Every print in the archive is produced using giclée printing — a fine-art inkjet process that lays down archival pigment inks in extremely fine droplets, giving far greater color depth and tonal range than standard commercial printing. It's the same process most museums and serious print studios use for reproduction work, and it's the reason a print can sit in direct light for years without the color quietly drifting toward orange.

Our standard stock is an archival matte paper, acid-free and lignin-free, chosen specifically because it doesn't compete with the image the way a glossy or textured stock can. Matte paper absorbs ink cleanly rather than letting it sit on a surface sheen, which keeps darker tones looking genuinely dark instead of slightly gray under angled light.

Every image in the archive is sourced from work that has entered the public domain — meaning the original artist's copyright term has expired and the work belongs to the cultural commons. We work from high-resolution source scans and do our own color correction against known references before anything goes to print, since public domain doesn't automatically mean well-photographed.

You own the physical print outright, and you're welcome to display it, gift it, or resell the physical object as you like. What you're not purchasing is a license to reproduce, scan, or redistribute the image commercially — the underlying public domain artwork is free to use, but our specific print files, color corrections, and framing presentations are not.

Close, but exactly is a promise no print shop can honestly make. Screens emit light; paper reflects it, which means some saturation shift between monitor and print is unavoidable regardless of process. We calibrate our proofs against printed reference swatches rather than screen values specifically to minimize this gap, but a small amount of variance between what you see now and what arrives is normal and expected.

Prints are offered in five standard sizes: 8×10, 11×14, 16×20, 18×24, and 24×36 inches. Smaller sizes suit shelves, desks, and grouped gallery walls; the larger sizes are built to anchor a room on their own.

Not through standard checkout, but reach out through the contact page and we're generally able to accommodate reasonable custom dimensions on request, particularly for trade and design clients working around existing wall dimensions.

Both. Every print can be ordered unframed, or framed in one of four finishes — Natural Oak, Walnut, Black, or White — with the option of a gallery mat or a no-mat, edge-to-edge presentation. Full detail on materials and sizing lives on the print and frame guide.

Unframed prints typically ship within 2–3 business days of order. Framed pieces take slightly longer — usually 5–7 business days — since framing is assembled to order rather than held pre-built in inventory. Transit time depends on destination and is provided at checkout.

Unframed prints can be returned within 30 days of delivery in original, undamaged condition for a full refund. Framed pieces, because they're assembled specifically for your order, are returnable within 14 days and may be subject to a restocking fee on the frame component — full detail is on the shipping and returns page.

Photograph the damage and the packaging as soon as you notice it and contact us within 7 days of delivery. Damaged-in-transit claims are replaced at no cost once documented — this is the one category of return that isn't subject to the usual return window or restocking terms.

As a general rule, the center of a piece (or the visual center of a grouped arrangement) should sit around 57–60 inches from the floor — roughly eye level for an average standing adult, which is the convention most galleries use. For groupings, we'd rather you leave 2–3 inches between frames than crowd them; the gaps are doing real visual work, not wasting wall space.

It's not overcautious. UV exposure is the single biggest threat to any printed artwork, archival ink or not, and prolonged direct sunlight will shift color over time regardless of paper quality. A wall that gets bright, indirect light is fine; a wall in a sunbeam's direct path for several hours a day will shorten the life of any print, glass or no glass.

Yes — see the Trade page for the full program details, including the discount structure and account setup for interior designers and design professionals ordering on behalf of clients.