Three canvases repeat a faceless rider in a red uniform riding side-saddle, as at the British Trooping the Colour, while another shows a hatted painter seen from behind at his easel, and a Saint Bernard dog in Napoleon's pose hangs beside a framed Rembrandt. Eduardo Arroyo treated figures of power with irony and affection, notably Winston Churchill, whom he honoured not as a statesman but as a Sunday painter.