Older Sister - James Tissot
Archival giclée
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Description
A detailed etching by James Tissot from 1881, capturing an intimate moment between two sisters seated on a staircase.
Older Sister, executed by James Tissot in 1881, is a fine example of the artist's mastery of the etching medium. Tissot, a French painter who spent a significant portion of his career in London, was known for his precise observation of Victorian social life. This work depicts two figures, an older girl and a younger child, seated together on a set of steps. The composition is framed by lush potted plants, which create a sense of domestic enclosure.
The technique employed here demonstrates Tissot's ability to render texture and light through dense cross-hatching and varied line weights. The fabric of the older girl's dress, with its subtle pattern, is captured with remarkable clarity, as is the soft, relaxed posture of the younger child resting against her. The lighting appears to emanate from above, casting gentle shadows that define the forms of the figures and the architectural elements of the staircase.
Unlike many of his contemporaries who focused on the fleeting effects of light, Tissot remained committed to a high degree of finish and narrative detail. This print captures a quiet, intimate moment of familial connection. The figures are positioned in a way that suggests a pause in their activity, perhaps reading or resting, which invites the viewer to observe the scene without intrusion. The inclusion of the potted plants serves to ground the figures within a specific, curated environment, a hallmark of Tissot's approach to portraiture. His work from this period often explored the intersection of private life and public appearance, providing a window into the domestic sphere of the late nineteenth century. This etching remains a clear representation of his technical skill and his interest in the nuances of human interaction.
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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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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
Older Sister - James Tissot
Artist Biography
James Tissot
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
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