Paradijsvogel - Samuel Jessurun de Mesquita
Archival giclée
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Description
A striking woodcut by Samuel Jessurun de Mesquita, capturing the elegant form of a bird of paradise through precise, rhythmic lines and high-contrast composition.
Samuel Jessurun de Mesquita was a Dutch graphic artist known for his mastery of the woodcut technique. This work, titled Paradijsvogel, demonstrates his ability to reduce complex organic forms into essential graphic elements. The bird of paradise is rendered with a focus on the texture of its plumage, using precise, rhythmic incisions to suggest the weight and drape of the feathers. By employing a stark, high-contrast palette, de Mesquita isolates the subject against a dark background, forcing the viewer to engage with the silhouette and the linear patterns that define the bird's anatomy.
De Mesquita often turned to the natural world for his subjects, frequently observing animals at the Artis Zoo in Amsterdam. His approach was not one of strict scientific documentation, but rather an exploration of the decorative potential inherent in animal forms. The composition is balanced and deliberate, with the bird perched centrally on a horizontal branch. The long, trailing tail feathers are depicted with a series of fine, repetitive marks that create a sense of vertical movement, contrasting with the stillness of the bird's body. This print reflects the artist's interest in the graphic possibilities of the woodcut medium, where the removal of material from the block dictates the final image. The result is a work that feels both modern in its simplicity and timeless in its observation of nature. His work remains a significant example of early twentieth-century Dutch printmaking, characterised by a disciplined approach to line and form.
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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
Paradijsvogel - 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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