In addition to the early “masters” many other artists have, over decades, contributed their richly diverse talents, perspectives and styles to the Remington Collection. These artists run the gamut from the famous to the obscure, for the well-remembered to the all but forgotten. And while much of their work, again, originally took the form of advertising illustration, some of these pieces found their way into the collection via alternate routes that can be difficult if not impossible to trace. For example databases and reference books list several artists named Ryder who were active in the early 20th century; none of them seems to match up with the Ryder in the Remington Collection.
A similar situation came about with an artist responsible for a suspenseful painting called A Chancy Shot. Done originally in 1912 Remington – UMC poster, for years the painting had been attributed to one H.G. Edwards- but no information whatsoever on an artist by that name could be found. Then there is a Fred Everett, whose vignettes of Waterfowl hung in Remington’s Lordship Gun Club for many years, and who illustrated a number of mid-20th century books on wing shooting and fly fishing. He like Ryder, remains a virtual cipher.
As for John Eads Collins, whose quietly resonant painting of a rabbit hunter trudging home with his beagles, End of the Day, was rescued from the dumpster at Remington’s Bridgeport factory, this author could find nothing beyond the fact that he too was apparently a Student of Howard Pyle’s making him yet another Remington artist stamped with the Brandywine School.