Lovis Corinth Prints and Multiples

Theodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it still stand today at No. 4 Cheyne Walk...

Drypoint printed in dark brown on heavy cream wove paper with wide margins. This is the third state (of four) from a small edition of only several. Signed and inscribed "II Zustand" ...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Standing Female Nude Drypoint, c. 1910 Unsigned Estate authentication on verso (see photo) Estate authentication verso by Frances Frieseke Kilmer (Mrs. Kenton Kilmer, 1914-1998) (see photo) Probably depicts the artist's wife, the artist's favorite model Extremely rare original drypoint by Frieseke Printed with selective inking to highlight the figure Condition: excellent Image/Plate size: 10 x 6 5/8 inches Frame size: 19 1/4 x 15 3/4 inches Provenance: Estate of the Artist By descent to his daughter Frances Hirschl & Adler Gallery, Stock No. APG 1106.3D-B (see photo) Biography Frederick Carl Frieseke was born on April 7, 1874, in Owosso, Michigan. After studying for a short while at the Art Institute of Chicago and the Art Students League in New York, Frieseke left for France in 1898, and almost all of his career was spent as an expatriate, with ties to the United States maintained through his New York dealer, William MacBeth, and by occasional visits to America. Following the pattern of innumerable young Americans, he enrolled at the Academie Julian where he studied with Benjamin Constant (1845-1902) and Jean-Paul Laurens (1838-1921). He appears to have had at least brief contact with and to have been influenced by James McNeill Whistler, who had recently opened his Academie Carmen in Paris. By 1900 Frieseke was spending summers in the town of Giverny, made famous by the residence of Monet and subsequently by other artists, among them many Americans. In 1906, the year after his marriage to Sarah O'Bryan, he leased a house once occupied by the American Impressionist Theodore Robinson. Although the property was adjacent to Monet's, Frieseke had only limited contact with the French master. Instead he apparently found Pierre Auguste Renoir the most influential of all the Impressionists. Frieseke's Giverny house and garden, as settings for a series of female models, provided nearly all of his subject matter for the next thirty years, although in 1930 he made a series of watercolors of Florida scenes remembered from his childhood and painted some Swiss landscapes. After World War I, the artist and his family settled in Normandy. Frieseke's career falls roughly into three stages. In the first, figures most clearly show his academic training and draughtsmanship. Gradually these evolve into the most common images of the next decade, comprised of loosely-applied blotches of bright color. The vast majority of these show their subjects in the garden, standing among the flowers, taking tea, or just basking in the sun. Others include models in colorful, light-filled interiors. In Frieseke's latest paintings, the figures very often appear indoors, their forms are given greater solidity, and the brushwork is less broken. At the height of his career, in the 1910s and early 1920s, Frieseke was perhaps the most popular of all living American artists. He received numerous awards and medals and saw his work purchased by private collectors and major museums. Decades after the initial introduction of Impressionism by Monet and his contemporaries, Frieseke assumed this style for his work, choosing to ignore the newer artistic movements of the early twentieth century. Nevertheless, his paintings were acclaimed in both the United States and in Europe. In 1904 he won a silver medal at the St. Louis Universal Exposition and a gold medal at Munich. He was elected a member of the Société National des Beaux Arts in 1908 and the National Academy of Design in 1912. Seventeen of his canvases were featured at the Venice Biennale in 1909 and he won the Grand Prize at the Panama-Pacific International Exposition in 1915. He was commissioned to execute several murals, including one for the New York store of John Wanamaker, one of his most loyal patrons. He died on August 28, 1939, at his home in Normandy, in the town of Le Mesnil sur Blangy. In the decades following his death, however, after artistic tastes had changed considerably, his work was nearly forgotten until it received renewed attention as interest in American Impressionism grew in the 1960s Courtesy National Gallery of Art, Washington Etchings by Frederick Carl Frieseke include The Balcony and Standing Female Nude. Frieseke was an American Impressionist painter who was popular in the 1910s and 1920s. Etchings by Frederick Carl Frieseke: The Balcony: An etching by Frieseke from 1904 Standing Female Nude Other paintings by Frederick Carl Frieseke: The Garden Parasol...

Jean Baptiste Camille Corot was a French landscape and portrait painter as well as a printmaker in etching. His prolific works simultaneously referenced the Neo-Classical tradition a...

This impression of "Here They Come !" is from the fourth state of eight. There are six known impressions of the fourth state. Edition 150 (final state). It is signed in pencil in the lower left and inscribed "D-1". The image size 13 7/8 x 11 3/4" (34.6 x 28.8 cm) and sheet size 16 3/4 x 14 5/8" (42.8 x 37.1 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Javier Areán (Mexico, 1969) "Mujer desnuda (estudio)" (Study of nude woman), 2007 dry point on paper Fabriano 300 g. 16 x 13.6 in. (40.5 x 34.5 cm.) Edition of 20 ID: ARA-101

Venise, Nina Etching and drypoint, 1923 Signed lower left (see photo) Titled lower right (see photo) Edition 100 Edition: 100 Printed on light green chine collee paper Condition: Exc...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...