{"title":"Intricacies","description":"\u003cp\u003eIntricacies art prints: detailed paintings, engravings, woodcuts and miniatures with many figures and small scenes in one picture. The largest group is Flemish and Dutch painting of the 16th and 17th centuries, including Pieter Bruegel the Elder's Netherlandish Proverbs (1559) and Children's Games (1560), Hieronymus Bosch's The Garden of Earthly Delights (1500) and Hendrick Avercamp's Winter Landscape with Ice Skaters (1608). The collection also includes Sultan Muhammad's The Feast of Sada (1525) from the Shahnama of Shah Tahmasp, Paolo Veronese's The Wedding at Cana (1562), William Hogarth's Southwark Fair (1733) and Utagawa Kuniyoshi's Battle of Kawanakajima.\u003c\/p\u003e\u003cp\u003eThe selection focuses on crowd scenes: village festivals, feasts, fairs, battles, processions and skaters on the ice, along with Persian and Mughal manuscript pages and densely drawn book illustrations by Harry Clarke and Kay Nielsen. These are pictures with enough detail to reward close viewing.\u003c\/p\u003e\u003cp\u003eTheir fine detail suits places where people stand close to the wall, such as hallways, studies, libraries and dining rooms. All prints are museum-quality reproductions, available unframed or framed with low-glare acrylic glazing, with free shipping and import duties covered.\u003c\/p\u003e","products":[{"product_id":"the-garden-of-earthly-delights","title":"Hieronymus Bosch — The Garden of Earthly Delights | Fine Art Print","description":"\u003cp\u003eThe Prado dates the triptych to the 1490s and holds that Engelbert II of Nassau commissioned it for the Coudenberg Palace in Brussels, where Antonio de Beatis recorded it on 30 July 1517. The Duke of Alba expropriated it in Brussels in 1568; Philip II bought it in 1591 and sent it to the monastery of El Escorial two years later. It moved to the Museo del Prado in 1933 and remains there on permanent loan from Patrimonio Nacional.\u003c\/p\u003e\u003cp\u003eHieronymus Bosch (c. 1450–1516) was the most enigmatic and visionary painter of the Northern Renaissance. His triptychs and panels — swarming with fantastical creatures, moral allegory, and hellish invention — remain without precedent in the history of art. The Garden of Earthly Delights, painted nearly five centuries ago, looks as strange and original today as anything produced in the 20th century.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. 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A crowned young woman leads on a white horse whose mane and tail stream out in great golden curls, a white veil framing her face under a gold diadem, a rose gown beneath a red cloak blown back from her shoulders; beside her rides a dark-bearded man in a red conical helm-crown with a white plume, his orange caftan patterned with blue hearts and gold zigzags, on a brown horse in red harness. Below them a blue river winds down between the hills carrying a long ship with a scrolled prow — a square sail blazoned with an orange sun, a red pennant at the masthead, red and white shields hung along its side. Two white doves cross the cream scrollwork clouds above, and the sea shows blue and teal behind the riders. Every contour is drawn in firm pen line and filled with flat, transparent washes; signed И.Б. with the dates 1913 and 1918.\u003c\/p\u003e\u003cp\u003eIvan Bilibin (1876–1942) studied under Ilya Repin and joined the Mir Iskusstva (World of Art) circle in St Petersburg, building a graphic language out of Russian peasant embroidery, lubok broadsheets and the ornament of seventeenth-century manuscripts. From 1899 he drew a celebrated series of fairy-tale books for the Expedition for the Preparation of State Papers, working in firm black outline and flat colour so that every page could be reproduced exactly in chromolithography. He designed for the opera stage, spent the 1920s and early 1930s in Cairo and Paris, and returned to Leningrad in 1936, where he died during the wartime siege in 1942. His plates remain the images through which most readers picture Baba Yaga, the Firebird and the Tsar Saltan, and the original drawings are held by the Tretyakov Gallery and the State Russian Museum.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Warriors in blue, green, and orange armor ride pale, dappled, and black horses across a green field, each accompanied by a cartouche naming him and a clan crest on his surcoat. Tall rectangular banners with black lozenge and diamond motifs rise above the throng, and a lone mountain shows pale blue against an orange-tinged sky at the horizon. The artist's signature cartouches appear at upper centre and lower left.\u003c\/p\u003e\u003cp\u003eUtagawa Kuniyoshi (1798–1861) brought heroes, monsters and spectacle into the ukiyo-e print. A pupil of Toyokuni, he made his name in 1827 with the series of the One Hundred and Eight Heroes of the Suikoden, tattooed warriors caught mid-action, and went on to giant skeletons, cats, whales and satirical puzzles that slipped past the censors. His restless invention influenced Yoshitoshi and, much later, tattoo and manga art. His prints are held by the British Museum, the Museum of Fine Arts, Boston and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Grey, white, orange and navy costumes echo human samurai dress, and a small dark frog silhouette hops away at the lower left. Kuniyoshi's title cartouche and signature sit at the upper left and lower left.\u003c\/p\u003e\u003cp\u003eUtagawa Kuniyoshi (1798–1861) brought heroes, monsters and spectacle into the ukiyo-e print. A pupil of Toyokuni, he made his name in 1827 with the series of the One Hundred and Eight Heroes of the Suikoden, tattooed warriors caught mid-action, and went on to giant skeletons, cats, whales and satirical puzzles that slipped past the censors. His restless invention influenced Yoshitoshi and, much later, tattoo and manga art. His prints are held by the British Museum, the Museum of Fine Arts, Boston and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. 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His work is held by the Hugh Lane Gallery, the National Gallery of Ireland and the Wolfsonian in Miami.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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The hall is crammed with scholars in caps and gowns — frowning, whispering, clutching books, peering through spectacles — their faces drawn as comic caricatures, some reaching barely to his knee.\u003c\/p\u003e\u003cp\u003eThe original: wood engraving after Gustave Doré for François Rabelais's Gargantua and Pantagruel, Book Two, chapter 10, from the Œuvres de Rabelais published by Garnier frères, Paris, 1873.\u003c\/p\u003e\u003cp\u003eGustave Doré (1832–1883) was a French illustrator, painter and sculptor from Strasbourg, and the most prolific and widely reproduced book illustrator of the nineteenth century. Largely self-taught, he was publishing caricatures in Paris at fifteen, and from the late 1850s his wood-engraved plates for Dante's Inferno (1861), Perrault's fairy tales (1862), Cervantes, Milton, the Bible (1866) and Poe's The Raven (1884) fixed the look of those books for generations of readers. 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At the centre a captain in black with a red sash and white collar gestures with an open hand beside a lieutenant in pale gold with a white sash, a steel gorget and a partisan. Around them guardsmen raise pikes and muskets, a man in red loads his gun, a drummer beats at the right, a dog crouches below, and a girl in a pale gold dress glows among the figures at the left.\u003c\/p\u003e\u003cp\u003eRembrandt painted the canvas in 1642 for the great hall of the Kloveniersdoelen, headquarters of Amsterdam's arquebusiers' civic guard. The Rijksmuseum reads it as the first group portrait to show its sitters actually doing something: the captain orders his lieutenant to start the company marching while the guardsmen fall into formation, and the light picks out his gesturing hand and the girl who served as the company's mascot. The City of Amsterdam has lent it to the museum since 1808.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1642; Rijksmuseum, Amsterdam.\u003c\/p\u003e\u003cp\u003eRembrandt van Rijn (1606–1669) was a Dutch painter, etcher and draughtsman working in Leiden and Amsterdam, and is generally regarded as one of the greatest artists in Western art history. He painted group portraits such as The Anatomy Lesson of Dr Nicolaes Tulp (1632, Mauritshuis) and The Night Watch (1642, Rijksmuseum), alongside numerous self-portraits, including one from around 1628 also in the Rijksmuseum. Across his career he additionally produced around 300 etched plates, among them The Hundred Guilder Print (c. 1647–49); the Rijksmuseum alone holds some 1,300 impressions of his prints. 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Two roll hoops in the foreground; others ride a barrel, leap-frog, tug each other along, walk on stilts, whip tops and tumble into handstands beside a red fence. A stone hall with a Gothic arcade rises at the centre, a street runs into the distance at the right, and a stream with green meadow lies at the upper left. At the lower left, children in pointed paper hats sit around a table.\u003c\/p\u003e\u003cp\u003eSeen from a bird's-eye view, the picture shows over 230 children playing 83 different games in a single square, according to the Kunsthistorisches Museum, which calls the composition without precedent or parallel in the fine arts and a painted encyclopaedia without moralising undertones. It is signed and dated 1560 and was acquired in Brussels in 1594 by Archduke Ernst.\u003c\/p\u003e\u003cp\u003eThe original: painting on oak wood, 1560; Kunsthistorisches Museum, Vienna.\u003c\/p\u003e\u003cp\u003ePieter Bruegel the Elder (c. 1525–1569) was a Netherlandish painter and printmaker. He trained in Antwerp, likely under Pieter Coecke van Aelst, and travelled to Italy before settling first in Antwerp and later Brussels, working for merchant and court patrons. His crowded panoramas of peasant life, proverbs and biblical scenes set in contemporary Flemish landscape combine close observation of ordinary people with wit and, at times, dark allegory. His paintings are held by the Kunsthistorisches Museum Vienna, the Museo del Prado and the Royal Museums of Fine Arts of Belgium.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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At the centre a fallen figure lies beneath a heavy wooden cross among soldiers, while red-coated riders and a white banner move through the throng. At the left a tall rock pillar carries a windmill, with a walled city beyond. In the foreground mourners sit on the rise: a long-haired figure in a white cloak, a veiled woman with hands together, and women in yellow, red and white.\u003c\/p\u003e\u003cp\u003eThe Kunsthistorisches Museum calls this Bruegel's most populous picture and says it continues the Netherlandish tradition, reaching back to Jan van Eyck, of showing the carrying of the cross as a many-figured procession from Jerusalem to Golgotha. 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At left four hold large frame drums and a woman shoulders a dye-pot with a long syringe; at the centre a woman covers her eyes as another sprays her, while at upper right a pink channel pours water from a wall into a trough. Two more women lean over a tub at the top, and a group at lower right rub colour on a woman's face.\u003c\/p\u003e\u003cp\u003eThe original: gum tempera, ink, and gold on paper, c. 1640–50; Cleveland Museum of Art.\u003c\/p\u003e\u003cp\u003eBikaner school is the painting of the court of Bikaner, a desert kingdom in northwestern Rajasthan that submitted to Akbar in 1570 and married daughters into the Mughal imperial family. Its painting is unusually well documented, with inscriptions in the Mughal manner, and records name some 500 artists who worked there. Under Karan Singh (1631–69) painters such as Ali Raza and Ruknuddin adapted Mughal refinement, and under Anup Singh (r. 1669–98) the style joined it to an intense, Deccan-influenced palette, a delicate, poetic manner carried into the eighteenth century by Ustad Murad. Artists from Jaipur later changed its character, and it declined in the nineteenth century. Examples are held by the Metropolitan Museum of Art, the Cleveland Museum of Art and Minneapolis Institute of Art.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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His work is held by the Hugh Lane Gallery, the National Gallery of Ireland and the Wolfsonian in Miami.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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A crowd below scrambles for hay with ladders and hooks, a man is crushed under a wheel and another has a knife put to his throat. Demons haul the wagon right, and nuns stuff hay into a sack at the lower right.\u003c\/p\u003e\u003cp\u003eHieronymus Bosch (c. 1450–1516), born Jheronimus van Aken, was a Netherlandish painter who spent his life in 's-Hertogenbosch in Brabant, the town that gave him his name. The son and grandson of painters, he belonged to the town's Brotherhood of Our Lady. His paintings turn religious and moral themes into crowded scenes of temptation, folly and damnation filled with hybrid creatures, most fully in the triptychs The Garden of Earthly Delights, The Haywain and The Temptation of St Anthony. Only about 25 paintings are now confidently given to him. His work was copied in his lifetime, and Pieter Bruegel the Elder was his best-known follower. 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