Mount Washington

1. 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 [correspondence from Miriam B. Pearce and William H. S. Pearce, copy in curatorial object file]; Doll and Richards Gallery, Boston, by 1912; sold to J. W. Young, Young's Art Galleries, Chicago, 1912 [correspondence from J. Dudley Richards, March 13, 1912, original in curatorial object file]; sold to Marian Montgomery French (1849–1932, Mrs. Nathaniel French), Davenport, IA, 1912 [correspondence from W. H. Downes to Mrs. Nathaniel French, April 3, 1912, original in curatorial object file]. 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.

Recorded by Art Institute of Chicago.

• 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, cat. 153, 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, cat. 6; Williamstown, MA, Williams College Museum of Art, March 1951.
• Art Institute of Chicago, <a href="https://www.artic.edu/exhibitions/6619/art-at-the-time-of-the-centennial"><em>Art at the Time of the Centennial</em></a>, June 19–Aug. 15, 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., p. 102, 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, <em>Winslow Homer</em>, Oct. 15, 1995–Jan. 28, 1996, cat. 23; Museum of Fine Arts, Boston, Feb. 21–May 26, 1996; New York, 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.

• "Fine Arts," (NY) Evening Post, Nov. 8, 1869.
• "Art Matters," Boston Sunday Times, Dec. 12, 1869.
• "Art Matters," Boston Sunday Times, Dec. 19, 1869.
• Art Institute of Chicago, Master Paintings in The Art Institute of Chicago, selected by James N. Wood and Katharine C. Lee (Art Institute of Chicago, 1988), 88 (ill.).
• Judith A. Barter, et al., American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Art Institute of Chicago, 1998).
• Pamela Jane Sachant, "Winslow Homer in the White Mountains, 1868–1870: Portraits of an Uncertain Nation," Historical New Hampshire 54 (Fall–Winter 1999): 142–59.
• Lloyd Goodrich, Record of Works by Winslow Homer, Volume II, 1867 through 1876, edited and expanded by Abigail Booth Gerdts (Spanierman Gallery, LLC, 2005)
• Judith A. Barter, et al., <em>The Age of American Impressionism: Masterpieces from the Art Institute of Chicago</em> (Art Institute of Chicago, 2011), cat. 2.

The Herring Net

Art Institute of Chicago

After the Hurricane, Bahamas

Art Institute of Chicago

Croquet Scene

Art Institute of Chicago

The Water Fan

Art Institute of Chicago

The Gulf Stream

Art Institute of Chicago

Life-Size Black Bass

Art Institute of Chicago

Stowing Sail

Art Institute of Chicago

North Woods Club, Adirondacks (The Interrupted Tete-a-Tete)

Art Institute of Chicago

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