Mount Washington
Winslow Homer (American, 1836–1910)1869
View the original$17
Type
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Materials & printing
Archival matte paper, 189 g/m² (10.3 mil), sourced from Japan, printed with multicolor water-based inkjet so every brushstroke stays crisp. Framed prints arrive ready to hang in a .75″ ayous-wood frame with an acrylite front. Sized to standard frames by cropping, never stretching — at most about 3% comes off one edge, which isn’t noticeable on most pieces, and we only offer a size when it stays that small.
Shipping & returns
Made to order and delivered in 5–8 business days (2–4 to print, 3–4 in transit). US shipping only for now. Because each print is made for your order, all sales are final — but if it arrives damaged or defective, send us a photo within 14 days and we’ll replace it free. Full policy.
Why is it this affordable?
A thin, flat margin on every piece — just enough to keep the store running. Most of what you pay is the print itself. We only sell sizes that reproduce at full quality, and we don’t mark up the large sizes the way most shops do.
About this work
The White Mountains of New Hampshire were celebrated by artists, travel writers, and naturalists for their majestic wilderness. In the mid-19th century, Hudson River School painters reveled in the untamed scenery, but by the time Winslow Homer arrived on assignment from Harper's Weekly in 1868, the region was dominated by tourists and the comforts they demanded: grand hotels, railroads, and well-groomed trails for walking and riding. Homer depicted the eastern landscape as a stage for human activity, rather than as a sublime paradise fraught with Christian and nationalistic associations, which was a new approach to landscape painting in the years after the Civil War.
- Medium
- Oil on canvas
- Original size
- 41.3 × 61.8 cm (16 1/4 × 24 5/16 in.)
Museum record · 4 owners · 9 exhibitions
Provenance
- Williams and Everett, Boston, 1869.
- Shadrack H. Pearce, Boston, to 1890; by descent to his son William H. S. Pearce and daughter-in-law Miriam B. Pearce (born Badlam), Newton, MA, 1890.
- Doll and Richards Gallery, Boston, by 1912; sold to J. W. Young, Young's Art Galleries, Chicago, 1912; sold to Marian Montgomery French (1849–1932, Mrs. Nathaniel French), Davenport, IA, 1912.
- Charles Deering (1852–1927), Chicago and Miami, FL, by 1923; bequeathed to his daughters Barbara Deering Danielson (1888–1982, Mrs. Richard E. Danielson) and Marian Deering McCormick (1886–1965, Mrs. Chauncey McCormick), 1927; given to the Art Institute of Chicago, 1951.
Exhibitions
- New York, Century Association, Nov. 6, 1869.
- Boston, Williams and Everett, Dec. 1869.
- Cincinnati Industrial Exposition, Exhibition of Paintings Drawings, Aquarelles, and Works of Household Arts, Sept. 3–Oct. 4, 1873, as End of the Bridle Path, Mt.
- Washington.
- Boston, Museum of Fine Arts, Winslow Homer Memorial Exhibition, 1911, no cat. New York, Whitney Museum of American Art, Oils and Watercolors by Winslow Homer, Oct. 3–Nov. 2, 1944.
- Northampton, MA, Smith College Museum of Art, Winslow Homer: Illustrator, Feb. 1951; Williamstown, MA, Williams College Museum of Art, March 1951.
- Art Institute of Chicago, Art at the Time of the Centennial, June 19–Aug. 8, 1976, no cat. Durham, NH, University Art Galleries, University of New Hampshire, The White Mountains: Place and Perceptions, Sept. 8–Oct. 29, 1980, no cat. no., as Summit of Mount Washington; New–York Historical Society, Dec. 1–Jan. 30, 1981; Hanover, NH, Dartmouth College Museum and Galleries, Mar. 6–Apr. 19, 1981 (New York and Hanover only).
- Washington DC, National Gallery of Art, Winslow Homer, Oct. 15, 1995–Jan. 28, 1996; Museum of Fine Arts, Boston, Feb. 21–May 26, 1996; New York City, Metropolitan Museum of Art, June 17–Sept. 22, 1996.
- Washington, DC, National Museum of American Art, Image and Memory: Picturing Old New England, Apr. 2–Aug. 22, 1999.
