“A Good Shot,” a late-19th-century lithograph by C. Spiegle and printed by the Donaldson Brothers of New York, carries the full, rugged romance of America’s sporting past. The scene is pure field-and-stream drama: a hunter in the distance, shotgun still smoking; two hounds in the foreground locked in that electric pause between instinct and reward. One grips a woodcock gently in its jaws, the wetland marsh unfurling behind them in muted greens and browns, a pond glinting at the center like a held breath. Then comes the knockout punch: the frame. Not merely decorative, it’s a sculptural feat—hundreds of real twigs intricately arranged, woven, and layered until the whole thing reads like a fragment salvaged from a century-old hunting lodge wall. It feels weathered, feral, and entirely intentional. The result is a piece that doesn’t just depict the sporting life—it embodies it, with grit, texture, and undeniable presence.