Ashenputtel goes to the ball - Arthur Rackham
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A delicate ink and watercolour illustration by Arthur Rackham, depicting a scene from the Brothers Grimm fairy tale, Ashenputtel, originally published in 1909.
This illustration by Arthur Rackham depicts a scene from the Brothers Grimm fairy tale, Ashenputtel. Created in 1909, the work demonstrates the artist's characteristic approach to line and wash. Rackham employs a fine, calligraphic ink outline to define the figures, which he then fills with muted, translucent watercolour tones. The composition focuses on the central figure of Ashenputtel, whose flowing gown dominates the frame, suggesting movement and grace as she prepares for the royal event.
Rackham was a central figure in the British tradition of book illustration during the early twentieth century. His work often features a blend of naturalism and grotesque fantasy, though this particular piece leans toward the elegant and refined. The figures surrounding the protagonist are rendered with a degree of caricature, a common feature in Rackham's character studies, which provides a contrast to the poise of the central figure. The use of negative space and the delicate application of colour are hallmarks of his technique, which allowed for the reproduction of his work in high-quality colour plates during the period.
This image appeared in the 1909 edition of 'Grimm's Fairy Tales', a publication that solidified Rackham's reputation as a master of the genre. The attention to costume detail, particularly the textures of the lace and the structure of the period-appropriate garments, reflects his careful study of historical dress. The work remains a clear example of the Edwardian era's fascination with folklore and the technical capabilities of early twentieth-century printing processes.
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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
Ashenputtel goes to the ball - Arthur Rackham
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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