Musée No:792.039
Musée No:792.039

Musée No:792.039

Regular price £25.00
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Basket Of Plums

Artist: Anne Vallayer-Coster 


Anne Vallayer-Coster (1744 – 1818) was an 18th-century French painter best known for still lifes. She achieved fame and recognition very early in her career. In 1770, she was admitted to the Académie Royale de Peinture et de Sculpture. She was unanimously elected, making her one of only four women accepted into the Académie before the French Revolution. Despite the low status that still life painting had at this time, her highly developed skills, especially with flowers, and her “precocious talent and the rave reviews” brought her to the attention other artists and more importantly to the court.

Queen Marie Antoinette took a particular interest in her work. Such was that interest that with her Court connections and pressure from Marie Antoinette, she received space in the Louvre in 1781 which was highly unusual for women artists. Not only that, but soon after she married Jean-Pierre Silvestre Coster, a wealthy lawyer, parlementaire in the presence of Marie Antoinette at the courts of Versailles. Marie Antoinette signed the marriage contract as a witness and bestowed titles on them of the very highest order, the noblesse de robe, making them almost indistinguishable from the old nobility – in hindsight and given what was to come, not necessarily a good thing.

Amazingly despite her newly noble status and her close connection to the throne, she escaped the guillotine and avoided the chaos of the French Revolution in 1789. With the Reign of Terror in 1793, the ancient regime (the royalty and aristocracy), which up to this point had supported her career simply disappeared. There is evidence that during this terrifying period she worked for the Gobelins Tapestry factory. During Napoléon's reign, the empress Josephine did buy two works from her in 1804, but her reputation was all but gone. In addition to still lifes, she painted portraits and genre paintings, but because of the restrictions placed on women at the time her success at figure painting was limited. In 1817 she exhibited Still Life with Lobster in the Paris Salon. She donated it to the restored King Louis XVIII. There is some evidence that Vallayer-Coster gave it to the king as an expression of her joy as a loyal Bourbon supporter after the turbulent years of the Revolution and Napoleon. She died in 1818 at the age of seventy-three having painted more than 120 still lifes, always with her distinctive colours and flair.

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.