Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Army of the Potomac - A Sharp Shooter on Picket Duty - Winslow Homer
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A detailed wood engraving by Winslow Homer depicting a Civil War sharpshooter in a tree, originally published in Harper's Weekly in 1862.
This wood engraving, published in Harper's Weekly on 15 November 1862, captures a moment of tension during the American Civil War. Winslow Homer, working as a special correspondent and illustrator, produced this image based on his own oil painting of the same subject. The composition focuses on a lone soldier perched within the branches of a pine tree, his rifle aimed at an unseen target. The soldier's posture is tense, reflecting the isolation and danger inherent in his role as a sharpshooter.
Homer employs a precise, linear technique characteristic of mid-nineteenth-century wood engraving. The cross-hatching and varied line weights define the texture of the pine bark, the soldier's uniform, and the foliage. A canteen hangs from a branch nearby, a small detail that adds a sense of human presence to the otherwise austere setting. The print avoids romanticising the conflict, opting instead for a detached, observational approach that documents the reality of military life.
During the Civil War, such illustrations provided the public with a visual connection to the front lines. Homer's work is notable for its lack of overt propaganda, focusing instead on the individual experience of the soldier. The print demonstrates his early mastery of composition and his ability to convey narrative through subtle visual cues. The stark contrast between the soldier's stillness and the potential violence of his weapon creates a quiet, unsettling atmosphere. This piece remains a significant example of American reportage from the period, documenting the technical and psychological aspects of combat through the medium of mass-produced print media.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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
Complete The Look
Army of the Potomac - A Sharp Shooter on Picket Duty - Winslow Homer
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Winslow Homer
Homer started as an illustrator for Harper's Weekly, covering the American Civil War. He was not a soldier. He was a correspondent, sketching camp life, sharpshooters, and prisoners with the detached accuracy of a reporter. The war drawings were published as wood engravings and brought him national attention. He was twenty-five.
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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