Two Jacks - Francis Campbell Boileau Cadell Art Print

Fine Art Prints

Forget cheap reproductions and printable posters. Only the best will do. Velvety matte fine art paper (warm white, archival-grade, 200gsm) with bold, vibrant, non-toxic pigment inks. 

High-definition print lab techniques give you sharper details, deeper saturation and true-to-life tones.

The matte surface keeps glare down and archival-grade materials mean the colors you fall for stay vivid for decades.

Framed Fine Art Prints

Your print arrives framed and ready to hang, so it goes straight from the box to your wall.

Chevron cut wooden frames make a timeless statement in three distinctive colors: black, white and natural.

Each frame is made of sustainably sourced FSC® certified European knotless pine, finished with ultra-clear perspex glaze that’s lighter than glass and shatter-resistant.

Float Framed Canvas Prints

Luscious artist-grade cotton canvas, hand-stretched and finely textured, gives every detail depth and precision. Its natural white surface catches light and color with striking clarity.

A precisely measured floating frame leaves a slim gap around the canvas, so it seems to hover with a sleek, gallery-worthy effect.

Your choice of a black, white or natural frame: all made from sustainably sourced FSC® certified European knotless pine.

Giclée Printing

In Two Jacks, two soldiers stand close on bare cream card, their greatcoats holding the weight of an uncharted mission. Francis Campbell Boileau Cadell drew them with brush, ink and watercolor in 1915, the shorthand he developed for his Jack and Tommy series during training with the 9th Royal Scots. One tilts a black cap stippled with red-orange. The other sets a pale yellow cap low over a face left almost empty, flesh-pink wash standing in for expression.

Amber bleeds past the line at the shoulder. A belt of black over burnt orange cuts each waist, the one hard mark in a drawing built from soft buff and ochre. Coat hems dissolve before they reach the floor. Twenty sketches like it went to London in 1916, bound into a book the Scottish Colourist sold in aid of the Red Cross.

Francis Campbell Boileau Cadell served three years as a private before taking a commission in the Argyll and Sutherland Highlanders, so he knew how men stand when orders are late. And the same flat color and clean contour seen here would carry him through the 1920s, chasing sunlight across Iona sand. What survives is posture, two men leaning toward one another on leave, saying something the Edinburgh air kept to itself.