A Squirrel and a Crow - Arthur Rackham
Archival giclée
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Description
A classic fantasy illustration by Arthur Rackham, featuring a crow and a squirrel perched in a tree, rendered in his signature ink and watercolour style.
Arthur Rackham remains one of the most recognisable figures of the British Golden Age of Illustration. His work is defined by a distinct technical approach, combining fine pen and ink lines with a restrained, muted watercolour palette. In this piece, Rackham displays his characteristic ability to anthropomorphise natural subjects. The crow and the squirrel are rendered with expressive, almost human-like features, perched upon a gnarled tree branch that dominates the foreground. Rackham often employed a specific compositional strategy, placing his primary subjects in the immediate foreground while allowing a distant, sketch-like view of the countryside to recede into the background. Here, a small horse-drawn cart travels along a quiet road, providing a sense of scale and atmosphere that contrasts with the larger, more detailed figures in the tree. The line work is precise and rhythmic, showing the artist's background in commercial illustration and his mastery of the ink medium. The subtle application of colour, primarily in the warm tones of the sky and the earthy hues of the tree trunk, ensures that the focus remains on the interaction between the two creatures. This work reflects the period's fascination with folklore and the natural world, themes that Rackham explored throughout his career. His style is marked by a balance between observation and imagination, creating scenes that feel grounded in reality yet possess a clear narrative quality. The paper texture and the visible pencil under-drawings offer a glimpse into his working process, revealing the careful construction behind his finished illustrations. This print captures the quiet, observational nature of his art, making it a representative example of his contribution to early twentieth-century British illustration.
Return policy
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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
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.
A Squirrel and a Crow - Arthur Rackham
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- 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
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Artist Biography
Arthur Rackham
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.
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