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Below him, rising out of grey-green water, the Beast from the Sea lifts a cluster of seven horned heads, each with its own dull crown, mouths open. Blake painted the Revelation watercolours around 1805 for his patron Thomas Butts; this is the third of four, and the most frontal and heraldic of them.\u003c\/p\u003e\u003cp\u003eBlake worked the sheet in pen and ink with watercolour over graphite, and the old mount cites Revelation chapter 13, verses 1 and 2. It passed from the collector Marsden J. Perry to Lessing J. Rosenwald, whose collection went to the National Gallery of Art in Washington; it has since been shown at the British Museum in 1999 and in Tate Britain's Blake exhibition of 2019.\u003c\/p\u003e\u003cp\u003eWilliam Blake (1757–1827) was a London engraver, poet and visionary who claimed to have seen angels in a tree at Peckham Rye as a boy and never stopped drawing what he saw. 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From 1918 he worked with the publisher Watanabe Shōzaburō, travelling almost continuously through Japan and turning roadside sketches into prints of unusual atmospheric precision. Snow, rain and failing light were his real subjects, as much as any temple or harbour. In 1956 Japan recognised his woodblock technique as an Intangible Cultural Property. His prints are held by the British Museum, the Metropolitan Museum of Art and the Museum of Fine Arts, Boston.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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A jagged orange lightning bolt forks across the dark base at lower right. Banks of white cloud gather on both sides, and green wooded hills spread across the left. A vertical cartouche at upper left names the series and the print, with the signature beside it. It is the companion to Red Fuji in Thirty-six Views of Mount Fuji.\u003c\/p\u003e\u003cp\u003eThe print belongs to Thirty-six Views of Mount Fuji, which the Art Institute of Chicago dates between 1830 and 1832, when Hokusai was over seventy; the series runs to forty-six views, because he added ten scenes to the first thirty-six. Fuji, whose last great eruption was in 1707, had been worshipped as a sacred mountain well before his time and drew pilgrims from all over Japan. The museum attributes the force of the design to smooth slopes meeting jagged lightning.\u003c\/p\u003e\u003cp\u003eKatsushika Hokusai (1760–1849) is the most widely known of all Japanese artists. 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Snow blankets every roof, fence, and hillside in soft grey-white, while a dark sky flecked with falling snow presses down over the low mountains behind the rooftops. The artist's signature and round red seal appear at lower left; the title cartouche reads Tōkaidō, Kanbara, at upper right. A small stain is visible near the top edge of the sheet. This is one of the most celebrated night-snow scenes in the Hoeidō Tōkaidō series.\u003c\/p\u003e\u003cp\u003eKanbara comes from the Fifty-three Stations of the Tōkaidō, the series that firmly established Hiroshige as a landscape artist. The snow is an invention: Kanbara has a mild climate without heavy snowfall, and the Hiroshige museum at Nakagawa notes that even today the location pictured cannot be identified with certainty. Across the series Hiroshige worked the four seasons and wind, rain and snow into the scenery, and the museums that specialise in his work single this sheet out within it.\u003c\/p\u003e\u003cp\u003eUtagawa Hiroshige (1797–1858) was the last great master of the ukiyo-e landscape print. Born into a family of fire wardens in Edo, he turned to printmaking under Utagawa Toyohiro and found his subject in the roads and seasons of Japan — above all in the Fifty-three Stations of the Tōkaidō (1833–34) and the One Hundred Famous Views of Edo (1856–58). His snow, rain and evening skies, and his bold near-and-far compositions, were studied closely by Van Gogh, Whistler and Monet. His prints are held by the British Museum, the Metropolitan Museum of Art and the Museum of Fine Arts, Boston.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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Several figures cross hurriedly, hunched under round straw hats and rain capes, one shielding herself beneath a black umbrella. A lone raft drifts on the water below, its boatman poling through the rain, while the far bank shows a hazy line of trees and rooftops beneath low storm clouds. The artist's signature and red seal appear at lower left, with the title cartouche at upper right. From the One Hundred Famous Views of Edo, depicting a sudden summer squall over Shin-Ōhashi Bridge near the Atake district.\u003c\/p\u003e\u003cp\u003eDated to the ninth month of 1857, the print takes up the sudden shower, a favourite subject of Edo haiku poets and print artists, and renders it with a crisscrossing pattern of fine rain lines, a difficult woodblock technique. Vincent van Gogh copied the design in oil in Paris in late 1887, intensifying the colours and keeping the proportions of the print by adding a border filled with Japanese characters copied from other prints. 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Clothes and a towel hang from pegs. This is the third of three versions Van Gogh painted of his room at the Yellow House in Arles.\u003c\/p\u003e\u003cp\u003eVan Gogh made this smaller version at Saint-Rémy in September 1889 for his mother and sister in Holland, almost a year after the original of October 1888 had been damaged in a flood while he was in hospital in Arles. He told Theo that the colours were meant to express absolute repose, and linked the simple room to Japanese interiors. Once owned by Kojiro Matsukata, it passed to the French national museums in 1959 under the peace treaty with Japan and hangs in the Musée d'Orsay.\u003c\/p\u003e\u003cp\u003eVincent van Gogh (1853–1890) painted for barely ten years and produced some 2,100 works, most of them in the last two. 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From the 1870s he painted outdoors in the Seine valley and on the Normandy coast, pursuing the changing light of a single motif in series — haystacks, poplars, Rouen Cathedral, the Thames — and from 1890 the garden he built at Giverny, whose water lilies occupied his last twenty-five years. His paintings are held by the Musée d'Orsay, the Musée Marmottan Monet, the National Gallery in London and the Art Institute of Chicago.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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A tall tent-like tower holding a round clock face rises at the centre, a thin line running from its peak toward the right, and a small figure with pink hands and feet stands below it. A blue disc holding a yellow moon, a daisy and vases of flowers, red and pink discs balanced on hourglass shapes, and scattered stars fill the dark field.\u003c\/p\u003e\u003cp\u003eKlee made Fish Magic in 1925 by laying a delicate black surface over an underlayer of colours and scratching his designs through the black paint. At the centre a square of muslin is glued onto the canvas, and the Philadelphia Museum of Art reads the long diagonal line above it as poised to whisk this curtain away. Galka E. Scheyer held the painting in California from 1933 to 1937; Louise and Walter Arensberg then bought it and gave it to the museum in 1950.\u003c\/p\u003e\u003cp\u003ePaul Klee (1879–1940) was one of the most inventive artists of the twentieth century. Swiss-born and trained in Munich, he joined Kandinsky and Marc in the Blaue Reiter circle, found colour on a journey to Tunisia in 1914, and taught at the Bauhaus from 1921 to 1931, where his lectures on line, tone and colour became a theory of pictorial form. His small paintings and drawings move between geometry, script, humour and dream. After the Nazi regime dismissed him in 1933 he returned to Bern. His work is held by the Zentrum Paul Klee in Bern, the Museum of Modern Art and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. Ships worldwide with free delivery to 30+ countries.\u003c\/p\u003e","brand":"9ArtPrints","offers":[{"title":"Unframed - Hahnemühle Paper \/ Accent - 12x18 in \/ 30x45 cm","offer_id":54021740659002,"sku":"PRE-PAUKLE-UNFACC-9N1Q","price":165.0,"currency_code":"CAD","in_stock":true},{"title":"Unframed - Hahnemühle Paper \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":54021741216058,"sku":"PRE-PAUKLE-UNFSHO-9N1Q","price":220.0,"currency_code":"CAD","in_stock":true},{"title":"Unframed - Hahnemühle Paper \/ Statement - 20x28 in \/ 50x70 cm","offer_id":54021741248826,"sku":"PRE-PAUKLE-UNFSTA-9N1Q","price":275.0,"currency_code":"CAD","in_stock":true},{"title":"Unframed - Hahnemühle Paper \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":54021741281594,"sku":"PRE-PAUKLE-UNFMAS-9N1Q","price":385.0,"currency_code":"CAD","in_stock":true},{"title":"Unframed - Hahnemühle Paper \/ Collector's Edition - 40x60 in \/ 100x150 cm","offer_id":54021741314362,"sku":"PRE-PAUKLE-UNFCOL-9N1Q","price":1650.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Piano Black \/ Accent - 12x18 in \/ 30x45 cm","offer_id":54021741347130,"sku":"PRE-PAUKLE-FRAACC-9N1Q","price":460.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Piano Black \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":54021741379898,"sku":"PRE-PAUKLE-FRASHO-9N1Q","price":635.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Piano Black \/ Statement - 20x28 in \/ 50x70 cm","offer_id":54021741412666,"sku":"PRE-PAUKLE-FRASTA-9N1Q","price":810.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Piano Black \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":54021741445434,"sku":"PRE-PAUKLE-FRAMAS-9N1Q","price":2750.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Oyster White \/ Accent - 12x18 in \/ 30x45 cm","offer_id":54021741478202,"sku":"PRE-PAUKLE-FRAACC-9N1Q-2","price":460.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Oyster White \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":54021741510970,"sku":"PRE-PAUKLE-FRASHO-9N1Q-2","price":635.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Oyster White \/ Statement - 20x28 in \/ 50x70 cm","offer_id":54021741543738,"sku":"PRE-PAUKLE-FRASTA-9N1Q-2","price":810.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Oyster White \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":54021741576506,"sku":"PRE-PAUKLE-FRAMAS-9N1Q-2","price":2750.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Natural Oak \/ Accent - 12x18 in \/ 30x45 cm","offer_id":54021741609274,"sku":"PRE-PAUKLE-FRAACC-9N1Q-3","price":460.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Natural Oak \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":54021741642042,"sku":"PRE-PAUKLE-FRASHO-9N1Q-3","price":635.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Natural Oak \/ Statement - 20x28 in \/ 50x70 cm","offer_id":54021741674810,"sku":"PRE-PAUKLE-FRASTA-9N1Q-3","price":810.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Natural Oak \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":54021741707578,"sku":"PRE-PAUKLE-FRAMAS-9N1Q-3","price":2750.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Brown Walnut \/ Accent - 12x18 in \/ 30x45 cm","offer_id":54021741740346,"sku":"PRE-PAUKLE-FRAACC-9N1Q-4","price":460.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Brown Walnut \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":54021741773114,"sku":"PRE-PAUKLE-FRASHO-9N1Q-4","price":635.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Brown Walnut \/ Statement - 20x28 in \/ 50x70 cm","offer_id":54021741805882,"sku":"PRE-PAUKLE-FRASTA-9N1Q-4","price":810.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Brown Walnut \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":54021741838650,"sku":"PRE-PAUKLE-FRAMAS-9N1Q-4","price":2750.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0747\/6920\/3514\/files\/paul-klee-fish-magic-bauhaus-fine-art-print-3395032.jpg?v=1788763572"},{"product_id":"paul-klee-senecio-baldgreis-bauhaus-fine-art-print","title":"Paul Klee — Senecio (Baldgreis) | Bauhaus Fine Art Print","description":"\u003cp\u003eA round head fills the square, divided into flat planes of ochre, pink, pale yellow and white. Two red circular eyes look out, the right one under a single curling dark green eyebrow, the left under a white triangle; a small violet square marks the nose. A pale neck of pink and white leads down to shoulders blocked in red, yellow, purple and blue, all set against a mottled terracotta-orange ground with a grey band along the base. Signed and dated KLEE 1922 181 at the lower left.\u003c\/p\u003e\u003cp\u003eKlee entered this painting in his own catalogue of works as Baldgreis, and the name Senecio points to Senecio vulgaris, the botanical name of the common groundsel. It is painted in oil on a chalk ground on gauze laid on cardboard and keeps its original yellow-painted frame. Jim M. Jordan has likened the disc-shaped head to the dolls of the Ashanti of West Africa, which Klee probably knew. The Kunstmuseum Basel bought the picture in 1931 from Günther and Sophie Franke in Munich.\u003c\/p\u003e\u003cp\u003ePaul Klee (1879–1940) was one of the most inventive artists of the twentieth century. Swiss-born and trained in Munich, he joined Kandinsky and Marc in the Blaue Reiter circle, found colour on a journey to Tunisia in 1914, and taught at the Bauhaus from 1921 to 1931, where his lectures on line, tone and colour became a theory of pictorial form. His small paintings and drawings move between geometry, script, humour and dream. After the Nazi regime dismissed him in 1933 he returned to Bern. His work is held by the Zentrum Paul Klee in Bern, the Museum of Modern Art and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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Little Red Riding Hood sits beside it on the edge of the bed, her curls loose beneath a ribboned cap, one hand twisting the cloak she still wears, staring warily at the wolf's face. A heavy curtain is drawn back at the right, framing the bedpost.\u003c\/p\u003e\u003cp\u003eThe design is one of those Doré made for the Perrault fairy tales reprinted in Paris in 1862. He followed Perrault's text of 1697 rather than the sanitised versions produced later, mainly for British readers, and chose the story's penultimate moment, just before the wolf's triumph. Doré also worked the same composition up as an oil painting, now in the National Gallery of Victoria in Melbourne.\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. Engraved by a workshop led by Héliodore Pisan and Adolphe Pannemaker, his designs combine minute detail with theatrical light, vast landscapes and crowds of figures. From the 1860s he also painted large canvases and Alpine, Scottish and Spanish landscapes, exhibited at the Doré Gallery in London, and turned to sculpture in his last decade. His work is held by the Musée d'Art Moderne et Contemporain de Strasbourg, the Bibliothèque nationale de France, the Metropolitan Museum of Art and the Art Institute of Chicago.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. 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She wears a jewelled gold choker set with blue stones, and the frame around the canvas is inscribed JUDITH and HOLOFERNES in raised gold lettering. At the lower right, a dark, partly visible head rests against her hand.\u003c\/p\u003e\u003cp\u003eJudith I had probably just been finished when it appeared in the tenth exhibition of the Vienna Secession in spring 1901, and it was sold there; the Bavarian government, which had wanted it, bought another Klimt instead. The Belvedere names it as the painting in which Klimt first combined gold leaf with oil paint. The frame was designed by Klimt and made by his brother Georg, a metal sculptor, as part of the composition. The Österreichische Galerie bought the picture in 1954; it hangs in the Upper Belvedere.\u003c\/p\u003e\u003cp\u003eGustav Klimt (1862–1918) was the leading figure of the Vienna Secession, which he co-founded in 1897. 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