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At upper right a helmeted rider on a blue horse spotted with gold drives a long green lance down toward a white, clawed dragon at the lower left. The ground is scattered with gold dots and pale rings, and a teal, leaf-shaped tree stands at the right. This 1911 composition reworks the legend of Saint George and the dragon.\u003c\/p\u003e\u003cp\u003eWassily Kandinsky (1866–1944) was a Russian-born painter and a pioneer of abstract art. Trained in Munich, he co-founded the Neue Künstlervereinigung München in 1909 and, with Franz Marc, the Expressionist group Der Blaue Reiter in 1911, setting out his theory of colour and form in Concerning the Spiritual in Art (1911). He taught at the Bauhaus from 1922 until its closure in 1933, and took French citizenship in 1939. His work is held by the Centre Pompidou, the Solomon R. Guggenheim Museum and the Tretyakov Gallery.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Bare grey and black trees claw at a sky banded in pink, grey and blue. Beneath the leap, the ground is strewn with the pale stripped bodies of the dead among brown clods and stones, and black crows stand among them, one bending to a bearded man's face at the lower right. The artist's signature is painted in the lower right of the field.\u003c\/p\u003e\u003cp\u003eHenri Rousseau (1844–1910) was a self-taught French Post-Impressionist and Naïve painter. He worked as a Paris toll collector, earning the nickname 'Le Douanier,' and did not paint seriously until his forties, inventing his jungle scenes from botanical gardens and illustrated books rather than travel. He exhibited at the Salon des Indépendants from 1886 and was championed late in life by Picasso and Apollinaire; The Sleeping Gypsy (1897) and The Dream (1910) are among his best-known paintings. 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A handcart hauls a shrouded corpse, a horse-drawn cart hauls a mounting pile of skulls, and skeletons in armour cut down soldiers beside a banquet table where cards and a lute lie scattered. Distant hills carry burning towns, gibbets and sinking ships in a pale bay, under a smoke-streaked sky in scorched ochre, brown and grey.\u003c\/p\u003e\u003cp\u003eThe Prado dates the panel to 1562-1563 and reads it as a moralising work on the triumph of Death over worldly things, a theme Bruegel took up under the influence of Jheronimus Bosch. Formerly in the Spanish royal collection, it entered the museum in 1827 and was the only Bruegel in Spain until The Wine of Saint Martin's Day was acquired in 2011. A restoration presented in May 2018 lifted repainting and coloured varnishes that had turned the surface almost monochrome ochre, recovering its crisp blue and red tones.\u003c\/p\u003e\u003cp\u003ePieter Bruegel the Elder (c. 1525–1569) was a Netherlandish painter and printmaker. 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At right a princess in a white robe lined with deep blue kneels on the grass, hands clasped beneath her chin, watching. A broken red lance and a skull lie in the foreground, and dark wooded hills rise under a pale sky that warms toward the horizon. One of a series of St George scenes painted for the dining room of Myles Birket Foster's house at Witley.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1866, Art Gallery of New South Wales, Sydney.\u003c\/p\u003e\u003cp\u003eEdward Burne-Jones (1833–1898) was an English painter and designer, born in Birmingham. He left Exeter College, Oxford, where he had been training for the ministry, after meeting Dante Gabriel Rossetti, whose influence shaped his early painting, and became a founding partner with William Morris in the decorative arts firm Morris, Marshall, Faulkner \u0026amp; Co. 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Perseus, bare-chested in a dark red cloak stamped with gold rings and diamonds, raises a curved sword high over his head in one fist. Between them rears the monster: a turquoise, white-speckled serpent with a great pink fan fin, a crested yellow head with fanged jaws and orange-tipped claws. Silver-flecked foam fills the foreground below a brown cave wall. Signed and dated lower left.\u003c\/p\u003e\u003cp\u003eEdmund Dulac (1882–1953) was a French-born illustrator and designer from Toulouse, who studied law before turning to art and settled in London in his early twenties. After a first commission for the novels of the Brontë sisters, the Leicester Galleries and Hodder \u0026amp; Stoughton issued a gift book a year with his colour plates, among them Stories from the Arabian Nights (1907), The Tempest (1908), The Rubaiyat of Omar Khayyam (1909) and Poe's The Bells (1912). He became a British citizen in 1912. After the First World War he turned to magazine work, banknotes and stamps, including the first stamps of Elizabeth II's reign. His work is held by the Victoria and Albert Museum, the Metropolitan Museum of Art and the Cleveland Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Against him press warriors behind round black shields crossed in white, some in horned helmets, with an archer in a fur hood drawing his bow at the lower left and red lances reaching across the field. Black smoke and an orange flame billow at the upper left.\u003c\/p\u003e\u003cp\u003eThe original: colour halftone plate from East of the Sun and West of the Moon, Hodder \u0026amp; Stoughton, London, 1914. Boston College Libraries.\u003c\/p\u003e\u003cp\u003eKay Nielsen (1886–1957) was a Danish illustrator, born in Copenhagen to a family of actors. He studied in Paris at the Académie Julian and the Académie Colarossi, then lived in England, where Hodder \u0026amp; Stoughton published his colour plates for In Powder and Crinoline (1913) and East of the Sun and West of the Moon (1914). Back in Denmark he designed scenery for the Royal Danish Theatre and illustrated Andersen's Fairy Tales (1924) and Hansel and Gretel (1925). 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Under Raja Umed Singh (r. 1748–64) the painters Laharu and Mahesh illustrated Vaishnava texts and the avatars of Vishnu, and his successor Raj Singh gave land to painters of Nainsukh's family from Guler, whose naturalism gradually replaced the local style. Examples are held by the Metropolitan Museum of Art, the Cleveland Museum of Art and Minneapolis Institute of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Competition from cheap coloured lithographs ended the tradition, but its simplified forms influenced modern Indian painters, among them Jamini Roy. The Victoria and Albert Museum holds the largest collection, including some 233 paintings once owned by John Lockwood Kipling; others are held by the Cleveland Museum of Art and Minneapolis Institute of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Born in Hoboken, New Jersey, to German immigrant parents, he taught himself to draw and later studied in Germany under Carl von Marr. Between 1893 and 1905 he made frequent trips west, including five months on the Ute reservation in Colorado in 1903, gathering Indigenous and military material for pictures painted in Hoboken, often on the roof of his brownstone. My Bunkie won the Thomas B. Clarke Prize at the National Academy of Design in 1901. When Frederic Remington attacked the accuracy of Custer's Demand, Theodore Roosevelt took Schreyvogel's side. His work is held by the Metropolitan Museum of Art, the National Cowboy \u0026amp; Western Heritage Museum and the Gilcrease Museum.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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His watercolour Waiting for a Chinook recorded the hard winter of 1886–87. In the summer of 1888 he lived near Blood, Piegan and Blackfoot camps in Alberta, which shaped his pictures of Plains life. From 1896 his wife, Nancy Cooper Russell, managed his career. His work is held by the C.M. Russell Museum, the Amon Carter Museum of American Art and the Buffalo Bill Center of the West.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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His work is held by the Amon Carter Museum, the Metropolitan Museum of Art and the Buffalo Bill Center of the West.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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The centre man has been thrown from his rearing black horse and lies on his back in the dust, one arm still raised on the reins. A bearded rider on a chestnut throws up an open hand at left, while a rider in a wide straw hat on a bay reaches across toward the black horse and swings a quirt overhead at right. Far behind, a line of riders in feathered headdresses gives chase, one firing a puff of smoke.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1890, Museum of Fine Arts, Houston.\u003c\/p\u003e\u003cp\u003eFrederic Remington (1861–1909) fixed the visual image of the American West for a century. A magazine illustrator first, he travelled on commission through the plains and the Southwest and drew cavalry columns, scouts and cow ponies with a reporter's specificity; late in life he turned to painting proper, and to nocturnes in which the figures are barely readable against blue dark. He was also a serious bronze sculptor. 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One man in an orange jacket slumps back, hit, and is held in the saddle by the rider beside him. At the right two men twist round to fire back, one with a rifle, one with a revolver, at a band of pursuing riders half lost in the dust. A bedroll and a frying pan bounce behind one saddle. Signed lower left.\u003c\/p\u003e\u003cp\u003eRemington painted it in 1889 on a commission from Edmund Cogswell Converse, who asked for a scene of a life-and-death struggle on the frontier. Shown at the National Academy of Design's autumn exhibition that year, it drew larger crowds than any other picture there, according to the New York Times, and marked his arrival as a painter of Western subjects. The Amon Carter Museum now presents the scene as an invented one that casts the Native American pursuers as the aggressors.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1889, Amon Carter Museum of American Art, Fort Worth.\u003c\/p\u003e\u003cp\u003eFrederic Remington (1861–1909) fixed the visual image of the American West for a century. A magazine illustrator first, he travelled on commission through the plains and the Southwest and drew cavalry columns, scouts and cow ponies with a reporter's specificity; late in life he turned to painting proper, and to nocturnes in which the figures are barely readable against blue dark. He was also a serious bronze sculptor. His work is held by the Amon Carter Museum, the Metropolitan Museum of Art and the Buffalo Bill Center of the West.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. 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In the foreground two lie against the slope with rifles, one in a broad hat and red neckerchief, the other sighting along his barrel; three more hold the far rim, where a puff of white smoke drifts from a fired shot. Saddled horses stand below by a small pool of blue water. Across the yellow plain distant riders circle, and pale blue mountains close the horizon. Signed lower right.\u003c\/p\u003e\u003cp\u003eRemington painted Fight for the Waterhole in 1903, and it was published that year in Collier's Weekly under his contract to supply the magazine with a painting each month. The Museum of Fine Arts, Houston, points to its manipulated perspective, which gives the scene a panoramic reach, and to the large shadow in the basin, which carries a sense of lurking threat. It entered the museum with the Hogg Brothers Collection, the gift of Ima Hogg.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1903, Museum of Fine Arts, Houston.\u003c\/p\u003e\u003cp\u003eFrederic Remington (1861–1909) fixed the visual image of the American West for a century. A magazine illustrator first, he travelled on commission through the plains and the Southwest and drew cavalry columns, scouts and cow ponies with a reporter's specificity; late in life he turned to painting proper, and to nocturnes in which the figures are barely readable against blue dark. He was also a serious bronze sculptor. His work is held by the Amon Carter Museum, the Metropolitan Museum of Art and the Buffalo Bill Center of the West.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. 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At the centre a white horse sinks back onto its haunches and twists its head away, its rider hunched in the saddle; around it the others check their dark mounts, and at upper left a man flings up an arm. Two white splashes kick up on the bank and at the water's edge. Signed lower right.\u003c\/p\u003e\u003cp\u003eRemington painted Fired On in 1907. William T. Evans bought it in November 1909 and gave it to the national collection in 1910, and it is now at the Smithsonian American Art Museum. It was the first painting by Remington to be acquired by a public gallery in the United States, and it was displayed in the Oval Office during Harry S. Truman's presidency.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1907, Smithsonian American Art Museum.\u003c\/p\u003e\u003cp\u003eFrederic Remington (1861–1909) fixed the visual image of the American West for a century. 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In the summer of 1888 he lived near Blood, Piegan and Blackfoot camps in Alberta, which shaped his pictures of Plains life. From 1896 his wife, Nancy Cooper Russell, managed his career. His work is held by the C.M. Russell Museum, the Amon Carter Museum of American Art and the Buffalo Bill Center of the West.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Largely self-taught, he was publishing caricatures in Paris at fifteen, and from the late 1850s his wood-engraved plates for Dante's Inferno (1861), Perrault's fairy tales (1862), Cervantes, Milton, the Bible (1866) and Poe's The Raven (1884) fixed the look of those books for generations of readers. Engraved by a workshop led by Héliodore Pisan and Adolphe Pannemaker, his designs combine minute detail with theatrical light, vast landscapes and crowds of figures. From the 1860s he also painted large canvases and Alpine, Scottish and Spanish landscapes, exhibited at the Doré Gallery in London, and turned to sculpture in his last decade. His work is held by the Musée d'Art Moderne et Contemporain de Strasbourg, the Bibliothèque nationale de France, the Metropolitan Museum of Art and the Art Institute of Chicago.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. 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