Painted on the Loango Coast in present-day Republic of Congo on April 13, 1876, during the seasonal grass fires. The sky is a nearly uniform field of dusty rose and coral, with a band of deeper red at the horizon and a single small bloom of blue-violet just above it. A scatter of faint orange marks near the top of the composition suggest distant fire glow or stars. The image was published in 1888 as a chromolithograph in Johann Kiessling's scientific study of atmospheric twilight effects following the eruption of Krakatoa in 1883, included as a comparison to the volcanic sunsets.
See Also
The Dawning
Arthur B. Davies
Eleven Nudes
Arthur B. Davies
Reclining Nude
Josef Scharl
Winter Landscape
Josef Scharl
In the Waves
Paul Gauguin
Tartessians
Arthur B. Davies
Sacrifice
Arthur B. Davies
Yellow Tree
Odilon Redon
Artemis
Vilhelm Hammershøi
Dancing Circle
Franz von Stuck
Nu aux papillons
Raoul Dufy
Vénus récréée par la musique
Raoul Dufy
The Seven-Pointed Star, No. 1
Hilma af Klint
Full-Orbed Moon
Arthur B. Davies
Venus with Seashell
Raoul Dufy
The Channel Sketchbook, Folio 29
J.M.W. Turner
The Channel Sketchbook, Folio 25
J.M.W. Turner
The Channel Sketchbook, Folio 15
J.M.W. Turner
The Channel Sketchbook, Folio 12
J.M.W. Turner
Ascending Moon
Josef Scharl
Sous-Bois
Berthe Morisot
The Island Garden
Childe Hassam
Vierge et Enfant sur Fond Étoilé
Henri Matisse
Amphitrite et chevaux marins (1925)
Raoul Dufy
The November Meteors (1882)
Étienne Léopold Trouvelot
Pandora
Odilon Redon
Flore Sous Marine
Odilon Redon
Flower of Samuel Warrand (1862)
Georgiana Houghton
The Flower and Fruit of Henry Lenny (1861)
Georgiana Houghton
The Ten Largest, No. 8, Adulthood (1907)
Hilma af Klint
Flourishing (1934)
Paul Klee
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.