One of the many cyanotypes (or “sunprints”) that make up Photographs of British Algae: Cyanotype Impressions (1843) by Anna Atkins, an English botanist and, some argue, the very first female photographer, most noted for using photography in her books on various plants. Having grown up with her father John George Children (a chemist, mineralogist, and not too successful zoologist) Atkins was surrounded by science and also contributed to her father’s work. Through her father and her husband, Atkins came to know both William Henry Fox Talbot, a pioneer of early photography who invented a process of creating photographs on paper treated with salt and a solution of silver nitrate, and Sir John Herschel, the inventor of the cyanotype printing method. She became interested in the cyanotype process which produced images through so-called sun-printing. The object is placed on paper which has been treated with ferric ammonium citrate and potassium ferricyanide, after which it is exposed to sunlight and then washed in water, leading to the uncovered areas of the paper turning a dark blue. The process, known as blueprinting, was later used to reproduce architectural and engineering drawings, but Atkins chose to use it for what is considered to be the first work with photographic illustrations, namely her Photographs of British Algae: Cyanotype Impressions (1843). Only 13 copies of the handwritten book are known to exist, some of which are in various stages of completion. Later, she would collaborate with another female botanist, Anne Dixon (1799 – 1864), in making two more books featuring cyanotypes: Cyanotypes of British and Foreign Ferns (1853) and Cyanotypes of British and Foreign Flowering Plants and Ferns (1854). Atkins became a member of the Botanical Society in London in 1839, one of the few scientific societies which was open to women. (Image source: New York Public Library)
Museum quality Giclee print printed using archival inks on premium fine art paper — 100% cotton, finely textured, and acid-free archival substrates purposefully chosen for optimal historical art reproduction. Orders for US and Canada will be printed on Epson’s Somerset Velvet (255gsm); Australian orders on Hahnemühle’s Photo Rag (188gsm); and all other orders on St Cuthbert Mill’s Somerset Enhanced Velvet (255gsm).
All frames are custom made to order.
- Solid wood with a 3/4″ face (and 1″ depth for US orders, 3/4“ elsewhere).
- 2” acid-free 4-ply natural white mat with beveled edges
- Shatterproof, high quality UV-shielding acrylic glazing
- Archival acid-free foam core backing
Why acrylic instead of glass? Although more expensive than glass, like most art-sellers and galleries we’ve chosen acrylic for its superior UV protection, and because it is also lighter and much less breakable — not only does this ensure it gets to you safely, but also handy for when you might want to move house in the future!
Unframed prints will be shipped in quality tubes, and framed prints expertly and securely packed to make sure they arrive in top condition.
|US, Canada, UK, EU, Australia||Everywhere else|
|Framed||$20||$30 for S, M, L, and $45 for XL.|
All prints, framed and unframed, sent via tracked service. Unfortunately, we are unable to deliver to PO Boxes. Estimated delivery times from day of ordering are as follows:
- US — 4 to 12 business days
- Canada — 6 to 14 business days
- Australia — 3 to 19 business days
- UK — 7 to 10 business days (unframed), 14 to 17 business days (framed)
- EU — 8 to 12 business days (unframed), 15 to 19 business days (framed)
- Everywhere else — 10 to 14 business days (unframed), 17 to 21 business days (framed)
If ordering to addresses outside of the US, UK, EU, Canada or Australia you may be required to pay duties and taxes to claim your package, depending on your local customs office.
As the prints are custom (made specifically for the image, size, and frame colour you have chosen) then we can only accept returns or refunds in the case of incorrect or damaged goods. For more info see our Returns Policy.