Musée No:792.016

Musée No:792.016

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Mary

Artist: Gilbert Stuart
Date: c1815

Gilbert Charles Stuart, (1755–1828), was the third child of Gilbert Stewart, a Scottish immigrant employed in the snuff-making industry. Born in Rhode Island in 1770, he made the acquaintance and studied with the Scottish artist Cosmo Alexander. Once in Britain he became the protégé of Benjamin West. In 1782 his life changed because of his much acclaimed painting ‘The Skater’. At one point, only paintings by English artists Joshua Reynolds and Thomas Gainsborough were more expensive. However, he was no good with money and in 1787 with Debtors’ Prison looming he fled to Dublin. In 1793, he decided to return to America with one clear aim in mind: to paint George Washington. He hoped that sales of copies would allow him to provide for his family. A fortuitous portrait of statesman John Jay Stuart led to an introduction and from there on he painted Washington in a series of iconic portraits, each of them leading to copies and keeping him highly paid for years.  The most famous and celebrated of these likenesses is known as The Athenaeum, 1796, and is used on the United States one-dollar bill and on various postage stamps in both 19th and 20th century. The original painting is generally on display in the National Portrait Gallery.

He achieved great success as a fashionable portrait painter of high society, praised for the vitality and naturalness of his portraits, most famously those of George and Martha Washington. I say most famous but I’ll let you decide, his client list includes George III, George IV, Louis XVI, the first SIX Presidents of the United States and their First Ladies, Joshua Reynolds, John Jacob Astor …. all in all, portraits of more than 1,000 people.

In a strangely sad end to an incredibly successful life, when he died he left his family so deeply in debt that they couldn’t afford a grave plot – he was buried in an unmarked grave. When his family managed to get the money together for a proper grave some 10 years later, no one could remember exactly where he was at rest, so there he stays.

This portrait is of Mary Campbell Stuart, no relation to the artist, she was married to Dr. James Stuart.  There is a companion painting to this of her husband. The paintings were on panel rather than the his preferred canvas because of the scarcity caused by the British naval blockade during the War of 1812.

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.

To see our collection of quality frames - CLICK HERE

Print Quality

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.