Title-Border for Omnium Gentium Mores - Hans Weiditz
Archival giclée
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Description
A 1520 woodcut title-border by Hans Weiditz, featuring classical motifs, putti, and scrolling foliage, originally designed for the publication of Johannes Boemus's ethnographic study.
This woodcut title-border, produced in 1520, is a characteristic example of the work of Hans Weiditz, a German artist active during the Northern Renaissance. Weiditz was a pupil of Albrecht Dürer and became a prolific designer of book illustrations, particularly for the printing houses of Augsburg. This specific border was commissioned for the publication of Johannes Boemus's 'Omnium Gentium Mores', a descriptive study of the customs of various nations.
The composition follows the conventions of early sixteenth-century German book design, employing a dense, architectural frame that surrounds the central typographic block. The border is populated with a variety of motifs, including putti, scrolling acanthus foliage, and classical elements such as urns and shields. The style reflects the transition from late Gothic sensibilities toward the influence of Italian Renaissance ornamentation, which was then circulating through the German states via printed media.
Weiditz demonstrates a high level of technical control in the woodcut medium. The lines are precise and clean, allowing for the clear rendering of the small-scale figures and the complex, swirling patterns of the foliage. The bottom cartouche contains the date M.D.XX, anchoring the work within the early period of the artist's career. The balance between the figurative elements and the decorative scrollwork creates a structured, harmonious frame that directs the viewer's attention to the text within. This piece provides insight into the collaborative nature of early modern publishing, where artists, printers, and authors worked in close proximity to produce scholarly texts that were both informative and visually engaging. The print remains a significant example of the high standards of craftsmanship maintained by Augsburg printers during this era.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Title-Border for Omnium Gentium Mores - Hans Weiditz
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