Mock away! Mock! The Niblungs make for you Toy! - Arthur Rackham
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An atmospheric illustration by Arthur Rackham depicting the Rhine-maidens taunting Alberich, created for his 1911 edition of Wagner's Ring cycle.
This illustration by Arthur Rackham depicts a scene from Richard Wagner's opera cycle, Der Ring des Nibelungen. Rackham produced a series of works for the Rhinegold and the Valkyrie, published in 1911. The composition captures the Rhine-maidens taunting the dwarf Alberich, a moment of tension that sets the narrative in motion.
Rackham employs his characteristic technique of combining delicate ink lines with muted watercolour washes. The figures of the Rhine-maidens possess an ethereal quality, their hair and limbs blending into the surrounding water and rock formations. In contrast, the figure of Alberich is rendered with grotesque features, his form hunched and claw-like as he clings to the jagged rock. The background features a pale, atmospheric sky that suggests the depths of the Rhine.
The artist uses a limited palette of earthy browns, greys, and soft greens, which allows the fine pen work to define the forms. The lines are precise and rhythmic, particularly in the depiction of the flowing hair and the gnarled textures of the rock. This work demonstrates Rackham's ability to interpret mythological subjects through a distinctively British illustrative lens. His approach to the Wagnerian source material avoids grandiosity, focusing instead on the psychological interplay between the characters. The print captures the original's subtle gradients and the fine detail of the ink work, preserving the atmospheric quality of the original watercolour.
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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
Mock away! Mock! The Niblungs make for you Toy! - 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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