Meisje met omslagdoek - Samuel Jessurun de Mesquita
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Description
A 1920 lithograph by Dutch artist Samuel Jessurun de Mesquita, depicting a young woman in a patterned shawl with a focus on tonal depth and psychological presence.
This lithograph by Samuel Jessurun de Mesquita, titled Meisje met omslagdoek, captures a quiet moment of introspection. The artist, a Dutch graphic designer and printmaker, demonstrates his command of tonal variation and line. The subject is depicted from the chest up, wrapped in a shawl that features a subtle, repeating decorative pattern. De Mesquita employs a soft, almost ethereal application of ink, allowing the texture of the paper to contribute to the overall composition. The figure's gaze is direct, yet the surrounding atmosphere remains ambiguous, typical of the artist's focus on psychological presence over rigid realism.
De Mesquita was known for his graphic work, which often explored the tension between natural forms and stylised abstraction. In this portrait, the contrast between the dark, textured shawl and the lighter, more open treatment of the face creates a sense of depth. The background is rendered with vertical, rhythmic marks that suggest a curtain or interior space, providing a frame for the subject without distracting from her expression. The artist's signature and the date, 1920, are visible in the lower corner, placing this work within a period of his career where he refined his printmaking techniques.
As a teacher at the School of Applied Arts in Haarlem, de Mesquita influenced many younger artists, including M.C. Escher. His own work often displays a balance between precision and a more fluid, expressive hand. This print offers a glimpse into his ability to convey character through minimal means, relying on the interplay of light and shadow rather than excessive detail. It is a piece that rewards close observation, revealing the subtle ways in which the artist manipulated the lithographic stone to achieve a range of grey tones.
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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
Meisje met omslagdoek - 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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