Dromedaris - Samuel Jessurun de Mesquita
Archival giclée
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Description
A striking woodcut print by Samuel Jessurun de Mesquita, featuring a dromedary in a minimalist, graphic style.
Samuel Jessurun de Mesquita was a Dutch graphic artist known for his mastery of the woodcut medium. His work often features animals, rendered with a focus on silhouette and simplified form. In this print, the dromedary is depicted in a resting position, its body forming a solid, dark mass against a grid-like background. The composition relies on the contrast between the organic, curved lines of the animal and the rigid, geometric structure of the enclosure behind it.
De Mesquita employed a technique that prioritises clarity and economy of line. By stripping away unnecessary detail, he directs the viewer to the essential shape of the subject. The background grid provides a sense of scale and spatial order, while the textured surface beneath the animal adds a subtle variation to the otherwise flat planes of ink. This approach reflects the influence of Japanese printmaking, which was a common interest among European artists during the early twentieth century.
As a teacher at the School of Applied Arts in Haarlem, de Mesquita influenced a generation of artists, including M.C. Escher. His own practice remained focused on the expressive potential of black and white printing. This specific work demonstrates his ability to capture the character of an animal through minimal means. The dromedary is presented with a quiet dignity, its form balanced perfectly within the frame. The print is a clear example of his technical precision and his preference for subjects observed from nature, distilled into graphic symbols. The work is held in the collection of the Rijksmuseum, reflecting its status as a representative piece of his oeuvre.
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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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Dromedaris - 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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