Red House, Bexleyheath - Walter Crane
Archival giclée
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Description
A watercolour by Walter Crane showing Red House, the landmark Arts and Crafts building designed by Philip Webb for William Morris. The illustration captures the house's architectural details and its integration with the natural environment.
This watercolour by Walter Crane (1845-1915) depicts Red House in Bexleyheath, London. Red House is a significant building in the history of the Arts and Crafts movement. Designed by Philip Webb for William Morris in 1859, it served as Morris's home and a physical manifesto of his artistic and social ideals. Crane, a younger member of the movement, captures the house's exterior with a delicate touch, emphasising its architectural details and integration with the surrounding natural environment. The artwork presents a view of the house partially obscured by trees. The red brick of the house contrasts with the foliage, while the architectural elements, such as the pointed arch doorway and conical-roofed well, are rendered with precision. The watercolour technique lends a soft, atmospheric quality to the scene, typical of Crane's style. The inclusion of figures in the foreground adds a sense of scale and human presence, further grounding the house within its setting. Crane's illustration provides a glimpse into the early days of the Arts and Crafts movement and the architectural vision that underpinned it.
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.
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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.
Red House, Bexleyheath - Walter Crane
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
Walter Crane
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.
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