(b Owosso, Michigan,1874; d Le Mesnil-sur-Blangy, France, 1939) American Painter. Frederick Carl Frieseke, a graduate from the Art Institute of Chicago, moved to Paris in 1898 to study at the Acadèmie Carmen. There he met James Abbott McNeill Whistler, an influential mentor in Frieseke’s early career. In the summer of 1906, Frieseke settled in Giverny where the landscape, sunshine, and freedom to paint as he wanted inspired him to remain for almost two decades. Giverny was an artist colony led by French Impressionist Claude Monet that had been favored by American artists including Theodore Butler, Willard Metcalf, Richard Miller, Theodore Robinson and Guy Rose. After arriving in Giverny, Frieseke lived in Theodore Robinson's former house, next door to Monet. The intricate and extravagant garden of the French Impressionist painter had a significant impact on Frieseke.* This blending of an American Impressionist style with typically French subjects resulted in Frieseke's prominence at home and abroad** Following the end of WWI the artist relocated to Normandy in 1920. The artist began experimenting with a darker palette and practiced with the effects of chiaroscuro. His ability to play with light and technique and imbue his models with an air of independence continues the venerable art historical tradition of female representation and positions the artist as one of the most venerated American Impressionist painters of women.*** Highly successful throughout his lifetime, Frieseke acquired the praise of many of his contemporaries and accepted a number of awards throughout America. (Credit: Christie’s, New York, Important American Paintings, May 25, 2006, Lot 56; **Christie’s, New York, Important American Paintings, December 2, 1998, Lot 30; ***Christie’s, New York, Important American Paintings, May 21, 2008, Lot 60.)
Frederick Carl Frieseke (American 1874-1939) Woman at Her Dressing Table, oil on board, signed F.C. Freiseke lower right, framed behind glass. Dimensions: 9.75 x 11.25 in. panel size, 20.5 x 22 in. as framed. Condition: Very good with no damage or restoration. In original condition.
FREDERICK CARL FRIESEKE New York/Michigan/France, 1874-1939 "Louise with Nosegay". Signed lower left "Frieseke". Titled on label for Hollis Taggart Galleries.
Frederick Carl Frieseke The Blue Gown 1924 oil on canvas 36.5 h x 36.5 w in (93 x 93 cm) This work will be included in the Frieseke Catalogue Raisonne, compiled by Nicholas Kilmer, the artist's grandson, with the support of the Hollis Taggart Galleries. Signed and dated to lower left 'F.C. Frieseke - 24'. Numbered to Macbeth Gallery stamp on verso '1243'. Provenance: Sotheby's, New York, American Paintings, Drawings & Sculpture, 15 March 1995, Lot 104 | Acquired from the previous, Collection of Robert Sakuta This work will ship from Chicago, Illinois.
"Lilies" by Frederick Carl Frieseke, 1990 Unsigned Offset Lithograph. Paper size is 24.5 x 26.75 inches, with an image size of 20 x 25 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Poster for the Terra Museum of American Art. Published by Haddad's Fine Arts, Inc. Large dent in the top left border.
FREDERICK CARL FRIESEKE (1874-1939) Cottage by the Sea. Watercolor and pencil on paper laid down to board, by 1898. 256x348 mm; 10¼x13¾ inches. With the artist's signature ink stamp lower left. Provenance Estate of the artist, with the estate stamp and numbered "12" in ink verso. Harriet Jane Graham Carr, Chicago, maternal aunt of the artist. Thence by descent to Viletta Bombaugh Thayer, Palatine, Illinois. Thence by bequest to Eva-Lou Bombaugh Gardner, 1988. Christie's East, New York, February 14, 1990, lot 79. Purchased from the above by current owner, Pennsylvania. Note This watercolor will be included in the forthcoming catalogue raisonné compiled by Nicholas Kilmer, the artist's grandson, and sponsored by Hollis Taggart Galleries, New York.
Frederick Carl Frieseke (American, 1874-1939) Woman at her Toilette, c. 1924 oil on canvas signed F.C. Frieseke (lower right) 26 1/4 x 32 1/2 inches. This lot is located in Chicago. Property from The Private Collection of Ms. Darla Moore, Charleston, South Carolina
Frederick Carl Frieseke (American, 1874-1939), "Tulips", pair of watercolors, signed, 1928, exhibited at Hollis Taggart Gallery, New York, and Shiawassee Art Council, Michigan, 17" x 13 1/4", framed 24" x 20". Provenance: Hamilton, Massachusetts collection.
Frederick Carl Frieseke (American, 1874-1939), harbor scene, watercolor on paper, signed L/R and dated 32, 12" x 25", framed 20" x 34". Provenance: Westbury, New York collection.
An antique American oil on canvas painting by Frederick Carl Frieseke. The Impressionist painting depicts a brightly dressed woman in a blooming summer garden. Signed lower right. Framed. Frederick Carl Frieseke, 1874 to 1939, was an American Impressionist painter who spent most of his life as an expatriate in France. An influential member of the Giverny art colony, his paintings often concentrated on various effects of dappled sunlight. Frieseke was one of the few American artists elected to full membership in the Society. One of a kind artwork. American Fine Art, Modernist Paintings And Wall Decor Collectibles.
An Eye for Impressionism: Property from an Important American Estate Frederick Carl Frieseke 1874 - 1939 Necklaces (Mahdah Reddin) signed F.C. Frieseke. (lower right) oil on canvas 31 ¾ by 31 ¾ in. 80.6 by 80.6 cm. Executed circa 1926. This painting will be included in the draft Frieseke Catalogue Raisonné, compiled by Nicholas Kilmer, the artist’s grandson, with the support of the Hollis Taggart Galleries. That draft is now in the collection of the Smithsonian Institution, Archives of American Art.
A Pair of Frederick Carl Frieseke (American 1874 - 1939) Tulips Watercolor on rag board Signed lower right F.C. Frieseke 16 1/4" x 11 3/4" Provenance: Hollis Taggart Galleries, 5/5/03 ($33,000) label on verso, from a private collection designed by Cullman & Kravis Inc. Condition: overall good condition
Attributed to Frederick Carl Frieseke, American, French, 1874 to 1939, an antique oil painting on cardboard, Meaux, depicting an Impressionist townscape. Signed lower right. titled lower left. Framed. A paper label with an inscription, on the backside: This old French town is about 30 miles distant from Paris. It has a marvelous old cathedral, dominating the town and many streets, which have not changed in centuries in looks and smells. This is one of them. Frederick Frieseke is known for Female figure in interior and landscape painting. Frederick Carl Frieseke was an American Impressionist painter who spent most of his life as an expatriate in France. An influential member of the Giverny art colony, his paintings often concentrated on various effects of dappled sunlight. One of a kind artwork.
Frederick Carl Frieseke, American, 1874 to 1939, a pencil and watercolor on paper painting depicting a seascape, 1932. Signed and dated lower right. Matted and framed. Note: Born in Owosso, Michigan, Frederick Frieseke became a leading American Impressionist, his principal subject being a single voluptuous female figure, often nude, in a colorful outdoor setting of sun dappled light. He studied at The Art Institute of Chicago, the Art Students League in New York, and at age 24, entered James Whistlers Academie Carmen in Paris. In 1899, he painted mural decorations in Atlantic City, New Jersey for Wanamakers store and the Shelbourne Hotel. Lured back to France by the painting style of Impressionism and the freedom and stimulation of the art climate, he became an expatriate from 1905, spending every summer at Giverny, home of Claude Monet. There Frieseke had a lush garden where many of his models posed. Frieseke was one of the few American artists elected to full membership in the Society National des Beaux Arts in Paris. Source: Michael David Zellman, 300 Years of American Art. One of a kind artwork. American Fine Art, Modernist Paintings And Wall Decor Collectibles.
A Pair of Frederick Carl Frieseke (American 1874 - 1939) Tulips Watercolor on rag board Signed lower right F.C. Frieseke 16" x 11 3/4" Provenance: Hollis Taggart Galleries, 5/5/03 ($33,000) label on verso, from a private collection designed by Cullman & Kravis Inc. Condition: overall good condition
Property from a Distinguished New York Collection Frederick Carl Frieseke 1874 - 1939 Japanese Parasol signed F.C Frieseke- (lower right) oil on canvas 32 by 25½ in. 81.3 by 64.8 cm. Executed circa 1913. Japanese Parasol is included in the draft Frieseke Catalogue Raisonné, compiled by Nicholas Kilmer, the artist’s grandson, with the support of the Hollis Taggart Galleries. That draft is now in the collection of the Smithsonian Institution, Archives of American Art.
Frederick Carl Frieseke (1874-1939) Girl at the Writing Desk signed and dated 'F.C. Frieseke -27' (lower left) and signed and dated again partially indistinctly (on the turnover edge) oil on canvas 29 7/8 x 32 in. (75.6 x 81.3 cm.) Painted in 1927.
Frederick Carl Frieseke (1874-1939) Sun Spots signed 'F.C. Frieseke.' (lower right) oil on canvas 25 3/4 x 32 in. (65.4 x 81.3 cm.) Painted circa 1926.
Artist: Frederick Carl Frieseke, American (1874 - 1939) Title: Torn Lingerie Year: of Original: 1915 | Year Printed: 1982 Medium: Poster on Foamcore Image Size: 19.5 x 20 inches Size: 30 x 23 in. (76.2 x 58.42 cm) Description: This poster is for an exhibition of American Impressionist art at the Saint Louis Art Museum that took place in 1982. In the center of the composition is a recreation of the painting "Torn Lingerie" by Frederick Carl Frieseke. The original painting was completed in 1915 and still hangs in the permanent collection at the Saint Louis Art Museum.
Frederick Carl Frieseke (American, 1874-1939) Paysage (Moret), 1901 oil on canvas signed F C Frieseke and dated (lower left) 19 7/8 x 24 inches. The Collection of Philip and Judith Sieg, Bellefonte, Pennsylvania Paysage (Moret) is included in the draft Frieseke Catalogue Raisonne compiled by Nicholas Kilmer, the artist's grandson, with the support of the Hollis Taggart Galleries. That draft is now in the collection of the Smithsonian Institution, Archives of American Art. The work's original title, Passage Moret, in what appears to be the artist's hand, is inscribed on a damaged paper label verso. Provenance: Private Collection, Washington, DC Hirschl & Adler Galleries, New York, acquired from the above, April 1978 (as Landscape with Picnic Scene) Acquired from the above by the present owners, October 1978 Exhibited: Saginaw, Michigan, Saginaw Art Museum, Frederick Carl Frieseke: American Impressionist, September 11, 1983 - January 1, 1984 (as Landscape with Picnic Scene) Lot note: In 1901, Carl Frederick Frieseke wrote to Sadie O'Bryan, who would soon become his wife, that "landscape is by far the most difficult thing I have tackled" (see Frederick Carl Frieseke: The Evolution of an American Impressionist, Princeton University Press, 2001, p. 21). Until then, Frieseke had indeed mostly focused on nudes and his early manner aligned with the French academic tenets he learned at the School of the Art Institute of Chicago in the mid-1890s, and later at the Académie Julian in Paris, which he attended from 1897 until 1900. With the new century, however, Frieseke's artistic horizon would broaden, thanks in large part to the teachings of James Abbott McNeill Whistler at the Académie Carmen, an art school in Paris targeting British and American students. Whistler championed a very painterly aesthetic, bringing forth a style defined by the broad application of loose swaths of uniform tonalities, resulting in the suggestive arrangement of cursory forms, unconstrained by the strict delineation of drawing. The artist remained very much in control of the design, orchestrating a careful selection of natural details, while consciously omitting others. In her essay "Frieseke's Art Before 1910," H. Barbara Weinberg reminds us that Whistler's ultimate advice to his students was to "judiciously [select] from nature rather than merely [transcribe] appearances" (see Frederick Carl Frieseke: The Evolution of an American Impressionist, p. 60). Weiner also identifies several other movements that may have influenced Frieseke at the turn of the century. Among them are the sinuous, curvilinear patterns of Art Nouveau, the attenuated and blurred contours of Pictorial photography, and the profuse, colorful, blending shapes and figures of the Nabis. According to Weiner, all evince the artifice in art, the fact that it is constructed, and underline the complex relationship artists and designers forged between their practice and the natural world around them. In the summer of 1901, Frieseke is known to have spent time in Le Pouldu, a small village in Brittany near Pont-Aven, which was a major Impressionist art colony during the second half of the 19th century. Paysage is purported to be depicting Moret-sur-Loing, a village located southeast of Paris, and while such a visit is not documented, it may be that Frieseke visited the area on occasion, as it was a favorite locale of the previous generation of Impressionist painters, including Alfred Sisley and Gustave Loiseau. The present work splendidly augurs Frieseke's forthcoming embrace of the landscape as a primordial artistic subject, displaying key Impressionist features such as a loosening, experimental brushwork, a thoughtful arrangement of details gleaned from nature, and a brilliant, colorful palette. Over the years, and especially after 1905, when he would visit Giverny every summer until 1919, Frieseke's strand of Impressionism would evolve into a highly distinctive aesthetic, as he increasingly devoted himself to representing the outdoors, masterfully capturing the visual impact of sunlight on the landscape and the figures in it.
Frederick Carl Frieseke (American, 1874-1939) Paris Bridge, 1900 crayon and watercolor on paper signed F.C. Frieseke (lower right) 12 3/4 x 16 inches. Property from the Estate of Catherine Dollive Epstein This lot is included in the draft Frieseke Catalogue Raisonne, compiled by Nicholas Kilmer, the Artist's grandson, with the support of the Hollis Taggart Galleries. That draft is now in the collection of the Smithsonian Institution, Archives of American Art. Provenance: Estate of the Artist Hollis Taggart Galleries, New York Acquired from the above, 2004 Exhibited: New York, Hollis Taggart Galleries, Chamber Works by Frederick C. Frieseke, November 28, 2000 - January 13, 2001, no. 11, p. 105, illus. (also traveled to Owosso, Michigan, Shiawassee Arts Council, January 26 - February 11, 2001)
FREDERICK CARL FRIESEKE AMERICAN, 1874-1939 LANDSCAPE, LA POULDU, BRITTANY, 1901 Watercolor Lower right signed and dated: F. C. Frieseke 1901/; verso museum label
Frederick Carl Frieseke (American, 1874-1939) Girl with a Basket of Ribbons, painted by 1915 < br> Oil on panel Signed lower right: F.C. Frieseke 31-3/4 x 25-1/4 in. (80.6 x 64.1 cm.) PROPERTY FROM THE JANE W. PETTUS TRUST, SAINT LOUIS, MISSOURI Provenance: Private collection, circa 1930. By descent to the present owner. Ford Art Auctions May 28,2019 lot #0038 EXHIBITED: Saint Louis Art Museum, Saint Louis, Missouri, "Impressionism Reflected: American Art, 1890-1920," May 6-June 27, 1982. LITERATURE: Saint Louis Art Museum, Impressionism Reflected: American Art, 1890-1920, exhibition catalogue, Saint Louis, Missouri, 1982, n.p. Frederick Carl Frieseke's Girl with a Basket of Ribbons is an exquisite example of the intimism practiced by the American artists in Giverny. This genre, developed by the Nabis, featured artfully posed female models in decorative interiors illuminated by natural light. With its subtle light and beautiful tonal harmonies, Girl with a Basket of Ribbons demonstrates Frieseke at the height of his abilities. Frieseke was one of the leading figures among the second generation of American expatriates in France. He first studied at the Art Institute of Chicago and the Art Students League in New York before leaving for Paris in 1898 to continue his studies. There Frieseke enrolled at the Académie Julian and at the Académie Carmen, James McNeill Whistler's short-lived school. Whistler's passion for Japanese art, for decoration, and for distinctive color arrangements had a lasting influence on Frieseke's work. By 1900, Frieseke was spending summers in Giverny and, after achieving artistic and financial success, was able to purchase a home there in 1906. He chose American Impressionist Theodore Robinson's former house next door to Claude Monet's. Like Monet, Frieseke found inspiration in the local landscape and the sunshine. In the present work, Frieseke's model appears lost in reverie, with her fingers looped into the colorful threads of yarn in her basket. The mood is contemplative and serene. The basket set upon her lap at center creates a diagonal through the composition, juxtaposing the vertical and horizontal moldings on the wall of the room. The woman's curved chair unites the composition, instilling depth, balance, and harmony to the scene. The structure of the composition is similar to those of Édouard Vuillard. Both Vuillard and Frieseke often presented their figures in corners of rooms, viewing them diagonally and from a slightly elevated vantage point. While deeply influenced by the French Impressionists and the Nabis, Frieseke's compositions also possess techniques revolutionized by the post-Impressionists. As William H. Gerdts writes, "Frieseke's use of flat, interlocking patterns to achieve two-dimensional effects allies his art to French Post-Impressionism" (Monet's Giverny: An Impressionist Colony, New York, 1993, p. 174). Frieseke was at the height of his career during the 1910s and early 1920s, when he painted Girl with a Basket of Ribbons and was perhaps the most popular of all living American artists. His ability to manipulate light and imbue his models with an air of psychological independence makes him one of the most accomplished American Impressionist painters of the female figure. This painting will be included in the forthcoming catalogue raisonné of Frieseke's work being compiled by Nicholas Kilmer, the artist's grandson, and sponsored by Hollis Taggart Galleries, New York. 31-3/4 x 25-1/4 in. (80.6 x 64.1 cm.)
Frederick Carl Frieseke (1874-1939) The White Parasol (Study) signed 'F.C. Frieseke.' (lower right) oil on board 15 x 14 1/2 in. (38.1 x 36.8 cm.) Painted circa 1909.
Artist: Frederick Carl Frieseke, American (1874 - 1939) Title: The Garden Parasol Year: Medium: Poster Image Size: Size: 24 x 32.25 in. (60.96 x 81.92 cm)
(American, 1874-1939) Portrait of Sarah Frieseke, 1922, signed and dated lower right "F.C. Frieseke 1922", oil on canvas, 31 x 25 in.; fine period carved gilt wood and composition frame, 41-1/4 x 35-1/4 in. Note: Exhibited: Chamber Works by Frederick C. Frieseke, Hollis Taggart Galleries, New York, NY, Nov. 28, 2000-Jan. 13, 2001; this exhibition traveled to Shiawassee Arts Council, Owosso, Michigan, Jan. 29-Feb. 11, 2001. This painting will be included in the forthcoming catalogue raisonne of Frieseke?s work being compiled by Nicholas Kilmer, the artist?s grandson, and sponsored by Hollis Taggart Galleries, New York. Provenance: The artist; by descent in the artist?s family; Hollis Taggart Galleries, New York (label verso), acquired by the consignor in 2007; A Private New Jersey Estate
Artist: Frederick Carl Frieseke, American (1874 - 1939) Title: The Garden Parasol Year: Medium: Poster Image Size: Size: 24 x 32.25 in. (60.96 x 81.92 cm)
Frederick Carl Frieseke American, 1874-1939 Breton Peasants, circa 1890 Signed F. C. Frieseke (ll) Charcoal and watercolor on paper 8 5/8 x 11 inches (22 x 28 cm) C
Watercolor on paper depicting a still life of bowl filled with flowers, in a hand painted French mat. Signed and dated lower right, F.C. Frieseke. Image: 11.75” x 16.25” in a later gilt decorated frame. 19.75” x 24”. Berry-Hill Galleries, NY label on reverse.
