Camelia (zwart; rondom een doolhofachtig patroon) - Samuel Jessurun de Mesquita
Archival giclée
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Description
A striking woodcut by Samuel Jessurun de Mesquita, featuring a camellia flower set against a geometric, labyrinthine background.
Samuel Jessurun de Mesquita was a Dutch graphic artist known for his mastery of the woodcut medium. This work, depicting a camellia flower, demonstrates his characteristic approach to form and texture. The central floral subject is rendered with bold, dark masses, contrasting sharply against the lighter paper ground. De Mesquita employs a distinctive technique where the negative space is filled with a geometric, labyrinthine pattern. This treatment flattens the pictorial plane, moving away from traditional botanical representation toward a more decorative, graphic aesthetic.
The composition balances the organic curves of the camellia petals with the rigid, angular lines of the surrounding maze-like background. This juxtaposition is a hallmark of his style, often seen in his prints from the early twentieth century. The artist uses the woodcut process to create a stark, high-contrast image, where the physical act of carving into the block dictates the final visual outcome. The lines are deliberate and controlled, reflecting his technical precision.
De Mesquita was a significant figure in the Dutch art scene, teaching at the School of Applied Arts in Haarlem. His work often explored the tension between natural forms and abstract patterns. By isolating the camellia against a structured, repetitive backdrop, he invites the viewer to consider the relationship between the subject and its environment. The print avoids unnecessary detail, focusing instead on the interplay of light and shadow, as well as the rhythmic quality of the carved lines. This piece is an example of his ability to transform a simple floral study into a complex graphic design, maintaining a clear sense of order while embracing the expressive potential of the woodcut medium.
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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
Camelia (zwart; rondom een doolhofachtig patroon) - 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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