{"title":"Frederic Remington Prints","description":"\u003cp\u003eFine art prints by Frederic Remington. Every work in our Frederic Remington collection is printed to order. Archival giclée on Hahnemühle fine art paper. Free worldwide shipping.\u003c\/p\u003e","products":[{"product_id":"frederic-remington-a-reconnaissance-fine-art-print","title":"Frederic Remington — A Reconnaissance | Fine Art Print","description":"\u003cp\u003eTwo riders, seen from behind on a grey horse and a laden pack horse, climb a snow-covered slope toward the crest of a hill lined with dark pines. Ahead of them near the treeline, two more figures stand watching the trail. The night sky above glows teal-green and is dotted with stars; snow covers the ground in a smooth expanse, broken by patches of dark sagebrush and long blue shadows. The scene is signed at lower right.\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\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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A dropped carbine lies on the stones below, and puffs of dust rise near the horse's hooves. Behind, a second trooper raises his rifle overhead while riding hard past a mounted companion, pale desert cliffs rising on either side.\u003c\/p\u003e\u003cp\u003eThe Art Institute of Chicago's own account of this painting describes an unseen Sioux warrior shooting a cavalry scout, who slumps over his horse while the troops behind him flee the ambush; the composition was created for Eastern audiences who imagined the American West as a place of both danger and opportunity. Remington executed the work in his New York studio, and it was later reproduced in Harper's Weekly alongside an article he wrote.\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\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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A mustached trooper in a wide hat, white neckerchief and white gauntlets rides a chestnut with a white blaze and holds the reins of a grey that tosses its head beside him, with a black and a bay running alongside and more troopers following. Behind them, at left, dismounted men lie prone in the sand firing. Signed and dated 1890 lower left.\u003c\/p\u003e\u003cp\u003eRemington painted the canvas in 1890, and Century Magazine reproduced it as a wood engraving in January 1892. It shows the cavalry practice in which troopers count off in fours and every fourth man leads his own horse and three others off the field. The Clark describes the scene as historical fiction rather than a record of a particular frontier battle. Robert Sterling Clark acquired it in 1945.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1890, Clark Art Institute.\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\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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Two men in tall peaked sombreros ride at the back of the train, one in a red jacket among the burros, the other in a red serape on a spotted horse. A dark ridge closes the horizon, and the whole scene is washed in cool blue-green night tones broken by the reds of the riders' clothes. Collier's Weekly reproduced it in colour in July 1905.\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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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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