Cyclamen - Samuel Jessurun de Mesquita
Archival giclée
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Description
A detailed etching of cyclamen by Dutch artist Samuel Jessurun de Mesquita, capturing the contrast between light petals and a dark, textured background.
Samuel Jessurun de Mesquita was a Dutch graphic artist known for his technical precision and mastery of printmaking. This etching of cyclamen demonstrates his ability to manipulate light and shadow through the medium of the metal plate. The composition focuses on the contrast between the pale, delicate petals of the flowers and the dark, textured background. By using fine lines and cross-hatching, de Mesquita creates a sense of volume in the leaves and petals, giving the plant a tangible presence.
De Mesquita often drew inspiration from the natural world, observing flora and fauna with a clinical yet appreciative eye. His approach to botanical subjects avoids sentimentality, favouring instead a structural analysis of form. The dark, atmospheric background serves to push the flowers forward, creating a stark visual separation that draws the viewer into the details of the plant. The artist's signature style, often characterised by a disciplined use of line, is evident here in the way he defines the edges of the leaves and the curvature of the stems.
This work reflects the broader European interest in printmaking during the early twentieth century, where artists sought to explore the expressive potential of black and white media. De Mesquita's work remains a clear example of his technical skill, particularly in his control of the etching process to achieve varying degrees of tone. The print captures the specific character of the cyclamen, from the heart-shaped leaves to the swept-back petals, without unnecessary ornamentation. It is a study in balance, where the density of the background provides the necessary weight to support the lighter, more ethereal elements of the composition. This piece is a representative example of his graphic output, showing the clarity and focus that defined his career as an artist and teacher in the Netherlands.
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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
Cyclamen - 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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