The First Edition
Shop All →Universes
Serie Archivo
Japan
Katagami · Sekka · Moronobu
Serie Archivo
Science & Cosmos
Byrne · Atkins · Bayer
Serie Archivo
Graphic Arts
Beardsley · Beggarstaffs
Serie Archivo
Manuscripts & Verse
Rimbaud · Mozart · Cobbold
Curation over quantity.
Permanence over trends.
Every piece begins with one question: does this work still stop you? Not historically. Not culturally. Personally. If the work still stops you, changes you, stays with you — it earns its place. Everything else is noise.
Read Our Story
Archival Notebooks
The document, understood — then kept in use.
Six documents from the public archive. Each opens with an eleven-page introduction — provenance, maker, technique — then 106 pages to write in. A5, perfect-bound, printed to order in the USA.
Explore notebooks →
Fine Art Prints
The museum on your wall.
Museum-quality prints on Hahnemühle fine-art or matte paper, each with its Métrica caption. Two collections: From the Archive and The Eye of Jazz. Printed to order in the USA.
Explore prints →We don't print images of documents. We print documents. Each piece begins with an original — a manuscript, a cyanotype, a stencil — returned to ink on a surface, and captioned like an object in a collection. What earns a place is shown exactly as it is.
Métrica · Mar del Plata
The Collection
Each design is a conversation with an artist whose work still moves us. Screenprinted on premium cotton by Real Thread in the USA.
Fine Art Prints
Fine-art prints on Hahnemühle cotton and museum matte paper, each carrying its Métrica museum caption. Five collections, printed to order in the USA.
Collection · Public-Domain Documents
From the Archive
A cyanotype, a katagami, a composer’s own hand — twelve documents reproduced faithfully, each with its Métrica caption.
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Collection · Jazz Photography
The Eye of Jazz
William P. Gottlieb’s portraits of the golden age — Holiday, Monk, Armstrong — from the Library of Congress.
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Collection · New York, 1884–1930s
New York on Paper
Eight prints of Manhattan, etched and drawn by hand. Two of them stand three blocks apart on the same waterfront, forty-four years apart.
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Collection · Chicago, 1931
Chicago, 1931
Twelve views made in a single year by a man who had spent thirty years etching Venice and Rouen. He signed and dated them in the copper.
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Collection · Paris, 1890–91
Colour on Copper
Ten colour prints Mary Cassatt made after seeing 725 Japanese prints in Paris. She printed them herself and signed each sheet in pencil.
Explore the collection →Why these prints
Two papers. One standard.
Fine Art Giclée on Hahnemühle 100% cotton — the photographer’s archival standard — or Museum Matte, a heavyweight matte art paper. Same image, either surface.
The museum caption
Each print carries the Métrica caption — title, date and source — set as part of the piece. Context isn’t added afterwards. It’s part of the work.
Printed to order
Nothing sits in a warehouse. Each print is produced when ordered, printed in the USA and shipped flat-safe in a rigid tube.
The archive keeps growing.
Van Gogh. Ukiyo-e masters. Antique maps. More collections are already in the making.
Join the archive →Archival Notebooks
One document from the public archive, in three forms: worn, hung, and written in. Each notebook opens with an eleven-page archival introduction — where the sheet comes from, who made it, how it was made — and then gets out of the way. A5, perfect-bound, printed on demand in the USA. $38.
Curation is a form of love.
It stocked labels such as ECM, Hyperion and Chandos, and cared more about what a record contained than how well it sold. I helped him choose what to bring in, going through printed distributor catalogs by hand, long before any of it was a click away.
In 2003 I opened my own shop, Sibelius, to carry that idea forward. A year later, Métrica began as a free magazine — recommending records, books and films with the enthusiasm you'd use to tip off a friend.
Over time, those recommendations became objects: screen-printed tees, art prints and notebooks. Later they became concerts, playlists, interviews and other editorial projects. The format changed, but the instinct stayed the same — find something worth keeping and give it a form you can hold onto.
Métrica doesn't make vintage-inspired graphics.
Each design begins with an original document, artwork or printed source: a handwritten score, a cyanotype, a geometric proof, a cut-paper poem. The source is researched, verified and reproduced with its history intact.
Sibelius closed more than a decade ago, as many record shops did, but the work continued. Today I also run Sonora, a music-discovery platform organized by record label — more than 600 labels and no recommendation algorithm. The tees and prints come out of that same world, not from a trend forecast.
Everything is selected and developed here in Mar del Plata, then printed in small batches in the United States — the tees on AS Colour midweight combed cotton. I choose the garments, the paper and the printing methods, and I write the short museum-style note that accompanies each design, because the context is half the point.
One of the oldest pieces in the first collection came to me by accident. In the summer of 2024, I photographed a paper valentine at the New York Public Library and forgot the picture existed. It was The Monitory Lizard, cut by hand around 1823 by the poet Elizabeth Cobbold. Today it is one of the shirts — faithfully reproduced from the original cut-paper work.
If something is wrong with your order, you're not writing to a call center — you're writing to me.
vicente@metrica.art
— Vicente Grondona
Get in touch.
Serie Archivo grows by suggestion. If you know a sheet, a plate or a page in the public domain that belongs here — a botanical, a proof, a hand — tell me where it lives and I’ll go and look.
For wholesale, press or licensing, write to the same address: vicente@metrica.art