Two- and three-piece sets matched to hang as one wall. Every set is priced below buying the pieces one by one, and every piece is printed and framed in the USA.
24 sets, made to hang togetherSave up to $210 against buying the pieces one by one
The three scenes every American can name, made to hang together: the Declaration signed in a Philadelphia room, the Delaware crossed on Christmas night, and a British army surrendering its arms at Yorktown. Declaration, turning point, victory. If you only hang one set of American history on a wall, this is the one that needs...
Three refusals. Nathan Hale on the scaffold with one regret and no apology, a Minuteman standing his ground on Lexington Green, and the Gadsden flag flying from a mast at sea. Not battles — postures. The set is about the moment somebody declines to move. The set: Nathan Hale, the First Martyr · The Minuteman...
Three views of the American landscape on gallery-wrapped canvas — a stallion held inside the red-rock Southwest, the open frontier running out to the horizon, and the high country an eagle looks down on. Canvas rather than glass, so the set stays matte from every angle and hangs with no reflection — which matters when...
How it started, how it turned and how it ended. The first shells falling on Fort Sumter, the fight on Cemetery Ridge that decided Gettysburg, and the quiet field where the arms were stacked at the finish. The set moves from noise to silence, left to right, which is exactly how it should be hung....
One battle, one frame per day. The meeting engagement north of town that nobody planned, the second day's fight for the high ground on the flanks, and the third day's charge across open field into the center. The most literal narrative set in the collection — three days, three frames, in order. The set: Gettysburg:...
A cowboy's day in three canvases — the standoff at noon, the long ride out as the light goes, and the fire at the end of it with the stories that come with it. Midday, evening, night. The set gets darker and warmer left to right, which is an easy and very effective way to...
The whole Revolution in three frames: seventy-odd militiamen on Lexington Green in the half-light, Washington's boats working through the ice on Christmas night, and the surrender field at Yorktown six years later. Beginning, turning point, end. It is the most straightforwardly narrative set here, and the easiest to explain to a guest in one sentence....
Three American symbols on gallery-wrapped canvas — the flag flying, freedom on the open highway, and the eagle keeping watch. The most directly patriotic set in the collection, and the least apologetic about it. Bold enough to carry a large wall on its own. It does not need company. The set: Old Glory · American...
Three lines that built a country, set as typography rather than illustration — the promise from the Declaration, a statement of independent character, and Washington's warning about what liberty does once it takes hold. A typographic set, so it sits comfortably in rooms where a battle scene would be too much: an office, a hallway,...
Three charcoal studies of the men who worked the range — the drifter passing through, the working cowboy, and the rodeo rider a few seconds from the ground. Monochrome, so it hangs in almost any room without fighting the color scheme. The strongest western set here for a modern interior. The set: The Drifter ·...
A war told from beginning to end, in three frames. Recruits running Currahee in the red Georgia dust before any of them had seen a shell land; a rifle squad picking its way through a town reduced to its chimneys; and the deck of the Missouri in Tokyo Bay on the morning it was finally...
Three full-length portraits in the academic tradition — Washington in blue and buff before his camp, Jefferson with a rolled draft and quill at his writing desk, and Franklin at ease in a French court room. The soldier, the author and the diplomat. A study wall for a library, an office or anywhere that wants...
Two men, two impossible acts. Sergeant Jasper going over the parapet at Fort Moultrie to raise a shot-down flag under fire, and Peter Francisco carrying off a 1,100-pound cannon so the British could not have it. A two-piece set with a single idea running through it, which makes it read well as a pair on...
Leaving, holding, coming back. A troop train pulling out with faces at every window, a line held through the winter of 1944, and a transport sliding into New York Harbor with the rail packed three deep. It is a round trip, and it hangs best where someone walks past it in sequence — a hallway,...
The three men who ran the Union war: Lincoln, who had to hold the country together while he did it; Grant, who was willing to keep going after a bad day; and Sherman, who understood that the war would end when the South could no longer feed an army. Three portraits, one chain of command....
The three services in three frames — armor and infantry moving up, a warship running hard through open water, and a bomber formation stacked into a cold high sky. The cleanest set in the collection to hang, because the three subjects are visually distinct but share one palette. It suits an office wall better than...
The irregular war, in two frames. Joshua Huddy's whaleboat raiders working the New Jersey shore, and Francis Marion springing an ambush at a South Carolina causeway before disappearing back into the swamp. A pair rather than a trio — it suits a narrower wall, either side of a doorway, or a spot where three would...
North Africa, Europe, the Pacific. Three fronts that were fought in three different climates by the same country, painted with the light of each one — desert glare, northern overcast, and the hard tropical sun of the island war. The palette shift from left to right is the whole reason this set works on a...
The war nobody teaches. Jones lashing the Bonhomme Richard to the Serapis and refusing to strike, the French and British lines standing off the Virginia Capes in the engagement that sealed Yorktown, and a privateer schooner running with everything set. Three ship paintings that share a horizon and a palette — the traditional way to...
One winter, three stages. The army arriving in December with nothing, the hut city it built to survive, and the drill field in spring where von Steuben turned it into something that could hold a line. The only set here where all three frames are the same place. The story is what happens to it....
Three crossings, three bodies of water, one idea: the worst part of an assault is the minutes before you arrive. The Channel in the dark before D-Day, assault boats pushing across the Rhine, and a landing craft running the last hundred yards to the sand. All three are painted low to the water, so the...
Sherman's campaign in three frames: Atlanta burning behind the army, sixty thousand men moving across Georgia on a front tens of miles wide, and the coast reached at Savannah in December. A left-to-right march across the wall. Give it a long horizontal run and let the fire sit at one end and the sea at...
Two studies of the western evening — a rider going into the last of the light, and the desert holding the day's heat after the sun has gone. A pair, and a quiet one. It works either side of a bed, a doorway or a window rather than as a statement wall. The set: Into...
Horses running loose, in black and white — hooves on hard ground, open country with nothing to stop it, and the herd pulled together into one mass. Three monochrome studies of the same animal doing the same thing at three different scales: one, a few, many. The set: Dust and Thunder · No Fences ·...
The Signing of the Declaration of Independence
Washington Crossing the Delaware
Surrender at Yorktown
