Costume Plate (Homme de l'Isle de Naxia) - Jacques Grasset de Saint Sauveur Art Print

Fine Art Prints

Forget cheap reproductions and printable posters. Only the best will do. Velvety matte fine art paper (warm white, archival-grade, 200gsm) with bold, vibrant, non-toxic pigment inks. 

High-definition print lab techniques give you sharper details, deeper saturation and true-to-life tones.

The matte surface keeps glare down and archival-grade materials mean the colors you fall for stay vivid for decades.

Framed Fine Art Prints

Your print arrives framed and ready to hang, so it goes straight from the box to your wall.

Chevron cut wooden frames make a timeless statement in three distinctive colors: black, white and natural.

Each frame is made of sustainably sourced FSC® certified European knotless pine, finished with ultra-clear perspex glaze that’s lighter than glass and shatter-resistant.

Float Framed Canvas Prints

Luscious artist-grade cotton canvas, hand-stretched and finely textured, gives every detail depth and precision. Its natural white surface catches light and color with striking clarity.

A precisely measured floating frame leaves a slim gap around the canvas, so it seems to hover with a sleek, gallery-worthy effect.

Your choice of a black, white or natural frame: all made from sustainably sourced FSC® certified European knotless pine.

Giclée Printing

Jacques Grasset de Saint-Sauveur's Costume Plate (Homme de l'Isle de Naxia), published in his 1806 Encyclopédie des Voyages, plants a Cycladic islander squarely before the Enlightenment's cataloguing eye. The figure stands with one hand cocked at the hip — a posture not of labor but of self-possession — his forest-green and crimson-maroon striped jacket cut in the Ottoman short-coat manner, open at a linen chest adorned with a looped cord closure. A saffron-yellow waist sash cinches the divide between jacket and the cascade of powder-blue shalvar trousers below, their voluminous folds holding the island's salt air in every pleat.

He holds a chibouk, the long-stemmed Ottoman tobacco pipe, angled across the composition like a surveyor's rod measuring the edge of the known world. Behind him: a shallow wooden rowboat, a coiled rope on jade shoreline, pale aqua Aegean water barely disturbed. Saint-Sauveur's hand-colored intaglio engraving — flat wash applied over precise etched line — gives each detail the authority of a naturalist's specimen. The cornflower-blue flat cap sitting atop the turban wrap signals Naxian folk dress navigating Ottoman jurisdiction and Venetian memory simultaneously, his mustard-yellow shoes the last note of a man who dressed where two empires overlapped.