Fine Art Poster
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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.
Mariamne Leaving the Judgement Seat of Herod - John William Waterhouse
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A dramatic historical painting by John William Waterhouse depicting the condemned Queen Mariamne descending the steps of Herod's court.
John William Waterhouse completed this work in 1887, drawing inspiration from the historical accounts of Josephus regarding the Hasmonean princess Mariamne. The narrative depicts the moment Mariamne departs from the judgement seat after being condemned by her husband, King Herod. Waterhouse positions the figure of Mariamne in the foreground, descending a set of marble steps. Her white gown provides a visual contrast to the darker, shadowed interior of the court.
The composition employs a classical architectural setting, typical of the artist's interest in antiquity. To the right, Herod sits upon his throne, obscured by shadow, which directs the viewer's attention toward the protagonist. A stone lion sculpture sits at the base of the stairs, adding a sense of weight and permanence to the scene. The artist uses a muted palette, relying on the interplay of light and shadow to define the space and the emotional gravity of the subject.
Waterhouse was associated with the later phase of the Pre-Raphaelite movement, often focusing on literary and mythological themes. His approach to this subject demonstrates a careful balance between historical accuracy and dramatic storytelling. The painting reflects the Victorian fascination with classical history and the portrayal of tragic female figures. The execution of the marble surfaces and the drapery of the garments shows the technical precision characteristic of his mature period. This work remains a representative example of his ability to construct complex, multi-figure narratives within a controlled, atmospheric environment.
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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.
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
Mariamne Leaving the Judgement Seat of Herod - John William Waterhouse
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 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
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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.
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