Musée No:737.196

Musée No:737.196

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Mexican Street Scene - Aquas Caliente

Artist: Daniel Thomas Egerton

Date:  ca. 1840

Now here is a story for you – one worthy of a whodunnit mystery crime writer. Let me set the scene with the standard information. Egerton (1797–1842) was one of the original members of the Society of British Artists. He was a British landscape painter, draughtsman, designer, printmaker. He married Georgiana in 1818, they had three children and made a good living producing lithographs of English street life. He was one of the first travelling painters to arrive in Mexico after independence, soon after the borders were opened to non-Hispanics. He was there from 1829-1836 and participated in archaeological expeditions. In 1840 back in London he published “Egerton's Views in Mexico”, a portfolio of lithographs.

Now for the intrigue… In 1841 he abandoned his wife and family and returned to Mexico with his printer’s daughter, Alice Edwards, she was 18, and pregnant.  They lived a quiet reclusive, even secretive, life in Tacuba (a village before it became Mexico City). On the 27th April 1842 Daniel and Alice were found murdered in the street. The official version is that it was a robbery gone wrong even though Egerton was carrying large amounts of money, and both he and Alice were wearing lots of jewellery, all of which was untouched. Eyewitness reports stated that four men with pistols had surrounded the couple, yet in fact they died of multiple stab wounds. British diplomatic pressure to solve the crime led to three men being arrested and tried for the crime. In spite of their alibis, which were never verified, they were found guilty of the murders and robbery.  Two were hanged, protesting their innocence, one simply walked out of prison and disappeared.

There was great speculation about the real reason behind the theftless murders. Daniel was suspected of fraudulent land dealing – he definitely didn’t earn enough from his painting and lithographs to adorn Alice in expensive jewellery. His brother lived in the Republic of Texas and made a more than comfortable living selling land that belonged to the Mexicans to whomever was naïve enough to buy it, was Daniel involved?  He had ties to a Masonic order was that the reason? or maybe it was an unknown jealous lover of Alice behind the killing? Another theory is spying …In the 1820s & 30s with the breakup of the Spanish Empire His Majesty’s government in London saw it as a great opportunity to exploit the, now available, rich resources. British “travellers” throughout the region, and especially those with a good eye and a good reason for doing nothing but wander the countryside, were often in fact “informal” employees of His Majesty. The mystery deepens …

Borders & Mounts

None of our prints come with separate mounts. Some have a printed border which replaces the need for a mount, and some are borderless pieces. In either case the edge to edge size of the prints is 'A' sized as stated. If you should want a mount around your print, then you just need to buy a mount for the 'A' size you choose and then a frame to go with that.

What size frame do I need ?

Each piece of artwork in the Musée gallery has been resized to work perfectly with International 'A' paper sizes. All you need to think about when framing your Musée artwork is that it needs to be in the appropriate A sized frame. This means that no part of your artwork will be lost to cropping when choosing frame sizes. It also means that everything will work proportionately in gallery walls, and print sets. There are many budget, off the shelf A sized frames on sites like Etsy and Ebay which we very happily recommend for our prints.

We also now produce our own collection of high quality, professionally framed artwork, ready to hang.

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Our approach to printing is built on the ability to faithfully reproduce artworks using the finest inks and papers available today. A world away from mass produced posters we take pride in producing beautiful, affordable, fine art prints in-house, for discerning interior lovers everywhere.

Giclée Printing - In order to achieve this consistent, outstanding quality we produce every archival pigment print (alternatively know as giclée) to order using the same ink, paper and printing techniques used by museums all over the world. (Giclée is pronounced gee-clay with a soft G) Our archival giclée prints are loved for their vibrant tonal range and the handmade feel of their beautiful textured papers. The quality of a giclée print is far superior to all other forms of printing and when done authentically it is the closest reproduction printing method possible for matching to an original artwork.

Acid Free Paper - Each piece of Musée Art is printed to order on 312 GSM Paper. GSM is a measurement of the thickness of the paper. It is based on calculating the amount a sheet of paper would weigh, in grams, if it was exactly one square metre in size. Paper with a higher GSM will generally be thicker and therefore more difficult to crease or tear. Museum grade acid free papers are made from 100% cotton pulp rather than wood-based products. High quality cotton fibre paper is known to last hundreds of years without appreciable fading, discolouration, or deterioration due to the fact no chemicals are used in its production. Unlike wood based, mass produced alternatives,which will deteriorate, fade and change colour over time.

Inks - Archival pigment printing (giclée) uses inks which have longevity rates calculated at over 100 years. This printing technique must utilise eight or more different ink colours which are colour profiled to match the archival paper to achieve a perfectly colour accurate reproduction of the original piece of art. 

Mount Board - All Musée museum quality prints are professionally mounted on 2.4mm acid free art board ready to free stand or frame. Mounted prints also help to preserve the qualty of the edges and keep the prints perfectly flat with no risk of cockling. Cockling is the process by which a print starts to ripple due to changing levels of ambient moisture which are naturally present in the air in all our homes. Also, when you decide to either change your Musée artwork in your frames or swap them out for a new find, a Musée mounted print will stay flat and safe whilst in storage.

Stacked image of fanned white 312 gms paper showing the high quality and softly woven texture of the surface of the paper.

312 gsm Paper

All muséee prints are reproduced on the finest quality 312 gsm museum archival acid free paper.

Mount Board

All Musée prints are mounted on acid free 2.4 mm mount board ready for
framing or free standing display.

Image of a single sheet of cotton rag paper showing the soft woven texture of the surface.

Cotton Rag

100% natural cotton based paper has a beautiful fine textured finish.