Vrouw met baret - Samuel Jessurun de Mesquita
Archival giclée
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Description
A 1920 lithograph portrait by Dutch artist Samuel Jessurun de Mesquita, capturing a woman in a beret with soft, atmospheric shading.
This lithograph by Samuel Jessurun de Mesquita, dated 1920, captures a subject in a moment of quiet introspection. The artist, a Dutch graphic designer and printmaker, is known for his mastery of line and tone. In this portrait, he employs a soft, granular texture characteristic of the lithographic process to build form and shadow. The woman wears a beret, which frames her face and directs the viewer's attention to her gaze. Her expression is subtle, conveying a sense of distance and contemplation.
De Mesquita often explored the psychological dimensions of his subjects. Here, the composition is focused on the interplay between light and dark, with the artist using varying degrees of pressure to create depth. The background remains largely unadorned, ensuring that the focus stays on the figure. The edges of the print show a slight darkening, which adds a frame-like quality to the work and draws the eye inward toward the centre.
As a teacher at the School of Applied Arts in Haarlem, de Mesquita influenced many artists, including M.C. Escher. His own work frequently utilised bold, graphic shapes, yet this portrait demonstrates a more delicate, atmospheric approach to character study. The use of a neutral, warm-toned paper provides a grounding for the charcoal-like marks of the lithographic ink. This piece is a fine example of early twentieth-century Dutch printmaking, reflecting a period where artists moved away from strict realism toward more evocative, personal interpretations of the human form. The print remains a clear demonstration of the artist's technical control and his ability to capture a fleeting mood through simple, effective mark-making.
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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
Vrouw met baret - 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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