A whiskered cat skeleton in a flat hat clutches skulls as people flee
José Guadalupe Posada — La nueva calavera del morrongo, o sea de gatos y garbanceras | Relief 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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Under the heading La Nueva Calavera del Morrongo, 'The New Calavera of the Servant Boy, or of Tomcats and Maids', a skeletal cat in a flat-brimmed hat and jacket, whiskered and fanged, stands among heaped skulls with a skull in each hand. Men and women in hats and shawls recoil on either side among the trees. A frieze of small dancing and music-making skeletons runs across the top, and shrouded skeletons fill the two side columns. Black ink on orange paper, published in 1902.
The original: zincograph and letterpress on orange paper, 1902, The Metropolitan Museum of Art.
José Guadalupe Posada (1851/52–1913) was a Mexican printmaker, born in Aguascalientes, who learned lithography and engraving as an apprentice to José Trinidad Pedroza. After drawing political cartoons and running a print shop in León, he moved to Mexico City in 1888 and worked for the publisher Antonio Vanegas Arroyo, producing thousands of illustrations for broadsides, songsheets and cheap books. His calaveras, lively skeletons dressed for every trade and class, made the point that death takes everyone; the best known, La Calavera Catrina, was later taken up by Diego Rivera and became a figure of the Day of the Dead. His prints are held by the Metropolitan Museum of Art, the Art Institute of Chicago and the Cleveland Museum of Art.
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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