John Everett Millais · 1852–53
The Order of Release, 1746
Posters from $15.00 CAD · Canvas from $39.00 CAD
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A Highland Jacobite wife, her child in her arms, shows the order of release to a guard while her wounded husband in a tartan kilt embraces her and a dog leaps up beside them. Tate Britain, London.
Up to 8 × 11 in · portrait
Size
Larger sizes are unavailable for this painting because the source scan's resolution wouldn't print at gallery quality.
Format & finish
Archival cotton canvas stretched over a wooden frame. Ready to hang as-is. No external frame.
Scale next to a 5'10" person
+ tax at checkout
Materials & quality
›Canvas & inks
Giclée-printed on archival cotton canvas with fade-resistant pigment inks, hand-stretched over wooden bars. Gallery-wrapped — ready to hang with no extra frame needed.
›Floater frame
Hand-finished solid wood floater frame in five finishes. The canvas sits inside with a clean shadow gap — the way galleries hang contemporary canvas.
›Posters
Premium archival paper — 200 gsm soft matte or 230 gsm vibrant glossy. Ships flat or rolled, ready for your own frame.
›Faithful to the source
Printed from the highest-resolution museum and archive scans available. Each painting's maximum size is capped at what its source scan can support at gallery quality.
The story of The Order of Release, 1746
The Order of Release, 1746 is an 1852–53 painting by Millais, exhibited in 1853. It marks the beginning of his move away from the medievalist Pre-Raphaelitism of his early years. Effie Gray, who later left John Ruskin for Millais, modelled for the female figure.
Adapted from Wikipedia, available under CC BY-SA 4.0.
John Everett Millais
Sir John Everett Millais, 1st Baronet was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851–1852.
All John Everett Millais prints →Biography adapted from Wikipedia, available under CC BY-SA 4.0.
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