Angels bear a body over a mountain to a hillside chapel
Limbourg Brothers — Belles Heures: Angels Carry Saint Catherine to Mount Sinai | Illuminated Manuscript 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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Three winged angels, in green, blue and pink, carry the haloed, crowned body of Saint Catherine, clothed in white, over a rocky mountain peak. Below on the slope, three cloaked figures in dark caps gather and look upward; on the far side a small grey stone chapel is built into the hillside, a robed hermit seated at its low door. A flat blue sky fills the background, within a border of gold ivy leaves, a Latin text block below.
This leaf illustrates the legend's account of Saint Catherine's body being carried by angels to Mount Sinai after her martyrdom. It comes from the Belles Heures, made around 1405-1409 by the Limbourg brothers for Jean, Duke of Berry. The manuscript has been held by the Metropolitan Museum's Cloisters since 1954 (accession 54.1.1).
The Limbourg Brothers, Herman, Paul and Johan (active c. 1399–1416), were Netherlandish manuscript illuminators from Nijmegen. Nephews of the painter Jean Malouel, they were born in the late 1380s, and Herman and Johan were apprenticed to a Paris goldsmith by 1399. After illuminating a Bible for Philip the Bold, Duke of Burgundy, they entered the service of his brother Jean, duc de Berry, for whom they painted the Belles Heures (1405–1408/09) and the Très Riches Heures, left unfinished when all three died in 1416. The Belles Heures is held by the Metropolitan Museum of Art at The Cloisters, and the Très Riches Heures by the Musée Condé, Chantilly.
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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