Joseph Mendes da Costa - Samuel Jessurun de Mesquita
Archival giclée
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Description
A 1908 woodcut portrait of sculptor Joseph Mendes da Costa by Dutch artist Samuel Jessurun de Mesquita, featuring clean lines and a minimalist composition.
This woodcut by Samuel Jessurun de Mesquita depicts the Dutch sculptor Joseph Mendes da Costa. Executed in 1908, the work demonstrates the artist's mastery of the woodcut medium, a technique he favoured for its capacity to render clean, graphic lines and bold contrasts. The composition is minimalist, focusing on the profile of the sitter as he sits in a simple chair, pipe in hand.
De Mesquita employs a restricted palette, allowing the negative space of the paper to define the figure against the solid, muted ground. The lines are precise and economical, capturing the likeness of his subject with minimal detail. The sitter's posture, with arms crossed and a relaxed expression, suggests an intimate familiarity between the artist and his subject. The chair is rendered with subtle, rhythmic lines that provide a sense of texture without overwhelming the overall composition.
As a practitioner of the graphic arts, de Mesquita was known for his ability to distil complex forms into essential shapes. This portrait is a clear example of his approach, where the decorative quality of the woodcut is balanced by a keen observation of the human form. The work reflects the broader European interest in printmaking at the turn of the twentieth century, where artists sought to elevate the status of the woodcut through technical precision and stylistic clarity. The signature and date are integrated into the composition, a common practice in de Mesquita's graphic work, ensuring the mark remains part of the visual rhythm of the piece.
Return policy
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
Joseph Mendes da Costa - 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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