This is a detail from the Apocalypse Tapestry of Angers, the largest surviving medieval tapestry in the world, commissioned by Louis I, Duke of Anjou, around 1373 and woven in the Paris workshop of Nicolas Bataille from designs by the Flemish court painter Hennequin de Bruges. The full tapestry originally measured 140 meters long and consisted of 90 scenes illustrating the Book of Revelation. This panel shows the Fourth Horseman of the Apocalypse, Death, depicted as a grinning, decaying corpse astride a pale horse against a red ground with stylized trees. The choice to represent Death as a corpse rather than a living figure followed a style then popular in England, and it's one of the tapestry's most unusual details. During the French Revolution the tapestry was looted and cut into pieces — fragments were used as floor mats, horse blankets, and insulation for orange trees. Most of it was recovered in 1848 and is now displayed at the Château d'Angers.
See Also
Das Gasteinertal im Nebel
Anton Romako
Cutter Close Hauled in a Fresh Breeze
Charles Brooking
Approaching Storm (1938)
Robert P. Archer
Approaching Thunder Storm
Martin Johnson Heade
Thunder Storm on Narragansett Bay
Martin Johnson Heade
Approaching Storm, Beach near Newport
Martin Johnson Heade
Seascape
Jean Brusselmans
The Sierra De Guadarrama
Joaquín Sorolla
Still Life with a Lemon and pink Roses
Cornelis Kick
Still Life with a Hanging Bunch of Grapes, Two Medlars, and a Butterfly
Adriaen Coorte
Hudson Valley I
Arthur B. Davies
Landscape at Nettuno
Hans Speckter
Still Life with Meat, Fish, Vegetables, and Fruit
Jacob van Hulsdonck
Adam and Eve
Franz von Stuck
A Sottobosco with Mushrooms, Butterflies, a Dragonfly, a Snake and a Lizard
Otto Marseus van Schrieck
Three Peaches on a Stone Ledge with a Painted Lady Butterfly
Adriaen Coorte
Moonrise (1887)
George Inness
Herbstlandschaft
Toni von Stadler
Le Verre De Porto (A Dinner Table At Night)
John Singer Sargent
Effet de lumière au cœur d’une tempête en mer
Théodore Gudin
Our Process
Every piece in the archive goes through a deliberate process — part historian, part designer, part obsessive.
The thrill of the hunt
We pull from institutional archives, digitized collections, and the deep corners of the art world to find pieces that are both culturally and visually relevent, yet underexplored. We skip the hyper trendy pieces (looking at you, Matisse cutouts) in favor of niche work with a good story.
Context is everything
We dig into the provenance, history, and context around each piece — the artist, the period, the story that makes it worth living with. You don't have to be an art historian to appreciate knowing the who/what/why of a work of art, and it makes it that much more satisfying to live with every day.
Where a scan becomes a print
Institutional scans are often remarkable, but they're also imperfect: color casts from old photography, dust and scratches from the scanning bed, compression artifacts, uneven lighting across a large canvas. What we don't touch is the painting itself — the craquelure, the patina, the brushwork, the small marks of time that make a 200-year-old work look 200 years old. We restore the photograph of the painting, not the painting.
A careful eye
Color is adjusted with restraint. We reference historical materials when possible and avoid over-saturation or heavy-handed edits. The aim is a result that feels balanced, natural, and consistent with how the work was intended to be seen.
We don't do guesswork
Each piece is reviewed at print size to ensure clarity, contrast, and overall quality. Small issues become obvious at scale, so we take the time to catch them before anything is produced.
Common Questions
Giclée (zhee-clay) is a fine art printing process using archival pigment inks on museum-quality paper. The colors are richer, the detail is sharper, and the prints are rated to last 100+ years without fading. It's the same method used by galleries and museums for exhibition-quality reproductions.
All unframed prints are produced on heavyweight, acid-free fine art paper with a subtle matte finish.
Check the size guide on the Print + Frame guide page — it shows all available sizes to scale. General rule: go bigger than you think. For above a sofa, you want the art to be about two-thirds the width of the furniture below it.
Some cropping may occur depending on the aspect ratio of the original artwork and the size you select. Each size is adjusted differently—some preserve more of the original image, while others require a closer crop. We use our expertise to crop each piece in a way that maintains the integrity of the composition.
Our preview tool above gives a general sense of how the piece will look at different sizes, but it crops from the center and may not reflect the final composition exactly. If you’d like to confirm how a specific size will be cropped, feel free to reach out—we’re happy to help.
Our frames are solid oak or metal with a clean, modern profile. Oak frames are available in Natural Oak, Walnut, Black, and White. Metal frames are available in Gold, Silver, White, and Black. Matted options use an acid-free mat with a standard reveal. Every framed print arrives ready to hang. For frame dimensions and specs, please see our Print + Frame guide page.
Framed prints come with hanging hardware attached. Use two picture hooks for anything 18×24 or larger for the most secure hold. For unframed prints, we recommend taking them to a local frame shop — they'll cut a mat and mount it properly.
Orders are printed to order and typically ship within 3–5 business days. Delivery within the continental US usually takes an additional 3–4 business days.
We currently ship unframed prints internationally. Framed prints are only available within the US.
Reach out within 14 days and we'll take care of it. Please see our Shipping + Returns page for more information.
Because every print is made to order, we can't accept returns or exchanges. If you're unsure about sizing, check the size guide on the Framing page or get in touch — we're happy to help you decide before you buy.