The Cheat with the Ace of Diamonds, c.1635 by Georges de La Tour
Canvas Print - 19163-GDT

Location: Louvre Museum, Paris, France
Original Size: 106 × 146 cm

Own a museum-grade giclée Canvas Print of The Cheat with the Ace of Diamonds by Georges de La Tour (c.1635). It is printed with archival pigments on 400 g/m² canvas and hand-varnished with a UV-protective layer. Set your exact proportional size—anything up to 25.9 × 35.4 in, with optional framing. Free worldwide shipping for rolled artworks. Unframed prints ship within 48 h, framed prints in 7-8 days. Guaranteed 100-year color durability.

The Cheat with the Ace of Diamonds, c.1635 | Georges de La Tour | Giclée Canvas Print
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Giclée Canvas Print | $68.29 USD

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SKU:19163-GDT
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Largest Available
25.9″ × 35.4″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 inches in borders beyond these dimensions for stretching.

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Your Questions Answered: Fine Art Prints, Framing, Care & Delivery

Giclée Print Quality 400 g/m² Canvas (Satin Gloss) + 1.2 in Borders for Stretching 100+ Year Colour Guarantee Free WorldWide Shipping!

Most people search for “canvas print” or “wall art” - but what they’re really looking for is a giclée print: a museum-grade reproduction of the original masterpiece, printed with archival pigment inks on fine art canvas.

Giclée (pronounced 'zhee-clay') is a French term meaning 'to spray,' referring to how ink is precisely sprayed onto canvas or paper, creating incredibly detailed fine art prints. It’s the gold standard in museum-quality printing, loved by artists, galleries, and museums worldwide.

Your artwork will be printed on premium canvas using vibrant archival inks, faithfully capturing every brushstroke and subtle nuance of Georges de La Tour's original. To ensure lasting beauty, each print is finished with a protective UV varnish. Far superior to ordinary posters, your canvas print will look and feel like a real painting, retaining its vivid colors and pristine details for more than 100 years.

About Giclée Fine Art Printing

Here's a simple trick: use painter’s tape to mark the print size directly on your wall, and step back to see how it feels. Generally, larger sizes around 36 in wide work beautifully in living rooms or open spaces. Medium sizes around 24 in fit nicely in bedrooms, hallways, or offices. Hanging it above a sofa? Choose a print that's roughly two-thirds the width of your couch. Still unsure? Start with our popular 15.8 × 21.7 in size—it fits comfortably in most spaces!

For a more artistic approach: choosing a size closer to the original artwork ensures you experience the artist’s intended visual impact and authenticity. Of course, since most of us don't live in spacious baroque palaces, your available space and personal taste should ultimately guide your decision.

In many cases, yes! If you need a specific size to fit a particular space or frame, feel free to reach out—we're happy to see what’s possible. Because each print is made to order, we can often accommodate custom dimensions as long as they respect the proportions of the original painting.Just send us an email at info@topartprint.com with the title of the artwork and the size you're looking for. We’ll get back to you quickly with options and pricing.

Good to know: when you choose the size of your artwork, the Print Size shown in the Your Selection box refers to the actual image area—that’s the part you’ll see once the canvas is stretched or framed.

The Total Size includes an additional 1.2 in white border on each side, added specifically for stretching.
So yes—this white border is added on top of your selected print size. You get the full artwork at the dimensions you picked, plus extra canvas to make stretching smooth and professional.

For example, if you select a 15.8 × 21.7 in print, the full canvas you receive will measure 18.2 × 24.0 in—giving your framer plenty of room to create a clean, gallery-quality stretch.

Both options are wonderful choices! Going unframed gives you maximum flexibility—you can take your print to a local framing shop for personalized options and expert advice tailored to your décor. This is especially great if you have specific design ideas or want to match existing frames in your home.

However, keep in mind that a print truly comes to life when properly framed. Art professionals often say: 'The frame contributes 30% of the artwork’s overall impact.' A well-chosen frame elevates and completes your print.

If you choose our framing option, your print will arrive professionally framed and ready to hang right out of the box. We focus exclusively on traditional framing methods, ensuring every artwork receives the respectful presentation it deserves—this is why we don't offer gallery wrap options.

Important shipping note: Due to courier restrictions, we can ship framed prints up to 28 in on the longest side. Larger prints will arrive safely rolled in a tube, ready for you to frame locally.

For more detailed information, please see our complete guide to fine art framing methods.

We've carefully selected this premium canvas because it brings out the absolute best in Georges de La Tour's work. Made from natural cotton with a 400 g/m² weight, it has just the right texture to capture every brushstroke and detail of the original painting.

What makes our canvas special? The satin-gloss finish. Think of how paintings look in museums with that beautiful varnish—that's exactly the effect we're going for. This glossy surface makes colors pop with incredible vibrancy while giving deep, rich blacks that matte canvases simply can't achieve. The result? Your print has that authentic 'real painting' look with extraordinary depth and life.

Plus, our canvas is acid-free and pH-neutral, so it'll stay beautiful for generations. We believe The Cheat with the Ace of Diamonds deserves nothing less than this museum-quality treatment.

Every print is made just for you—no mass production here! Once you place your order, we begin creating your The Cheat with the Ace of Diamonds print with care and precision.

Unframed prints are crafted in 2–4 business days.
Framed prints take 7–8 business days to build and finish.

Shipping options:
Standard Delivery (Free): Up to two unframed prints per order, provided that the short side does not exceed 59 cm (approx. 23 inches), with delivery in 10–14 working days.
Express Shipping: Delivered in 2–4 working days; costs vary by weight, volume, and destination. After adding the artwork to your cart, use the Shipping estimates tool there for exact pricing.

Note for framed prints: Because they’re bulkier and higher-value, framed artworks ship only via express tracked service and do not qualify for free standard delivery.

Packaging:
Unframed prints: Safely rolled in postal tubes.
Framed prints: Packed in reinforced boxes with corner protectors and bubble wrap.

You’ll receive a tracking number as soon as your order leaves our studio—so you can follow every step of its journey!

It’s super easy! Your giclée print is designed to last over 100 years when properly displayed. We’ve already applied a UV-protective varnish, so there’s no need for any extra treatments on your part.

Just follow these simple tips:
  • Hang your print away from direct sunlight and high humidity
  • Dust gently with a soft, dry cloth if needed
  • Avoid touching the printed surface directly
  • Keep the room temperature relatively stable
That’s it! With these basic precautions, your Georges de La Tour print will retain its vibrant colors and pristine condition for generations to come.

We want you to truly love your art. Since each piece is custom-made just for you, we kindly recommend double-checking the size and details before placing your order. But if something’s not right—especially in terms of quality—we’re here to help and will make it right.

We offer a 30-day return policy and accept returns for items damaged during shipping. Our return process is simple and straightforward:
Step 1 – Let us know: Send an email to info@topartprint.com with your order number and a brief explanation of the issue.
Step 2 – Send it back: We’ll reply with clear instructions for returning the print. Please return it in its original packaging and in good condition. You cover return shipping (unless we sent a damaged/incorrect item). After inspection, we'll send a replacement or refund the product price.
Please note: shipping costs are non-refundable.

For framed artworks: Since framed prints are handcrafted specifically for your order, returns are accepted only at our discretion and require a valid reason. But don’t worry—our support team is friendly, responsive, and ready to assist.

About the Painting

Four figures sit around a narrow table, and not one of them is honest.

Georges de La Tour stages this scene of deception with the precision of a theater director. At the center, a richly dressed young man – the dupe – clutches his cards with the self-satisfied concentration of someone who believes he is winning. His costume is absurdly lavish, all gold brocade and pearl-studded trim, a display of wealth that practically begs to be exploited. To our left, the cheat glances sidelong toward us, his body angled away, one hand reaching behind his back to slide the ace of diamonds from his belt. The gesture is unhurried, almost lazy. He has done this before.

Between them, two women complete the conspiracy. The seated courtesan, draped in olive-gold silk with a feathered cap, directs a cool lateral gaze toward the servant standing behind her – a look loaded with instruction. That servant, wearing a deep teal bodice and a golden turban, holds her own hand of cards openly, as if offering information. Her eyes drop downward toward the young man's hand. Every glance in this painting is doing work. Only the victim looks at his own cards.

The palette is deliberately restrained, closer in mood to La Tour's celebrated nocturnes than to the brighter version of this subject now at the Kimbell Art Museum. Warm sienna, tarnished gold, and muted coral dominate, set against a background so dark it swallows the space behind the figures. That darkness compresses everything forward, pushing the four bodies into a shallow frieze – two planes of figures separated only by the thin strip of table. Coins glint on the cloth surface, small bright accents against the somber green-brown textile.

Technically, Tour works here in broad, smooth masses. The flesh is luminous and porcelain-still, faces rendered with an almost eerie calm that recalls Hendrick ter Brugghen's figures from a decade earlier – particularly the similarly posed musicians in his Concert at the National Gallery, London. Yet where Ter Brugghen allows warmth and looseness, La Tour tightens everything. Surfaces become sealed. Fabric folds are simplified into geometric planes of light and shadow, anticipating the monumental stillness of the later candlelit paintings.

X-ray analysis has revealed that La Tour initially positioned the turbaned servant exactly as she appears in the Kimbell version, then shifted her. Her bodice was originally red, later repainted to its current dark blue-green. These adjustments suggest the Louvre painting came second – a reworking and a deepening. The chiaroscuro is pushed harder here, the mood graver, the comedy more dangerous.

What makes The Cheat with the Ace of Diamonds so compelling is its emotional temperature. There is no violence, no raised voice. You can almost hear the silence – the careful, conspiratorial quiet of people concentrating on a shared crime. The card game is likely prime, an ancestor of poker, and the stakes feel real. Gold coins already sit on the table. The young man's naivety is not tragic yet, but it will be.

Perhaps what lingers most is how Tour implicates us. The cheat turns his face just enough to let us see the hidden ace. We know. We are not victims – we are witnesses, and something in that shared knowledge makes us complicit. Standing before this canvas at the Louvre, you feel the strange intimacy of being let in on a secret that is already four centuries old.

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