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.
At this the whole pack rose up into the air, and came flying down upon her - Arthur Rackham
Prezzo originale
£28.00 GBP
Prezzo scontato
£28.00 GBP
Prezzo originale
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A classic illustration by Arthur Rackham from his 1907 edition of Alice's Adventures in Wonderland, capturing the chaotic moment the playing cards swarm Alice.
This illustration depicts a climactic moment from Lewis Carroll's Alice's Adventures in Wonderland, specifically the final scene where the protagonist confronts the Queen of Hearts and her court. Arthur Rackham, a central figure in the British Golden Age of Illustration, produced this work for the 1907 edition of the book published by William Heinemann. His approach to the scene captures the chaotic energy of the playing cards as they swarm around Alice, who is shown in a defensive posture.
Rackham employs his characteristic technique of combining delicate pen and ink outlines with muted watercolour washes. The palette relies on earthy tones, sepia, and soft greys, which allow the subtle pinks of Alice's dress to emerge without disrupting the overall tonal harmony. The composition is dynamic, with the cards arranged in a swirling motion that draws the eye across the frame. Rackham's attention to detail is evident in the anthropomorphic expressions given to the playing cards, which add a sense of unease to the fantastical narrative.
Unlike earlier depictions of Alice, Rackham presents her with a more grounded, realistic appearance, reflecting his interest in capturing human emotion within surreal environments. The work demonstrates his skill in balancing the whimsical nature of the story with a sophisticated, almost sombre aesthetic. This print offers a view into the early twentieth-century tradition of gift-book illustration, where technical precision met imaginative storytelling. The original work remains a primary example of how Rackham interpreted classic literature through his unique visual lens, focusing on the tension between the human subject and the surrounding environment.
Politica di reso
Poiché ogni stampa è realizzata su ordinazione, non offriamo resi, rimborsi o cambi in caso di ripensamento. Se il tuo ordine dovesse arrivare difettoso, danneggiato o errato, lo sostituiremo gratuitamente: ti basterà contattarci entro 48 ore dalla consegna. Consulta la nostra pagina sui rimborsi per tutti i dettagli.
Spedizione
Spediamo in tutto il mondo, stampando presso il centro di produzione più vicino al tuo indirizzo di consegna. I tempi e i costi di spedizione variano in base alla destinazione: visualizzerai le opzioni disponibili al momento del pagamento.
Produzione
Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
- Stampa giclée di qualità museale per colori ricchi e resistenti allo sbiadimento
- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
Cura e pulizia
Per mantenere la tua opera d'arte al meglio:
- Spolvera delicatamente con un panno morbido e asciutto
- Evita l'esposizione prolungata alla luce solare diretta
- Non utilizzare mai detergenti liquidi sulla superficie della stampa o della tela
- Conserva in un ambiente asciutto a temperatura ambiente
- Maneggia le stampe con mani pulite e asciutte
Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Completa il Look
At this the whole pack rose up into the air, and came flying down upon her - Arthur Rackham
Prezzo originale
Da £28.00 GBP
Prezzo scontato
Da £28.00 GBP
Prezzo originale
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Arthur Rackham
Rackham was one of twelve children and smuggled pencils into bed to draw under the covers. When his parents confiscated the paper, he drew on his pillowcase. At seventeen his health was poor enough that he was sent on an ocean voyage to Australia with two aunts. He drew the entire way. The trip settled two things: his health recovered, and he knew he would be an artist.
He came back to London and got a job as an insurance clerk at the Westminster Fire Office, studying part-time at the Lambeth School of Art. In 1892 he left insurance for the Westminster Budget, where he worked as a reporter and illustrator. The illustration work took over. His watercolour of Winchelsea had already been accepted by the Royal Academy and sold for two guineas when he was twenty-one.
He met the painter Edyth Starkie over a garden fence. She encouraged him to stop imitating other illustrators and follow his own instinct, which ran toward twisted trees, gnarled roots and creatures that lived in the gaps between the real and the imagined. They married in 1903. That same year he illustrated The Fairy Tales of the Brothers Grimm, which was reprinted twice and made his name.
His style fused northern European line drawing (Durer, Altdorfer) with Japanese woodblock composition. The trees have faces. The roots have fingers. Peter Pan in Kensington Gardens and Rip Van Winkle followed, the latter a turning point in book production: its fifty-one colour plates demonstrated that colour-separated printing could accurately reproduce original artwork.
Guillermo del Toro cited Rackham as an influence on the Faun in Pan's Labyrinth. Brian Froud credited him with sparking an interest in fairy illustration. He worked until the end: his final commission, The Wind in the Willows, was completed in 1939 shortly before his death at seventy-one.
He came back to London and got a job as an insurance clerk at the Westminster Fire Office, studying part-time at the Lambeth School of Art. In 1892 he left insurance for the Westminster Budget, where he worked as a reporter and illustrator. The illustration work took over. His watercolour of Winchelsea had already been accepted by the Royal Academy and sold for two guineas when he was twenty-one.
He met the painter Edyth Starkie over a garden fence. She encouraged him to stop imitating other illustrators and follow his own instinct, which ran toward twisted trees, gnarled roots and creatures that lived in the gaps between the real and the imagined. They married in 1903. That same year he illustrated The Fairy Tales of the Brothers Grimm, which was reprinted twice and made his name.
His style fused northern European line drawing (Durer, Altdorfer) with Japanese woodblock composition. The trees have faces. The roots have fingers. Peter Pan in Kensington Gardens and Rip Van Winkle followed, the latter a turning point in book production: its fifty-one colour plates demonstrated that colour-separated printing could accurately reproduce original artwork.
Guillermo del Toro cited Rackham as an influence on the Faun in Pan's Labyrinth. Brian Froud credited him with sparking an interest in fairy illustration. He worked until the end: his final commission, The Wind in the Willows, was completed in 1939 shortly before his death at seventy-one.
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 £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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