a sketch, cut a block, and printed an animal that Europe went on believing in for two hundred years. Rembrandt's etching was made to be pulled again and again, and it was: his copperplates were still being printed from in the 1790s, a century after his death. Cellarius engraved the heavens on copper so that the two competing systems of the world could be laid side by side on one table. Audubon sold his flamingo by subscription to people who would never stand in a Florida marsh.\u003c\/p\u003e\n\n\u003cp\u003eTalbot published \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e in parts, the first book illustrated with photographs, to prove that a picture could make itself and then be issued in numbers; when the salted paper turned out to fade he invented an engraving process so that photographs could be printed in ink instead, and the dandelion seeds here are one of the results. Morris printed his cloth from pear-wood blocks by the yard, on the argument that a good pattern is worth having in many houses rather than in one.\u003c\/p\u003e\n\n\u003cp\u003eThat is the tradition this shop belongs to. In 1849 the Arundel Society began sending chromolithographs to subscribers who would never see Assisi; around 1900 the German picture movement put reproductions on the walls of schools, on the argument that they would train the eye of a generation that would otherwise never see a good picture at all. None of those people were embarrassed. The argument is set out at length in \u003ca href=\"\/blogs\/notes\/what-a-reproduction-was-for\"\u003eWhat a Reproduction Was For\u003c\/a\u003e.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat is not here, and why.\u003c\/strong\u003e Anna Atkins's cyanotypes and Talbot's photograms are contact images: each sheet was laid out and exposed by hand, one at a time, with no matrix in between. They belong to \u003ca href=\"\/collections\/cyanotype-prints\"\u003eCyanotype Prints\u003c\/a\u003e rather than here. The Japanese woodblock prints are multiples in the fullest sense and have \u003ca href=\"\/collections\/japanese-woodblock-prints\"\u003ea collection of their own\u003c\/a\u003e. This one is deliberately narrower: a picture cut or etched or engraved into something, and printed from it, so that it could be in more than one place at once.\u003c\/p\u003e\n\n\u003cp\u003eEvery sheet here names the collection that holds the original, its accession number and the file it was printed from. The measurements are in \u003ca href=\"\/pages\/sheet-records\"\u003ethe sheet records\u003c\/a\u003e.\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\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\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\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\n\u003cp\u003e\u003cem\u003eOriginal: 30.1 × 23.8 cm \/ 11.9 × 9.4 in — The Cleveland Museum of Art, Inv. 1993.9\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 30 cm \/ 15.7 × 11.8 in\u003c\/strong\u003e — Original size, the sheet as Dürer cut it, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — Enlarged, 1.4× original\u003c\/p\u003e\n\n\u003cp\u003eBoth sheets are landscape. They are metric; the inch figures are exact conversions, not US nominal sizes — each sheet sits inside the matching standard frame, 16 × 12 in and 20 × 16 in, with a few millimetres to spare.\u003c\/p\u003e\n\n\u003cp\u003eNeither is cropped. Dürer's German letterpress text of 1515 is part of the woodcut and is reproduced in full on both.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy the large sheet stops at 50 × 40.\u003c\/strong\u003e The Museum's master is 5000 pixels wide — the largest any institution publishes of this woodcut, and we checked Chicago, Washington and the Metropolitan before settling on it. At 300 dpi, the resolution fine art paper resolves, that file carries an image 41.3 cm wide, and the sheet is built around it. A bigger poster would mean a softer one, so we do not sell it.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nAlbrecht 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. Severance Fund, Inv. 1993.9. Open access image released by the museum under CC0.\u003cbr\u003e\nPublic domain worldwide.\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\n\u003ca href=\"\/blogs\/notes\/the-rhinoceros-durer-never-saw\"\u003eThe Rhinoceros Dürer Never Saw\u003c\/a\u003e — the animal, the letter, the errors, and why the wrong picture won for two and a half centuries.\u003cbr\u003e\n\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e — the comparison of the four surviving digitisations, and how the size was decided.\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\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\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\n\u003cp\u003eThe plate was engraved and hand-coloured by Robert Havell Jr. in London. Audubon never saw a printing press in America produce it.\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cem\u003eOriginal: 65.1 × 97.2 cm \/ 25.6 × 38.3 in — double elephant folio, University of Pittsburgh\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — 0.59× original\u003cbr\u003e\n\u003cstrong\u003e70 × 100 cm \/ 27.6 × 39.4 in\u003c\/strong\u003e — 0.82× original\u003c\/p\u003e\n\n\u003cp\u003eThe sheets are metric. The inch figures are exact conversions, not US nominal sizes — the large one sits inside a standard 28 × 40 in frame with a few millimetres to spare.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat is on the paper.\u003c\/strong\u003e Nothing is cropped. Pittsburgh photographed the whole folio leaf lying on a pale ground, and that is what we print: the plate entire, with the nine beak and foot studies along the top and the engraved caption at the foot, the leaf's own paper margin around it, its corners — dog-eared at the upper left, softened at the other three — and a band of the digitiser's ground beyond them, one and a half to two and a half centimetres wide depending on the size. It reads as what it is: a leaf out of a very large book, photographed flat.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eA correction, 3 September 2026.\u003c\/strong\u003e The two reductions were labelled 0.62× and 0.86× until that day. Those figures had been measured against the whole photographed rectangle, and the rectangle includes the ground. Measured against the leaf itself — 10264 by 15149 pixels of the museum's file, against the catalogued 65.1 by 97.2 cm — the true factors are 0.59× and 0.82×. The print has not changed; only the claim about it has.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nJohn 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\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","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":"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\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\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\n\u003cp\u003e\u003cstrong\u003eWhich impression, and why it matters.\u003c\/strong\u003e Washington's is untrimmed: the platemark — the impression the edge of the copper left in the damp paper — is visible on all four sides, and there is a margin of bare sheet beyond it. Most surviving impressions have been cut down to the picture at some point in three and a half centuries. We reproduce the platemark, because it is the evidence that this sheet was never trimmed.\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cstrong\u003eOne size only, and not because the file ran out.\u003c\/strong\u003e Washington's digitisation would carry an image 39 cm wide at 300 dpi, so a larger sheet is technically available. We do not offer it. The argument of this print is its size: the plate is what it is, and seeing it at that size is most of the point. This is the first size decision in the catalogue taken on meaning rather than on pixels, and we would rather say so than let it look like a limitation.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nRembrandt van Rijn (Dutch, 1606–1669), \u003cem\u003eThe Three Trees\u003c\/em\u003e, 1643; etching with drypoint and engraving on laid paper. Plate 21.4 × 28 cm, sheet 21.8 × 28.7 cm — an untrimmed impression. Signed in the plate at lower left: \u003cem\u003eRembrandt f. 1643\u003c\/em\u003e.\u003cbr\u003e\nWhite\/Boon 1969 no. 212, one state only; New Hollstein no. 214.\u003cbr\u003e\nNational Gallery of Art, Washington, Rosenwald Collection, Acc. No. 1943.3.9119. Purchased by Lessing J. Rosenwald in 1928; given to the museum in 1943.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation under its Open Access policy.\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\n\u003ca href=\"\/blogs\/notes\/what-a-reproduction-was-for\"\u003eWhat a Reproduction Was For\u003c\/a\u003e — this sheet, a great-uncle's flat, and the case for hanging a reproduction without apologising for it.\u003cbr\u003e\n\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e — how every size in this shop is decided.\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\n\u003cp\u003e\u003cstrong\u003eWhy he made it.\u003c\/strong\u003e This is Plate III of \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e, the first book ever illustrated with photographs, and the text Talbot printed beside it is not about beauty. He suggests that a collector photograph his china; and that should a thief ever take it, «the mute testimony of the picture» could be produced in court. It is the first argument anyone made for photography as evidence rather than as a picture — written by the man who had just invented the negative.\u003c\/p\u003e\n\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\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\n\u003cp\u003eAt original size the picture is the size Talbot printed it, in 1843. Enlarged, the porcelain comes up to the size it really was, and the grain of the salted paper becomes visible — a different picture, and a deliberate one. 2.1× is the ceiling we apply to photographs; this sheet is the only Talbot in the catalogue whose digitisation carries it. The Chicago file gives 1154 dpi at original size and 550 dpi enlarged, both far above the 300 dpi we hold as the floor. Nothing is upscaled.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eStraightened, and what that cost.\u003c\/strong\u003e Chicago's photograph of this print stands 1.3 degrees off level. We measured it, and then measured the Metropolitan Museum's copy of the same plate, which reads level to a tenth of a degree — so the tilt is in the copying, not in the cabinet Talbot photographed. It has been rotated back. Squaring the corners again after a rotation costs about two and a half per cent on every side, so the printed picture is 17.72 cm wide where the whole one measures 18.2: what falls away is the outer edge of the dark ground, and none of the porcelain.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eOne honest note on the measurement.\u003c\/strong\u003e The museum catalogues the image as 13.7 × 18.2 cm, a ratio of 1.33. The digitisation runs to 1.22 — it carries a little more height than the catalogued rectangle. We anchor the scale on the catalogued width of 18.2 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhere this sheet ends.\u003c\/strong\u003e The museum's photograph is cropped to the picture. The paper the print sits on measures 18.7 × 22.4 cm, so there is a margin of bare sheet around it that is not in the file and therefore not in your print. What you get is the photograph itself — the cabinet with its rounded corners and the dark ground on every side of it, including the cloudy mottling at the upper left where the coating went on unevenly. That is the object, not a fault, and it is printed as it is.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nWilliam 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. No. 2015.74.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation as open access under CC0.\u003c\/p\u003e\n\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","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-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 \u003cp\u003e\u003cstrong\u003ePhotoglyphic engraving.\u003c\/strong\u003e Twenty years after he invented photography on paper, Talbot went after the problem that would outlive him: how to print a photograph in ink, on a press, so that it would not fade. He coated a steel or copper plate with light-sensitive gelatine, laid the object on it, exposed it to the sun, etched the plate and printed it like an engraving. He patented the process in 1858 and called it photoglyphic engraving. It is the direct ancestor of photogravure, and of every photograph printed in a book since.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhat you are looking at\u003c\/strong\u003e is therefore a photogram that has been turned into a copper plate and inked — the plant's own shadow, drawn by the sun and then bitten into metal. The plate mark is visible around the picture, as it is on the original sheet.\u003c\/p\u003e \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 \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 \u003cp\u003e\u003cstrong\u003eHow we cut it.\u003c\/strong\u003e Talbot's sheet carries wide blank margins, the way a plate is printed on paper larger than itself. We do not reproduce all of that empty paper. We print the plate mark and about five millimetres of paper beyond it — the cut a framer makes when the mat window is set just outside the plate mark. Everything Talbot put on the sheet is inside that rectangle, plate mark included; what falls away is bare margin.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eA correction, made the day this print went up.\u003c\/strong\u003e The first files were built on a scale anchor taken from a rough measurement of the sheet rather than the measured one, and printed about three quarters of a per cent small. We measured the sheet on the museum's file properly — 2725 by 3628 pixels against the catalogued 11.3 by 15.1 cm, the two readings agreeing to three parts in a thousand — and rebuilt both files the same day. The figures above are the corrected ones.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhy only two sizes.\u003c\/strong\u003e The museum's file gives 611 dpi across the picture at original size, far above the 300 dpi we hold as the floor. That reserve buys one honest enlargement: at 1.9× the print still carries 322 dpi. Past about 2× it would fall through, so we stop.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e William 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. No. 2004.111, Rogers Fund, 2004.\u003cbr\u003e Public domain. The museum publishes its digitisation as open access.\u003c\/p\u003e \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 \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 — how the file, not the sheet, sets the ceiling.\u003cbr\u003e \u003ca href=\"\/collections\/botanical-prints\"\u003eBotanical prints\u003c\/a\u003e — plants that printed themselves.\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 \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 \u003cp\u003e\u003cstrong\u003eA rich impression, and that is the point.\u003c\/strong\u003e Salt prints fade, and most surviving copies of this plate are pale and flat. The Metropolitan Museum's copy is not: it is deep brown, almost black in the ground, with the books standing out of it. We looked at another institution's copy first and turned it down for exactly that reason. This is the same picture in far better condition.\u003c\/p\u003e \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 \u003cp\u003e\u003cstrong\u003eWe print the whole sheet, not just the picture.\u003c\/strong\u003e Talbot sensitised a piece of writing paper larger than his negative, so the paper around the picture went dark in the light as well. That dark field, with its uneven edges where he trimmed the sheet by hand, is part of the object; the white you see in the notches at the edges is the museum's mount showing through. Cropping to the bookcase alone would make a tidier rectangle and a less honest one.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOne size only.\u003c\/strong\u003e Measured against the picture as catalogued, the file gives 346 dpi at original size — above the 300 dpi we hold as the floor, and nothing is upscaled. It does not give more. An enlargement would top out near 1.15×, which is not an enlargement, so we do not offer one.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e William 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. Plate VIII of \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e.\u003cbr\u003e The Metropolitan Museum of Art, New York — Acc. No. 2005.100.172, Gilman Collection, Gift of The Howard Gilman Foundation, 2005.\u003cbr\u003e Public domain. The museum publishes its digitisation as open access.\u003c\/p\u003e \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 \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 — how the file, not the sheet, sets the ceiling.\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 \u003cp\u003e\u003cstrong\u003eThe Pencil of Nature.\u003c\/strong\u003e Talbot published this plate in the first commercially issued book illustrated with photographs, and wrote beside it that a photographer often finds, in a chance ray of sunshine or a weathered oak, a subject worth recording — that the eye may see poetry where others see nothing at all. The picture is staged, of course: he arranged the broom. But the claim was serious, and every photograph of a plain thing since descends from it.\u003c\/p\u003e \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 \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 \u003cp\u003e\u003cstrong\u003eWhy it stops at 1.25×.\u003c\/strong\u003e The museum's file gives 391 dpi at original size, comfortably above the 300 dpi we hold as the floor, and nothing is upscaled. At 1.25× the print still carries 312 dpi. The floor arrives at about 1.27×, so there is no third size.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThe file is the picture, edge to edge.\u003c\/strong\u003e The museum photographed this print cropped to the image — no sheet margin, no mount. So what you get is the picture as catalogued and nothing around it, and the white border on your sheet is ours, not Talbot's. Where the museum's measurements and the file disagree by a millimetre or two, we anchor on the catalogued width.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e William 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. Plate VI of \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e.\u003cbr\u003e The Metropolitan Museum of Art, New York — Acc. No. 2005.100.498, Gilman Collection, Purchase, Joseph M. Cohen and Robert Rosenkranz Gifts, 2005.\u003cbr\u003e Public domain. The museum publishes its digitisation as open access.\u003c\/p\u003e \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 \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 — how the file, not the sheet, sets the ceiling.\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":"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\n\u003cp\u003e\u003cstrong\u003eAn atlas of systems, not of stars.\u003c\/strong\u003e Cellarius did not set out to map the sky so much as to draw the competing pictures of it side by side — the earth-centred system of Ptolemy, the sun-centred one of Copernicus, the compromise of Tycho Brahe — each as a full-page plate, each argued in the same ornamental language. This is the first of them, and the oldest idea in the book.\u003c\/p\u003e\n\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\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\n\u003cp\u003e\u003cstrong\u003eWhere the measurement comes from.\u003c\/strong\u003e The library scanned the volume at 400 dpi, and that figure is written into the file itself. At that scale the printed border of the plate measures 51.34 × 43.75 cm on the Zurich copy. A second copy, in the Städtisches Museum Schloss Rheydt, is catalogued at 51.1 × 43.1 cm to the plate mark; hand-made paper moves by about one per cent from copy to copy, and the two agree within that.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat is cropped and what is not.\u003c\/strong\u003e The print stops at the outer printed rule of the engraving, the same convention we use for the block edge of a Japanese woodcut. The embossed plate mark lies about 2.5 mm outside that rule and stays out, as does the wide paper margin of the atlas leaf. The rule itself wanders by up to 3 mm across the width, because the leaf is bowed where it was bound; the crop takes the outer envelope of it, so a little paper comes in where the rule sits inside. Nothing is cut into the engraving. The engraved plate number 1 stands in the lower right corner and stays in the picture.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe fold.\u003c\/strong\u003e The plate was printed on a sheet wider than the book and folded once to be bound. The fold runs vertically down the middle of the picture, it is in the library's file, and it prints. We do not retouch it out. It is what a plate in a bound atlas looks like after three and a half centuries.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eOn the borders.\u003c\/strong\u003e The plate is wider than it is tall and the sheet is square, so the margins cannot be equal. On the small sheet the image takes the house width, 84 % of the sheet: 4.00 cm at each side, 6.61 above and 7.60 below. On the large sheet the plate is printed at its own size, which leaves 9.33 cm at the sides, 12.21 above and 14.04 below. Both sit at optical centre, 1:1.15, not in the middle.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy there is no bigger sheet.\u003c\/strong\u003e Resolution is not the limit here. The scan carries 8085 pixels across the plate, which at our 300 dpi floor would cover an image 68 cm wide. The sheet is the limit: the plate's proportion, 1.17 to 1, sits between the shapes we stock, and the square sheet holds it with even side margins where the next larger sheets are long rectangles that would leave some 15 cm of paper at either side. So the large sheet prints the plate at its own size and stops there.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nAndreas 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. Copper-plate print, coloured by hand — engraving and etching combined; the Zurich catalogue names the technique as etching.\u003cbr\u003e\nZentralbibliothek Zürich, shelfmark T 12; doi 10.3931\/e-rara-89076.\u003cbr\u003e\nKoeman, \u003cem\u003eAtlantes Neerlandici\u003c\/em\u003e, ed. Van der Krogt, vol. I (1997), pp. 513–516, no. 1:801B, variant bc [Zürich III].\u003cbr\u003e\nPublic domain. The library publishes its scan under the Public Domain Mark.\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cstrong\u003eThe pair\u003c\/strong\u003e\u003cbr\u003e\nPlate 4 of the same atlas draws the Copernican system, with the sun in the middle, in the same hand and the same size. The two were made to be read against each other and we print both.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\n\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e — how the file, not the sheet, sets the ceiling.\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\n\u003cp\u003e\u003cstrong\u003eAn atlas of systems, not of stars.\u003c\/strong\u003e Cellarius did not set out to map the sky so much as to draw the competing pictures of it side by side — the earth-centred system of Ptolemy, the sun-centred one of Copernicus, the compromise of Tycho Brahe — each as a full-page plate, each argued in the same ornamental language. This is the one that turned out to be right, printed with the same care as the two that did not.\u003c\/p\u003e\n\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\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\n\u003cp\u003e\u003cstrong\u003eWhere the measurement comes from.\u003c\/strong\u003e The library scanned the volume at 400 dpi, and that figure is written into the file itself. At that scale the printed border of the plate measures 51.00 × 43.34 cm on the Zurich copy. A second copy of the atlas, in the Städtisches Museum Schloss Rheydt, is catalogued at 51.1 × 43.1 cm to the plate mark; hand-made paper moves by about one per cent from copy to copy, and the two agree within that.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhat is cropped and what is not.\u003c\/strong\u003e The print stops at the outer printed rule of the engraving, the same convention we use for the block edge of a Japanese woodcut. The embossed plate mark lies a few millimetres outside that rule and stays out, as does the wide paper margin of the atlas leaf. The rule itself wanders by up to 2 mm across the width, because the leaf is bowed where it was bound; the crop takes the outer envelope of it, so a little paper comes in where the rule sits inside. Nothing is cut into the engraving. The engraved plate number 4 stands in the lower right corner and stays in the picture.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe fold.\u003c\/strong\u003e The plate was printed on a sheet wider than the book and folded once to be bound. The fold runs vertically down the middle of the picture, it is in the library's file, and it prints. We do not retouch it out. It is what a plate in a bound atlas looks like after three and a half centuries.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eOn the borders.\u003c\/strong\u003e The plate is wider than it is tall and the sheet is square, so the margins cannot be equal. On the small sheet the image takes the house width, 84 % of the sheet: 4.00 cm at each side, 6.66 above and 7.65 below. On the large sheet the plate is printed at its own size, which leaves 9.50 cm at the sides, 12.40 above and 14.27 below. Both sit at optical centre, 1:1.15, not in the middle.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy there is no bigger sheet.\u003c\/strong\u003e Resolution is not the limit here. The scan carries 8032 pixels across the plate, which at our 300 dpi floor would cover an image 68 cm wide. The sheet is the limit: the plate's proportion, 1.18 to 1, sits between the shapes we stock, and the square sheet holds it with even side margins where the next larger sheets are long rectangles that would leave some 15 cm of paper at either side. So the large sheet prints the plate at its own size and stops there.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nAndreas 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. Copper-plate print, coloured by hand — engraving and etching combined; the Zurich catalogue names the technique as etching.\u003cbr\u003e\nZentralbibliothek Zürich, shelfmark T 12; doi 10.3931\/e-rara-89076.\u003cbr\u003e\nKoeman, \u003cem\u003eAtlantes Neerlandici\u003c\/em\u003e, ed. Van der Krogt, vol. I (1997), pp. 513–516, no. 1:801B, variant bc [Zürich III].\u003cbr\u003e\nPublic domain. The library publishes its scan under the Public Domain Mark.\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cstrong\u003eThe pair\u003c\/strong\u003e\u003cbr\u003e\nPlate 1 of the same atlas draws the older, earth-centred system of Ptolemy, in the same hand and the same size. The two were made to be read against each other and we print both.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\n\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e — how the file, not the sheet, sets the ceiling.\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":"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 \u003cp\u003e\u003cstrong\u003eThe technique is the point.\u003c\/strong\u003e Morris spent years trying to print by the indigo-discharge method: dye the whole cloth blue first, then bleach the pattern back out of it with a discharge paste and block the reds and yellows into the cleared ground. He failed at it in 1875 and only got it right after he moved his works to Merton Abbey in 1881. \u003cem\u003eStrawberry Thief\u003c\/em\u003e, registered in 1883, is what the method could finally do. The colour sits in the cloth rather than on it, which is why the blue has not shifted in a century and a half and the whites have gone the colour of old paper.\u003c\/p\u003e \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 \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 \u003cp\u003e\u003cstrong\u003eWhy it is smaller than the cloth.\u003c\/strong\u003e The file is not the limit here. It carries 13,063 pixels across the width, enough to print the cloth at its true size and more. The sheet is the limit: at 1:1 the picture alone would be 99 cm wide and the paper would have to be about 118 cm. The largest square sheet we print is 70 cm, so the large sheet shows the cloth at 0.59× and the small one at 0.42×. Both sheets have resolution to spare — 564 and 790 dpi against our floor of 300.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThe cut edges stay in.\u003c\/strong\u003e This is a piece cut from a bolt, not a finished thing. Left and right are woven selvedges and run straight. Top and bottom were cut with shears and have been fraying ever since: the edge wanders by up to nineteen millimetres, and where it falls back, the museum's grey studio ground shows in the notches. We crop to the outermost thread on all four sides. One loose weft at the bottom hangs nine millimetres below everything else, and it is in the picture. Nothing is straightened, nothing is filled in.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eA date that does not add up.\u003c\/strong\u003e Cleveland catalogues this length as about 1936. Along the right-hand selvedge the firm's own mark is printed, and the cut has taken the beginning of it away, so what survives reads «…MPANY 449 OXFORD STREET LONDON W». Morris \u0026amp; Co. sold from 449 Oxford Street from 1882 and moved to 17 George Street, Hanover Square, in 1917. So either the cloth was printed before that move, or it was run from blocks and selvedge marks that were already out of date. We print the museum's date and this reading side by side and leave the question open.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eMargins.\u003c\/strong\u003e Small sheet: 4.00 cm at the sides, 5.83 above, 6.71 below. Large sheet: 5.60 at the sides, 8.16 above, 9.39 below. Optical centre, 1:1.15, not the middle of the paper.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e Designed by William Morris (British, 1834–1896), \u003cem\u003eStrawberry Thief\u003c\/em\u003e, registered 1883.\u003cbr\u003e Plain weave cotton, discharge printed. Merton Abbey, Surrey. 88.3 × 99.1 cm.\u003cbr\u003e Cleveland Museum of Art, Gift of Mrs Henry Chisholm, acc. no. 1937.696 (CMA object 117129); dated by the museum c. 1936.\u003cbr\u003e Public domain. The museum publishes its photograph under CC0.\u003c\/p\u003e \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 \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 — what decides a size here, and why this one is a reduction.\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"},{"product_id":"william-morris-kennet-1883-giclee-print","title":"William Morris – Kennet, 1883 | Giclée Print","description":"\u003cp\u003eA slow diagonal of stems carrying big open flower heads and turning acanthus, laid over a second, much finer layer of leaves and little blossom that fills every gap. Two patterns in one cloth, one read at arm's length and one read from across the room — the thing Morris did better than anyone.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eNamed after a river.\u003c\/strong\u003e Between 1883 and 1885 Morris designed nine printed cottons and called each of them after a tributary of the Thames: \u003cem\u003eEvenlode\u003c\/em\u003e, \u003cem\u003eWindrush\u003c\/em\u003e, \u003cem\u003eKennet\u003c\/em\u003e and \u003cem\u003eWey\u003c\/em\u003e in 1883, then \u003cem\u003eLoddon\u003c\/em\u003e, \u003cem\u003eWandle\u003c\/em\u003e and \u003cem\u003eCray\u003c\/em\u003e, then \u003cem\u003eLea\u003c\/em\u003e and \u003cem\u003eMedway\u003c\/em\u003e. He knew that river system from the boat journeys between his London house and Kelmscott Manor, and the names are not decoration — they mark the years when his patterns turned from flat repeats into something that moves like water. \u003cem\u003eKennet\u003c\/em\u003e was registered on 18 October 1883.\u003c\/p\u003e \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 \u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: a cut length of printed cotton, 90.2 × 97.8 cm. Cleveland Museum of Art\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.43× original. Image 42.00 × 39.11 cm.\u003cbr\u003e \u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — reduced, 0.60× original. Image 58.80 × 54.76 cm.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhy it is smaller than the cloth.\u003c\/strong\u003e The file is not the limit here. It carries 12,773 pixels across the width, enough to print the cloth at its true size and more. The sheet is the limit: at 1:1 the picture alone would be 98 cm wide and the paper would have to be about 117 cm. The largest square sheet we print is 70 cm, so the large sheet shows the cloth at 0.60× and the small one at 0.43×. Both have resolution to spare — 552 and 772 dpi against our floor of 300.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThe cut edges stay in.\u003c\/strong\u003e A piece cut from a bolt, not a finished thing. Left and right are woven selvedges and run straight. Top and bottom were cut with shears and have frayed ever since, so the edge wanders and the museum's grey studio ground shows in the notches. We crop to the outermost thread on all four sides and straighten nothing.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhich measurement we trust.\u003c\/strong\u003e The two catalogued dimensions do not agree with each other by 0.9 % when they are laid over the file. We take the width as the anchor and say why: 97.8 cm is the loom width, selvedge to selvedge, and a loom does not vary. The 90.2 cm is the length of a hand-cut, fraying edge, and depends on where a tape is laid. Measured against the loom width, this piece stands 91.1 cm tall.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWhat the selvedge says.\u003c\/strong\u003e Along the left edge the firm's mark is printed into the cloth: «REGᵩ MORRIS \u0026amp; COMPANY 449 OXFORD STREET LONDON W». Cleveland dates the length to about 1920. Morris \u0026amp; Co. sold from 449 Oxford Street from 1882 and moved to 17 George Street, Hanover Square, in 1917. So either this cloth was printed before that move, or it was run from selvedge blocks that were already out of date. We print the museum's date and this reading side by side and leave the question open.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eMargins.\u003c\/strong\u003e Small sheet: 4.00 cm at the sides, 5.06 above, 5.83 below. Large sheet: 5.60 at the sides, 7.09 above, 8.15 below. Optical centre, 1:1.15, not the middle of the paper.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e Designed by William Morris (British, 1834–1896), \u003cem\u003eKennet\u003c\/em\u003e, registered 18 October 1883.\u003cbr\u003e Plain weave cotton, printed. Merton Abbey, Surrey. 90.2 × 97.8 cm.\u003cbr\u003e Cleveland Museum of Art, Gift of Mrs Henry Chisholm, acc. no. 1937.698 (CMA object 117131); dated by the museum c. 1920.\u003cbr\u003e Public domain. The museum publishes its photograph under CC0.\u003c\/p\u003e \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 \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 — what decides a size here, and why this one is a reduction.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.43× original","offer_id":65808620061021,"sku":"MUS-052-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Reduced, 0.60× original","offer_id":65808620093789,"sku":"MUS-052-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-morris-kennet-plate_ac24740c-eebd-404c-a226-b6d62ad3677a.jpg?v=1788502894"}],"url":"https:\/\/museartis.com\/collections\/made-to-be-multiplied.oembed","provider":"Museartis","version":"1.0","type":"link"}