Ooievaar (Magoear-ooievaar) - Samuel Jessurun de Mesquita
Archival giclée
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Description
A striking 1914 woodcut by Samuel Jessurun de Mesquita, capturing a stork in its nest through bold, minimalist lines and high-contrast black and white forms.
This woodcut by Samuel Jessurun de Mesquita, dated 1914, demonstrates the artist's mastery of the graphic medium. De Mesquita was a prominent Dutch graphic artist, known for his precise control over the woodblock and his ability to reduce animal forms to their essential, rhythmic qualities. In this depiction of a stork, the artist employs a stark contrast between black and white to define the bird's form against its nest.
The composition relies on the interplay of textures. The vertical lines of the background suggest a wooden structure or fence, while the chaotic, intersecting lines of the nest provide a sense of depth and physical reality. The stork itself is rendered with simplified, bold shapes, focusing on the silhouette and the characteristic curve of the neck. De Mesquita avoids unnecessary detail, choosing instead to emphasise the structural integrity of the subject. His approach to the woodcut medium is direct, allowing the grain and the physical act of carving to inform the final image.
De Mesquita's work often focused on the natural world, particularly animals, which he observed with a keen eye for character and movement. This piece is representative of his output during the early twentieth century, a period when he was active in the Dutch art scene. The print reflects a broader interest in the graphic arts, where the economy of means is a primary objective. By stripping away extraneous elements, the artist invites the viewer to focus on the essential form of the bird. This print is a clear example of his technical skill and his ability to capture the essence of his subject through a disciplined, minimalist aesthetic.
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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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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
Ooievaar (Magoear-ooievaar) - 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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