Three Pages of Estienne

Two figures and their key, side by side.

Work: from De Dissectione Partium Corporis Humani, pages 189 to 191
Maker: Charles Estienne
Date: 1545
Held by: Published Paris, 1545 · Bayerische Staatsbibliothek · via Wikimedia Commons

Format

The full-resolution scan, colour-managed to the source — yours to print, study, and explore.

Size

$29.00

The story

Three consecutive pages of Charles Estienne's De Dissectione, Paris, 1545: two figures standing among plants and garden architecture, and a column of the lettered key that explains them. Seen together they show how the book was meant to be read, picture and text in one spread, the eye moving from a letter on the body to its name in Latin and back. The scan comes from the copy in the Bavarian State Library's digital collections, published on Wikimedia Commons under a public domain tag. A wide sheet, for the wall above a desk.

See it on your wall

The plate, in the room it was made for

Three Pages of Estienne, printed large and framed — in the consulting room, the study, the library. Every edition ships ready to become the piece the room is built around.

Three Pages of Estienne framed on the wall

About this reproduction

A reproduction of from De Dissectione Partium Corporis Humani, pages 189 to 191 — Charles Estienne, 1545 — from the copy held by Published Paris, 1545 · Bayerische Staatsbibliothek · via Wikimedia Commons. The source. The work is centuries out of copyright and in the public domain.
Printed faithful to that source scan. We do not re-colour it, complete it, or interpret it; the plate you receive is the plate as it survives.
Printed to order on EMA matte art paper, 200gsm. Framed editions sit in a box frame under acrylic, with no mount.
Colour-managed to the source; the tone of the paper and the ink is the engraver’s, not ours.
Ships in 5–10 business days.
If it arrives less than perfect, we reprint or refund — your choice.

Why our plates cost more than a poster: a poster is a mass run on wood-pulp stock, colour-corrected to whatever flattered the press that day. This is one sheet, pulled for you, at a size where the engraver’s hand is visible — the linework, the tonal work, the lettering — on a matte sheet that shows every line without glare.

From the same hand