Vendite osservate, prove comparabili, storia dell’indice artista e ricerche modellate restano distinti.
Vendite pubbliche dello stesso artista ordinate per tecnica, anno di creazione, dimensioni e data di vendita.
The Cleveland Museum of Art, Cleveland, Ohio
Mrs. Z. Boylston Adams (Helen Foster), Brookline, MA, sold to the Cleveland Museum of Art
Zabdiel Boylston Adams [1875-1940], Brookline, MA, to his wife, Mrs. Z. Boylston Adams1
Annie Adams Fields (Mrs. James T. Fields) [1834-1915], Boston, MA, by bequest to her nephew, Zabdiel...
James Thomas Fields [1817-1881], Boston, MA
The Cleveland Museum of Art, Cleveland, Ohio Mrs. Z. Boylston Adams (Helen Foster), Brookline, MA, sold to the Cleveland Museum of Art Zabdiel Boylston Adams [1875-1940], Brookline, MA, to his wife, Mrs. Z. Boylston Adams1 Annie Adams Fields (Mrs. James T. Fields) [1834-1915], Boston, MA, by bequest to her nephew, Zabdiel Boylston Adams James Thomas Fields [1817-1881], Boston, MA
Exhibition of the Month: Atmospheric Depth in Painting. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 31, 1947). 35th Anniversary Exhibition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951). The Civil War: The Artists' Record. Corcoran Gallery of Art, Washington, DC (organizer) (November 18-December 31, 1961); Museum of Fine Arts, Boston, Boston, MA (February 1-March 4, 1962). Winslow Homer: Portrait of America. The Cleveland Museum of Art, Cleveland, OH (November 10, 1965-May 16, 1966). Winslow Homer. National Gallery of Art, Landover, MD (organizer) (October 15, 1995-January 28, 1996); Museum of Fine Arts, Boston, Boston, MA (February 21-May 26, 1996). The Civil War and American Art. Smithsonian American Art Museum, Washington, DC (organizer) (November 16, 2012-April 27, 2013); The Metropolitan Museum of Art, New York, NY (May 21-September 2, 2013). ArtLens Reimagined: The Intersection of Art, Technology, and Innovation. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 23, 2026-September 1, 2031). New York, Dodworth's Studio Building, Fourth Artists' Reception (before 25 March 1864); see Winslow Homer: The Paintings of the Civil War p. 21. New York, National Academy of Design, Thirty-ninth Annual Exhibition (April, 1864), no. 140, listed p. 451. Worcester, Worcester Art Museum, Winslow Homer (16 November-17 December 1944), no. 2. Oxford, OH, Miami University, Sesquicentennial Celebration (15 May-15 June 1959). Washington, D.C., The Corcoran Gallery of Art, The Civil War: The Artists' Record (18 November-31 December 1961); traveled to Boston, The Museum of Fine Arts (1 February-4 March 1962); pp. 63-64, illus. no. 46, p. 66. San Fransisco, The Fine Arts Museum of San Fransisco, Winslow Homer: Paintings of the Civil War (2 July-18 September 1988); traveled to Portland, Portland Museum of Art (8 October-18 December 1988); cat. no. 8, fig. 8.1, pp. 166-172; also included references to CMA painting pp. 21, 72-73, 111-112, 115, 119, 161, 195-196, 208-215, 236. Washington, D.C., The National Gallery of Art, Winslow Homer (15 October 1995-28 January 1996); traveled to Boston, Museum of Fine Arts (21 February-26 May 1996); New York, The Metropolitan Museum of Art (20 June-22 September 1996); illus. no. 3, pg. 43.
Created during the United States Civil War, Winslow Homer’s painting depicts two volunteers for the Union Army who sport their regiment’s highly colorful uniforms, a design discovered to be impractical due to its ability to be spotted by sharpshooters. Passing idle time in their encampment, one soldier holds a lit pipe and watches his companion whittle a block of wood. The painting shares its title with a contemporary poem, in which a soldier smokes a brierwood pipe and daydreams of the time when the conflict will end so he can return home. The museum acquired this painting during World War II, and it seems likely that the painting’s subject was viewed as especially significant for its wartime audience.
Vendite osservate: 0 · Vendite comparabili: 0 · Provenienza: 5 · Mostre: 7.
