Frank Duveneck. 1848-1919.
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Bridge of Sighs (2nd plate). 1885. Etching. Poole 29.i/ii. 12 x 9 3/4 (sheet 14 x 11 3/4). Rare impression of the first state before the edition 100 signed proofs of the second state published by Robert Dunthorne, London. Illustrated: Print Collector's Quarterly 25 (1938): 318. A rich impression with plate tone printed on sturdy wove paper with full margins. Provenance: Cincinnati Museum (duplicate); Dr. Sam L. Greenwood; Baldwin-Wallace College, Berea, Ohio. Monogrammed, dated and annotated 'Venice' in the plate; signed in pencil. $5,000.
View of the Grand Canal (Riva del Carbone, Venice) 1883. Etching. Poole 24. 10 7/8 x 15 3/4 (sheet 12 3/16 x 17 1/8). Illustrated: Print Collector's Quarterly 25 (1938): 453. Weak areas at some of the plate edges professionally repaired; otherwise excellent condition. A rich impression with plate tone printed on Van Gelder paper. An early proof, before the later printing by the Cincinnati Museum Association. Unsigned. $4,500.
Duveneck, an American expatriate artist, lived and worked in Munich. His pupils, who were described as the 'Duveneck boys', included Otto Henry Bacher, Robert Frederick Blum, Theodore M. Wendel, George Edward Hopkins, John Alexander White, Julius Rolshoven, Charles Abel Corwin and Harper Pennington.
Duveneck first travelled to Venice in 1873, then returned in 1877 with W. M. Chase and J. H. Twachtman. Duveneck met Whistler in Venice in 1879/80, he and some of his students having left for a two-year sojourn in Florence and Venice in 1879. In Venice, Whistler spent some time in Duveneck's studio on the Riva degli Schiavoni, and the two men began to experiment with etching. Duveneck's etchings of Venice are large and bold in effect. They tend to be more detailed than Whistler's.
Duveneck was one of the ten Americans accepted in the English "Society of Painter Etchers.
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