Lancelot fights against a dragon at the Castle of Corbin - Arthur Rackham
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A classic Arthurian illustration by Arthur Rackham, featuring Sir Lancelot in a dramatic confrontation with a dragon at the Castle of Corbin.
This illustration by Arthur Rackham depicts a scene from Arthurian legend, specifically the encounter between Sir Lancelot and a dragon at the Castle of Corbin. Rackham, a central figure in the British Golden Age of Illustration, employs his characteristic technique of combining delicate ink line work with muted watercolour washes. The composition focuses on the physical struggle between the knight and the beast, set against the austere, textured stonework of the castle courtyard.
Rackham uses a restrained palette, allowing the subtle tones of the armour and the stone to dominate the scene. The dragon, rendered with a mix of reptilian and serpentine features, exhales a burst of flame that provides the only high-chroma element in the image. In the background, a group of onlookers watches from the safety of a doorway, their expressions and postures adding a human element to the mythic confrontation. The artist pays close attention to the metallic sheen of Lancelot's plate armour, using fine lines to suggest the weight and construction of the suit.
This work demonstrates Rackham's ability to balance narrative clarity with atmospheric detail. The architectural elements, particularly the arched doorway and the rough-hewn stone walls, provide a sense of place that grounds the fantastical subject matter. Rackham's style is defined by this synthesis of precise draughtsmanship and imaginative interpretation, a method that defined his contributions to early twentieth-century literature and folklore editions. The print captures the tension of the moment, with the knight's posture conveying the exertion required to overcome the creature. The surrounding figures serve to frame the action, drawing the viewer's eye toward the centre of the conflict.
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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
Lancelot fights against a dragon at the Castle of Corbin - 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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