Eight moons circle a clouded earth under two suns
Andreas Cellarius — The Phases and Aspects of the Moon (Plate 19, Rose Colouring) | Celestial Map Print
Note: Framed prints require slightly longer production time
Why this print is worth it
Archival giclée on Hahnemühle fine-art paper
Made as fine art, not as a mass-market poster.
We reproduce each work from high-quality source material using a 12-ink archival giclée process on Hahnemühle fine-art paper, chosen to preserve the colour, detail and character of the original as faithfully as possible.
“The quality of color and paper is museum quality and well worth the purchase price.”
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Plate 19 sets the earth in a ring of dark cloud at the centre of the sheet and turns eight moons around it, each drawn half in shadow and lettered with its phase — new moon, crescent, half, gibbous, full. A radiant sun with a human face burns at the top of the plate, a second sun-face at the right sends out a fan of fine ruled sight-lines, and a table of lunar phases is engraved in the lower left corner. Putti carry the two title banners with the Amsterdam imprint of Pieter Schenk and Gerard Valk beneath. This copy is washed throughout in deep rose, so that the rays behind the moons read as a pink sky rather than gold.
Andreas Cellarius (c. 1596–1665) was a German-born Dutch cartographer and schoolmaster who spent most of his working life as rector of the Latin school in Hoorn. In 1660 the Amsterdam publisher Johannes Janssonius issued his Harmonia Macrocosmica, a folio atlas of twenty-nine engraved plates that set the competing world systems of Ptolemy, Copernicus and Tycho Brahe beside charts of the constellations and the motions of the planets. It was the last great decorative celestial atlas of the Dutch golden age, and its hand-coloured plates — dense with putti, banners and allegorical figures — were reissued by Gerard Valk and Pieter Schenk in 1708. Copies are held by the Library of Congress, the Universiteitsbibliotheek Amsterdam and the Royal Astronomical Society.
Printed 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.
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FAQ
Fine-art quality should be something you can verify. Here is exactly what goes into a 9 Art Prints reproduction.
What makes a 9 Art Prints reproduction different?
A lot of art-print sellers describe their work as “museum quality” without telling you what that actually means. We prefer specifications. Our fine-art reproductions are produced using professional giclée printing on genuine Hahnemühle fine-art papers, selected to suit the artwork. We work from high-resolution source material and prepare each image specifically for print, with close attention to colour, detail and tonal range.
What paper do you use?
Our principal fine-art papers include Hahnemühle German Etching 310gsm and Hahnemühle Photo Rag 308gsm. German Etching has a substantial, lightly textured surface that works exceptionally well for paintings and richly coloured works. Photo Rag has a smoother cotton surface suited to graphic, modernist and highly detailed imagery.
Paper is selected according to the character of the artwork rather than using one generic stock for everything.
What does “giclée” actually mean?
Giclée is a professional fine-art printing process using archival pigment inks and high-resolution inkjet technology. Unlike inexpensive poster printing, it is designed to reproduce subtle colour gradations, fine detail and tonal depth.
It is a reproduction method widely used by artists, photographers, galleries and professional fine-art printers.
So is this really “museum quality”?
We would rather tell you what we use and let you decide. Genuine Hahnemühle fine-art paper, professional giclée printing, archival pigment inks and carefully prepared high-resolution artwork are measurable things.
“Museum quality” by itself is not.
Will large prints still look sharp?
Large-format reproduction depends heavily on the quality of the underlying artwork file. We source the highest-resolution material available and prepare each image for print rather than simply enlarging a small internet image.
That is especially important with historic paintings, posters and archival works where source quality varies considerably.
Are these just posters?
No. A poster can be printed cheaply on lightweight commercial paper. Our fine-art editions are intended as permanent pieces of wall art, produced on heavyweight fine-art substrates with professional printing methods.
For graphic or poster artwork, the image may be a historic poster; the object you receive is still a fine-art reproduction.
What about your framed prints?
Our framed pieces use solid-wood frames and are produced as finished pieces of wall art rather than inexpensive poster frames. Depending on the configuration, we also offer matting and premium glazing options.
The goal is the same as with the print itself: use materials appropriate for a piece you intend to keep.
Will the colours look exactly like my screen?
Screens emit light; paper reflects it, so no physical print can be identical to every monitor or phone display. We prepare our artwork specifically for print and aim for accurate colour, contrast and tonal reproduction.
The texture and surface of fine-art paper also give the finished piece a physical depth that cannot be shown completely on a screen.
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