Fine Art Poster
From £28
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.
The Magic Circle - John William Waterhouse
Prix régulier
£28.00 GBP
Prix de vente
£28.00 GBP
Prix régulier
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A haunting depiction of a sorceress tracing a ritual circle, painted by John William Waterhouse in 1886.
The Magic Circle, painted by John William Waterhouse in 1886, captures a solitary female figure engaged in a ritualistic act. The woman, dressed in robes adorned with Persian-inspired motifs, uses a wand to trace a circle in the earth around her. A cauldron sits at her feet, emitting a column of smoke that rises vertically against the barren, rocky background. Several ravens and a toad are positioned near the perimeter of the circle, adding to the atmosphere of occult practice.
Waterhouse was associated with the later phase of the Pre-Raphaelite movement, though his work often leaned towards the aesthetic concerns of the late Victorian era. He frequently drew inspiration from classical mythology, literature, and folklore. In this composition, the artist employs a muted colour palette, dominated by earth tones, which allows the luminous, ethereal quality of the smoke to draw the viewer's eye. The figure is rendered with a sense of quiet concentration, her expression neutral yet focused on the task at hand.
The painting was acquired by the Tate Gallery in 1886, the same year it was exhibited at the Royal Academy. It remains one of the most recognisable examples of Waterhouse's interest in themes of sorcery and the supernatural. The composition is balanced, with the verticality of the smoke column providing a counterpoint to the horizontal sweep of the magic circle itself. The artist's brushwork is controlled, focusing on the textures of the fabric and the arid ground, while the smoke is handled with a softer, more fluid technique. This work demonstrates the artist's ability to create a narrative through gesture and setting, inviting the viewer to contemplate the nature of the ritual without providing an explicit explanation for the scene.
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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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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
The Magic Circle - John William Waterhouse
Prix régulier
À partir de £28.00 GBP
Prix de vente
À partir de £28.00 GBP
Prix régulier
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 £45
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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