Put his strange case before old Solomon Caw - Arthur Rackham
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Description
An iconic illustration by Arthur Rackham from Peter Pan in Kensington Gardens, featuring a child, a crow, and two mice in a woodland setting.
This illustration by Arthur Rackham depicts a scene from J.M. Barrie's 'Peter Pan in Kensington Gardens', first published in 1906. The composition features a young child perched in the branches of a tree, engaged in a silent dialogue with Solomon Caw, a wise and elderly crow. Below, two mice dressed in human-like clothing sit at the base of the tree, adding a whimsical narrative element to the scene.
Rackham employs his characteristic technique of fine pen-and-ink outlines combined with muted watercolour washes. The palette is dominated by earthy tones, including sepia, ochre, and soft greys, which evoke the atmosphere of a woodland setting. The gnarled, twisted branches of the tree demonstrate Rackham's ability to imbue natural forms with a sense of personality and age. The artist's attention to detail is evident in the textures of the crow's feathers, the folds of the child's garment, and the small accessories worn by the mice.
As a leading figure in the British Golden Age of Illustration, Rackham produced work that defined the visual identity of early twentieth-century children's literature. His approach balances the fantastical nature of the subject matter with a grounded, observational quality. The work reflects the period's interest in folklore and the personification of animals, themes that appear frequently throughout his career. This print captures the quiet, contemplative mood often found in Rackham's interpretations of literary classics, offering a glimpse into the imaginative world of Kensington Gardens.
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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
Put his strange case before old Solomon Caw - Arthur Rackham
Artist Biography
Arthur Rackham
He came back to London and got a job as an insurance clerk at the Westminster Fire Office, studying part-time at the Lambeth School of Art. In 1892 he left insurance for the Westminster Budget, where he worked as a reporter and illustrator. The illustration work took over. His watercolour of Winchelsea had already been accepted by the Royal Academy and sold for two guineas when he was twenty-one.
He met the painter Edyth Starkie over a garden fence. She encouraged him to stop imitating other illustrators and follow his own instinct, which ran toward twisted trees, gnarled roots and creatures that lived in the gaps between the real and the imagined. They married in 1903. That same year he illustrated The Fairy Tales of the Brothers Grimm, which was reprinted twice and made his name.
His style fused northern European line drawing (Durer, Altdorfer) with Japanese woodblock composition. The trees have faces. The roots have fingers. Peter Pan in Kensington Gardens and Rip Van Winkle followed, the latter a turning point in book production: its fifty-one colour plates demonstrated that colour-separated printing could accurately reproduce original artwork.
Guillermo del Toro cited Rackham as an influence on the Faun in Pan's Labyrinth. Brian Froud credited him with sparking an interest in fairy illustration. He worked until the end: his final commission, The Wind in the Willows, was completed in 1939 shortly before his death at seventy-one.
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