Question: When was the painting last shown in America?
About the article "Jackson Pollock", section "At auction".

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Matejko began work on the painting in the middle of January 1891, to coincide with the centenary of the Constitution.
Although the painting was not finished until October, by May 3 it was sufficiently advanced to be shown at the anniversary exhibition in Sukiennice, Kraków.
On April 7, 1892, Matejko transferred the painting to Prince Eustachy Stanisław Sanguszko, marshal of Galician Sejm in Lwów, and it was displayed in the Sejm building (now the main building of the Lviv University).
This painting was one of the last works by Matejko, who died in November 1893.
In 1920, two years after Poland regained independence, the painting was moved to Kraków, where from 1923 it was displayed in the building of the Polish Sejm.
The painting was hidden by the Polish resistance during World War II, when Poland was occupied by the Germans.
After the war the painting was transferred to the National Museum in Warsaw, and occasionally displayed in the Sejm building.
Since 1984 the painting has been in the collection of the Royal Castle in Warsaw, where Matejko himself declared he would like the painting to be shown.
The painting is displayed in the anteroom of the Chamber of Senators, where the Constitution was adopted.
The painting was restored in 2007. 
When released in Hong Kong and North America, Wong Kar-wai's "The Hand" was shown first.
When shown elsewhere, Michelangelo Antonioni's "The Dangerous Thread of Things" was shown first.
The film was censored for sexual content in the People's Republic of China. 
A Vision of the Last Judgment is a painting by William Blake that was designed in 1808 before becoming a lost artwork.
The painting was to be shown in an 1810 exhibition with a detailed analysis added to a second edition of his "Descriptive Catalogue".
This plan was dropped after the exhibition was cancelled, and the painting disappeared.
Blake's notes for the "Descriptive Catalogue" describe various aspects of the work in a detailed manner, which allow the aspects of the painting to be known.
Additionally, earlier designs that reveal similar Blake depiction of the Last Judgment have survived, and these date back to an 1805 precursor design created for Robert Blair's "The Grave".
In addition to Blake's notes on the painting, a letter written to Ozias Humphrey provides a description of the various images within an earlier design of the "Last Judgment". 
Commissioning of painting.
The Liverpool painting was commissioned by Arthur George, Third Earl of Onslow, after Delaroche and George reportedly visited the Louvre in Paris, where they saw David's version of the famous event.
It had only recently been re-hung in the museum after a resurgence of interest in Napoleon, nearly 40 years after he was exiled.
Agreeing that the painting was unrealistic, George, who owned a sizable collection of Napoleonic paraphernalia, commissioned Delaroche to create a more realistic depiction.
Elizabeth Foucart-Walker asserts that in fact the painting that hangs in the Louvre was produced first as it was already in America by 1850, when the Liverpool painting was produced.
Stephen Bann suggests that Arthur George's meeting with Delaroche may have occurred, but Delaroche chose to produce two works that are almost identical and send one to America.
The Liverpool version of the painting is more refined. 
Art market.
At auction.
In 1973, Blue Poles "(Blue Poles: Number 11, 1952)," was purchased by the Australian Whitlam Government for the National Gallery of Australia for US $2 million (A$1.3 million at the time of payment).
At the time, this was the highest price ever paid for a modern painting.
The painting is now one of the most popular exhibits in the gallery.
It was a centerpiece of the Museum of Modern Art's 1998 retrospective in New York, the first time the painting had been shown in America since its purchase.
In November 2006, Pollock's "No.
5, 1948" became the world's most expensive painting, when it was sold privately to an undisclosed buyer for the sum of $140,000,000.
Another artist record was established in 2004, when "No.
12" (1949), a medium-sized drip painting that had been shown in the United States Pavilion at the 1950 Venice Biennale, fetched $11.7 million at Christie's, New York.
In 2012, "Number 28, 1951," one of the artist’s combinations of drip and brushwork in shades of silvery gray with red, yellow and shots of blue and white, also sold at Christie's, New York, for $20.5 million—$23 million with fees—within its estimated range of $20 million to $30 million.
In 2013 Pollock's "Number 19" (1948) was sold by Christies for a reported $58,363,750 during an auction that ultimately reached $495 million total sales in one night which Christies reports as a record to date as the most expensive auction of contemporary art.