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.
Chinese in New York - Scene in a Baxter Street Club-house - Winslow Homer
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
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Description
A detailed 1874 wood engraving by Winslow Homer depicting a social scene within a Chinese club-house in New York City.
Published in Harper's Weekly on 7 March 1874, this wood engraving by Winslow Homer offers a glimpse into the social life of the Chinese immigrant community in New York City during the late nineteenth century. Homer, who began his career as a commercial illustrator, utilised the medium of wood engraving to document contemporary American life with a journalistic eye. The composition is divided into distinct zones, capturing both the mundane activities of card games and the more controversial practice of opium smoking, which was a common subject of fascination and prejudice in the popular press of the era.
The print depicts a Baxter Street club-house, a location that served as a social centre for Chinese labourers and merchants. Homer employs a multi-layered perspective, stacking the figures to convey the density of the space. In the upper portion, men sit around a table engaged in games, while the lower section shows figures reclined on bunks, interacting with smoking paraphernalia. The inclusion of traditional lanterns, calligraphy, and an altar provides a specific cultural context, though the interpretation of these elements was filtered through the lens of a nineteenth-century American illustrator.
Technically, the work demonstrates the precision required for mass-produced periodical illustrations. The cross-hatching and line work define the shadows and textures of the interior, from the smoke-filled air to the wooden furniture. While the image reflects the prevailing attitudes and stereotypes of the 1870s regarding immigrant populations, it remains a valuable historical document of urban life in New York. Homer's ability to organise complex scenes into a single frame allowed readers of Harper's Weekly to visualise environments that were otherwise inaccessible to the general public. This print provides a record of the visual culture and social dynamics of the period, captured through the rigorous discipline of wood engraving.
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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.
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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
Chinese in New York - Scene in a Baxter Street Club-house - Winslow Homer
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Winslow Homer
Homer started as an illustrator for Harper's Weekly, covering the American Civil War. He was not a soldier. He was a correspondent, sketching camp life, sharpshooters, and prisoners with the detached accuracy of a reporter. The war drawings were published as wood engravings and brought him national attention. He was twenty-five.
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
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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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