Fine Art Framed
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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Women at Their Toilet - Félix Vallotton
Regular price
$220.00 NZD
Sale price
$220.00 NZD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A striking 1897 oil painting by Félix Vallotton, capturing a private domestic scene with the flattened perspective and psychological tension typical of the Nabis movement.
Félix Vallotton, a member of the Nabis group, produced this work in 1897. The painting displays his characteristic approach to the female nude, which often avoids the romanticised softness common in the period. Instead, Vallotton employs a flattened perspective and a deliberate, almost clinical detachment. The scene depicts three women in a domestic interior, engaged in the mundane act of washing and dressing. The composition is structured through distinct zones of activity. One figure stands in a basin, drying her hair, while another sits on a dark red sofa, and a third figure adjusts her hair before a mirror. The background features a decorative, patterned rug and a wall adorned with what appears to be a painting or a tapestry, creating a sense of claustrophobic intimacy. Vallotton uses a muted, earthy palette, punctuated by the stark, pale skin tones of the figures. This contrast draws the eye to the physical forms of the women, which are rendered with smooth, simplified contours. Unlike many of his contemporaries who sought to capture fleeting light or atmospheric effects, Vallotton focuses on the psychological tension within the room. The figures appear isolated from one another, despite their proximity. The mirror, a common motif in his work, adds a layer of complexity, reflecting the back of the standing figure and suggesting a fragmented view of reality. This painting is a clear example of the Nabis interest in decorative surfaces and the rejection of traditional academic realism. The work invites the viewer to observe a private moment, yet the lack of emotional connection between the subjects creates a sense of unease. It remains a compelling study of domestic life, stripped of sentimentality and presented with a sharp, graphic sensibility that defines much of Vallotton's output during the late nineteenth century.
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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
Complete The Look
Women at Their Toilet - Félix Vallotton
Regular price
From $130.00 NZD
Sale price
From $130.00 NZD
Regular price
Fine Art Framed / A4 (21x29.7 cm) / Black frame
Artist Biography
Felix Vallotton
Vallotton was called the Foreign Nabi, which was both a joke and a diagnosis. He was Swiss, from a conservative family in Lausanne, and his temperament was cooler and more detached than the Parisian painters he joined in 1892. The Nabis were interested in mysticism and spiritual art. Vallotton was interested in what happens between people when they think nobody is watching.
He moved to Paris at seventeen and studied at the Academie Julian. His woodcuts, made in the 1890s, revived a medium that most printmakers had abandoned in favour of colour lithography. Working in pure black and white, he carved domestic interiors, street scenes, and a series called Intimites: ten prints depicting the private moments of married life, with an emphasis on adultery, deception and the particular loneliness of two people in the same room. The images are flat, graphic and psychologically sharp.
His support for Alfred Dreyfus, the Jewish officer falsely convicted of espionage, strained his relationship with several of the Nabis. He bought a Kodak camera in 1899 and began using photographs as source material for paintings, manipulating compositions into fictionalised versions of observed reality.
He married the daughter of the art dealer Alexandre Bernheim in 1899, which gave him financial security and access to the Parisian art market. He painted nudes, still lifes and landscapes with a smooth, almost clinical finish that disturbed viewers who expected warmth from pictures of naked women.
He wrote three novels and eight plays, none of which were published in his lifetime. His first novel, La Vie Meurtriere (The Murderous Life), appeared posthumously in 1930. He died the day after his sixtieth birthday.
He moved to Paris at seventeen and studied at the Academie Julian. His woodcuts, made in the 1890s, revived a medium that most printmakers had abandoned in favour of colour lithography. Working in pure black and white, he carved domestic interiors, street scenes, and a series called Intimites: ten prints depicting the private moments of married life, with an emphasis on adultery, deception and the particular loneliness of two people in the same room. The images are flat, graphic and psychologically sharp.
His support for Alfred Dreyfus, the Jewish officer falsely convicted of espionage, strained his relationship with several of the Nabis. He bought a Kodak camera in 1899 and began using photographs as source material for paintings, manipulating compositions into fictionalised versions of observed reality.
He married the daughter of the art dealer Alexandre Bernheim in 1899, which gave him financial security and access to the Parisian art market. He painted nudes, still lifes and landscapes with a smooth, almost clinical finish that disturbed viewers who expected warmth from pictures of naked women.
He wrote three novels and eight plays, none of which were published in his lifetime. His first novel, La Vie Meurtriere (The Murderous Life), appeared posthumously in 1930. He died the day after his sixtieth birthday.
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Canvas
From $130
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
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