Drag the print to move it. The painting is shown at true scale; where its shape differs from the sheet the print has a paper border, not drawn here. Prints are sold unframed, and a frame here is only for planning.
Madonna of Chancellor Rolin
c. 1435 · huile sur bois (chêne) (oil on wood (oak)) · Musée du Louvre, Paris
Sizes
image 16×16.1 in on a 16×20 in sheet
What is dpi?
Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
Free shipping, included in the price, to all eight countries we ship to. Dispatched in 2–4 working days — nothing to send back if it arrives damaged.
Send as a gift
A printed card goes in the parcel with your message and the work’s museum record. No price is shown anywhere in the parcel. Enter the recipient’s address at checkout.
0 / 240Have a gift certificate?
The certificate’s balance is applied at checkout; any remainder is paid there. Check a balance or buy one.
Christmas: order by Monday 7 December for delivery in the United States before Christmas.
All editionsAbout this painting
An angel flies in holding a crown over Our Lady's head. The Christ Child sits on her knee and raises His hand in blessing toward the man kneeling across from them, Chancellor Rolin, palms pressed together over his open book. Behind them the arches open on a river, a bridge, a town, and two small figures stand at the parapet looking out. Laura Gelfand identifies the gilded spire behind Rolin's hands, almost certainly, as Notre-Dame-du-Châtel, the church that once housed this painting; she reads the capitals, the Drunkenness of Noah and Abraham meeting Melchizedek, as Old Testament wine and bread on the side of a man whose fortune grew from the vineyards in the landscape. A column still divides him from the Virgin. The crown, Gelfand argues, is likely one Rolin gave that church. Jan van Eyck lets him kneel beneath his own gift.
Sources: Laura D. Gelfand, "Piety, Nobility, and Posterity: Wealth and the Ruin of Nicolas Rolin's Reputation," JHNA vol. 1, no. 1 (2009) · Gelfand 2009, JHNA