Aronskelk (Calla Lily) - Samuel Jessurun de Mesquita
Archival giclée
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Description
A striking lithograph by Samuel Jessurun de Mesquita, capturing the sculptural form of a calla lily through bold contrast and expressive mark-making.
Samuel Jessurun de Mesquita was a Dutch graphic artist known for his mastery of woodcuts and lithography. This print, titled Aronskelk, depicts a calla lily through a lens of stark reduction and tonal contrast. Rather than focusing on the delicate botanical accuracy typical of nineteenth-century floral studies, de Mesquita employs a bold, graphic approach that prioritises the sculptural form of the flower.
The composition is dominated by the interplay between the bright, unadorned surface of the lily and the surrounding dark, textured background. The artist uses heavy, gestural marks to build up the shadows, creating a sense of weight that contrasts with the smooth, organic curves of the plant. This technique draws attention to the negative space, allowing the silhouette of the flower to emerge with clarity. The work reflects the artist's interest in the structural properties of his subjects, stripping away unnecessary detail to reveal the essential geometry of the natural world.
De Mesquita's work often displays a tension between representation and abstraction. In this lithograph, the lily is recognisable, yet it functions primarily as a vehicle for exploring light and shadow. The rough, grainy texture of the lithographic stone is visible in the darker areas, providing a tactile quality that balances the clean lines of the flower. This piece demonstrates the artist's ability to transform a common botanical subject into a study of form and tone. It remains a representative example of his graphic output during the early twentieth century, showing his command over the medium and his unique visual language.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Aronskelk (Calla Lily) - Samuel Jessurun de Mesquita
Artist Biography
Samuel Jessurun De Mesquita
He was born in Amsterdam in 1868, of Portuguese Sephardic Jewish origin. He trained there and was appointed teacher at the School of Architecture and Decorative Arts in Haarlem in 1902, where he remained until 1926. Escher was his most famous student; it was De Mesquita who convinced the young Escher to abandon architecture for graphic arts, a decision that changed twentieth-century visual culture.
De Mesquita produced over four hundred prints, including woodcuts, wood engravings, etchings and lithographs, plus drawings and textile designs. His animal and bird woodcuts, with their stark black-and-white stylisation influenced by Japanese ukiyo-e, are among his most distinctive work. He was not religiously observant despite his Sephardic community background. His wife Elisabeth was gassed alongside him at Auschwitz; their son Jaap perished at Theresienstadt a month later. He died at Auschwitz, around 11 February 1944, at seventy-five.
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