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Her white dress swings out at the hem and her fair hair is tied with a dark ribbon. An old tree spreads overhead against patches of blue sky; beyond her the mown field runs back to a dark hedge. Tin cans, a wooden bucket and a potted plant stand against the clapboard wall at the left, and the signature and date are written at the lower left.\u003c\/p\u003e\u003cp\u003eWinslow Homer (1836–1910) was an American painter regarded as one of the foremost artists of nineteenth-century America. He began as a magazine illustrator during the Civil War, producing wood engravings of camp and battlefield life for Harper's Weekly, then turned increasingly to oil and watercolor; his early oil Home, Sweet Home (1863) is now in the National Gallery of Art. 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He trained under François Boucher and then Joseph-Marie Vien, won the Prix de Rome in 1774, and spent five years in Italy studying antique sculpture and seventeenth-century masters. His large history paintings, such as Oath of the Horatii and The Death of Marat, replaced Rococo decoration with an austere, sculptural clarity that came to define Neoclassicism and, later, the visual language of the French Revolution and the Napoleonic Empire; he died in exile in Brussels after the Bourbon Restoration. His paintings are held by the Louvre, the Metropolitan Museum of Art and the Kimbell Art 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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The sea churns in teal-green streaked with foam, breaking again in smaller crests toward the horizon. The foreground rocks are near-black, streaked with rust-red and ochre, catching the wave's edge in a wash of pale foam. Homer painted the scene at Prouts Neck, Maine, in 1895, reworking the rocks by 1901.\u003c\/p\u003e\u003cp\u003eHomer painted Northeaster in 1895 at Prouts Neck, Maine, where he had settled a decade earlier to concentrate on the sea, and reworked the foreground rocks by 1901 into the simplified, near-abstract mass seen today. The picture passed through the dealer M. Knoedler \u0026amp; Co. and the collector Thomas B. Clarke before George A. Hearn bought it in 1901 and gave it to the Metropolitan Museum of Art in 1910. It remains one of the museum's most reproduced American marine paintings.\u003c\/p\u003e\u003cp\u003eWinslow Homer (1836–1910) was an American painter regarded as one of the foremost artists of nineteenth-century America. He began as a magazine illustrator during the Civil War, producing wood engravings of camp and battlefield life for Harper's Weekly, then turned increasingly to oil and watercolor; his early oil Home, Sweet Home (1863) is now in the National Gallery of Art. From the 1880s he painted the sea itself, in works such as The Fog Warning (1885), now in the Museum of Fine Arts, Boston, and The Gulf Stream (1899), now in the Metropolitan 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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To the right, several robed figures crouch and sit among scattered bundles, sheltering from the storm, while a bleached camel skeleton lies half-buried in the foreground sand. Billowing ochre dust obscures much of the sky, with rocky hills faint through the haze. Signed 'H. Corrodi Roma' lower left.\u003c\/p\u003e\u003cp\u003eHermann David Salomon Corrodi (1844–1905) was an Italian painter of Swiss descent, born in Frascati and trained by his father. He specialised in large Orientalist landscapes — caravans in a sandstorm, the Nile at evening, the roofs and minarets of Cairo and Constantinople — worked up in Rome from travel studies, and found his clientele among royalty: Queen Victoria, the German and Russian courts and the Ottoman sultan all bought from him. His work is held in the Royal Collection and in Italian and private collections.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. 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She clutches a bundle of scrolls to her side under one arm and grips a staff in her outstretched hand; her white robe has slipped from one shoulder, and she wears a beaded necklace, a hoop earring, an armlet and sandals bound at the ankle. Smoke drifts low across the grass behind her, below snow-capped mountains and heaped cloud. Signed and dated Rome 1876 at the lower right.\u003c\/p\u003e\u003cp\u003eThe subject is the sibyl of Roman legend who came to King Tarquin with nine books of prophecy. When he refused her price she burned three, then three more, and he finally bought the last three for the sum first asked; they became the Sibylline Books consulted by Rome.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1876, Detroit Institute of Arts.\u003c\/p\u003e\u003cp\u003eElihu Vedder (1836–1923) was an American Symbolist painter who settled in Rome after the Civil War and lived there for most of his career. Trained in New York under Tompkins H. Matteson and in Paris under François-Édouard Picot, he painted sphinxes, sibyls and cosmic allegories, and produced fifty-five illustrations for the 1884 deluxe edition of FitzGerald's translation of the Rubáiyát of Omar Khayyám, a publishing success. He also painted murals for the Library of Congress in Washington, D.C. His work is held by the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the Smithsonian American Art 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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Travellers on the winding path bend into the wind, two clutching round pink hats, one with a bundle tied to a pole; more figures brace on the fields beyond. Mount Fuji is a single outline at the left, and a dark blue hill lies near the centre.\u003c\/p\u003e\u003cp\u003eEjiri, the eighteenth of the fifty-three stations of the Tōkaidō road, is one of the views in Hokusai's Thirty-six Views of Mount Fuji. The design has had a long afterlife: in 1993 Jeff Wall restaged its composition as A Sudden Gust of Wind (after Hokusai), a large colour photograph shown in a light box and now in the Tate collection.\u003c\/p\u003e\u003cp\u003eThe original: woodblock print, about 1831–34, San Diego Museum of Art.\u003c\/p\u003e\u003cp\u003eKatsushika Hokusai (1760–1849) is the most widely known of all Japanese artists. 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Over his career his landscapes and seascapes moved from careful topographical precision toward an increasingly loose, luminous treatment of light, weather and atmosphere that later influenced the Impressionists. He bequeathed his studio's contents, some 100 finished oils, 200 unfinished paintings and more than 19,000 drawings and watercolours, to the nation; his work is held by Tate Britain, in the Clore Gallery built for the bequest, and by the National Gallery, London.\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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He worked as a pen artist for photoengraving firms, among them Grip Ltd. in Toronto, where he met the painters who later formed the Group of Seven, and began to paint seriously around 1911. From 1912 he went each year to Algonquin Park, working as a guide and painting hundreds of small oil sketches of its lakes, trees and skies in thick, vivid colour. The West Wind and The Jack Pine were among his last canvases. He drowned on Canoe Lake in 1917, before the Group of Seven was formed. His work is held by the Art Gallery of Ontario, the National Gallery of Canada and the McMichael Canadian Art Collection.\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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One hand is raised to her head and the other pressed to her chest as she watches a sailing ship with leaning masts and billowing sails pitch among green and white breakers at the upper left. A broken spar lies in the shallows at the left, and shells and pebbles litter the foreground. She is Miranda from Shakespeare's The Tempest.\u003c\/p\u003e\u003cp\u003eJohn William Waterhouse (1849–1917) was an English painter working in a Pre-Raphaelite and classical Symbolist style. Born in Rome to English painter parents, he trained at the Royal Academy Schools from 1871 and exhibited at the Royal Academy's summer show almost every year from 1874 to 1916, becoming a full Academician in 1895. He painted subjects from mythology and Arthurian and Tennysonian literature, including three versions of The Lady of Shalott and Hylas and the Nymphs (1896). His paintings are held by Tate, Manchester Art Gallery and Leeds Art Gallery.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. 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