{"title":"Works on Paper","description":"\u003cp\u003eOriginal works on paper: etchings, engravings, woodblock prints, drawings and watercolours. Vintage art prints reproduced at the size of the original sheet — the deepest part of the Museartis archive.\u003c\/p\u003e","products":[{"product_id":"albrecht-durer-the-rhinoceros-1515-giclee-print","title":"Albrecht Dürer – The Rhinoceros, 1515 | Giclée Print","description":"\u003cp\u003eIn May 1515 a rhinoceros arrived in Lisbon, a gift from the Sultan of Cambay to King Manuel I of Portugal. Word travelled north with a letter and a rough sketch. Dürer, in Nuremberg, never laid eyes on the animal. He cut this woodcut from the description alone.\u003c\/p\u003e\n\u003cp\u003eHe got things wrong. The plates of skin become riveted armour. A second small horn sprouts from the shoulder. The legs are scaled like a lizard's. And none of it mattered: for the next two hundred and fifty years, European schoolbooks drew their rhinoceros from this sheet rather than from life. It outlasted the animal itself, which drowned off the Italian coast on its way to the Pope.\u003c\/p\u003e\n\u003cp\u003eIt is the finest example I know of an image defeating a fact — and a reminder that a picture can be wrong and still be true to the thing it wants to show.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\nMost print shops stretch any image onto any sheet without comment. We do not. This sheet is offered at the size Dürer cut it, and once enlarged, with the factor named.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAlbrecht Dürer (1471–1528), \u003cem\u003eThe Rhinoceros\u003c\/em\u003e, 1515; woodcut with letterpress, image 23.8 × 30.1 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-durer-rhinoceros\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/the-rhinoceros-durer-never-saw\"\u003eThe Rhinoceros Dürer Never Saw\u003c\/a\u003e · \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 30 cm \/ 15.7 × 11.8 in — Original size, 1:1","offer_id":65758331306333,"sku":"MUS-001-4030","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Enlarged, 1.4× original","offer_id":65742209548637,"sku":"MUS-001-5040","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-durer-rhinoceros-plate.jpg?v=1788192563"},{"product_id":"john-james-audubon-american-flamingo-1838-giclee-print","title":"John James Audubon – American Flamingo, 1838 | Giclée Print","description":"\u003cp\u003eAudubon drew the American Flamingo in 1838, near the end of \u003cem\u003eThe Birds of America\u003c\/em\u003e. The bird stands over four feet tall. The page he was working to — the double elephant folio, the largest book anyone had seriously attempted — measured about thirty-nine inches by twenty-six. It was not enough.\u003c\/p\u003e\n\u003cp\u003eSo he bent the bird. The flamingo lowers its head to the water in a curve that fills the sheet corner to corner, neck folded back on itself, the whole animal compressed into the only rectangle available. It is a solution to a printing problem, and it produced one of the most recognisable images in ornithology.\u003c\/p\u003e\n\u003cp\u003eAbove the bird, small and precise, Audubon set nine studies: the beak seen from several angles and opened in section, and the webbed foot. He was a hunter and a showman, but he was also keeping notes.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\nMost print shops stretch any image onto any sheet without comment. We do not. Audubon's folio is larger than any sheet we print, so this one goes the other way: both sizes are reductions, and the factor is named.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone and hand-colouring of the original are kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eJohn James Audubon (1785–1851), \u003cem\u003eAmerican Flamingo; Greater Flamingo\u003c\/em\u003e, Plate CCCCXXXI from \u003cem\u003eThe Birds of America\u003c\/em\u003e, London 1827–1838; hand-coloured aquatint engraving after the watercolour of 1838, engraved, printed and coloured by Robert Havell Jr., sheet 97.2 × 65.1 cm \/ 38.25 × 25.625 in.\u003cbr\u003e\nThe work is in the public domain worldwide; the museum publishes its digitisation under the rights statement “No Copyright – United States”.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-audubon-american-flamingo\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Reduced, 0.59× original","offer_id":65758548132189,"sku":"MUS-003-5070","price":89.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 100 cm \/ 27.6 × 39.4 in — Reduced, 0.82× original","offer_id":65742269579613,"sku":"MUS-003-70100","price":129.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/audubon-american-flamingo-1838-giclee-print.webp?v=1788128631"},{"product_id":"anna-atkins-dictyota-dichotoma-1853-giclee-print","title":"Anna Atkins – Dictyota dichotoma, 1853 | Giclée Print","description":"\u003cp\u003eAnna Atkins made this image without a camera. She laid a piece of dried seaweed on paper coated with iron salts, put it in the sun, and rinsed it in water. What the plant covered stayed white. Everything else turned Prussian blue.\u003c\/p\u003e\n\u003cp\u003eShe did this several thousand times. Between 1843 and 1853 she produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs, published eight months before Talbot's \u003cem\u003ePencil of Nature\u003c\/em\u003e. Perhaps twenty-five copies were ever assembled, each plate printed by hand, each caption written by hand.\u003c\/p\u003e\n\u003cp\u003eShe was a botanist, not an artist, and the intention was documentary: a visual key to species that line engraving rendered badly. The result is something else. A brown-branched alga on white paper is a specimen. The same alga as a white silhouette on deep blue is a drawing made by the plant itself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 2.03× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003eDictyota dichotoma, in the young state; and in fruit\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-dictyota-dichotoma\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65752620237149,"sku":"MUS-004-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65752620269917,"sku":"MUS-004-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dictyota-plate-v2.jpg?v=1788200361"},{"product_id":"anna-atkins-ptilota-plumosa-1853-giclee-print","title":"Anna Atkins – Ptilota plumosa, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003ePtilota plumosa\u003c\/em\u003e is a red alga that grows in fine, opposite branches, like a feather cut from wire. Under the sun, on iron-salted paper, it left this: a white plume on Prussian blue, every side branch separated, nothing drawn.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on coated paper, exposed it to daylight and rinsed it in water. Between 1843 and 1853 she did this several thousand times and produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs. Perhaps twenty-five copies were ever assembled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.95× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003ePtilota plumosa\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-ptilota-plumosa\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65752625676637,"sku":"MUS-005-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65752625774941,"sku":"MUS-005-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-ptilota-plate-v2.jpg?v=1788200361"},{"product_id":"anna-atkins-delesseria-hypoglossum-1853-giclee-print","title":"Anna Atkins – Delesseria hypoglossum, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eDelesseria hypoglossum\u003c\/em\u003e grows in thin translucent blades, one leaf springing from the midrib of the last. Laid on sensitised paper and left in the sun, it printed as a chain of pale leaves — a plant that looks drawn, and was not.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on coated paper, exposed it to daylight and rinsed it in water. Between 1843 and 1853 she did this several thousand times and produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs. Perhaps twenty-five copies were ever assembled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 2.05× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003eDelesseria hypoglossum\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-delesseria-hypoglossum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65752625709405,"sku":"MUS-006-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65752625807709,"sku":"MUS-006-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-delesseria-plate-v2.jpg?v=1788200361"},{"product_id":"attributed-to-felix-thiollier-lady-and-horse-in-the-snow-1899-giclee-print","title":"Attributed to Félix Thiollier – Lady and Horse in the Snow, 1899 | Giclée Print","description":"\u003cp\u003eA woman in a long dark coat walks away from us across a snow-covered paddock, a thin whip trailing from her right hand. Behind her a dark horse breaks into a gallop along the rail. Bare trees stand in the falling snow, and the light is so flat that everything except the two dark shapes dissolves into grey.\u003c\/p\u003e\n\u003cp\u003eIt is an ordinary working moment — a horse being exercised on a winter morning — held with the compositional care of a painting. Two black silhouettes on an almost white field, placed off centre, moving apart. Nothing in the picture explains itself.\u003c\/p\u003e\n\u003cp\u003eThe photograph is generally published as the work of Félix Thiollier (1842–1914) and dated 1899. Thiollier was a Saint-Étienne industrialist who left business early for art and archaeology, taught himself photography, and spent more than twenty years photographing the Forez — its monuments, its ruins, its people and above all its weather — leaving some three to four thousand negatives. He composed like a painter: deliberate framing, subdued light, deep texture. His descendants gave the surviving negatives to a public collection in Saint-Étienne in 2024.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks, in the warm grey of the surviving print rather than converted to neutral black and white.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 30 cm \/ 11.8 × 11.8 in\u003c\/strong\u003e — image 24 × 24 cm\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The warm tone of the surviving print is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAttributed to Félix Thiollier (1842–1914), \u003cem\u003eLady and Her Horse on a Snowy Day\u003c\/em\u003e, 1899; photograph.\u003cbr\u003e\nPrivate collection; no inventory number.\u003cbr\u003e\nPublic domain: the photograph is well over a century old and free in every market this shop serves, whoever made it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-thiollier-lady-and-horse\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 30 cm \/ 11.8 × 11.8 in — Image 24 × 24 cm","offer_id":65754118586717,"sku":"MUS-007-3030","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-thiollier-lady-and-horse-plate.jpg?v=1788171997"},{"product_id":"anna-atkins-polysiphonia-fastigiata-1853-giclee-print","title":"Anna Atkins – Polysiphonia fastigiata, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003ePolysiphonia fastigiata\u003c\/em\u003e grows in dense tufts on the wracks of the North Atlantic, each frond a bundle of parallel tubes no thicker than a hair. Five of them lie on this sheet. The light did the rest — no line was drawn.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on coated paper, exposed it to daylight and rinsed it in water. Between 1843 and 1853 she did this several thousand times and produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs. Perhaps twenty-five copies were ever assembled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.97× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003ePolysiphonia fastigiata\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-polysiphonia-fastigiata\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65755226538333,"sku":"MUS-008-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65755227226461,"sku":"MUS-008-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-polysiphonia-plate-v2.jpg?v=1788200377"},{"product_id":"anna-atkins-zygnema-curvatum-1853-giclee-print","title":"Anna Atkins – Zygnema curvatum, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eZygnema curvatum\u003c\/em\u003e is a freshwater alga of ponds and slow ditches — a mat of green threads so fine that a handful feels like wet silk. Dried and laid on the sensitised paper, it printed as one luminous mass, closer to a cloud than to a plant. It is the least plant-like picture in the whole album, and the most modern.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on coated paper, exposed it to daylight and rinsed it in water. Between 1843 and 1853 she did this several thousand times and produced \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e — the first book in history illustrated with photographs. Perhaps twenty-five copies were ever assembled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of one of Atkins's cyanotypes, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and Atkins's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal leaf: approx. 27 × 21 cm \/ 10.6 × 8.3 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 2.05× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871), \u003cem\u003eZygnema curvatum\u003c\/em\u003e, from \u003cem\u003ePhotographs of British Algae: Cyanotype Impressions\u003c\/em\u003e, 1843–1853; cyanotype, leaf approx. 27 × 21 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-zygnema-curvatum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65755226833245,"sku":"MUS-009-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 2.1× original","offer_id":65755227259229,"sku":"MUS-009-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-zygnema-plate-v2.jpg?v=1788200378"},{"product_id":"hokusai-great-wave-off-kanagawa-giclee-print","title":"Katsushika Hokusai – Under the Wave off Kanagawa (The Great Wave), 1830–33 | Giclée Print","description":"\u003cp\u003eA wave the height of a house is about to fall. Under its claw three fast boats of oarsmen bend flat to the hulls, and far away, small and calm, stands Mount Fuji. The mountain is the subject; the wave is only weather. That reversal is why the sheet has never stopped working.\u003c\/p\u003e\n\u003cp\u003eHokusai was around seventy when he made it, the first sheet of \u003cem\u003eThirty-six Views of Mount Fuji\u003c\/em\u003e. The deep blue was new — Prussian blue, freshly imported and cheap enough for a commercial print run — and he used it for water, sky and outline alike. Impressions were pulled by the thousand and sold for the price of a bowl of noodles. Fewer than a hundred early ones are known today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of the 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\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 25.4 × 37.6 cm \/ 10 × 14.8 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.6× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eKatsushika Hokusai (1760–1849), \u003cem\u003eUnder the Wave off Kanagawa (Kanagawa oki nami ura)\u003c\/em\u003e, also known as \u003cem\u003eThe Great Wave\u003c\/em\u003e, from the series \u003cem\u003eThirty-six Views of Mount Fuji (Fugaku sanjūrokkei)\u003c\/em\u003e, 1830–33; colour woodblock print (nishiki-e), ōban yoko-e, ink and colour on paper, 25.4 × 37.6 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-great-wave\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Original size, 1:1","offer_id":65756452520285,"sku":"MUS-010-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Enlarged, 1.6× original","offer_id":65756458516829,"sku":"MUS-010-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hokusai-great-wave-plate-v2.jpg?v=1788190974"},{"product_id":"hiroshige-sudden-shower-shin-ohashi-bridge-giclee-print","title":"Utagawa Hiroshige – Sudden Shower over Shin-Ōhashi Bridge and Atake, 1857 | Giclée Print","description":"\u003cp\u003eRain is drawn as rain: thousands of straight black lines cut across the sheet at two slightly different angles, printed from two blocks so the downpour crosses itself. Below it people run over a wooden bridge with mats and umbrellas over their heads, and a raft drifts on grey water. Nobody looks up.\u003c\/p\u003e\n\u003cp\u003eHiroshige made it in 1857, the year before he died, for \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e. Thirty-odd years later Vincent van Gogh copied it in oil, line for line, and added a red border of invented Japanese characters. He was not quoting a famous picture — at the time it was a cheap sheet from a print shop.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of the 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\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 37 × 25.4 cm \/ 14.6 × 10 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.7× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eSudden Shower over Shin-Ōhashi Bridge and Atake (Ōhashi Atake no yūdachi)\u003c\/em\u003e, from the series \u003cem\u003eOne Hundred Famous Views of Edo (Meisho Edo hyakkei)\u003c\/em\u003e, 1857; colour woodblock print (nishiki-e), ōban tate-e, ink and colour on paper, 37 × 25.4 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-sudden-shower\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65756457369949,"sku":"MUS-011-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65756458549597,"sku":"MUS-011-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-sudden-shower-plate-v2.jpg?v=1788190974"},{"product_id":"hiroshige-maples-at-mama-giclee-print","title":"Utagawa Hiroshige – Maples at Mama, 1857 | Giclée Print","description":"\u003cp\u003eRed maple leaves hang across the whole top of the sheet, so close that the branch is cut off by the frame. Underneath, far below and very small, a teahouse, a pine, the roofs of the Tekona shrine and a strip of water. The eye is put where a person standing under the tree would have it — a piece of framing so modern it looks like a photograph taken by accident.\u003c\/p\u003e\n\u003cp\u003eHiroshige made it in the first month of 1857 for \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, his last great series. Mama, in what is now Chiba, was a half-day trip from the city and famous for its autumn colour. The deep red is a printed gradation, wiped onto the block by hand before each pull, so no two impressions are quite alike.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal sheet: 35.5 × 24.2 cm \/ 14.0 × 9.5 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 21.09 × 32.36 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eMaples at Mama (Mama no momiji)\u003c\/em\u003e, from the series \u003cem\u003eOne Hundred Famous Views of Edo (Meisho Edo hyakkei)\u003c\/em\u003e, 1857, 1st month; colour woodblock print, ōban, 35.5 × 24.2 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-maples-at-mama\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65756457402717,"sku":"MUS-012-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-012_MaplesAtMama_plate_v2.jpg?v=1788244357"},{"product_id":"hiroshige-asakusa-ricefields-cat-giclee-print","title":"Utagawa Hiroshige – Asakusa Ricefields and Torinomachi Festival, 1857 | Giclée Print","description":"\u003cp\u003eA white cat sits on a windowsill with its back to us, looking out. Beyond the lattice: rice fields, a line of low roofs, geese in the sky and Mount Fuji, small and pale. On the sill behind the cat lie a hairpin and a folded paper — the room is a brothel in the Yoshiwara, and the guest has left at dawn.\u003c\/p\u003e\n\u003cp\u003eHiroshige tells the whole story by leaving the people out. It is the most quietly modern picture in the series: a framed view, a foreground object cut off by the edge, an animal standing in for everyone who is not shown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 35.9 × 24.8 cm \/ 14.1 × 9.8 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.7× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eAsakusa Ricefields and Torinomachi Festival (Asakusa tanbo Torinomachi mōde)\u003c\/em\u003e, from the series \u003cem\u003eOne Hundred Famous Views of Edo (Meisho Edo hyakkei)\u003c\/em\u003e, 1857; colour woodblock print, ōban, 35.9 × 24.8 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-asakusa-ricefields\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65757020553565,"sku":"MUS-013-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65757021962589,"sku":"MUS-013-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-asakusa-ricefields-plate.jpg?v=1788193710"},{"product_id":"hiroshige-plum-garden-kameido-giclee-print","title":"Utagawa Hiroshige – Plum Garden at Kameido, 1857 | Giclée Print","description":"\u003cp\u003eA plum trunk stands hard against the picture plane, so close that it is out of focus in the mind's eye, and the garden — visitors, fences, a hundred more trees in flower — is pushed far behind it. The sky is a flat band of red shading to white. Nothing recedes the way European pictures recede.\u003c\/p\u003e\n\u003cp\u003eVincent van Gogh copied this sheet in oil in 1887 and framed his copy with invented Japanese characters. He was not quoting a masterpiece; it was a cheap print he had bought by the bundle. What he was after is exactly what stops you here: a foreground that refuses to get out of the way.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 34.9 × 23.9 cm \/ 13.7 × 9.4 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.8× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003ePlum Garden at Kameido (Kameido Umeyashiki)\u003c\/em\u003e, from the series \u003cem\u003eOne Hundred Famous Views of Edo (Meisho Edo hyakkei)\u003c\/em\u003e, 1857; colour woodblock print, ōban, 34.9 × 23.9 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-plum-garden-kameido\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65757020651869,"sku":"MUS-014-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.8× original","offer_id":65757022093661,"sku":"MUS-014-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-plum-garden-kameido-plate-v4.jpg?v=1788335348"},{"product_id":"hiroshige-shono-driving-rain-giclee-print","title":"Utagawa Hiroshige – Shōno: Driving Rain, c. 1833 | Giclée Print","description":"\u003cp\u003eRain falls in two directions at once. Hiroshige printed it from two separate blocks, one set of lines crossing the other at a different angle, so the shower reads as wind rather than weather. Nothing in the picture is still: the bamboo grove bends away up the slope, the hillside behind is a wash of grey with no outline at all, and the path itself tilts.\u003c\/p\u003e\n\u003cp\u003eTwo groups pass each other going opposite ways, and neither looks up. Bearers carry a covered kago uphill; below them a man runs with a straw cape over his head and another has turned his umbrella into a roof. The umbrella carries the publisher's advertisement — Hiroshige put the shop's name in the middle of the storm, which is either commerce or a joke.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\nThe sheet Hiroshige printed measures 24.2 × 36.2 cm. What we reproduce is the picture inside it, trimmed to a clean rectangle — see the note below.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The tone of the aged paper is kept, not corrected away. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eShōno: Driving Rain (Shōno hakuu)\u003c\/em\u003e, from the series \u003cem\u003eFifty-three Stations of the Tōkaidō (Tōkaidō gojūsan tsugi no uchi)\u003c\/em\u003e, also known as the Hōeidō Tōkaidō, c. 1833–34; colour woodblock print, ōban yoko-e, 24.2 × 36.2 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-shono-driving-rain\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Original size, 1:1","offer_id":65758999544157,"sku":"MUS-015-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Enlarged, 1.8× original","offer_id":65758999576925,"sku":"MUS-015-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-shono-plate-v2.jpg?v=1788243833"},{"product_id":"hiroshige-enoshima-caves-giclee-print","title":"Utagawa Hiroshige – Sagami Province: The Caves at Enoshima, 1853 | Giclée Print","description":"\u003cp\u003eLow tide at Enoshima. The sea has drawn back far enough to walk in, and Hiroshige puts us down at the waterline, looking up at the eroded rock and into the dark mouth of the cave. Above the cliff, a few wind-bent pines; across the bay, Mount Fuji, pale and small under a band of early pink.\u003c\/p\u003e\n\u003cp\u003eThe caves — \u003cem\u003eiwaya\u003c\/em\u003e — were the reason people made the crossing to the island: inside was a shrine to Benzaiten, and it could be reached only when the tide allowed. Hiroshige leaves the pilgrims out. What is left is water, rock and the black opening, stacked up the tall sheet of the ōban format he used throughout this series.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 37 × 25.3 cm \/ 14.6 × 10.0 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.7× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eSagami Province: Entrance to the Caves at Enoshima (Sagami, Enoshima iwaya no kuchi)\u003c\/em\u003e, from the series \u003cem\u003eFamous Places in the Sixty-odd Provinces (Rokujūyoshū meisho zue)\u003c\/em\u003e, 1853; colour woodblock print, ōban, 37 × 25.3 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-enoshima-caves\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65761681342813,"sku":"MUS-016-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65761681375581,"sku":"MUS-016-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-enoshima-caves-plate-v4.jpg?v=1788335391"},{"product_id":"hiroshige-mount-daisen-ono-giclee-print","title":"Utagawa Hiroshige – Hōki Province: Distant View of Mount Daisen from Ono, 1853 | Giclée Print","description":"\u003cp\u003eRain over the rice fields at Ono. Hiroshige rules the whole sheet with fine diagonal lines — the woodblock shorthand for rain, each stroke cut into the block by hand — and behind them Mount Daisen stands flat and grey-blue, more a presence than a mountain.\u003c\/p\u003e\n\u003cp\u003eIn the paddies below, people go on working under wide hats, bent over the flooded terraces, while a line of dark pines holds the middle distance. It is the least dramatic subject in the series and one of the best: weather, distance and labour, held in three bands of colour.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 33 × 22.2 cm \/ 13.0 × 8.7 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — Enlarged, 1.8× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eOno, Distant View of Mount Daisen in Hōki Province (Hōki, Ono, Daisen enbō)\u003c\/em\u003e, from the series \u003cem\u003eFamous Places in the Sixty-odd Provinces (Rokujūyoshū meisho zue)\u003c\/em\u003e, 1853; colour woodblock print, ōban, 33 × 22.2 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-mount-daisen\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65761699856733,"sku":"MUS-017-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.8× original","offer_id":65761699889501,"sku":"MUS-017-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hiroshige-mount-daisen-plate-v4.jpg?v=1788335435"},{"product_id":"hiroshige-peacock-and-peonies-giclee-print","title":"Utagawa Hiroshige – Peacock and Peonies, 1830s | Giclée Print","description":"\u003cp\u003eA peacock stands in a bank of peonies, its tail running up the right edge of the sheet and out of the picture. The format is \u003cem\u003eōtanzaku\u003c\/em\u003e — a tall, narrow panel of about 38 by 17.5 centimetres, the shape used for poem-slips and for pictures meant to hang in the narrow space between two posts.\u003c\/p\u003e\n\u003cp\u003eHiroshige is remembered for landscapes, but he made hundreds of bird-and-flower panels like this one, and they are the sheets in which his colour is boldest: a flat teal ground, the pink of the peonies laid on in two strengths, the eyes of the tail feathers printed in a blue that still reads as metal. The poem in the upper left belongs to the design, not to the catalogue.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 38 × 17.5 cm \/ 15.0 × 6.9 in — ōtanzaku\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 17.12 × 37.22 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — enlarged, 1.7× original. Image 28.52 × 62.00 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003ePeacock and Peonies\u003c\/em\u003e, 1830s; colour woodblock print, ōtanzaku, 38 × 17.5 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-peacock-and-peonies\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65761862648157,"sku":"MUS-018-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65761862680925,"sku":"MUS-018-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-018_PeacockPeonies_plate.jpg?v=1788246145"},{"product_id":"lips-odysseus-gates-of-hades-giclee-print","title":"Johann Heinrich Lips – Odysseus at the Gates of Hades, 1785 | Giclée Print","description":"\u003cp\u003eOdysseus has dug the pit at the edge of the world and poured the offering, and the dead have come up to it. He stands with his sword drawn — in Homer he keeps the shades back from the blood until the seer Tiresias has spoken. At his feet a veiled woman reaches towards him: his mother Anticlea, who died while he was away and whom he may not touch. Behind her the armed dead wait their turn; at the left the crowd of shades presses in, drawn in thin brown ink and left half-finished, as though they were not quite there.\u003c\/p\u003e\n\u003cp\u003eIt is Book 11 of the \u003cem\u003eOdyssey\u003c\/em\u003e, the passage that gave the underworld to European literature. Lips drew it in 1785 in pen and brown ink over grey wash, with ruled framing lines — a finished sheet, not a study, of the kind an engraver made when the print was the point.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks — not a drawing, and not sold as one. The original is a unique sheet in Chicago.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 45.4 × 67 cm \/ 17.9 × 26.4 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e100 × 70 cm \/ 39.4 × 27.6 in\u003c\/strong\u003e — original size, 1:1. Image 67.54 × 46.41 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — reduced, 0.87× original. Image 58.80 × 40.41 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eJohann Heinrich Lips (Swiss, 1758–1817), \u003cem\u003eOdysseus, at the Doors of Hades, Meets the Shades of Tiresias and Anticlea\u003c\/em\u003e, 1785; pen and brown ink and black ink wash, with brown ink wash, on blued-white laid paper, 45.4 × 67 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-lips-odysseus-hades\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/a-papyrus-we-cannot-print\"\u003eA Papyrus We Cannot Print\u003c\/a\u003e · \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Reduced, 0.87× original","offer_id":65761995260253,"sku":"MUS-019-7050","price":89.0,"currency_code":"CHF","in_stock":true},{"title":"100 × 70 cm \/ 39.4 × 27.6 in — Original size, 1:1","offer_id":65761995293021,"sku":"MUS-019-10070","price":129.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-019_OdysseusHades_plate.jpg?v=1788247743"},{"product_id":"hiroshige-sparrows-camellia-snow-giclee-print","title":"Utagawa Hiroshige – Sparrows and Camellia in Snow, c. 1831–33 | Giclée Print","description":"\u003cp\u003eTwo sparrows drop through falling snow past a camellia branch, its leaves loaded and its flowers still open. The format is \u003cem\u003eōtanzaku\u003c\/em\u003e — a tall, narrow panel of about 38 by 17.3 centimetres, the shape used for poem-slips and for pictures meant to hang in the narrow space between two posts.\u003c\/p\u003e\n\u003cp\u003eHiroshige is remembered for landscapes, but he made hundreds of bird-and-flower panels like this one. The snow in them is not painted on: it is the paper itself, left unprinted — the drift on each leaf, the breasts of the birds, the flakes in the air. The picture is built out of what the blocks were cut to leave alone.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOriginal: 38 × 17.3 cm \/ 15.0 × 6.8 in — ōtanzaku\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 16.96 × 37.18 cm.\u003cbr\u003e\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — enlarged, 1.7× original. Image 28.28 × 62.00 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003eGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eSparrows and Camellia in Snow\u003c\/em\u003e, c. 1831–33; colour woodblock print, ōtanzaku, 38 × 17.3 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-sparrows-camellia\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65762086224221,"sku":"MUS-020-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65762086256989,"sku":"MUS-020-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-020_SparrowsCamellia_plate_v2.jpg?v=1788321992"},{"product_id":"hiroshige-wild-duck-in-snow-giclee-print","title":"Utagawa Hiroshige – Wild Duck in Snow, 1830s | Giclée Print","description":"\u003cp\u003eA wild duck swims along a snow-covered bank. Above it the reeds bend under their own load of snow; below, the water is a deep, even blue with white flakes falling across it. The bird is the only warm thing in the picture — buff and brown against the cold — and it is drawn with the economy of someone who had watched ducks for a long time.\u003c\/p\u003e\n\u003cp\u003eThe format is \u003cem\u003eōtanzaku\u003c\/em\u003e, a tall narrow panel of about 38 by 17 centimetres, the shape used for poem-slips and for pictures hung in the narrow space between two posts. The snow is not painted on: it is the bare paper, left unprinted, with the blue laid around it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks. It is not a woodblock print and is not sold as one — a woodblock print is pulled by hand from cut cherry blocks, and the good impressions are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 38.2 × 17 cm \/ 15.0 × 6.7 in — ōtanzaku\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 16.63 × 37.35 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 70 cm \/ 19.7 × 27.6 in\u003c\/strong\u003e — enlarged, 1.7× original. Image 27.61 × 62.00 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858), \u003cem\u003eA Wild Duck Swimming by a Snow-covered Bank beneath Snow-laden Reeds\u003c\/em\u003e, 1830s; colour woodblock print, ōtanzaku, 38.2 × 17 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-wild-duck-in-snow\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65762950316381,"sku":"MUS-021-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.7× original","offer_id":65762950349149,"sku":"MUS-021-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-021_WildDuckSnow_plate.jpg?v=1788250467"},{"product_id":"hokusai-bullfinch-weeping-cherry-giclee-print","title":"Katsushika Hokusai – Bullfinch and Weeping Cherry, c. 1834 | Giclée Print","description":"\u003cp\u003eA bullfinch hangs upside down from a branch of weeping cherry, and the whole sheet is the colour of a night sky. This is one of the small bird-and-flower prints Hokusai made around 1834, in the same years and for the same publisher as \u003cem\u003eThirty-six Views of Mount Fuji\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the museum's own open-access photograph of the sheet. It is not a nineteenth-century impression and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 25.4 × 19.1 cm \/ 10 × 7.5 in — colour woodblock print, chūban\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e27 × 35 cm \/ 10.6 × 13.8 in\u003c\/strong\u003e — original size, 1:1. Image 18.87 × 25.40 cm.\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — enlarged, 1.72× original. Image 32.39 × 43.60 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eKatsushika Hokusai 葛飾北斎 (Japanese, 1760–1849), \u003cem\u003eBullfinch and Weeping Cherry (Uso, shidarezakura)\u003c\/em\u003e, from an untitled series of flowers and birds, c. 1834.\u003cbr\u003e\nColour woodblock print, chūban; 25.4 × 19.1 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-bullfinch-weeping-cherry\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"27 × 35 cm \/ 10.6 × 13.8 in — Original size, 1:1","offer_id":65771551850845,"sku":"MUS-025-2735","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.7× original","offer_id":65771551883613,"sku":"MUS-025-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-025_Bullfinch_plate.jpg?v=1788270905"},{"product_id":"sargent-olive-trees-corfu-giclee-print","title":"John Singer Sargent – Olive Trees, Corfu, 1909 | Giclée Print","description":"\u003cp\u003eAn olive grove on Corfu, painted outdoors in 1909. Sargent was fifty-three, had walked away from the society portraits that made his name, and spent his summers travelling with a paintbox. This is what he did instead.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the museum's own open-access photograph of the sheet. It is not an original watercolour and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 50.8 × 35.6 cm \/ 20 × 14 in — watercolour on ivory wove paper\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — reduced, 0.83× original. Image 42.00 × 29.44 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 50.80 × 35.61 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The colour of the museum's file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eJohn Singer Sargent (American, 1856–1925), \u003cem\u003eOlive Trees, Corfu\u003c\/em\u003e, 1909.\u003cbr\u003e\nWatercolour and opaque watercolour with scraping and wax resist over graphite on ivory wove paper; 35.6 × 50.8 cm.\u003cbr\u003e\nMr and Mrs Lewis Larned Coburn, Chicago, by 1 May 1930; given to a public collection in 1933.\u003cbr\u003e\nPublic domain.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-sargent-olive-trees-corfu\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Reduced, 0.83× original","offer_id":65774519779677,"sku":"MUS-027-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Original size, 1:1","offer_id":65774519812445,"sku":"MUS-027-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/MUS-027_OliveTrees_plate.jpg?v=1788279338"},{"product_id":"atkins-dixon-athyrium-molle-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Athyrium molle, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eAthyrium molle\u003c\/em\u003e is a soft-leaved lady fern. Anne Dixon pressed it, Anna Atkins printed it, and the sun did the drawing — a white frond standing in Prussian blue, every pinnule separated, no line drawn by hand. The species name at the foot of the sheet is written in Atkins's own hand.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. She had done this several thousand times already for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet belongs to what came after: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made together with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the museum catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.56× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eAthyrium molle\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-athyrium-molle\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65776589668701,"sku":"MUS-033-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.56× original","offer_id":65776589701469,"sku":"MUS-033-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-athyrium-molle-plate.jpg?v=1788287328"},{"product_id":"atkins-dixon-aspidium-trifoliatum-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Aspidium trifoliatum, 1853 | Giclée Print","description":"\u003cp\u003eThis is a fern, and it does not look like one. No feathery pinnules, no lace — one broad three-lobed blade with a torn, saw-toothed edge, closer to a maple leaf or a fig. \u003cem\u003eAspidium trifoliatum\u003c\/em\u003e grew in Jamaica, and it reached a house in Kent as a pressed specimen in an envelope.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. What the plant covered stayed white; everything else turned Prussian blue. She had already done this several thousand times for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet comes from what followed: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the museum catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.62× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eAspidium trifoliatum, Jamaica\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-aspidium-trifoliatum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65776771924317,"sku":"MUS-034-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.62× original","offer_id":65776771957085,"sku":"MUS-034-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-aspidium-trifoliatum-plate.jpg?v=1788289059"},{"product_id":"atkins-dixon-onoclea-sensibilis-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Onoclea sensibilis, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eOnoclea sensibilis\u003c\/em\u003e is called the sensitive fern because it dies at the first touch of frost — not gradually, overnight. This one was picked in New Jersey while it was still whole, pressed flat, and carried across the Atlantic in an envelope. The single white frond on this sheet is what light made of it in an English garden in 1853.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. What the plant covered stayed white; everything else turned Prussian blue. She had already done this several thousand times for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet comes from what followed: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the museum catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.59× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eOnoclea sensibilis, New Jersey\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-onoclea-sensibilis\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65776959029597,"sku":"MUS-035-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.59× original","offer_id":65776959062365,"sku":"MUS-035-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-onoclea-sensibilis-plate.jpg?v=1788289490"},{"product_id":"atkins-dixon-osmunda-regalis-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Osmunda regalis, 1853 | Giclée Print","description":"\u003cp\u003e\u003cem\u003eOsmunda regalis\u003c\/em\u003e is the royal fern, the largest that grows in Britain — two metres in a wet ditch, given years and no one to dig it up. What lies on this sheet is one frond, laid flat, its leaflets standing apart from one another like a diagram someone drew very slowly.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. What the plant covered stayed white; everything else turned Prussian blue. She had already done this several thousand times for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet comes from what followed: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the museum catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.58× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eOsmunda regalis, British\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003cbr\u003e\nThe J.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-osmunda-regalis\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65777137353053,"sku":"MUS-036-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.58× original","offer_id":65777137385821,"sku":"MUS-036-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-osmunda-regalis-plate.jpg?v=1788290924"},{"product_id":"atkins-dixon-achrosticum-simplex-giclee-print","title":"Anna Atkins \u0026 Anne Dixon – Achrosticum simplex, 1853 | Giclée Print","description":"\u003cp\u003eTwo blades on two curving stalks, and nothing else. \u003cem\u003eAchrosticum simplex\u003c\/em\u003e is a fern whose leaf is not divided at all — no pinnules, no lace, no branching. On the sheet it reads as two brushstrokes, which is why this is the quietest plate in the album and the one that looks least like 1853.\u003c\/p\u003e\n\u003cp\u003eAnna Atkins made her images without a camera. She laid the dried plant on paper coated with iron salts, exposed it to daylight and rinsed it in water. What the plant covered stayed white; everything else turned Prussian blue. She had already done this several thousand times for \u003cem\u003ePhotographs of British Algae\u003c\/em\u003e (1843–1853), the first book in history illustrated with photographs. This sheet comes from what followed: \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853, made with her friend Anne Dixon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a cyanotype, printed with pigment inks. It is not a cyanotype and is not sold as one — a real cyanotype is a unique object made in sunlight, and these are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal, as the museum catalogues it: image 25.4 × 19.4 cm \/ 10.0 × 7.6 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.56× original\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAnna Atkins (1799–1871) and Anne Dixon (1799–1864), \u003cem\u003eAchrosticum simplex, Jamaica\u003c\/em\u003e, from \u003cem\u003eCyanotypes of British and Foreign Ferns\u003c\/em\u003e, 1853; cyanotype, 25.4 × 19.4 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-achrosticum-simplex\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65777183719773,"sku":"MUS-037-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.56× original","offer_id":65777183752541,"sku":"MUS-037-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-atkins-dixon-achrosticum-simplex-plate.jpg?v=1788291029"},{"product_id":"rembrandt-three-trees-giclee-print","title":"Rembrandt van Rijn – The Three Trees, 1643 | Giclée Print","description":"\u003cp\u003eThree trees on a ridge, and a storm coming in from the left. Below them the flat Dutch country runs to a horizon with the spires of Amsterdam on it; a cart climbs the road, a fisherman sits at the water, and in the field at the right a couple lie half-hidden in the scrub, which most people never notice. The rain is drawn as ruled diagonal lines across the upper left — not shading, actual lines, and they are the boldest thing Rembrandt ever did with a needle.\u003c\/p\u003e\n\u003cp\u003eIt is his most famous landscape, and it is small. The copperplate measures 21.4 × 28 cm, about a sheet of A5 turned sideways. Nearly everyone who knows this picture knows it larger than it has ever been.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of an etching, made with pigment inks. It is not an etching and is not sold as one — an etching is pulled by hand from an inked plate, and the burr of the drypoint, which holds ink like velvet and wears away after a few dozen impressions, is the one thing no reproduction carries.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: plate 21.4 × 28 cm \/ 8.4 × 11.0 in; sheet 21.8 × 28.7 cm\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e35 × 27 cm \/ 13.8 × 10.6 in\u003c\/strong\u003e — Original size, 1:1. Image 28.00 × 21.18 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eRembrandt van Rijn (Dutch, 1606–1669), \u003cem\u003eThe Three Trees\u003c\/em\u003e, 1643; etching with drypoint and engraving on laid paper.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-rembrandt-three-trees\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/what-a-reproduction-was-for\"\u003eWhat a Reproduction Was For\u003c\/a\u003e · \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"35 × 27 cm \/ 13.8 × 10.6 in — Original size, 1:1","offer_id":65777917690205,"sku":"MUS-038-3527","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-rembrandt-three-trees-plate.jpg?v=1788296021"},{"product_id":"william-henry-fox-talbot-articles-of-china-1843-44-giclee-print","title":"William Henry Fox Talbot – Articles of China, 1843–44 | Giclée Print","description":"\u003cp\u003eFour shelves of porcelain, set out the way a clerk would set them out. Cups with their saucers, a lidded pot, two little figures, an openwork basket in the middle of the third shelf because that is where it fitted. Nothing is arranged to charm. Then the sun was allowed to do the recording, and it recorded everything — the gilding on the rims, the painted sprigs, the shadow each piece throws on the shelf behind it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. It is not a salt print and is not sold as one — a salt print is a contact print made in sunlight from a paper negative, and Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: image 13.7 × 18.2 cm \/ 5.4 × 7.2 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e35 × 27 cm \/ 13.8 × 10.6 in\u003c\/strong\u003e — Original size, 1:1. Image 17.72 × 14.58 cm.\u003cbr\u003e\n\u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — Enlarged, 2.1× original. Image 37.20 × 30.62 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eArticles of China\u003c\/em\u003e, 1843–44; salted paper print from a paper negative, image 13.7 × 18.2 cm, sheet 18.7 × 22.4 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-articles-of-china\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"35 × 27 cm \/ 13.8 × 10.6 in — Original size, 1:1","offer_id":65791169495389,"sku":"MUS-039-3527","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Enlarged, 2.1× original","offer_id":65791169528157,"sku":"MUS-039-5040","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-articles-of-china-plate_4cfc5630-078d-4a63-94cb-a88110e02ff6.jpg?v=1788422641"},{"product_id":"william-henry-fox-talbot-two-plant-specimens-1839-giclee-print","title":"William Henry Fox Talbot – Two Plant Specimens, 1839 | Giclée Print","description":"\u003cp\u003eTwo plants laid on a sheet of sensitised paper and carried into the sun. A honeysuckle branch down the left, in flower and still carrying its leaves; a single umbel on a long stalk to the right, opened flat. Where the plants lay, the paper stayed pale. Everywhere else it darkened. Talbot did not draw any of this, and he did not photograph it either — there was no camera in the room.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a photogenic drawing, made with pigment inks. It is not a photogram and is not sold as one — a photogram is a unique object made in sunlight, and Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: sheet 18.1 × 22.1 cm \/ 7.1 × 8.7 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1. Image 18.10 × 22.10 cm.\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Enlarged, 1.75× original. Image 31.68 × 38.68 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eTwo Plant Specimens\u003c\/em\u003e, 1839; photogenic drawing, image and paper 22.1 × 18.1 cm, mount 29 × 21.5 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-two-plant-specimens\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65792126222685,"sku":"MUS-040-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.75× original","offer_id":65792126255453,"sku":"MUS-040-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-two-plant-specimens-plate.jpg?v=1788415568"},{"product_id":"william-henry-fox-talbot-wrack-1839-giclee-print","title":"William Henry Fox Talbot – Wrack, 1839 | Giclée Print","description":"\u003cp\u003eA frond of seaweed laid on sensitised paper and left in the sun. Every filament of it, down to the last forked tip, printed itself pale against the ground — and there are hundreds of tips. Nobody drew this and no camera was pointed at it. The plant is its own draughtsman, at the exact size it grew.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. It is not a photogram and is not sold as one — a photogram is a unique object made in sunlight, and Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: 17.5 × 22 cm \/ 6.9 × 8.7 in\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Original size, 1:1. Image 17.50 × 22.00 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eWrack\u003c\/em\u003e, 1839; salted paper print, 22 × 17.5 cm, irregularly trimmed.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-wrack\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65792172228957,"sku":"MUS-041-3040","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-wrack-plate.jpg?v=1788415568"},{"product_id":"william-henry-fox-talbot-wild-fennel-1841-42-giclee-print","title":"William Henry Fox Talbot – Wild Fennel, 1841–42 | Giclée Print","description":"\u003cp\u003eA frond of wild fennel laid on sensitised paper and left in the sun. Every filament of it printed itself pale against the ground, thread by thread, down to hairs finer than a pencil could follow. Nobody drew this and no camera was pointed at it. The plant is its own draughtsman, at the exact size it grew.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. It is not a photogram and is not sold as one — a photogram is a unique object made in sunlight, and Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: 22.7 × 18.7 cm \/ 8.9 × 7.4 in\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e40 × 30 cm \/ 15.7 × 11.8 in\u003c\/strong\u003e — Original size, 1:1. Image 22.70 × 18.86 cm.\u003cbr\u003e \u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — Enlarged 1.35×. Image 30.65 × 25.47 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003e[Wild Fennel]\u003c\/em\u003e, 1841–42; salted paper print, 18.7 × 22.7 cm, corners clipped.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-wild-fennel\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 30 cm \/ 15.7 × 11.8 in — Original size, 1:1","offer_id":65797306843485,"sku":"MUS-042-4030","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Enlarged, 1.35× original","offer_id":65797306876253,"sku":"MUS-042-5040","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-wild-fennel-plate_7aecdd23-d2cc-4f38-989a-bb8d4512b785.jpg?v=1788420016"},{"product_id":"william-henry-fox-talbot-dandelion-seeds-c-1858-giclee-print","title":"William Henry Fox Talbot – Dandelion Seeds, c. 1858 | Giclée Print","description":"\u003cp\u003eDandelion clocks, seed head after seed head, each one a little wheel of spokes with a dark seed at the end of every spoke. The whole sheet is these wheels, overlapping, drifting off the edges. It is a photograph, and it is also an etching — which in 1858 was a new thing in the world.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a photoglyphic engraving, made with pigment inks. It is not an impression from Talbot's plate and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: sheet 15.1 × 11.3 cm, plate 12.5 × 9.4 cm, image 10.5 × 7.6 cm\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e20 × 25 cm \/ 7.9 × 9.8 in\u003c\/strong\u003e — Original size, 1:1. Image 10.43 × 13.43 cm.\u003cbr\u003e \u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — Enlarged 1.9×. Image 19.81 × 25.52 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected — the foxing and the warmth of the 1858 sheet are printed as they are. Unframed. Shipped flat or rolled, depending on size.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003e[Dandelion Seeds]\u003c\/em\u003e, 1858 or later; photogravure — photoglyphic engraving from a copper plate.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-dandelion-seeds\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"20 × 25 cm \/ 7.9 × 9.8 in — Original size, 1:1","offer_id":65797335908701,"sku":"MUS-043-2025","price":39.0,"currency_code":"CHF","in_stock":true},{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Enlarged, 1.9× original","offer_id":65797335941469,"sku":"MUS-043-3040","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-dandelion-seeds-plate_2cb1b878-a228-47b4-b7c0-ea4a004166ae.jpg?v=1788420016"},{"product_id":"william-henry-fox-talbot-a-scene-in-a-library-1844-giclee-print","title":"William Henry Fox Talbot – A Scene in a Library, 1844 | Giclée Print","description":"\u003cp\u003eTwo shelves of books, photographed in daylight in 1844, when a photograph of anything at all was a rarity. The spines are legible enough to read the gilding on them. Talbot put the plate in \u003cem\u003eThe Pencil of Nature\u003c\/em\u003e, the first commercially published book illustrated with photographs, and wrote beside it a note about invisible rays and the idea that a camera might one day record what the eye cannot see.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. Not an original photograph; Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: image 13.3 × 18 cm \/ 5.2 × 7.1 in on a sheet of about 19 × 24 cm\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e40 × 30 cm \/ 15.7 × 11.8 in\u003c\/strong\u003e — Original size, 1:1. Sheet reproduced 23.75 × 19.37 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eA Scene in a Library\u003c\/em\u003e, before 22 March 1844; salted paper print from a paper negative, image 13.3 × 18 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-scene-in-a-library\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 30 cm \/ 15.7 × 11.8 in — Original size, 1:1","offer_id":65797394989405,"sku":"MUS-044-4030","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-scene-in-a-library-plate_aeed5f18-f054-4ca0-8757-70f5e38fd4cd.jpg?v=1788421678"},{"product_id":"william-henry-fox-talbot-the-open-door-1844-giclee-print","title":"William Henry Fox Talbot – The Open Door, 1844 | Giclée Print","description":"\u003cp\u003eA broom leaning in a doorway, a lantern on the wall, a bridle hanging beside it, and light falling across the threshold. Nothing happens in it, and that is why it is famous: in 1844 a photograph of an ordinary back door was an argument about what pictures could be about.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a salted paper print, made with pigment inks. Not an original photograph; Talbot's are in museums.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: 14.3 × 19.4 cm \/ 5.6 × 7.6 in\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e35 × 27 cm \/ 13.8 × 10.6 in\u003c\/strong\u003e — Original size, 1:1. Image 19.40 × 14.52 cm.\u003cbr\u003e \u003cstrong\u003e40 × 30 cm \/ 15.7 × 11.8 in\u003c\/strong\u003e — Enlarged 1.25×. Image 24.25 × 18.15 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone of the original is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eWilliam Henry Fox Talbot (British, 1800–1877), \u003cem\u003eThe Open Door\u003c\/em\u003e, before May 1844; salted paper print from a paper negative, 14.3 × 19.4 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-talbot-open-door\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"35 × 27 cm \/ 13.8 × 10.6 in — Original size, 1:1","offer_id":65797416059229,"sku":"MUS-045-3527","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 30 cm \/ 15.7 × 11.8 in — Enlarged, 1.25× original","offer_id":65797416091997,"sku":"MUS-045-4030","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-talbot-open-door-plate_e5798120-97d6-4f98-bfff-830aa5ad72c4.jpg?v=1788421679"},{"product_id":"andreas-cellarius-planisphaerium-ptolemaicum-1661-giclee-print","title":"Andreas Cellarius – Planisphaerium Ptolemaicum, 1661 | Giclée Print","description":"\u003cp\u003eThe Ptolemaic universe drawn as a machine: the earth at the centre of the world, the seven planetary orbs turning around it in coloured rings, the zodiac running round the rim, and Ptolemy himself seated in the lower left corner with an armillary sphere and a globe. Plate 1 of Andreas Cellarius's \u003cem\u003eHarmonia Macrocosmica\u003c\/em\u003e, printed from a copper plate in Amsterdam by Johannes Janssonius and coloured by hand.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the museum's own open-access scan of its copy. It is not a seventeenth-century print and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: plate 51.34 × 43.75 cm — hand-coloured copper-plate print\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.82× original. Image 42.00 × 35.79 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — original size, 1:1. Image 51.34 × 43.75 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone and the hand colouring of the original are kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAndreas Cellarius (c. 1596–1665), \u003cem\u003ePlanisphaerium Ptolemaicum, sive machina orbium mundi ex hypothesi Ptolemaica in plano disposita\u003c\/em\u003e, plate 1 of \u003cem\u003eHarmonia macrocosmica, seu Atlas universalis et novus\u003c\/em\u003e.\u003cbr\u003e\nAmsterdam: apud Joannem Janssonium, 1661.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-cellarius-ptolemaicum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.82× original","offer_id":65801588932957,"sku":"MUS-047-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Original size, 1:1","offer_id":65801588965725,"sku":"MUS-047-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-cellarius-ptolemaicum-plate.jpg?v=1788452912"},{"product_id":"andreas-cellarius-planisphaerium-copernicanum-1661-giclee-print","title":"Andreas Cellarius – Planisphaerium Copernicanum, 1661 | Giclée Print","description":"\u003cp\u003eThe Copernican universe drawn as a machine: the sun in the middle, the earth carried round it on the third ring with the moon beside it, Jupiter with its four Galilean moons and Saturn out at the rim, and the zodiac closing the whole in a band of grey-violet cloud. Copernicus sits in the lower right corner with a globe; an older astronomer, dividers in hand, sits opposite. Plate 4 of Andreas Cellarius's \u003cem\u003eHarmonia Macrocosmica\u003c\/em\u003e, printed from a copper plate in Amsterdam by Johannes Janssonius and coloured by hand.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the museum's own open-access scan of its copy. It is not a seventeenth-century print and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: plate 51.00 × 43.34 cm — hand-coloured copper-plate print\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e50 × 50 cm \/ 19.7 × 19.7 in\u003c\/strong\u003e — reduced, 0.82× original. Image 42.00 × 35.69 cm.\u003cbr\u003e\n\u003cstrong\u003e70 × 70 cm \/ 27.6 × 27.6 in\u003c\/strong\u003e — original size, 1:1. Image 51.00 × 43.34 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The paper tone and the hand colouring of the original are kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAndreas Cellarius (c. 1596–1665), \u003cem\u003ePlanisphaerium Copernicanum, sive systema universi totius creati ex hypothesi Copernicana in plano exhibitum\u003c\/em\u003e, plate 4 of \u003cem\u003eHarmonia macrocosmica, seu Atlas universalis et novus\u003c\/em\u003e.\u003cbr\u003e\nAmsterdam: apud Joannem Janssonium, 1661.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-cellarius-copernicanum\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 50 cm \/ 19.7 × 19.7 in — Reduced, 0.82× original","offer_id":65801708372317,"sku":"MUS-048-5050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 70 cm \/ 27.6 × 27.6 in — Original size, 1:1","offer_id":65801708405085,"sku":"MUS-048-7070","price":109.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-cellarius-copernicanum-plate.jpg?v=1788452919"},{"product_id":"katsushika-hokusai-south-wind-clear-sky-red-fuji-1830-33-giclee-print","title":"Katsushika Hokusai – South Wind, Clear Sky (Red Fuji), 1830–33 | Giclée Print","description":"\u003cp\u003eThe mountain, the sky, a band of cloud, and nothing else. Hokusai gives the whole left half of the sheet to air and puts Fuji off to the right, so that what you look at first is not the mountain but the space it stands in. The red is the colour the cone takes at dawn on a clear summer morning when a south wind has blown the haze off — a thing that happens for perhaps a few days a year, which is why the sheet is called \u003cem\u003eGaifū kaisei\u003c\/em\u003e, «south wind, clear sky», and why everyone else calls it the Red Fuji.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction, printed with pigment inks from the museum's own open-access photograph of this impression. Not the design redrawn, but this sheet — the woodgrain in the blue, the paper fibre, the block edges, the small unevennesses of a hand-pulled print. It is not a woodblock print. It is a print on paper, and it is sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e \u003cem\u003eOriginal: colour woodblock print (nishiki-e), ōban yoko-e, 25.7 × 37.7 cm\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e50 × 40 cm \/ 19.7 × 15.7 in\u003c\/strong\u003e — original size, 1:1. Image 37.70 × 25.90 cm, 624 dpi available.\u003cbr\u003e \u003cstrong\u003e70 × 50 cm \/ 27.6 × 19.7 in\u003c\/strong\u003e — enlarged, 1.56× original. Image 58.80 × 40.39 cm, 400 dpi available.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e Giclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eKatsushika Hokusai (Japanese, 1760–1849), \u003cem\u003eSouth Wind, Clear Sky (Gaifū kaisei)\u003c\/em\u003e, also known as Red Fuji, from the series \u003cem\u003eThirty-six Views of Mount Fuji (Fugaku sanjūrokkei)\u003c\/em\u003e, c. 1830–33.\u003cbr\u003e Colour woodblock print (nishiki-e), ink and colour on paper, ōban, 25.7 × 37.7 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-red-fuji\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Original size, 1:1","offer_id":65809489953117,"sku":"MUS-053-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Enlarged, 1.56× original","offer_id":65809489985885,"sku":"MUS-053-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-hokusai-red-fuji-plate_a635b50a-0b0f-4037-b239-5e5ea0055fa3.jpg?v=1788509999"},{"product_id":"wassily-kandinsky-colour-study-squares-with-concentric-circles-1913-giclee-print","title":"Wassily Kandinsky – Colour Study: Squares with Concentric Circles, 1913 | Giclée Print","description":"\u003cp\u003eTwelve squares, twelve rings, and no two alike. Kandinsky painted this sheet in Munich in 1913, while he was at work on the large abstract canvases, and it has become the best-known page of his working life — a test of what colour does when it is set beside another colour and nothing else is asked of it. The rings are drawn freehand, the squares do not quite line up, and the pleasure of the thing is that the hand keeps showing through the system.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée print after the original watercolour, not an original and not a facsimile. It is printed to order on fine art paper: the sheet is new, the picture is old.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eScale.\u003c\/strong\u003e The original measures 23.9 × 31.5 cm. On the 40 × 30 cm sheet the picture prints 33.6 × 25.5 cm (1.07× the original, 423 dpi); on 50 × 40 cm it prints 42.0 × 31.9 cm (1.33×, 338 dpi).\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe print.\u003c\/strong\u003e 200 gsm matte fine art paper, pigment inks, a generous white margin, unframed, shipped rolled in a triangular tube. The paper tone of the original is kept, not corrected.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eProvenance.\u003c\/strong\u003e Wassily Kandinsky (1866–1944), Farbstudie – Quadrate mit konzentrischen Ringen, 1913, watercolour, gouache and chalk on paper, 23.9 × 31.5 cm; reproduced by permission of the museum.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhere this comes from.\u003c\/strong\u003e The museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-kandinsky-colour-study-1913\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFurther reading.\u003c\/strong\u003e \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 30 cm \/ 15.7 × 11.8 in — Enlarged, 1.07× original","offer_id":65840701604189,"sku":"MUS-060-4030","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Enlarged, 1.33× original","offer_id":65840701636957,"sku":"MUS-060-5040","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-060-plate.jpg?v=1788776788"},{"product_id":"charles-t-scowen-co-two-christmas-orchids-sri-lanka-1876-93-giclee-print","title":"Charles T. Scowen \u0026 Co. – Two Christmas Orchids, Sri Lanka, 1876–93 | Giclée Print","description":"\u003cp\u003eTwo blooms of Cattleya trianae, photographed against a ground so dark that the flowers seem to float in it. The petals are the whole subject: the frilled lip of the left flower with its dark throat, the twisted sepals, the thick leaf below. Nothing else is in the picture — no vase, no hand, no room.\u003c\/p\u003e\u003cp\u003eThe orchid is Colombian, and it flowers around Christmas; that is why it is called the Christmas orchid. This one was photographed in Ceylon, where Charles T. Scowen ran a commercial studio in the 1870s and 1880s, selling albums of views and plants to travellers. The species name is written straight into the negative at the foot of the print, and the studio credit sits in the lower left corner — both are printed, not added by us.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the museum’s own open-access photograph of the albumen print. It is not a photograph from the negative and is not sold as one.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOriginal: 27.9 × 22.1 cm — albumen print\u003c\/em\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cstrong\u003e35 × 27 cm \/ 13.8 × 10.6 in\u003c\/strong\u003e — original size, 1:1. Image 27.90 × 22.03 cm.\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003eOne size only. The museum file carries 338 dpi at original size and no more; anything larger would be an enlargement of thirteen per cent, which is not worth a second sheet.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003eGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, centred on the sheet. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eCharles T. Scowen \u0026amp; Co. (Ceylon, active 1870s–1890s), \u003cem\u003eTwo Christmas orchids, Sri Lanka\u003c\/em\u003e, 1876–93, albumen print.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"https:\/\/museartis.com\/pages\/sheet-record-scowen-christmas-orchids\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"https:\/\/museartis.com\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"35 × 27 cm \/ 13.8 × 10.6 in — Original size, 1:1","offer_id":65852606513501,"sku":"MUS-062-3527","price":49.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-062-plate.jpg?v=1788816980"},{"product_id":"utagawa-kunisada-i-utagawa-hiroshige-ii-takanawa-in-winter-1862-giclee-print","title":"Utagawa Kunisada I \u0026 Utagawa Hiroshige II – Takanawa in Winter, 1862 | Giclée Print","description":"\u003cp\u003eA woman raises one hand to her brow against the light, a blue cloth tied over her hair, her padded winter coat printed with a wave pattern. Above her, in a fan-shaped opening, is the reason the sheet is called Takanawa: the shore south of Edo under snow, the roofs of the post station white, the bay grey-blue and full of masts, and the far bank a thin pink line at the horizon.\u003c\/p\u003e\u003cp\u003eTwo hands made it. Kunisada drew the figure — he was the most sought-after portraitist of the late Edo period and by 1862 an old man. Hiroshige II drew the landscape in the fan. The sheet belongs to the series «Famous Places of the Eastern Capital in the Four Seasons», in which the figure carries the season and the cartouche carries the place.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the museum’s own open-access photograph of the woodblock print. It is not a woodblock print and is not sold as one.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOriginal: 35.6 × 25.3 cm — colour woodcut on paper\u003c\/em\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — original size, 1:1. Image 25.02 × 35.60 cm.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — enlarged, 1.22× original. Image 30.60 × 43.55 cm.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003eGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, centred on the sheet. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Kunisada I (Japanese, 1786–1865) and Utagawa Hiroshige II (Japanese, 1826–1869), \u003cem\u003eTakanawa in Winter\u003c\/em\u003e, from the series «Tōto shiki meisho tsukushi», 1862; block cutter Koizumi hori Sen, publisher Uoya Eikichi.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"https:\/\/museartis.com\/pages\/sheet-record-takanawa-winter-1862\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"https:\/\/museartis.com\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65852736700765,"sku":"MUS-063-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.22× original","offer_id":65852736733533,"sku":"MUS-063-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-063-plate.jpg?v=1788818884"},{"product_id":"utagawa-kunisada-i-utagawa-hiroshige-ii-sumida-river-in-winter-1862-giclee-print","title":"Utagawa Kunisada I \u0026 Utagawa Hiroshige II – Sumida River in Winter, 1862 | Giclée Print","description":"\u003cp\u003eA young man in a patterned robe holds a long-stemmed pipe in his left hand and looks up. Above him, in a fan-shaped opening, is the reason the sheet is called Sumida River: snow falling over the water, the bank white under bare trees with a roof among them, and a single boat being poled across. Behind him the ground is a deep, flat blue.\u003c\/p\u003e\u003cp\u003eTwo hands made it. Kunisada drew the figure — he was the most sought-after portraitist of the late Edo period and by 1862 an old man. Hiroshige II drew the winter landscape in the fan. The sheet belongs to the series «Famous Places of the Eastern Capital in the Four Seasons», in which the figure carries the season and the cartouche carries the place. It is the companion to \u003cem\u003eTakanawa in Winter\u003c\/em\u003e, from the same series and the same year.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the museum’s own open-access photograph of the woodblock print. It is not a woodblock print and is not sold as one.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOriginal: 35.6 × 24.9 cm — colour woodcut on paper\u003c\/em\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e30 × 40 cm \/ 11.8 × 15.7 in\u003c\/strong\u003e — original size, 1:1. Image 25.30 × 35.60 cm.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — enlarged, 1.22× original. Image 30.99 × 43.60 cm.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003eGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, centred on the sheet. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Kunisada I (Japanese, 1786–1865) and Utagawa Hiroshige II (Japanese, 1826–1869), \u003cem\u003eSumida River in Winter\u003c\/em\u003e, from the series «Tōto shiki meisho tsukushi», 1862; block cutter Koizumi hori Sen, publisher Uoya Eikichi.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-sumida-river-winter-1862\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65855083872605,"sku":"MUS-064-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged, 1.22× original","offer_id":65855083905373,"sku":"MUS-064-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-064-sumida-plate_ff9cfdcb-bb71-44f8-b807-7bcc3c79a060.jpg?v=1788843328"},{"product_id":"utagawa-hiroshige-winter-snow-on-the-sumida-river-c-1833-38-giclee-print","title":"Utagawa Hiroshige – Winter: Snow on the Sumida River, c. 1833–38 | Giclée Print","description":"\u003cp\u003eA man poles a bamboo raft down the Sumida while the snow comes down. The reeds along the near bank stand capped in white, the far bank is a low white line, and a snow-laden bough hangs across the upper half of the sheet. In the top left corner stands a poem, cut into the block with the picture.\u003c\/p\u003e\u003cp\u003eThe sheet is an ōtanzaku — a tall, narrow format, 38 cm high and 13 wide, made to hang in a narrow space. It is the winter sheet of Hiroshige’s series «Famous Places of Edo in the Four Seasons», published in the 1830s.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction printed with pigment inks from the museum’s own open-access photograph of the woodblock print. It is not a woodblock print and is not sold as one.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOriginal: 38.3 × 12.6 cm — colour woodcut on paper\u003c\/em\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — original size, 1:1. Image 12.75 × 38.30 cm.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e40 × 60 cm \/ 15.7 × 23.6 in\u003c\/strong\u003e — enlarged, 1.40× original. Image 17.84 × 53.60 cm.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eA narrow picture on a standard sheet\u003c\/strong\u003e\u003cbr\u003eA tanzaku fits no standard frame. We print it centred on a normal sheet, which leaves the side margins wide — the same thing a mat would do, and it lets you frame in an off-the-shelf 16 × 20 or 16 × 24 inch frame.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003eGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, centred on the sheet. The colour of the museum’s file is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (Japanese, 1797–1858), \u003cem\u003eFuyu Sumidagawa no yuki\u003c\/em\u003e (Winter: Snow on the Sumida River), from the series «Shiki Edo meisho», 1833–38. Acquired by a public collection in 1956.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-snow-on-the-sumida-1833-38\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65855165464925,"sku":"MUS-065-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"40 × 60 cm \/ 15.7 × 23.6 in — Enlarged, 1.40× original","offer_id":65855165497693,"sku":"MUS-065-4060","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-065-sumida-tanzaku-plate_b60efddd-a5c2-4776-85ac-5508d93aa287.jpg?v=1788844296"},{"product_id":"musee-entomologique-illustre-hymenopteres-pl-vii-1878-giclee-print","title":"Musée entomologique illustré – Hyménoptères, Pl. VII, 1878 | Giclée Print","description":"\u003cp\u003eA carpenter bee with rust-red wings hangs over a passionflower, and three more bees — two of them metallic green and gold — work the same tangle of petals and tendrils. The plate was cut in wood and coloured by hand for a French natural-history serial of 1878, and the four insects are named in the margin in the Latin of the day: \u003cem\u003eXylocopa morio\u003c\/em\u003e, \u003cem\u003eChrysantheda frontalis\u003c\/em\u003e, \u003cem\u003eEuglossa Romandi\u003c\/em\u003e, \u003cem\u003eCentris denudans\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is\u003c\/strong\u003e — A giclée reproduction of a hand-coloured wood engraving, printed on fine art paper. It is not an original print, and it is not sold as one. The paper tone of the original is kept, not corrected.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e — The original leaf measures 19.0 × 26.6 cm. We print it larger: the picture is 30 × 42 cm on the 40 × 50 sheet and 40 × 56 cm on the 50 × 70 sheet, both drawn from an 850 ppi capture made for us from the original volume.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e — 200 gsm matte fine art paper, pigment inks, a white margin on all four sides, unframed, shipped rolled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e — \u003cem\u003eMusée entomologique illustré\u003c\/em\u003e, vol. 3 (Les Insectes), Paris: J. Rothschild, 1878, plate “Hyménoptères — Pl. VII”, digitised for us from an original copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e — \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Enlarged 1.58× original","offer_id":65858920186205,"sku":"MUS-070-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged 2.11× original","offer_id":65858920218973,"sku":"MUS-070-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/ce64bbc0-0196-4060-903a-dac315baa619.webp?v=1788875747"},{"product_id":"franz-michael-regenfuss-shells-plate-iii-from-choix-de-coquillages-et-de-crustaces-1758-giclee-print","title":"Franz Michael Regenfuss – Shells, Plate III from Choix de Coquillages et de Crustacés, 1758 | Giclée Print","description":"\u003cp\u003eA great spotted cone stands in the middle of the sheet, chequered black on white like a piece of tilework, and around it the engraver has laid out cowries, a green thorny murex, two reticulated volutes and, at the foot, a rose-red scallop. Every shell is numbered in the margin — the plate was made for collectors who wanted to identify what they had bought. It was cut and coloured in Copenhagen in 1758 for Regenfuss's folio of shells, printed with a royal privilege that is named in the caption line at the bottom.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is\u003c\/strong\u003e — A giclée reproduction of a hand-coloured engraving, printed on fine art paper. It is not an original print, and it is not sold as one. The paper tone of the original is kept, not corrected.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e — On the 50 × 70 sheet the plate is printed at its original size, 29.0 × 42.8 cm. On the 40 × 50 sheet the same picture is reduced to 0.80×, 23.2 × 34.2 cm. Both are drawn from the 400 dpi scan of the Zurich copy, and both keep the narrow band of the old laid paper that surrounds the printed area.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e — 200 gsm matte fine art paper, pigment inks, a white margin on all four sides, unframed, shipped rolled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e — Franz Michael Regenfuss (1712–1780), \u003cem\u003eAuserlesne Schnecken, Muscheln und andre Schaalthiere \/ Choix de Coquillages et de Crustacés\u003c\/em\u003e, Copenhagen 1758, plate III, hand-coloured engraving after Gabriel Müller, from an original copy. The museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-regenfuss-plate-iii\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrom the same series\u003c\/strong\u003e — \u003ca href=\"\/collections\/shell-plates-regenfuss\"\u003eShell Plates — Regenfuss 1758\u003c\/a\u003e: three sheets from the same folio, built to hang together.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e — \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Reduced, 0.80× original","offer_id":65942972170589,"sku":"MUS-071-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Original size, 1:1","offer_id":65942972203357,"sku":"MUS-071-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-071-plate-v2.jpg?v=1789643798"},{"product_id":"franz-michael-regenfuss-shells-plate-iv-from-choix-de-coquillages-et-de-crustaces-1758-giclee-print","title":"Franz Michael Regenfuss – Shells, Plate IV from Choix de Coquillages et de Crustacés, 1758 | Giclée Print","description":"\u003cp\u003eTwo great scallops hold the vertical axis of this sheet: a scarlet one at the head, fluted and slightly frayed at the edge, and below it a broad orange one with its ribs drawn one by one. Around them the engraver has set a frilled murex, marbled clams, a spotted cone and two dark mussels, violet and near-black, so that the colour runs from red through orange to blue-black down the page. It was cut and coloured in Copenhagen in 1758 for Regenfuss's folio of shells, printed with a royal privilege that is named in the caption line at the bottom.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is\u003c\/strong\u003e — A giclée reproduction of a hand-coloured engraving, printed on fine art paper. It is not an original print, and it is not sold as one. The paper tone of the original is kept, not corrected.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e — On the 50 × 70 sheet the plate is printed at its original size, 28.9 × 42.3 cm. On the 40 × 50 sheet the same picture is reduced to 0.80×, 23.1 × 33.9 cm. Both are drawn from the 400 dpi scan of the Zurich copy, and both keep the narrow band of the old laid paper that surrounds the printed area.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e — 200 gsm matte fine art paper, pigment inks, a white margin on all four sides, unframed, shipped rolled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e — Franz Michael Regenfuss (1712–1780), \u003cem\u003eAuserlesne Schnecken, Muscheln und andre Schaalthiere \/ Choix de Coquillages et de Crustacés\u003c\/em\u003e, Copenhagen 1758, plate IV, hand-coloured engraving after Gabriel Müller, from an original copy. The museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-regenfuss-plate-iv\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrom the same series\u003c\/strong\u003e — \u003ca href=\"\/collections\/shell-plates-regenfuss\"\u003eShell Plates — Regenfuss 1758\u003c\/a\u003e: three sheets from the same folio, built to hang together.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e — \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Reduced, 0.80× original","offer_id":65943003660637,"sku":"MUS-072-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Original size, 1:1","offer_id":65943003693405,"sku":"MUS-072-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-072-plate-v2.jpg?v=1789643928"},{"product_id":"franz-michael-regenfuss-shells-plate-vii-from-choix-de-coquillages-et-de-crustaces-1758-giclee-print","title":"Franz Michael Regenfuss – Shells, Plate VII from Choix de Coquillages et de Crustacés, 1758 | Giclée Print","description":"\u003cp\u003eThis is the quietest of the three sheets and the most strictly built: a red scallop at the head and a pale fluted one below it hold the axis, and the rest of the shells are set out left and right in mirrored pairs, frilled murex against frilled murex, cone against cone. Regenfuss numbered each one in the margin for collectors who wanted to identify what they had bought. It was cut and coloured in Copenhagen in 1758 for his folio of shells, printed with a royal privilege that is named in the caption line at the bottom.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is\u003c\/strong\u003e — A giclée reproduction of a hand-coloured engraving, printed on fine art paper. It is not an original print, and it is not sold as one. The paper tone of the original is kept, not corrected.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e — On the 50 × 70 sheet the plate is printed at its original size, 28.7 × 42.6 cm. On the 40 × 50 sheet the same picture is reduced to 0.80×, 23.0 × 34.1 cm. Both are drawn from the 400 dpi scan of the Zurich copy, and both keep the narrow band of the old laid paper that surrounds the printed area.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e — 200 gsm matte fine art paper, pigment inks, a white margin on all four sides, unframed, shipped rolled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e — Franz Michael Regenfuss (1712–1780), \u003cem\u003eAuserlesne Schnecken, Muscheln und andre Schaalthiere \/ Choix de Coquillages et de Crustacés\u003c\/em\u003e, Copenhagen 1758, plate VII, hand-coloured engraving after Gabriel Müller, from an original copy. The museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-regenfuss-plate-vii\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrom the same series\u003c\/strong\u003e — \u003ca href=\"\/collections\/shell-plates-regenfuss\"\u003eShell Plates — Regenfuss 1758\u003c\/a\u003e: three sheets from the same folio, built to hang together.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e — \u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e.\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Reduced, 0.80× original","offer_id":65943041868125,"sku":"MUS-073-4050","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Original size, 1:1","offer_id":65943041900893,"sku":"MUS-073-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-073-plate-v2.jpg?v=1789644058"},{"product_id":"katsushika-hokusai-tama-river-in-musashi-province-1831-giclee-print","title":"Katsushika Hokusai – Tama River in Musashi Province, 1831 | Giclée Print","description":"\u003cp\u003eMount Fuji stands far off across the flats, and in front of it the Tama River runs wide and shallow in bands of blue. A ferry crosses with two passengers and a heap of cargo; on the near bank a traveller leads a packhorse along the shore. Hokusai left most of the sheet empty — a broad band of mist lies between the river and the mountain.\u003c\/p\u003e\n\u003cp\u003eThis impression is one of the rare pulls printed with blue rather than black outlines, which gives the whole sheet its light, shimmering air.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is\u003c\/strong\u003e — A giclée reproduction of a colour woodblock print, printed on fine art paper. It is not an original print, and it is not sold as one. The paper tone of the original is kept, not corrected.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e — On the 50 × 40 sheet the print is reproduced at its original size, 1:1, 36.7 × 25.8 cm. On the 70 × 50 sheet it is enlarged to 1.55×, 56.9 × 40.0 cm — the largest the museum file holds at 300 dpi.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e — 200 gsm matte fine art paper, pigment inks, a white margin on all four sides, unframed, shipped rolled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e — Katsushika Hokusai (1760–1849), \u003cem\u003eTama River in Musashi Province (Bushū Tamagawa)\u003c\/em\u003e, from \u003cem\u003eThirty-six Views of Mount Fuji\u003c\/em\u003e, 1831, colour woodblock print, published by Nishimuraya Yohachi. The museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-hokusai-tama-river\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrom the same series\u003c\/strong\u003e — \u003ca href=\"\/collections\/japanese-woodblock-prints\"\u003eJapanese Woodblock Prints\u003c\/a\u003e, with Hokusai’s \u003cem\u003eGreat Wave\u003c\/em\u003e and \u003cem\u003eRed Fuji\u003c\/em\u003e from the same set of views.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e — \u003ca href=\"\/blogs\/notes\/true-to-scale-how-we-measure-a-work-before-we-print-it\"\u003eTrue to Scale: How We Measure a Work Before We Print It\u003c\/a\u003e.\u003c\/p\u003e\n","brand":"Museartis","offers":[{"title":"50 × 40 cm \/ 19.7 × 15.7 in — Original size, 1:1","offer_id":65964670452061,"sku":"MUS-074-5040","price":59.0,"currency_code":"CHF","in_stock":true},{"title":"70 × 50 cm \/ 27.6 × 19.7 in — Enlarged, 1.55× original","offer_id":65964670484829,"sku":"MUS-074-7050","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-074-plate.jpg?v=1789846553"},{"product_id":"toshusai-sharaku-the-actor-ichikawa-omezo-i-as-ippei-1794-giclee-print","title":"Tōshūsai Sharaku – The Actor Ichikawa Omezō I as Ippei, 1794 | Giclée Print","description":"\u003cp\u003eThe actor Ichikawa Omezō I on the Edo stage in the fifth month of 1794, as the footman Ippei: head thrust forward, eyes cut sharply to one side, mouth pulled down, one hand on the hilt of a sword half out of its scabbard. Sharaku set the half-length figure against a dark ground dusted with mica, so it seems to press out of a glinting night.\u003c\/p\u003e\n\u003cp\u003eSharaku was active for less than a year, in 1794 and 1795, and his bust portraits of actors are counted among the high points of the woodblock portrait. This sheet passed through a Berlin auction in 1929 and came to a public collection in Basel in 1942.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is\u003c\/strong\u003e — A giclée reproduction of a colour woodblock print with mica ground, printed on fine art paper. It is not an original print, and it is not sold as one. The paper tone of the original is kept, not corrected.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e — On the 30 × 40 sheet the print is reproduced at its original size, 1:1, 23.8 × 33.5 cm. On the 50 × 70 sheet it is enlarged to 1.6×, 38.1 × 53.6 cm, at 319 dpi.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e — 200 gsm matte fine art paper, pigment inks, a white margin on all four sides, unframed, shipped rolled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e — Tōshūsai Sharaku (active 1794–95), \u003cem\u003eThe Kabuki Actor Ichikawa Omezō I as the Footman Ippei\u003c\/em\u003e, 1794, colour woodblock print with mica ground, published by Tsutaya Jūzaburō. The museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-sharaku-omezo\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrom the same series\u003c\/strong\u003e — \u003ca href=\"\/collections\/japanese-woodblock-prints\"\u003eJapanese Woodblock Prints\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e — \u003ca href=\"\/blogs\/notes\/true-to-scale-how-we-measure-a-work-before-we-print-it\"\u003eTrue to Scale: How We Measure a Work Before We Print It\u003c\/a\u003e.\u003c\/p\u003e\n","brand":"Museartis","offers":[{"title":"30 × 40 cm \/ 11.8 × 15.7 in — Original size, 1:1","offer_id":65964672155997,"sku":"MUS-075-3040","price":49.0,"currency_code":"CHF","in_stock":true},{"title":"50 × 70 cm \/ 19.7 × 27.6 in — Enlarged, 1.6× original","offer_id":65964672188765,"sku":"MUS-075-5070","price":89.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-075-plate.jpg?v=1789846553"},{"product_id":"alfred-stieglitz-georgia-okeeffe-hands-and-thimble-1919-giclee-print","title":"Alfred Stieglitz – Georgia O'Keeffe, Hands and Thimble, 1919 | Giclée Print","description":"\u003cp\u003eTwo hands against dark cloth. The upper one draws a fold of the fabric together, a thimble on its middle finger; the lower one opens below it, the fingers curled as if about to take the next stitch. They belong to Georgia O'Keeffe, and Stieglitz made this palladium print in 1919, early in the portrait of her he kept adding to until 1937 — some five hundred photographs in all. He held that her hands said as much about her as her face.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat this is.\u003c\/strong\u003e A giclée reproduction of a palladium print, made with pigment inks from the museum's own open-access photograph. It is not an original photograph and is not sold as one.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScale\u003c\/strong\u003e\u003cbr\u003e\n\u003cem\u003eOriginal: image 24.4 × 19.4 cm on paper 25.1 × 20.3 cm \/ 9 15\/16 × 8 in — palladium print\u003c\/em\u003e\u003cbr\u003e\n\u003cstrong\u003e40 × 50 cm \/ 15.7 × 19.7 in\u003c\/strong\u003e — Original size, 1:1. Sheet reproduced 20.30 × 25.12 cm.\u003c\/p\u003e\n\u003cp\u003eOne size only: the museum's file carries the print at its own size and not much more, and we do not enlarge past 300 dpi.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe print\u003c\/strong\u003e\u003cbr\u003e\nGiclée on 200 gsm FSC-certified fine art paper, twelve pigment inks. White border, optical centre. The warm brown of the palladium is kept, not corrected. Unframed. Shipped rolled in a tube.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003cbr\u003eAlfred Stieglitz (American, 1864–1946), \u003cem\u003eGeorgia O'Keeffe — Hands and Thimble\u003c\/em\u003e, 1919, palladium print.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhere this comes from\u003c\/strong\u003e\u003cbr\u003eThe museum file, the measurements, and what we are allowed to sell: \u003ca href=\"\/pages\/sheet-record-stieglitz-hands-and-thimble\"\u003ethe record for this sheet\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFurther reading\u003c\/strong\u003e\u003cbr\u003e\u003ca href=\"\/blogs\/notes\/why-this-print-is-not-bigger\"\u003eWhy This Print Is Not Bigger\u003c\/a\u003e\u003c\/p\u003e","brand":"Museartis","offers":[{"title":"40 × 50 cm \/ 15.7 × 19.7 in — Original size, 1:1","offer_id":65969923195229,"sku":"MUS-077-4050","price":59.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1102\/7139\/8237\/files\/museartis-MUS-077-plate.jpg?v=1789900932"}],"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?page=2","provider":"Museartis","version":"1.0","type":"link"}