In the late 80's Spiller spent time at the British Museum Library and the Rijksmuseum where he gained scholarly access to the collection of Rembrandt’s pencil drawings and prints. David felt very privileged and a real connection to the historical works on paper and got a real ‘kick’ from being allowed to physically hold them in his hands.

Rembrandt’s lion drawing for Love is came from a small digitally scanned book reproduction. On the computer screen David was able to visualize different colour options and line intensities. He would then faithfully transpose the line, by hand, painting it onto the canvas, making it come alive, a life-sized resting lion.

David originally intended to crop the image closer but decided to leave the raw canvas border, liking the unintentional carefree marks and text in the margins. He was referring back to his time as a student with Frank Auerbach; not having enough money for materials and so using raw, bare canvas to ration his paint and also presenting a contrast to the clinical and precise digital technology.