{"title":"Works on Paper","description":"\u003cp\u003eWoodcuts, engravings, illuminated manuscripts — works that were made on paper and were never meant to be anything else.\u003c\/p\u003e\u003cp\u003eEvery sheet comes from a named collection, printed as a giclée on archival matte paper with a generous white border, the way a print room presents a work on paper.\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","brand":"Museartis","offers":[{"title":"30x40 cm \/ 12x16″","offer_id":65758331306333,"sku":"MUS-001-4030","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40x50 cm \/ 16x20″","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: it is offered once, slightly reduced, with the factor 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\u003e70 × 100 cm \/ 27.6 × 39.4 in\u003c\/strong\u003e — 0.86× original\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is metric. The inch figures are exact conversions, not US nominal sizes — it sits inside a standard 28 × 40 in frame with a few millimetres to spare.\u003c\/p\u003e\n\n\u003cp\u003eNothing is cropped. The plate is reproduced whole, including the nine beak and foot studies along the top edge and the engraved caption at the foot.\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, 0.62× 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, 0.86× 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\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\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\n\u003cp\u003e\u003cstrong\u003eWhich copy.\u003c\/strong\u003e This one is the New York Public Library's — the set Atkins sent to Sir John Herschel, the astronomer who invented the cyanotype process and to whom she owed it. Because every leaf in every copy was coated, exposed and captioned by hand, no two copies are alike. Her caption here reads \u003cem\u003eDictyota dichotoma, in the young state; and in fruit\u003c\/em\u003e.\u003c\/p\u003e\n\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\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, 2.0× original\u003c\/p\u003e\n\n\u003cp\u003eAt original size the sheet carries the cyanotype exactly as Atkins made it. Enlarged, the seaweed reads across a room and the paper grain of 1853 becomes visible — which is a different picture, and a deliberate one. Both sizes are printed at 300 dpi, the resolution fine art paper resolves.\u003c\/p\u003e\n\n\u003cp\u003eThe leaf is reproduced whole, including Atkins's handwritten caption. Only the facing page and the binding edge are trimmed away.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nAnna 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. Shelf locator: Spencer Coll. Eng. 1843 93-440.\u003cbr\u003e\nThe work is in the public domain worldwide; the Library publishes its digitisation as public domain in the United States and asks to be credited.\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":"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\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\n\u003cp\u003e\u003cstrong\u003eWhich copy.\u003c\/strong\u003e This one is the New York Public Library's — the set Atkins sent to Sir John Herschel, the astronomer who invented the cyanotype process and to whom she owed it. Because every leaf in every copy was coated, exposed and captioned by hand, no two copies are alike.\u003c\/p\u003e\n\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\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, 2.0× original\u003c\/p\u003e\n\n\u003cp\u003eAt original size the sheet carries the cyanotype exactly as Atkins made it. Enlarged, the plume reads across a room and the paper grain of 1853 becomes visible — which is a different picture, and a deliberate one. Both sizes are printed at 300 dpi, the resolution fine art paper resolves.\u003c\/p\u003e\n\n\u003cp\u003eThe leaf is reproduced whole, including Atkins's handwritten species name. Only the facing page and the binding edge are trimmed away.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nAnna 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. Shelf locator: Spencer Coll. Eng. 1843 93-440.\u003cbr\u003e\nThe work is in the public domain worldwide; the Library publishes its digitisation as public domain in the United States and asks to be credited.\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":"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\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\n\u003cp\u003e\u003cstrong\u003eWhich copy.\u003c\/strong\u003e This one is the New York Public Library's — the set Atkins sent to Sir John Herschel, the astronomer who invented the cyanotype process and to whom she owed it. Because every leaf in every copy was coated, exposed and captioned by hand, no two copies are alike.\u003c\/p\u003e\n\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\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, 2.0× original\u003c\/p\u003e\n\n\u003cp\u003eAt original size the sheet carries the cyanotype exactly as Atkins made it. Enlarged, the leaf blades read across a room and the paper grain of 1853 becomes visible — which is a different picture, and a deliberate one. Both sizes are printed at 300 dpi, the resolution fine art paper resolves.\u003c\/p\u003e\n\n\u003cp\u003eThe leaf is reproduced whole, including Atkins's handwritten species name. Only the facing page and the binding edge are trimmed away.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nAnna 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. Shelf locator: Spencer Coll. Eng. 1843 93-440.\u003cbr\u003e\nThe work is in the public domain worldwide; the Library publishes its digitisation as public domain in the United States and asks to be credited.\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":"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\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\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\n\u003cp\u003e\u003cstrong\u003eOn the attribution.\u003c\/strong\u003e It is traditional rather than documented, and this edition says so. Asked about this photograph in March 2025, the museum's Collections service replied that it could not confirm the attribution from its records. The title and the year travel with the picture wherever it is reproduced; neither has a museum source behind it. What is not in question is the period — dress, plate and handling place the picture firmly around 1900 — nor the copyright status: a photograph of that age is in the public domain whoever made it.\u003c\/p\u003e\n\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\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\n\u003cp\u003eOne format only. The negative is lost and the surviving print is in private hands, so no original dimension can be quoted and none is invented. The best traced reproduction carries 2880 pixels, which at 300 dpi — the resolution fine art paper resolves — supports an image of 24 cm. That is the sheet, and there is no larger one: we would rather offer a single honest size than a big soft poster.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nAttributed 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\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","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\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\n\u003cp\u003e\u003cstrong\u003eWhich copy.\u003c\/strong\u003e This one is the New York Public Library's — the set Atkins sent to Sir John Herschel, the astronomer who invented the cyanotype process and to whom she owed it. Because every leaf in every copy was coated, exposed and captioned by hand, no two copies are alike.\u003c\/p\u003e\n\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\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, 2.0× original\u003c\/p\u003e\n\n\u003cp\u003eAt original size the sheet carries the cyanotype exactly as Atkins made it. Enlarged, the five tufts read across a room and the paper grain of 1853 becomes visible — which is a different picture, and a deliberate one. Both sizes are printed at 300 dpi, the resolution fine art paper resolves.\u003c\/p\u003e\n\n\u003cp\u003eThe leaf is reproduced whole, including Atkins's handwritten species name. Only the facing page and the binding edge are trimmed away.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nAnna 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. Shelf locator: Spencer Coll. Eng. 1843 93-440.\u003cbr\u003e\nThe work is in the public domain worldwide; the Library publishes its digitisation as public domain in the United States and asks to be credited.\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":"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\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\n\u003cp\u003e\u003cstrong\u003eWhich copy.\u003c\/strong\u003e This one is the New York Public Library's — the set Atkins sent to Sir John Herschel, the astronomer who invented the cyanotype process and to whom she owed it. Because every leaf in every copy was coated, exposed and captioned by hand, no two copies are alike.\u003c\/p\u003e\n\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\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, 2.0× original\u003c\/p\u003e\n\n\u003cp\u003eAt original size the sheet carries the cyanotype exactly as Atkins made it. Enlarged, the mass fills a wall and the paper grain of 1853 becomes visible — which is a different picture, and a deliberate one. Both sizes are printed at 300 dpi, the resolution fine art paper resolves.\u003c\/p\u003e\n\n\u003cp\u003eThe leaf is reproduced whole, including Atkins's handwritten species name. Only the facing page and the binding edge are trimmed away.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nAnna 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. Shelf locator: Spencer Coll. Eng. 1843 93-440.\u003cbr\u003e\nThe work is in the public domain worldwide; the Library publishes its digitisation as public domain in the United States and asks to be credited.\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":"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\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\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of the Metropolitan Museum'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\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 24.4 × 35.7 cm \/ 9.6 × 14.1 in — Metropolitan Museum of Art\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, 1.7× original\u003c\/p\u003e\n\n\u003cp\u003eAt original size the sheet is exactly what a buyer in Edo held in two hands. Enlarged, the wave takes a wall and the woodgrain, the register marks and the flecks in the paper of 1830 become visible — a different picture, and a deliberate one.\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is reproduced whole, including the title cartouche and Hokusai's signature. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nKatsushika 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, ca. 1830–32; woodblock print, ink and colour on paper, 24.4 × 35.7 cm.\u003cbr\u003e\nThe Metropolitan Museum of Art, Rogers Fund, 1914, Acc. No. JP10.\u003cbr\u003e\nPublic domain. The Museum publishes its digitisation under Open Access (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":"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\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\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of the Metropolitan Museum'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\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 36.5 × 24.3 cm \/ 14.4 × 9.6 in — Metropolitan Museum of Art\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\n\u003cp\u003eAt original size the sheet is exactly the ōban format a buyer in Edo held. Enlarged, the rain lines separate into two distinct falls and the woodgrain of the block comes up through the sky — a different picture, and a deliberate one.\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is reproduced whole, including the title cartouche and the publisher's seals. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa 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; woodblock print, ink and colour on paper, 36.5 × 24.3 cm.\u003cbr\u003e\nThe Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1918, Acc. No. JP644.\u003cbr\u003e\nPublic domain. The Museum publishes its digitisation under Open Access (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":"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, ca. 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\n\u003cp\u003eHiroshige made it around 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\n\u003cp\u003e\u003cstrong\u003eWhich impression.\u003c\/strong\u003e Woodblocks wear and pigments fade, so no two surviving sheets look alike. This one is the Minneapolis Institute of Art's, the gift of Louis W. Hill, Jr. — a fresh pull in which the rose band along the horizon and the graded sky are both intact.\u003c\/p\u003e\n\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\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 20.67 × 31.72 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eOne size only.\u003c\/strong\u003e At 300 dpi — the floor we hold — this file will not carry a sheet larger than 40 × 50 without being upscaled, so there is no enlarged version. We would rather sell one honest size than two, one of them soft.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy this sheet is trimmed.\u003c\/strong\u003e The four corners of this impression are cut at an angle and the block edge runs out into bare paper — normal for a sheet of this age, and the reason a framer would put a mat over it. Rather than reproduce those notched corners, we trim just over a millimetre in from the block edge on all four sides, to the largest clean rectangle inside the printed picture. Title cartouche, series cartouche and the signature are all inside it. 1:1 refers to the scale: what you see is printed at the size Hiroshige printed it, and the white border of the sheet does the work of the passepartout — you can frame it as it comes.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa 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, ca. 1857; colour woodblock print, ōban, 35.5 × 24.2 cm.\u003cbr\u003e\nMinneapolis Institute of Art, Gift of Louis W. Hill, Jr., Acc. No. 96.146.193.\u003cbr\u003e\nPublic domain; the museum publishes the digitisation as Public Domain.\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":"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\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\n\u003cp\u003e\u003cstrong\u003eWhich impression.\u003c\/strong\u003e Woodblocks wear and pigments fade, so no two surviving sheets look alike. This one is the Art Institute of Chicago's, the gift of Chester W. Wright, and it is an early, unfaded pull: the indigo band along the top is deep, the pink dawn light above the horizon is intact, and the greens in the fields have not gone yellow.\u003c\/p\u003e\n\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\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\n\u003cp\u003eAt original size the sheet is exactly the ōban format a buyer in Edo held. Enlarged, the cat is the size of a real cat and the woodgrain of the block comes up through the sky — a different picture, and a deliberate one.\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is reproduced whole, including the title cartouche and the publisher's seals. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa 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. Wright, Acc. No. 1961.147.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation 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":"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\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\n\u003cp\u003e\u003cstrong\u003eWhich impression.\u003c\/strong\u003e Woodblocks wear and pigments fade, so no two surviving sheets look alike — this one is the Art Institute of Chicago's, from Mr. and Mrs. Harold G. Henderson. The red-to-white gradation in the sky is printed cleanly and still saturated, and the green of the ground is still green; on most surviving sheets it has turned to olive.\u003c\/p\u003e\n\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\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\n\u003cp\u003eAt original size the sheet is exactly the ōban format a buyer in Edo held. Enlarged, the blossoms separate from the trunk and the hand-wiped gradation in the sky breaks into its own streaks — a different picture, and a deliberate one.\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is reproduced whole, including the title cartouche and the publisher's seals. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa 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. Harold G. Henderson, Acc. No. 1965.1027.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation 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":"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.jpg?v=1788193710"},{"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\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\n\u003cp\u003eThis is Shōno, the forty-fifth station of the Tōkaidō, and it is the print people mean when they say Hiroshige understood rain. In the impression reproduced here the dark band across the top is still deep and evenly graded — the first thing to go in later pulls, when the block was tired and the printer was in a hurry.\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cem\u003eOriginal sheet: 24.2 × 36.2 cm \/ 9.5 × 14.3 in — ōban yoko-e, 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. Image 30.77 × 21.57 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — enlarged, 1.8× original. Image 55.39 × 38.83 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy this sheet is trimmed.\u003c\/strong\u003e The paper of this impression has cut corners and a hand-trimmed edge that runs into the picture on two sides — normal for a Hōeidō Tōkaidō sheet, and the reason a framer would put a mat over it. Rather than reproduce that ragged outline, we trim about 2 cm in from the edge of the scan on all four sides, to the largest clean rectangle inside the printed picture. The title cartouche, the series title, the signature and both publisher's seals are all inside it. 1:1 refers to the scale: what you see is printed at the size Hiroshige printed it, and the white border of the sheet does the work of the passepartout — you can frame it as it comes.\u003c\/p\u003e\n\n\u003cp\u003eThe Chicago digitisation carries 561 dpi at original size and 312 dpi at the larger sheet — both above the 300 dpi we hold as the floor, and the enlargement stops exactly at the 1.8× ceiling we apply to line-based works. Nothing is upscaled.\u003c\/p\u003e\n\n\u003cp\u003eBoth sheets are metric; the inch figures are exact conversions rather than US nominal sizes. Nearest standard frames: 20 × 16 in and 28 × 20 in.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa 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. No. 1925.3553.\u003cbr\u003e\nPublic domain. Open-access image released by the museum 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 tone of the aged paper is kept, not corrected away. Unframed. Shipped rolled in a tube.\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\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\n\u003cp\u003e\u003cstrong\u003eWhich impression.\u003c\/strong\u003e Woodblocks wear and pigments fade, so no two surviving sheets look alike. This one is the Art Institute of Chicago's, the gift of Mr. and Mrs. Harold G. Henderson. The deep water is still dark blue and the graded sky above the horizon has kept its pink — the two colours that go first.\u003c\/p\u003e\n\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\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\n\u003cp\u003eAt original size the sheet is the ōban a buyer in 1853 held in his hands. Enlarged, the surf comes up to the size it suggests and the grain of the block shows in the flat blue — a different picture, and a deliberate one.\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is reproduced whole, including the title cartouche and the publisher's seals. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa 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. Harold G. Henderson, Acc. No. 1965.962.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation 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":"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.jpg?v=1788241920"},{"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\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\n\u003cp\u003e\u003cstrong\u003eWhich impression.\u003c\/strong\u003e Woodblocks wear and pigments fade, so no two surviving sheets look alike. This one is the Art Institute of Chicago's, from the Frederick W. Gookin Collection: the rain lines are still crisp and unbroken, and the greens of the fields have not gone yellow.\u003c\/p\u003e\n\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\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\n\u003cp\u003e\u003cstrong\u003eWhy the border is wider here.\u003c\/strong\u003e We do not enlarge a line-cut work beyond 1.8×: past that, the lines the cutter made stop reading as cut lines. On the 50 × 70 sheet our usual 8 % border would have meant 1.89×, so the border is opened to 10 % and the print stops at 1.8×. A slightly smaller image on the same sheet, on purpose.\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is reproduced whole, including the title cartouche and the publisher's seals. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa 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. Gookin Collection, Acc. No. 1939.1504.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation 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":"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.jpg?v=1788241970"},{"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\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\n\u003cp\u003e\u003cstrong\u003eWhich impression.\u003c\/strong\u003e Woodblocks wear and pigments fade, so no two surviving sheets look alike. This one is the Art Institute of Chicago's, from the Clarence Buckingham Collection — the teal ground is even and unfaded and the peacock blue in the tail is intact.\u003c\/p\u003e\n\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\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\n\u003cp\u003e\u003cstrong\u003eA narrow picture on a standard sheet.\u003c\/strong\u003e A panel of this shape has no standard frame of its own. The sheet sizes that would fit it tightly — 25 × 60 cm and the like — mean a made-to-measure frame and made-to-measure glass. So the picture is centred on our normal sheets instead, with the side borders wider than the top and bottom. That is how a narrow picture is matted anyway, and it means you can frame this one in a 16 × 20 or 20 × 28 inch frame bought off the shelf.\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is reproduced whole, including the poem and the signature. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa 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. No. 1943.633.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation 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":"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\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\n\u003cp\u003e\u003cstrong\u003eWho made it.\u003c\/strong\u003e Johann Heinrich Lips (1758–1817) came from Kloten near Zurich, made his name engraving the plates for Lavater's \u003cem\u003ePhysiognomische Fragmente\u003c\/em\u003e, and later worked in Weimar in Goethe's circle. A Swiss draughtsman's Greece, drawn from Homer and from casts, at the moment when neoclassicism was becoming the common language of Europe.\u003c\/p\u003e\n\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\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 × 40.11 cm.\u003c\/p\u003e\n\n\u003cp\u003eAt original size the sheet is the size Lips drew it, ruled border and all. The smaller sheet is a reduction, not an enlargement — we never scale a drawing up beyond what the file honestly carries, and here it does not need to be.\u003c\/p\u003e\n\n\u003cp\u003eThe drawing is reproduced whole, including its ruled framing lines and the tone of the blued-white laid paper. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nJohann 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. No. 2023.3178.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation 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":"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\u003eSnow falls through a blue sky in flat white flecks, printed one by one from the block. A camellia branch carries its blossoms and a load of snow across the top of the sheet; below, where the blue fades into the bare paper, two sparrows come in with their wings open.\u003c\/p\u003e\n\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. Hiroshige is remembered for landscapes, but he made hundreds of bird-and-flower panels like this one, and they are the sheets in which his printing is at its most inventive: the graded blue, the white of the snow left as bare paper, the birds drawn in five or six strokes.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhich impression.\u003c\/strong\u003e Woodblocks wear and pigments fade, so no two surviving sheets look alike. This one is the Art Institute of Chicago's, the gift of H. R. Warner — the blue is still even from top to bottom, and the red of the camellia has not gone brown.\u003c\/p\u003e\n\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\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 38 × 17.3 cm \/ 15.0 × 6.8 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 16.88 × 37.09 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — enlarged, 1.7× original. Image 28.22 × 62.00 cm.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eA narrow picture on a standard sheet.\u003c\/strong\u003e A panel of this shape has no standard frame of its own. The sheet sizes that would fit it tightly mean a made-to-measure frame and made-to-measure glass, so the picture is centred on our normal sheets instead, with the side borders wider than the top and bottom. That is how a narrow picture is matted anyway, and it means you can frame this one in a 16 × 20 or 20 × 28 inch frame bought off the shelf.\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is reproduced whole, including the poem and the signature. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa Hiroshige (1797–1858), \u003cem\u003eSparrows and Camellia in Snow\u003c\/em\u003e, c. 1831–33; colour woodblock print, ōtanzaku, 38 × 17.3 cm.\u003cbr\u003e\nThe Art Institute of Chicago, Gift of H. R. Warner, Acc. No. 1932.208.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation 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":"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.jpg?v=1788248830"},{"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\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\n\u003cp\u003e\u003cstrong\u003eWhich impression.\u003c\/strong\u003e Woodblocks wear and pigments fade, so no two surviving sheets look alike. This one is the Art Institute of Chicago's, from the Clarence Buckingham Collection — the blue of the water is still deep and evenly graded, and the reeds have kept their fine line.\u003c\/p\u003e\n\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\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\n\u003cp\u003e\u003cstrong\u003eA narrow picture on a standard sheet.\u003c\/strong\u003e A panel of this shape has no standard frame of its own. The sheet sizes that would fit it tightly mean a made-to-measure frame and made-to-measure glass, so the picture is centred on our normal sheets instead, with the side borders wider than the top and bottom. That is how a narrow picture is matted anyway, and it means you can frame this one in a 16 × 20 or 20 × 28 inch frame bought off the shelf.\u003c\/p\u003e\n\n\u003cp\u003eThe sheet is reproduced whole, including the poem and the signature. Nothing is cropped away but the museum's mount.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nUtagawa 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. No. 1952.338.\u003cbr\u003e\nPublic domain. The museum publishes its digitisation 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":"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":"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\n\u003cp\u003e\u003cstrong\u003eThe blue is the point.\u003c\/strong\u003e It is Prussian blue — \u003cem\u003ebero-ai\u003c\/em\u003e, a synthetic pigment imported through Nagasaki and, by the early 1830s, cheap enough to lay across a whole sheet. Japanese printers had never had a blue that held its depth without fading. It is the same pigment that carries \u003cem\u003eUnder the Wave off Kanagawa\u003c\/em\u003e, and here Hokusai spends it on the ground rather than the subject: the bird and the blossom are almost uncoloured, and the sky does the work.\u003c\/p\u003e\n\n\u003cp\u003eThe birds in this group are not decorative. Each is a species a Japanese reader would name at a glance — here \u003cem\u003euso\u003c\/em\u003e, the bullfinch — paired with the plant that flowers at the same moment.\u003c\/p\u003e\n\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\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\n\u003cp\u003e\u003cstrong\u003eWhy the small sheet is 27 × 35 and not 30 × 40.\u003c\/strong\u003e A chūban is a small sheet — about the size of a sheet of A4 turned upright. At 1:1 it needs a sheet that sits close around it, or the picture floats. 27 × 35 leaves a border of four centimetres at the sides and fits the standard 11 × 14 inch frame.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWhy the large sheet stops at 1.72×.\u003c\/strong\u003e House ceiling for line work is 1.8×. Enlarge a woodblock print further and you enlarge the cut line itself — the carver's stroke starts to look like a drawn one. The 40 × 50 sheet takes the picture as far as that rule allows.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eA note on the trim.\u003c\/strong\u003e The sheet was cut close to the printed block, and the museum's scan carries a few millimetres of scanner ground around it. That ground is removed; the printed block is reproduced whole, edge to edge, including the signature and publisher's seal at the upper right.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003e\nKatsushika 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. No. 1925.3367.\u003cbr\u003e\nPublic domain. The museum publishes its photograph 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 colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"27x35 cm \/ 11x14″","offer_id":65771551850845,"sku":"MUS-025-2735","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40x50 cm \/ 16x20″","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"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/collections\/MUS-019_OdysseusHades_plate.jpg?v=1788263114","url":"https:\/\/museartis.com\/collections\/works-on-paper.oembed","provider":"Museartis","version":"1.0","type":"link"}