{"title":"The Con","description":"\u003cp\u003eThe Con art prints: paintings, engravings and vintage posters of cheats, cardsharps, fortune tellers, quack doctors and swindlers. The collection includes Georges de La Tour's The Cheat with the Ace of Clubs (1630) and The Fortune-Teller (1630), Caravaggio's The Cardsharps (1595) and The Fortune Teller (1596), Hieronymus Bosch's The Extraction of the Stone of Madness (1505), Quinten Massys's Ill-Matched Lovers (1520), Gerrit Dou's The Quack (1652) and Giovanni Domenico Tiepolo's The Charlatan (1756). Later works include Jules Chéret's posters for magic shows at the Folies-Bergère (1875) and the Musée Grévin (1887) and Arthur Rackham's The Quack Frog (1912).\u003c\/p\u003e\u003cp\u003eThe selection focuses on deception in Netherlandish, Italian and French painting: card games, palm reading, false cures and ill-matched couples in which one partner is after money. In most of these scenes the victim has not yet noticed what the viewer can see.\u003c\/p\u003e\u003cp\u003eThe card and tavern scenes suit game rooms, studies, home bars and living 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":"arthur-rackham-the-quack-frog-fable-illustration-print","title":"Arthur Rackham — The Quack Frog | Fable Illustration Print","description":"\u003cp\u003eA frog in a long grey coat stands on a trestle stage beneath a scalloped, striped awning, leaning on a cane and holding up a small bottle to the crowd below. Pots, plates and a basin are stacked behind him. Looking up from the foreground are a fox with open jaws, a grey dog-like head, two white geese, two mice, one in a red neckerchief, a long-eared donkey in a paisley shawl, and a white cockerel with a red comb. The signature, dated 1912, is at the upper left.\u003c\/p\u003e\u003cp\u003eArthur Rackham (1867–1939) was an English illustrator, the leading figure of the golden age of the illustrated gift book. Born in London, he worked from the age of 18 as an insurance clerk at the Westminster Fire Office while studying part-time at the Lambeth School of Art, and joined the Westminster Budget as a reporter and illustrator in 1892. Rip Van Winkle (1905) and Peter Pan in Kensington Gardens (1906) made his name, and the colour-plate editions that followed — A Midsummer Night's Dream, Grimm, Wagner's Ring, Aesop — won him gold medals at Milan in 1906 and Barcelona in 1912. He was elected Master of the Art Workers' Guild in 1919 and died at Limpsfield, Surrey, in 1939.\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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Beyond them a windmill stands on a rise, and on the road travellers are waylaid at a covered wagon while a rider gallops off towards a gallows on the horizon. Dutch verses circle the rim and French lines hang in the sky. Engraved by Johan Wierix after Bruegel.\u003c\/p\u003e\u003cp\u003eThe original: engraving by Johan Wierix after Pieter Bruegel the Elder, c. 1568, National Gallery of Art, Washington.\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. 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A man tied to a chair has liquid poured over his head from a jug, a hanging sign is studded with stones, and at right a man inside a giant broken eggshell works on another's head. A mill, thatched roofs and bare trees fill the view at upper left. Engraved by Pieter van der Heyden and published by Hieronymus Cock in 1559.\u003c\/p\u003e\u003cp\u003eThe original: engraving by Pieter van der Heyden after Pieter Bruegel the Elder, 1559, The Metropolitan Museum of Art, New York.\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 left a young man in a maroon velvet doublet and black feathered hat studies his cards; behind him an older man in a yellow-and-black striped sleeve raises a gloved hand to peer at them. At the right a youth in a gold-and-black striped doublet with a teal sleeve and a pink plume, seen from behind, reaches to a card tucked in his belt. A wooden box sits at lower left against a warm ochre wall.\u003c\/p\u003e\u003cp\u003eCaravaggio (Michelangelo Merisi da Caravaggio, 1571–1610) was an Italian Baroque painter, apprenticed in Milan to Simone Peterzano before moving to Rome around 1592. He painted directly from live models without preparatory drawings, developing an extreme form of chiaroscuro, later called tenebrism, in which figures emerge from near-total darkness into a single sharp source of light. His frank naturalism and immediacy, applied even to religious subjects, influenced a generation of painters across Europe. 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