The Oath of Omladina under the Slavic Linden Tree by Alphonse Mucha, 1926
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 nel nostro laboratorio di Londra dall’opera originale del 1926 e stampata in qualità museale. Descrizione completa
L’offerta del Collezionista
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.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.L’offerta del Collezionista
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.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.
Restaurato a Londra • Stampato e incorniciato in Canada
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 1926 e stampata in qualità museale. Descrizione completa
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Scegli la finitura
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Gift message & custom finish
If you want to add a gift message, or a finish (jigsaw, aluminium board, etc.) that is not available here, please request it in the "order note" when you check out.
Every order is custom made, so if you need the size adjusted slightly, or printed on an unusual material, just let us know. We've done thousands of custom orders over the years, so there's (almost) nothing we can't manage.
You can also contact us before you order, if you prefer!
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Alphonse Mucha’s The Slav Epic – Cicle XVIII, painted in 1926 and also titled The Oath of Omlandina under the Slavic Linden...
Continua a leggereAlphonse Mucha’s The Slav Epic – Cicle XVIII, painted in 1926 and also titled The Oath of Omlandina under the Slavic Linden Tree: The Slavic Revival, gathers a broad company beneath the spreading branches of a monumental tree. At the centre stands a woman in flowing white, crowned with a delicate floral wreath and holding a staff; around her, raised arms and interlocking figures create the rhythm of a communal rite. Warm gold, ochre and soft brown suffuse the scene, while paler whites and subdued greens draw the central figure forward from the surrounding crowd.
The painting belongs to Mucha’s monumental Slav Epic, a series devoted to Slavic history, mythology and cultural identity. Although Mucha remains closely associated with the elegant posters and decorative graphics of the Belle Époque, this cycle reveals the grander historical ambitions of his later career. Here, the decorative richness familiar from his Art Nouveau work is expanded into an extensive narrative composition. Executed in egg tempera and oil on canvas, the scene transforms the cultural revival of the late nineteenth century into a symbolic vision of collective memory, allegiance and renewal.
A closer look
The linden tree governs the composition. Its trunk rises through the centre before dividing into an intricate canopy of limbs and foliage, forming a natural vault above the assembly. Rather than acting merely as a backdrop, the tree supplies the scene with its vertical scale and gathers the many figures into a single pictorial structure. Its textured bark and branching silhouette bring an earthy density to the otherwise diffuse, golden atmosphere.
Beneath it, Mucha arranges the participants in a loose circular movement. The figures at lower centre lift their hands in gestures that can be read as dance, acclamation or oath-taking; their expressions range from open joy to marked solemnity. This variation prevents the gathering from becoming a uniform crowd. Individual faces, differences of costume and small shifts in posture give the ceremony a human complexity, balancing celebration with contemplation.
The white-clad woman occupies a comparatively calm space amid this movement. Flora clusters around her garments, and the fine ornament of her wreath contrasts with the broader handling of the distant gathering. At the edges, quieter incidents extend the emotional range: a headscarfed figure sits at the lower left, while a seated man and woman at the lower right appear withdrawn into reflection. A gesturing figure towards the upper left introduces another note of address or proclamation. Across the scene, flecks of golden light pass over clothing and skin, binding these separate episodes into a warm, atmospheric whole.
Context and significance
The Slav Epic allowed Mucha to move beyond the intimate scale and immediate commercial clarity of poster design. The panoramic format accommodates not one decisive action but a layered assembly of historical, allegorical and ceremonial elements. Figures overlap in successive bands, with those in the foreground given greater definition and the more distant participants dissolving into muted tones. This recession makes the gathering seem larger than the clearly delineated group, suggesting a community extending beyond the visible scene.
Cycle XVIII is especially revealing of Mucha’s ability to unite decorative form with historical narrative. The pale central figure, the arching tree and the ring of animated bodies produce an almost emblematic arrangement, yet close inspection uncovers numerous individual gestures and expressions. The result is neither a straightforward record of an event nor a purely ornamental allegory, but an expansive meditation on shared heritage as something enacted through ceremony, memory and communal presence.
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 36x24in (90x60cm) 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 The Slav Epic – Cicle XVIII, painted in 1926 and also titled The Oath of Omlandina under the Slavic Linden Tree: The Slavic Revival, gathers a broad company beneath the spreading branches of a monumental tree. At the centre stands a woman in flowing white, crowned with a delicate floral wreath and holding a staff; around her, raised arms and interlocking figures create the rhythm of a communal rite. Warm gold, ochre and soft brown suffuse the scene, while paler whites and subdued greens draw the central figure forward from the surrounding crowd.
The painting belongs to Mucha’s monumental Slav Epic, a series devoted to Slavic history, mythology and cultural identity. Although Mucha remains closely associated with the elegant posters and decorative graphics of the Belle Époque, this cycle reveals the grander historical ambitions of his later career. Here, the decorative richness familiar from his Art Nouveau work is expanded into an extensive narrative composition. Executed in egg tempera and oil on canvas, the scene transforms the cultural revival of the late nineteenth century into a symbolic vision of collective memory, allegiance and renewal.
A closer look
The linden tree governs the composition. Its trunk rises through the centre before dividing into an intricate canopy of limbs and foliage, forming a natural vault above the assembly. Rather than acting merely as a backdrop, the tree supplies the scene with its vertical scale and gathers the many figures into a single pictorial structure. Its textured bark and branching silhouette bring an earthy density to the otherwise diffuse, golden atmosphere.
Beneath it, Mucha arranges the participants in a loose circular movement. The figures at lower centre lift their hands in gestures that can be read as dance, acclamation or oath-taking; their expressions range from open joy to marked solemnity. This variation prevents the gathering from becoming a uniform crowd. Individual faces, differences of costume and small shifts in posture give the ceremony a human complexity, balancing celebration with contemplation.
The white-clad woman occupies a comparatively calm space amid this movement. Flora clusters around her garments, and the fine ornament of her wreath contrasts with the broader handling of the distant gathering. At the edges, quieter incidents extend the emotional range: a headscarfed figure sits at the lower left, while a seated man and woman at the lower right appear withdrawn into reflection. A gesturing figure towards the upper left introduces another note of address or proclamation. Across the scene, flecks of golden light pass over clothing and skin, binding these separate episodes into a warm, atmospheric whole.
Context and significance
The Slav Epic allowed Mucha to move beyond the intimate scale and immediate commercial clarity of poster design. The panoramic format accommodates not one decisive action but a layered assembly of historical, allegorical and ceremonial elements. Figures overlap in successive bands, with those in the foreground given greater definition and the more distant participants dissolving into muted tones. This recession makes the gathering seem larger than the clearly delineated group, suggesting a community extending beyond the visible scene.
Cycle XVIII is especially revealing of Mucha’s ability to unite decorative form with historical narrative. The pale central figure, the arching tree and the ring of animated bodies produce an almost emblematic arrangement, yet close inspection uncovers numerous individual gestures and expressions. The result is neither a straightforward record of an event nor a purely ornamental allegory, but an expansive meditation on shared heritage as something enacted through ceremony, memory and communal presence.
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 36x24in (90x60cm) 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
- Quasi ogni ordine viene realizzato localmente, per regali più rapidi e sicuri
- Il reso entro 90 giorni dà al destinatario il tempo di decidere
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.
