Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
A Mermaid - John William Waterhouse
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A haunting depiction of a mermaid combing her hair on a rocky shore, painted by John William Waterhouse in 1900.
John William Waterhouse completed this work in 1900, during the later period of his career. The painting depicts a mermaid perched upon a rocky shore, her long, auburn hair cascading down her back as she combs it with her fingers. Beside her sits a large shell containing pearls, a detail that suggests the treasures of the deep sea. The background features dark, towering cliffs and a narrow inlet, creating a sense of isolation and mystery.
Waterhouse was known for his interest in classical mythology and literary themes. His approach to the female figure often combined a sense of melancholy with a naturalistic rendering of the human form. The cool, muted tones of the sea and rock contrast with the warm, reddish hues of the subject's hair, drawing the viewer's eye directly to the mermaid. The brushwork is precise, capturing the texture of the scales on her tail and the wet, reflective quality of the shoreline.
This work is characteristic of the artist's fascination with the femme fatale archetype, a common motif in late nineteenth-century British art. Unlike some of his earlier, more decorative compositions, this piece focuses on the solitary nature of the mythological creature. The composition is balanced, with the verticality of the cliffs providing a frame for the seated figure. The painting remains a clear example of the artist's technical skill and his ability to translate ancient myths into visual narratives that feel grounded in a tangible, physical reality. It is a work that invites quiet observation of both the figure and the atmospheric environment surrounding her.
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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
Complete The Look
A Mermaid - John William Waterhouse
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
John William Waterhouse
Waterhouse painted women from myths who were about to drown, be cursed, or meet something terrible. The Lady of Shalott drifting downstream to her death. Hylas being pulled into a pool by nymphs. Circe offering poison. Ophelia. Echo and Narcissus. The women are always beautiful. The water is always involved. The moment is always the one just before everything goes wrong.
He was born in Rome to English parents (both painters) and grew up surrounded by Italian art before moving to London as a child. He studied at the Royal Academy Schools and exhibited there from 1874 until his death in 1917. He was a Royal Academician, successful, respected, and thoroughly Victorian.
His technique is Pre-Raphaelite in spirit but Impressionist in handling. The early works are tighter, more archaeological, influenced by Alma-Tadema's classical scenes. The later paintings are looser, with broader brushwork and richer colour. The Lady of Shalott (1888) combines both: precise detail in the boat and tapestry, atmospheric softness in the trees and water.
He painted several versions of the same subjects. Two versions of The Lady of Shalott. Two of Ophelia. Multiple paintings of Circe. He returned to the same stories because the stories gave him what he needed: a beautiful woman in a dramatic landscape at a moment of transformation. The formula was reliable and the execution was consistently good.
He is sometimes grouped with the Pre-Raphaelites but was a generation younger than Rossetti, Millais, and Hunt. He was closer to the Aesthetic Movement and to late Victorian narrative painting. He is one of the most reproduced painters in the history of art prints, which would have pleased him.
He was born in Rome to English parents (both painters) and grew up surrounded by Italian art before moving to London as a child. He studied at the Royal Academy Schools and exhibited there from 1874 until his death in 1917. He was a Royal Academician, successful, respected, and thoroughly Victorian.
His technique is Pre-Raphaelite in spirit but Impressionist in handling. The early works are tighter, more archaeological, influenced by Alma-Tadema's classical scenes. The later paintings are looser, with broader brushwork and richer colour. The Lady of Shalott (1888) combines both: precise detail in the boat and tapestry, atmospheric softness in the trees and water.
He painted several versions of the same subjects. Two versions of The Lady of Shalott. Two of Ophelia. Multiple paintings of Circe. He returned to the same stories because the stories gave him what he needed: a beautiful woman in a dramatic landscape at a moment of transformation. The formula was reliable and the execution was consistently good.
He is sometimes grouped with the Pre-Raphaelites but was a generation younger than Rossetti, Millais, and Hunt. He was closer to the Aesthetic Movement and to late Victorian narrative painting. He is one of the most reproduced painters in the history of art prints, which would have pleased him.
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Fine Art Framed
From $89
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.
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