Petr of Chelčice by Alphonse Mucha, 1918
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L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata nel nostro laboratorio di Londra dall’opera originale del 1918 e stampata in qualità museale. Descrizione completa
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Scegli due opere idonee e ricevi il 20% di sconto su entrambe. Scegline tre e quella al prezzo più basso è in omaggio, con un risparmio massimo del 33%.
Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
Sono incluse le configurazioni standard su ordinazione. Sono esclusi formati su misura, design personalizzati e lavori su commissione.
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Opera d’arte autentica
L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata dall’opera originale del 1918 e stampata in qualità museale. Descrizione completa
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Alphonse Mucha’s Petre of Chelcice, painted in 1918, sets the fifteenth-century religious thinker Petr Chelčický amid the human wreckage of a raid...
Continua a leggereAlphonse Mucha’s Petre of Chelcice, painted in 1918, sets the fifteenth-century religious thinker Petr Chelčický amid the human wreckage of a raid on Vodňany during the Hussite wars. Rather than isolating its protagonist in heroic splendour, Mucha surrounds him with fleeing families, injured bodies, carts and scattered possessions. Chelčický’s intervention forms the moral centre of the crowded scene: he restrains the impulse towards vengeance and calls instead for forgiveness.
The work belongs to Mucha’s sustained engagement with Czech and wider Slavic history, an aspect of his career quite distinct from the elegant theatrical and advertising posters for which he remains best known. Chelčický advocated a radical form of Christian pacifism, opposing coercion and retaliatory violence. By presenting these principles against a landscape of immediate suffering, Mucha turns an episode from Bohemian history into a larger meditation on the cycle of violence. Its date is also resonant: 1918 was the year in which an independent Czechoslovakia was established after the collapse of the Austro-Hungarian Empire.
A closer look
The wide composition is built from successive layers of distress. Across the foreground, figures kneel, bend and reach towards one another, their gestures creating a broken rhythm of clasped hands, bowed heads and protective arms. Some attend to the injured; others appear exhausted or paralysed by grief. Chelčický stands within this press of bodies rather than above it, making his authority a matter of gesture and moral restraint rather than physical dominance.
At the lower edges, modest objects deepen the narrative. A small basket, draped cloths, panniers and blankets evoke ordinary domestic life abruptly uprooted. Towards the right, animals and carts extend the movement across the rugged ground, suggesting flight and displacement rather than an orderly procession. Mucha gives particular attention to the variety of postures: figures pull, carry, support and shield, while the uneven terrain makes every action appear effortful.
Behind them, the land disappears into a haze of destruction. Smoke rises in layered greys and blue-grey tones, merging with the clouded sky and obscuring the horizon. Darker silhouettes stand against this billowing background, while muted greens and earthen colours hold the foreground in a subdued tonal register. The absence of sharp highlights is crucial to the painting’s mood: light is diffused across the scene, allowing no single figure an easy visual escape from the collective crisis.
Context and significance
Mucha’s international reputation was established through the sinuous line, decorative pattern and idealised figures associated with Art Nouveau and the Belle Époque. Yet his historical paintings reveal another ambition. In them, ornament gives way to large-scale narrative, carefully orchestrated crowds and episodes chosen for their ethical as well as national significance. Petre of Chelcice forms part of his broader attempt to visualise Slavic history through moments of conflict, belief, cultural endurance and political transformation.
What distinguishes this scene is its refusal to make battle itself the spectacle. The violent event remains largely beyond the immediate foreground, registered through smoke, injury and hurried departure. Mucha concentrates instead on aftermath and response: whether suffering will generate further brutality or be met with restraint. The result is both historically specific and unusually humane, with its emotional force carried by small acts of care amid a monumental field of disorder.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 24x36in (60x90cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
Alphonse Mucha’s Petre of Chelcice, painted in 1918, sets the fifteenth-century religious thinker Petr Chelčický amid the human wreckage of a raid on Vodňany during the Hussite wars. Rather than isolating its protagonist in heroic splendour, Mucha surrounds him with fleeing families, injured bodies, carts and scattered possessions. Chelčický’s intervention forms the moral centre of the crowded scene: he restrains the impulse towards vengeance and calls instead for forgiveness.
The work belongs to Mucha’s sustained engagement with Czech and wider Slavic history, an aspect of his career quite distinct from the elegant theatrical and advertising posters for which he remains best known. Chelčický advocated a radical form of Christian pacifism, opposing coercion and retaliatory violence. By presenting these principles against a landscape of immediate suffering, Mucha turns an episode from Bohemian history into a larger meditation on the cycle of violence. Its date is also resonant: 1918 was the year in which an independent Czechoslovakia was established after the collapse of the Austro-Hungarian Empire.
A closer look
The wide composition is built from successive layers of distress. Across the foreground, figures kneel, bend and reach towards one another, their gestures creating a broken rhythm of clasped hands, bowed heads and protective arms. Some attend to the injured; others appear exhausted or paralysed by grief. Chelčický stands within this press of bodies rather than above it, making his authority a matter of gesture and moral restraint rather than physical dominance.
At the lower edges, modest objects deepen the narrative. A small basket, draped cloths, panniers and blankets evoke ordinary domestic life abruptly uprooted. Towards the right, animals and carts extend the movement across the rugged ground, suggesting flight and displacement rather than an orderly procession. Mucha gives particular attention to the variety of postures: figures pull, carry, support and shield, while the uneven terrain makes every action appear effortful.
Behind them, the land disappears into a haze of destruction. Smoke rises in layered greys and blue-grey tones, merging with the clouded sky and obscuring the horizon. Darker silhouettes stand against this billowing background, while muted greens and earthen colours hold the foreground in a subdued tonal register. The absence of sharp highlights is crucial to the painting’s mood: light is diffused across the scene, allowing no single figure an easy visual escape from the collective crisis.
Context and significance
Mucha’s international reputation was established through the sinuous line, decorative pattern and idealised figures associated with Art Nouveau and the Belle Époque. Yet his historical paintings reveal another ambition. In them, ornament gives way to large-scale narrative, carefully orchestrated crowds and episodes chosen for their ethical as well as national significance. Petre of Chelcice forms part of his broader attempt to visualise Slavic history through moments of conflict, belief, cultural endurance and political transformation.
What distinguishes this scene is its refusal to make battle itself the spectacle. The violent event remains largely beyond the immediate foreground, registered through smoke, injury and hurried departure. Mucha concentrates instead on aftermath and response: whether suffering will generate further brutality or be met with restraint. The result is both historically specific and unusually humane, with its emotional force carried by small acts of care amid a monumental field of disorder.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 24x36in (60x90cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
Molte delle nostre mappe e stampe d’arte vengono scelte come regali premurosi per case, uffici, studi e luoghi significativi.
Scegli un’opzione incorniciata per il regalo più semplice, pronto da appendere, oppure scegli una stampa non incorniciata se il destinatario preferisce selezionare la propria cornice.
Realizziamo gli ordini localmente in 23 paesi in tutto il mondo, così i regali possono spesso essere prodotti vicino al destinatario. Questo li aiuta ad arrivare più rapidamente, a viaggiare in maggiore sicurezza e a evitare sorprese legate a dazi doganali o di importazione.
- Possiamo consegnare direttamente al destinatario
- I pezzi incorniciati arrivano pronti da appendere
- Le stampe non incorniciate sono accuratamente imballate in un robusto tubo protettivo
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Se non sei sicuro di cosa scegliere, ti invitiamo a contattarci. Possiamo aiutarti a scegliere la mappa, il formato, la finitura o l’opzione di consegna più adatti.
Most orders are made locally and delivered in around 2–3 working days, depending on the product, size and destination.
We print and frame maps and artwork in 24 countries around the world, so your order is usually made close to you or your recipient. That means faster delivery, less time in transit, and no customs or import duty surprises.
Personalised and customised pieces usually take an extra 1–2 working days, because we prepare your design and send it to you for approval before printing.
Very large framed orders can take a little longer, as they need extra care in production and delivery.
Every order is carefully packaged: unframed prints are sent in a strong protective tube, while framed pieces are securely packed with protective materials around the frame.
If you need your order by a particular date, please contact us before ordering. We’ll check the best production route and delivery option for your location.
Express delivery is available at checkout for most countries. Next-day delivery is available in the UK, US, Singapore and the UAE.
Your order is covered by our 90-day returns policy and 10-year guarantee.
Our standard frame is a gallery-style black ash hardwood frame, with a simple, modern look. It is approximately 20mm (0.8in) wide. You can also view some lovely customer photos of framed maps and art.
We use super-clear acrylic glazing, also known as Perspex or Acrylite, instead of traditional glass. It is lighter, safer, and has lower reflectivity, giving the artwork a clearer, cleaner appearance.
Six standard frame colours are available at no extra cost: black, dark brown, dark grey, oak, white, and antique gold. Custom framing and mounting/matting is also available for customers looking for something more specific.
Most maps, art prints, and illustrations are also available as a framed canvas. We use matte cotton canvas, stretch it over a sustainably sourced wooden box frame, and then float the piece within a wooden outer frame. The finished result is beautifully presented, with no glazing between you and the artwork.
All frames are supplied ready to hang, with either string or brackets fitted to the back. Very large frames will include heavy-duty hanging plates and/or a mounting baton. If you have any questions, please get in touch.
We can also supply old maps and artwork on canvas, foam board, cotton rag, and other materials.
If you would prefer to frame your map or artwork yourself, please read our size guide before ordering.
Lavoriamo con interior designer, realtà del settore hospitality, professionisti del settore immobiliare, uffici e acquirenti aziendali per singoli pezzi e progetti coordinati di più ampia portata.
Quest'opera può essere adattata a una specifica parete, stanza o progetto e il nostro laboratorio può aiutare a coordinare dimensioni, materiale e incorniciatura prima della produzione.
- Dimensioni precise, extra-large e su misura
- Incorniciatura personalizzata, montaggio e materiali alternativi
- Pezzi coordinati per più stanze o sedi
- Personalizzazione dell'opera, per regolarne il colore e lo stile
- Consulenza su arte e incorniciatura da parte del nostro laboratorio
- Produzione locale per progetti in tutto il mondo
Ogni stampa artistica restaurata inizia dall’opera originale dell’artista—mai da una sostituzione generata dall’IA.
Il nostro studio di Londra lavora a partire da materiali di origine accuratamente selezionati da musei, biblioteche, archivi e collezioni private. Restauriamo i danni dovuti all’età, i colori sbiaditi e le imperfezioni di riproduzione, preservando al contempo la composizione, il tratto del pennello, il segno, la texture e il carattere d’epoca dell’artista.
Non utilizziamo l’IA generativa per ridisegnare, reinterpretare o inventare l’opera. Il restauro digitale viene impiegato solo per recuperare e riprodurre l’opera originale nel modo più fedele possibile.
Una volta restaurata, l’opera master viene preparata per il formato e la finitura da te scelti. Il tuo pezzo viene quindi stampato e, se selezionato, incorniciato vicino alla destinazione di consegna.
Le nostre stampe artistiche giclée utilizzano carta opaca archivistica senza acidi da 200 g/m² e inchiostri pigmentati resistenti allo sbiadimento, per una finitura ricca e di qualità museale. Le stampe artistiche incorniciate utilizzano acrilico ottico cristallino e arrivano pronte da appendere.
Sono disponibili anche tele incorniciate ed edizioni speciali su cotone-rag. Scopri di più sui nostri materiali e finiture.
Restauriamo e produciamo mappe e stampe d’arte dal 1984, e garantiamo personalmente ogni pezzo.
Ogni ordine è coperto dalla nostra garanzia di 10 anni e dalla garanzia di consegna senza danni. Se il vostro pezzo arriva danneggiato, lo sostituiremo o lo rifaremo gratuitamente. Se qualsiasi altro aspetto non fosse conforme, contattate il nostro team di laboratorio e provvederemo tempestivamente a risolvere il problema.
Per tutti i dettagli, consultate la nostra politica su resi e rimborsi.
