Arthur Rackham 'The Bear', from 'The Sleeping Beauty', England, 1920, Reproduction Vintage 200gsm A3 Classic Art Poster
A wonderful collection from one of the British Golden Age of illustration's best known artists, Arthur Rackham, faithfully reproduced on 200gsm-thick four-star Green Star eco-friendly paper with a soft-satin low-sheen finish reducing the gloss effect effect allowing for a wider perspective of the image from different angles. Green star system approved paper is a universally recognised eco-responsibility paper based on the origin of the fibre and the manufacturing process. All our posters are standard A3 size and look beautiful with or without frames but if you're thinking of framing then a standard A3 frame will fit perfectly. All posters come with a thin white border.
Please note before ordering all our posters are reproduction posters
Standard A3 Size
16.53" x 11.69"
42cm x 29.7cm
420mm x 297mm
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Arthur Rackham is widely regarded as one of the leading illustrators from the Golden Age of British book illustration which roughly encompassed the years from 1890 until the end of the First World War. During that period, there was a strong market for high quality illustrated books which typically were given as Christmas gifts. Many of Rackham's books were produced in a de luxe limited edition, often vellum bound and sometimes signed, as well as a larger, less ornately bound quarto 'trade' edition. This was often followed by a more modestly presented octavo edition in subsequent years for particularly popular books. The onset of the war in 1914 curtailed the market for such quality books, and the public's taste for fantasy and fairies also declined in the 1920s. His works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses. His illustrations were chiefly based on robust pen and India ink drawings and he gradually perfected his own uniquely expressive line from his background in journalistic illustration, paired with subtle use of watercolour, a technique which he was able to exploit due to technological developments in photographic reproduction. He would first lightly block in shapes and details of the drawing with a soft pencil, for the more elaborate colour plates often utilising one of a small selection of compositional devices. Over this he would then carefully work in lines of pen and India ink, removing the pencil traces after the drawing had begun to take form. For colour pictures, he would begin painting by building up multiple thin washes of watercolour creating translucent tints. One of the disadvantages of the 3-colour (later 4-colour) printing process in the early years was that definition could be lost in the final print, Rackham would sometimes compensate for this by over-inking his drawings once more after painting. He would also go on to expand the use of silhouette cuts in illustration work, particularly in the period after the First World War, as exemplified by his Sleeping Beauty and Cinderella. His work is often described as a fusion of a northern European Nordic style strongly influenced by the Japanese woodblock tradition of the early 19th century