{"title":"The Serpent","description":"\u003cp\u003eSnake and serpent art prints: paintings, prints, manuscripts and illustrations in which snakes, serpents and hydras appear. Subjects include Adam and Eve with the serpent by Albrecht Dürer, Lucas Cranach the Elder and Hans Baldung Grien; El Greco's Laocoön; Gustave Moreau's Hercules and the Lernaean Hydra; William Blake's Dante engravings; Franz von Stuck's Sin; Étienne Dinet's The Snake Charmer; and Mewar and Garhwal miniatures of Krishna subduing the serpent Kaliya. The collection also includes alchemical manuscripts and engravings, Maria Sibylla Merian's natural history plates, a Shahnama miniature and illustrations by Edmund Dulac and Heinrich Vogeler. The works range from the 16th century to the early 20th century.\u003c\/p\u003e\u003cp\u003eThe selection covers the serpent as tempter, monster, scientific specimen and alchemical symbol.\u003c\/p\u003e\u003cp\u003eThe engravings and manuscripts suit studies and libraries; the Indian miniatures work in a living room or hallway. 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":"pegasus-and-the-hydra-by-odilon-redon-a-96992","title":"Odilon Redon — Pegasus and the Hydra | Symbolist Fine Art Print","description":"\u003cp\u003eOdilon Redon (1840–1916) was a French Symbolist painter and printmaker whose work occupies a unique position in the history of modern art — between the visible and the visionary, the botanical and the dreamlike, the charcoal nocturne and the blazing colour. His early graphic works — the \u003cem\u003eNoirs\u003c\/em\u003e series of lithographs and charcoal drawings featuring floating eyes, strange heads, and shadowy figures — are among the most psychologically complex images of the 19th century. His later pastels and paintings, vibrant with symbolic flowers, are among the most luminous works of the symbolist movement.\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 serpent slithers through the dense foliage below, coiling near a cluster of broad-leaved plants. Two shadowy human silhouettes stand faintly visible in the mist further back, watching the scene unfold. The 1900 edition captions the plate, 'Hearing the air cut by their verdant plumes, the serpent fled.'\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\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 gold snake winds around her raised forearm and drinks from a shallow cup she holds. A bearded figure and other blurred bodies appear behind her right shoulder. The detail comes from Klimt's ceiling painting Medicine, known today only through photographs.\u003c\/p\u003e\u003cp\u003eGustav Klimt (1862–1918) was the leading figure of the Vienna Secession, which he co-founded in 1897. His golden period portraits and allegories — The Kiss, the portrait of Adele Bloch-Bauer, the Beethoven Frieze — combine mosaic-like ornament and gold leaf with an unflinching treatment of the body, and his square landscapes of the Attersee are among the most serene paintings of the era. His works are held by the Belvedere in Vienna, the Neue Galerie in New York and the Leopold 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. 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The serpent coils round the tree behind her and runs along the grass under her feet; a small winged child clings to her side. Smoke rises from a stepped tower against white clouds, and a spider's web, roses, grapes and lilies fill the ground. A panel carries verse 81. Drawn for the 1884 Houghton Mifflin Rubáiyát.\u003c\/p\u003e\u003cp\u003eThe original: chalk, pencil and watercolor on paper drawing, 1883–1884, Smithsonian American Art Museum, Washington, D.C.\u003c\/p\u003e\u003cp\u003eElihu Vedder (1836–1923) was an American Symbolist painter who settled in Rome after the Civil War and lived there for most of his career. Trained in New York under Tompkins H. Matteson and in Paris under François-Édouard Picot, he painted sphinxes, sibyls and cosmic allegories, and produced fifty-five illustrations for the 1884 deluxe edition of FitzGerald's translation of the Rubáiyát of Omar Khayyám, a publishing success. He also painted murals for the Library of Congress in Washington, D.C. 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A thin yellow halo floats above his dark hair, and a branch of green and red apples hangs beside his face. In the foreground curving blue-green stems with pale yellow leaves sweep across the panel, and one raised hand holds a small dark snake between its fingers. The date and the monogram PGo are painted at the lower left edge.\u003c\/p\u003e\u003cp\u003eGauguin painted the panel in late 1889 on the upper part of a cupboard door in the dining room of Marie Henry's inn at Le Pouldu in Brittany, as the pendant to his portrait of the Dutch painter Meijer de Haan. Left with Marie Henry in lieu of rent, it was sold in 1919 to the Galerie Barbazanges in Paris. Chester Dale bought it in 1928 and gave it to the National Gallery of Art in 1963.\u003c\/p\u003e\u003cp\u003eThe original: oil on wood, 1889, National Gallery of Art, Washington.\u003c\/p\u003e\u003cp\u003ePaul Gauguin (1848–1903) gave up a career as a Paris stockbroker to paint, and in 1885 left his wife and five children to pursue it. He led the Pont-Aven painters toward flat colour and simplified form, and worked beside Van Gogh in Arles in 1888. From 1891 he lived mostly in Tahiti and, from 1901, the Marquesas, where Polynesian figures, colour and myth became his subject. There he took girls of thirteen and fourteen as his 'wives': by his own account Teha'amana, whose face recurs in the Tahitian paintings of 1891–93, was thirteen. His synthetist style shaped the Nabis, Fauvism and Expressionism; in recent decades historians and museums have reassessed him for this sexual exploitation of Polynesian girls and for the colonial fantasy of Tahiti his work helped build. 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The museum calls the print hugely influential in spreading natural symbolism across Europe.\u003c\/p\u003e\u003cp\u003eThe original: engraving, 1504, Cleveland Museum of Art.\u003c\/p\u003e\u003cp\u003eAlbrecht Dürer (1471–1528) was a German painter, printmaker and theorist of the Northern Renaissance, born in Nuremberg, the son of a goldsmith. He trained in the workshop of Michael Wolgemut and travelled twice to Italy, bringing Italian ideas of proportion and perspective north of the Alps. His woodcut series, above all the Apocalypse of 1498, and his engravings, among them Knight, Death and the Devil, Saint Jerome in His Study and Melencolia I, raised printmaking to the level of painting and circulated across Europe in his lifetime. He also made watercolours of plants and animals from close observation, painted portraits and altarpieces, and published treatises on measurement and human proportion. 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At left a curly-haired young man, a dark helmet at his side, stands beside a woman who leans against a rock, a patterned scarf in her hair and a pale band at her ankle. At right the same woman stands on a rock with her back to us while a man in a grey cap grapples the blue-scaled coils of a huge serpent that loop across the sky, a curved sword in his hand. Green water breaks round the rocks.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1876, Art Gallery of South Australia, Adelaide.\u003c\/p\u003e\u003cp\u003eEdward Burne-Jones (1833–1898) was an English painter and designer, born in Birmingham. He left Exeter College, Oxford, where he had been training for the ministry, after meeting Dante Gabriel Rossetti, whose influence shaped his early painting, and became a founding partner with William Morris in the decorative arts firm Morris, Marshall, Faulkner \u0026amp; Co. 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His work is held by the Victoria and Albert Museum, the Metropolitan Museum of Art and the Cleveland 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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In 1939 he joined the Walt Disney studio, where his designs were used in the Night on Bald Mountain and Ave Maria sequences of Fantasia. He spent his last years in poverty. His work is held by the Victoria and Albert Museum 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. Ships worldwide with free delivery to 30+ countries.\u003c\/p\u003e","brand":"9ArtPrints","offers":[{"title":"Unframed - Hahnemühle Paper \/ Accent - 12x16 in \/ 30x40 cm","offer_id":67587961585978,"sku":"PRE-KAYNIE-UNFACC-NDHQ","price":165.0,"currency_code":"CAD","in_stock":true},{"title":"Unframed - Hahnemühle Paper \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":67587961618746,"sku":null,"price":220.0,"currency_code":"CAD","in_stock":true},{"title":"Unframed - Hahnemühle Paper \/ Statement - 24x32 in \/ 60x80 cm","offer_id":67587961651514,"sku":null,"price":275.0,"currency_code":"CAD","in_stock":true},{"title":"Unframed - Hahnemühle Paper \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":67587961684282,"sku":null,"price":385.0,"currency_code":"CAD","in_stock":true},{"title":"Unframed - Hahnemühle Paper \/ Collector's Edition - 40x55 in \/ 100x140 cm","offer_id":67587961717050,"sku":null,"price":770.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Piano Black \/ Accent - 12x16 in \/ 30x40 cm","offer_id":67587961749818,"sku":null,"price":460.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Piano Black \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":67587961782586,"sku":null,"price":635.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Piano Black \/ Statement - 24x32 in \/ 60x80 cm","offer_id":67587961815354,"sku":null,"price":810.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Piano Black \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":67587961848122,"sku":null,"price":1620.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Oyster White \/ Accent - 12x16 in \/ 30x40 cm","offer_id":67587961880890,"sku":null,"price":460.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Oyster White \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":67587961913658,"sku":null,"price":635.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Oyster White \/ Statement - 24x32 in \/ 60x80 cm","offer_id":67587961946426,"sku":null,"price":810.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Oyster White \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":67587961979194,"sku":null,"price":1620.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Natural Oak \/ Accent - 12x16 in \/ 30x40 cm","offer_id":67587962011962,"sku":null,"price":460.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Natural Oak \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":67587962044730,"sku":null,"price":635.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Natural Oak \/ Statement - 24x32 in \/ 60x80 cm","offer_id":67587962077498,"sku":null,"price":810.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Natural Oak \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":67587962110266,"sku":null,"price":1620.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Brown Walnut \/ Accent - 12x16 in \/ 30x40 cm","offer_id":67587962143034,"sku":null,"price":460.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Brown Walnut \/ Showpiece - 18x24 in \/ 45x60 cm","offer_id":67587962175802,"sku":null,"price":635.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Brown Walnut \/ Statement - 24x32 in \/ 60x80 cm","offer_id":67587962208570,"sku":null,"price":810.0,"currency_code":"CAD","in_stock":true},{"title":"Framed - Brown Walnut \/ Masterpiece - 30x40 in \/ 75x100 cm","offer_id":67587962241338,"sku":null,"price":1620.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0747\/6920\/3514\/files\/East-of-the-Sun-and-West-of-the-Moon--She-Saw-the-Lindworm-for-the-First-Ti-by-Kay-Nielsen.jpg?v=1790554455"},{"product_id":"harry-clarke-fairy-tales-by-hans-andersen-the-little-sea-maid-fairy-tale-illustration-print","title":"Harry Clarke — Fairy Tales by Hans Andersen: The Little Sea Maid | Fairy Tale Illustration Print","description":"\u003cp\u003eA mermaid with long flowing hair drifts through the dark water, her tail patterned with shells and scrolling scales, while a tall stemmed glass trailing a wisp of vapour floats against her hair. Above her the gaunt, wild-haired sea witch sits among coiling chequered serpents, and fish and eels crowd the top of the picture. Anemones, shells and sea flowers fill the dark floor, a long fish glides across the middle, and bubbles rise through the black water. All in fine black line on warm cream.\u003c\/p\u003e\u003cp\u003eHarry Clarke (1889–1931) was an Irish stained-glass artist and book illustrator, born in Dublin, the son of a church decorator whose business he joined as a boy. He studied at the Dublin Metropolitan School of Art and made his name with eleven windows for the Honan Chapel at University College Cork (1915–17); later glass includes The Eve of St Agnes, after Keats, and the Geneva Window. As an illustrator he drew Andersen's Fairy Tales (1916) and Poe's Tales of Mystery and Imagination, whose 1923 edition made his reputation, drawing on Art Nouveau and French Symbolism. He died of tuberculosis at 41. 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His best-known book, Atalanta Fugiens, published by Johann Theodor de Bry at Oppenheim in 1617 and again in 1618, is an alchemical emblem book of fifty emblems, each combining an engraving by Matthäus Merian the Elder with an epigram, a prose discourse and a fugue for three voices. He died in Magdeburg. Copies of the book are held by the Wellcome Collection and the Science History Institute.\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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Competition from cheap coloured lithographs ended the tradition, but its simplified forms influenced modern Indian painters, among them Jamini Roy. The Victoria and Albert Museum holds the largest collection, including some 233 paintings once owned by John Lockwood Kipling; others are held by 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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Under Raja Umed Singh (r. 1748–64) the painters Laharu and Mahesh illustrated Vaishnava texts and the avatars of Vishnu, and his successor Raj Singh gave land to painters of Nainsukh's family from Guler, whose naturalism gradually replaced the local style. 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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At the bow of a small, tilting sailing boat a figure with windblown hair braces with a bundle of darts in his hand, while the crew crouch and cling along the gunwale below. White gulls wheel over the swell.\u003c\/p\u003e\u003cp\u003eThe original: wood engraving after Gustave Doré for François Rabelais's Gargantua and Pantagruel, Book Four, chapter 34, 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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