A Bivouac Fire on the Potomac - Winslow Homer
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A detailed wood engraving by Winslow Homer depicting Union soldiers resting around a campfire during the American Civil War.
Published in Harper's Weekly on 21 December 1861, this wood engraving captures a scene from the American Civil War. Winslow Homer, working as a special correspondent and illustrator for the magazine, documented the daily life of Union soldiers stationed along the Potomac River. The composition centres on a group of soldiers gathered around a fire, providing a rare glimpse into the informal moments of military service.
Homer employs a dense arrangement of figures to convey the crowded conditions of the camp. Some men are seated, engaged in card games or conversation, while others stand or recline in the shadows. The artist uses light and shadow to define the space, with the fire acting as the primary source of illumination. This technique creates a contrast between the warmth of the firelight and the darkness of the surrounding night. The figures exhibit a range of postures, reflecting the weariness and camaraderie of the troops.
As a printmaker, Homer demonstrates a command of line and texture. The cross-hatching and varied line weights build the forms of the soldiers and the rough terrain of the camp. This work belongs to a series of illustrations Homer produced during the early years of the conflict. It avoids the glorification of battle, focusing instead on the human experience of the soldier. The inclusion of tents in the background and the varied attire of the men provide historical detail regarding the conditions of the Union Army. This print offers a view into the visual culture of the mid-nineteenth century, where mass-produced illustrations brought the realities of the war to a wide public audience.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
A Bivouac Fire on the Potomac - Winslow Homer
Artist Biography
Winslow Homer
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like