Fine Art Poster
From £37
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.
Title page of Baby's Own Aesop - Walter Crane
Regulärer Preis
£37.00 GBP
Angebotspreis
£37.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
A decorative title page illustration by Walter Crane for his 1887 publication, Baby's Own Aesop, featuring stylised animals and classical motifs.
This illustration serves as the title page for Walter Crane's 1887 publication, Baby's Own Aesop. Crane, a prominent figure in the British Arts and Crafts movement, collaborated frequently with the master wood engraver Edmund Evans to produce children's books that prioritised high-quality design and accessible art. The composition reflects the aesthetic values of the late Victorian era, where the integration of typography and decorative imagery became a hallmark of fine book production.
The visual arrangement is balanced and ornamental. A central scroll contains the title and publication details, framed by a collection of animals and classical motifs associated with Aesop's fables. On the left, a crane stands atop a classical vessel, while a fox sits attentively on the right. Above, an owl perches, flanked by smaller birds. The surrounding space is filled with stylised reeds and foliage, creating a cohesive border that frames the text. The line work is precise and clean, characteristic of the woodblock printing techniques employed by Evans to translate Crane's original drawings into mass-produced colour prints.
Crane's approach to this title page demonstrates his interest in the decorative potential of the printed page. By treating the text as an element of the overall design rather than an afterthought, he creates a harmonious visual experience. The muted colour palette, consisting of soft ochres, muted blues, and earthy tones, provides a gentle aesthetic suitable for a children's book. This work remains a clear example of the collaborative spirit between artist and printer during the late nineteenth century, reflecting the period's focus on elevating the quality of commercial printing for a wider audience.
Rückgaberecht
Da jeder Druck auf Bestellung gefertigt wird, bieten wir keine Rücksendungen, Rückerstattungen oder Umtausche aufgrund von Meinungsänderungen an. Sollte Ihre Bestellung fehlerhaft, beschädigt oder falsch ankommen, ersetzen wir sie kostenlos – kontaktieren Sie uns einfach innerhalb von 48 Stunden nach Lieferung. Vollständige Details finden Sie auf unserer Rückerstattungsseite.
Versand
Wir versenden weltweit und drucken im Produktionszentrum in der Nähe Ihrer Lieferadresse. Lieferzeiten und -kosten variieren je nach Zielort – die Ihnen zur Verfügung stehenden Optionen werden Ihnen an der Kasse angezeigt.
Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
Look vervollständigen
Title page of Baby's Own Aesop - Walter Crane
Regulärer Preis
Ab £37.00 GBP
Angebotspreis
Ab £37.00 GBP
Regulärer Preis
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Walter Crane
Crane heard William Morris lecture on Art and Socialism in 1884 and became a committed socialist on the spot. From then on he divided his time between designing wallpapers for the drawing rooms of the wealthy and drawing cartoons for Justice, Commonweal and The Clarion, the socialist newspapers of the day. He saw no contradiction: good design was a political act, and capitalism produced ugly objects.
He began as a children's book illustrator, apprenticed to the wood engraver W.J. Linton. His Toy Books for the publisher Routledge, produced from 1865 onward, used flat areas of colour, strong outlines and decorative borders influenced by Japanese woodblock prints and the Pre-Raphaelites. They were among the first mass-produced children's books to treat illustration as a design problem rather than an afterthought.
During a lecture tour of the United States he spoke in favour of clemency for the anarchists sentenced to death after the Haymarket Affair. His wealthy American patrons cancelled engagements. Crane did not retract.
He became Vice President of the Healthy and Artistic Dress Union, a movement promoting loose-fitting clothing in opposition to tight Victorian corsetry. He wrote The Claims of Decorative Art, arguing that decorative art was not a lesser form. He was Art Director of the Art Workers' Guild and the first president of the Arts and Crafts Exhibition Society.
He wanted to be taken seriously as a painter of allegorical canvases, but the galleries would not exhibit them. The children's books and the socialist cartoons are what lasted. Morris would have appreciated the irony.
He began as a children's book illustrator, apprenticed to the wood engraver W.J. Linton. His Toy Books for the publisher Routledge, produced from 1865 onward, used flat areas of colour, strong outlines and decorative borders influenced by Japanese woodblock prints and the Pre-Raphaelites. They were among the first mass-produced children's books to treat illustration as a design problem rather than an afterthought.
During a lecture tour of the United States he spoke in favour of clemency for the anarchists sentenced to death after the Haymarket Affair. His wealthy American patrons cancelled engagements. Crane did not retract.
He became Vice President of the Healthy and Artistic Dress Union, a movement promoting loose-fitting clothing in opposition to tight Victorian corsetry. He wrote The Claims of Decorative Art, arguing that decorative art was not a lesser form. He was Art Director of the Art Workers' Guild and the first president of the Arts and Crafts Exhibition Society.
He wanted to be taken seriously as a painter of allegorical canvases, but the galleries would not exhibit them. The children's books and the socialist cartoons are what lasted. Morris would have appreciated the irony.
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £59
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.
Warum uns wählen?
Garantie für beschädigungsfreie Lieferung
Schneller Versand
Museumsreife Materialien
Das könnte Ihnen auch gefallen