This is the record for the sheet you bought: which original it comes from, how it was digitised, what we did to the file, and what we are allowed to sell. Nothing here is marketing. It is the paperwork.
The sheet you have
- Work
- Claude Monet (French, 1840–1926), Water Lilies, 1906
- Object
- Oil on canvas, 89.9 × 94.1 cm
- Held by
- Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection
- Accession
- 1933.1157 (object 16568)
- File
- AIC IIIF, 8000 × 7684 px used (native 8808 × 8460)
- Crop
- None — the whole file is printed
- Printed at
- 345 dpi at 70 × 70 cm · 484 dpi at 50 × 50 cm
Which painting, and why this one
Monet painted the lily pond at Giverny well over two hundred times, and "Water Lilies" on a label tells you almost nothing on its own. This is the 1906 canvas in Chicago, from the group where he had stopped painting the pond as a place — no bank, no bridge, no horizon — and started painting only the surface: reflected sky, reflected willow, and the pads sitting on top of both. It is the moment the series turns from landscape into something with no ground in it at all.
The Ryersons bought it and left it to the Art Institute in 1933.
What we measured
All four edges of the file are painted surface. We sampled the edge rows and columns and found means around RGB 80/108/116 with no uniform background band — no studio floor, no stretcher, nothing to trim. So there is no crop: the whole file is printed edge to edge.
The file's ratio is 1.0411 against the museum's catalogued 94.1 / 89.9 = 1.0467, a 0.5 % agreement. The canvas is near-square, so the sheet is square.
We used the 8000 px rendition rather than the native 8808 px; at our sizes that gives 345 and 484 dpi, both well above our 300 dpi floor. No upscaling.
What we are allowed to sell
The original. Monet died in 1926; the European term expired on 1 January 1997. Painted and exhibited before 1930, so public domain in the US as well.
The digitisation. The Art Institute of Chicago releases images of its public-domain works under Creative Commons Zero (CC0); its API reports is_public_domain: true for this object. Commercial use is expressly permitted and a caption is requested rather than required — this record carries it. File taken from the museum's own IIIF endpoint, not from an aggregator.
Our file. The tonal work and the border are ours. We sell you a print of it; we do not sell you the rights to it.
Rights checked 1 September 2026.
Framing this sheet
- 70 × 70 cm
- Image 58.80 × 56.48 cm, 0.62× original. Margins 5.60 cm sides / 6.29 cm top / 7.23 cm bottom
- 50 × 50 cm
- Image 42.00 × 40.34 cm, 0.45× original. Margins 4.00 cm sides / 4.49 cm top / 5.17 cm bottom
- Orientation
- Both sheets are square
- Frame
- 50 × 50 cm and 70 × 70 cm are stocked square sizes across Europe. Nearest imperial: 20 × 20 in and 28 × 28 in
- Passepartout
- Optional. The printed border already gives the sheet air. If you want a mount as well, go one frame size up rather than cutting into the border
- Glazing
- UV filtering is worth it — the pinks and violets in the pads are the first thing daylight takes out of a print
Measure your frame before you order. Frame sizes vary between makers, and some frames have a rebate that swallows several millimetres on each side. We give the exact printed dimensions above so you can check; we cannot take responsibility for a frame that turns out not to fit.
All sheet records: museartis.com/pages/sheet-records · Questions about this sheet: info@museartis.com