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As this page is updated, in June 2011, we reference three 'Schenck' paintings that are available for purchase.

Two of the works can be seen by visiting site page 41. The third is here. Do drop by!

Albert Schenck Datapages 01, 02 & 04 are now on site. Plus all of the image pages, accessible though the index on page 05. NEXT PAGE

To search for specific text on this page, just press 'CTRL + F' & then enter your search term.

Welcome to this non-profit, informational site about Auguste (or August) Friedrich (or Frederic) Albrecht (or Albert) Schenck (1828-1901 - the exact dates would seem to be Apr. 23, 1828 and Jan. 1, 1901). Whose wife, was Ludowika Stapaczinska, born in Warsaw, Poland, I read. Her dates of birth & death elude me but she surely lived thru 1905 in which year she donated 'The Orphan' to the Musée du Luxembourg in Paris. That data is, however contradicted by a webpage (quiz question 3) of the Ville d'Écouen which states that she was born in 1821 & died in 1900. The page also notes that her name was rather Louise Emilie Stapaczjuska & that they were married in 1850.

Elsewhere in this total site, specifically here, I featured a 'Lake Image' of an engraving by an artist named Albert Schenck. Today, to see that page, you need the java add-on to be able to access it using Internet Explorer or you can see it with Netscape Navigator. It was entitled 'In the Stubble-Fields' and was created from an 1880s photogravure (you can see it on site page 07) for sale on e-Bay by 'martin2001' of Virginia in Jan. 2002. I have now been successful in finding more information about the artist, and some at least of his works & invite you to visit the pages linked above.

Visitors who simply wish to learn what I know about 'In the Stubble-Fields' can visit site page 07. And visitors that wish to see the data I have now located about the work entitled 'Found' or 'Shepherd's Call' can go to page 08. Page 05 is a growing index to the artist's works.

Do you want to make a comment? A site guestbook is here. Test.

This particular page has evolved into being primarily biographical in nature. But biographical data is truly quite limited, so far at least.

'martin2001' used the following words about the artist and I have retained them here.

Albert Schenck was born at Gluckstadt, Holstein, Germany, in 1828. He studied under Cogniet in Paris, became a naturalized French citizen, and spent most of his artist life in France. He received various medals, and was a Chevalier of the Orders of Christ of Portugal and of Isabella the Catholic. He made his debut at the Salon of 1855.

"What a treat our artist supplies in this exquisite bit of nature! The shepherd leans dreamily on his staff, relieved from care by his faithful dog; the sheep group themselves with a charming naturalness, and every line of the artist contributes to the perfect expression of their form and character." and "an artist must not only be skilled in design, but must needs be a sincere lover of animals, to paint a picture like this.... Doubtless our artist is one of those, and the number is not small who firmly believe that the lower animals have souls. Certainly those who are much with them must often be deeply impressed by the intelligence that beams in their eyes, and by emotions which seem to crave expression with a yearning that is full of pathos. Not strange therefore that gifted men and women should deem such creatures worthy of their companionship and study. In the retirement of a farm at Ecouen, Schenck lived among his beloved dogs, horses, oxen, goats and sheep, and so grew familiar with all their characteristic traits and attributes. Few artists study the human subject so constantly and deeply as he studies these comrades of the farm-yard and the kennel."

The words which are in italics above came, I learn, from the descriptive material that was published with that print. But not the balance of martin2001's delightful text.

It would seem that the artist's name may well have been Auguste (or August) Friedrich (or Frederic) Albrecht (or Albert) Schenck (1828-1901). In a book entitled "The Masterpieces of French Art", Louis Viardot, et al. Volume ii. Gebbie & Co., 1884, published in the U.S., he is named August Frederic-Albrecht-Schenck.

The following data appeared in a book entitled "Artists of the Nineteenth Century" written by Clara Erskine Clement (1834-1916) and Laurence Hutton (1843-1904). Originally published in 1884, it was republished a number of times, most recently in 1969 ("North Point Press", and "Arno", perhaps). What appears below, from the 1907 edition, is however, so far as I can see, identical in text to the 1884 edition. The book is listed in the Toronto Reference Library in Toronto, Ontario, Canada, as being by "Waters, Clara Erskine Clement" ... I now learn that Clara married a gentleman named Waters hence that reference. It is, incidentally, an alphabetical listing of 2,050 biographical sketches and is described as being two volumes in one. Indeed it is. There are duplicate page numbers accordingly. The data below came from pages 239 and 240 of the second volume.

It would seem that there may well be other sources of data re the artist. The words below, as an example, do not contain martin2001's elegant text (above). So we will continue to search for more data about the artist and place it here as it becomes available.

Without more ado, here, I hope verbatim, is what 'Artists of the Nineteenth Century' said about August Frederic Albrecht Schenck. I think that the 'State' mentioned early in the text means France.

Schenck, August-Frederic-Albrecht. (Ger.) Born at Gluckstadt, 1828. Chevalier of the Orders of Christ of Portugal and of Isabella the Catholic. Medal at Philadelphia. He passed some time in business in England and Portugal before he became a pupil of Cogniet. He made his début at the Salon of 1855. His "Repose on the Seashore" (1864) and "The Awakening" (1865) were bought by the State. His pictures are much admired, and his reputation is, perhaps, greater in England, Portugal and America than in France. His exhibit of 1877, "The Return to the Park" and "A Bit of Auvergne" was much praised. Soon after his début he lost his fortune. At Philadelphia he exhibited "Sheep in a Storm" Mr. D. Waldo Lincoln has a very fine work by Schenck with the same title. Among his more famous pictures are "Autour de l'auge," belonging to Count Castellani; "Perdus," to Miss Wolfe of New York; "The last Hour," to Mr. Gibson of Philadelphia. Mrs Eliza Sutton of Peabody, Mass., has a fine example of his brighter manner, where the flock are beneath a bright sky, in the midst of gay flowers and fresh pasturage. The "Awakening" is at the Museum of Bordeaux; and "In the Dale," at the Museum of Lille, - in short, Schenck's pictures are in many galleries in Europe and America. At the Salon of 1878 he exhibited "Anguish" and "The Neighbouring Mill."

"Albert Schenck is certainly one of the most original figures of the contemporaneous artistic gallery; I should like to have the time to paint in full this robust companion, born in Holstein, annexed by Prussia without asking, and adopted by France because he wished it. All the world today regards Schenck as one of our first animal-painters. He is one of those originals, of a species not yet extinct, who prefer dogs to men, and find more sweetness in sheep than in women. With such fancies one leaves the city for the fields, and has only to do with animals. Our artist has taken this part after having profoundly studied his fellow-creatures. Retired to Écouen, to a farm, he lives in the midst of oxen, dogs, goats, asses, horses, and sheep of all types, races and species; cares for them, cultivates them, loves them, and above all studies them, as never artist studied his models. He know better than anyone their habitual behaviour, their favorite poses, their preferred attitudes, and the mobile play of their physiognomies. By means of studying closely the joys and griefs of these modest companions and humble servants of man, he has penetrated the inmost recesses of their souls, which he knows how to show us in pictures of striking truth. His animals' heads are particularized with all the care which Cabanel, Dubufe, and Bonnat gave to the human mask. The picture which he exhibits to-day under the title "Angoisses" is pathetic to the last degree. A lamb is wounded, lying on the ground, losing its blood, which pours out of a horrible wound. The ravens, with their infallible instinct, scent the approaching death, and await their prey; their sinister circle is closed in, - the unfortunate little beast cannot escape them. The mother is there; she comprehends it, the poor creature! the fate which awaits her dear nursling, and broken-hearted, full of anguish, (it is the title of the picture, and it is just), she bleats for the shepherd who comes not. It is a little drama, this picture, and as poignant as if it had men for actors and victims." - Supplement of the Figaro, June 5, 1878.

"There are few artists more popular than Schenck, and the crowd which goes from year to year to the Palace of Industry has quickly discovered, among the innumerable pictures, his works with a touch so spirituelle and a dramatism so powerful in their simplicity. The reflected judgement of the connoisseurs confirms the instantaneous impression of the multitude, and this artist is able to please equally the difficult and the naïfs." - Édouard Drumont, Galérie Contemporaine, Litteraire, Artistique, 1871.

I think that it is clear that the paragraphs immediately above, i.e. the text in small type, must be text as translated into English from the original French. A shortened version of the title of the French volume is given at the end. It would be good to be able, one day, to locate that original French text and place it also on this page. In that regard, it was of interest to find a listing (early 2006 I believe but now long gone) for a portrait of the artist from a later (vers 1885) edition of the same work. That listing essentially read as follows:

[ Cliché Mulnier ] Portrait de Auguste Frédéric Albert SCHENCK

Portrait de Auguste Frédéric Albert SCHENCK, peintre français - ( 1828-1901) Paris - Galerie Contemporaine des Illustrations Françaises - (vers 1885) - Photographie tirée en photoglyptie de 11,5 x 8 cms environ, contrecollée sur papier - - Prix : 75.00 €

Avec la notice biographique par Edouard DRUMONT et 1 reproduction de tableau en photoglyptie sur carton fort -

I refer above to a French text from which a few lines, translated into English, appear above. I now learn, in Apl. 2021, that such text was printed on the rear of the 'Schenck' page in 'Galerie Contemporaine des Illustrations Françaises' (see below). An image of that page has become available vie e-Bay, but I have not yet tried to transcribe the text & then, on a 'best efforts' basis with my limited French, translate it into English. Probably with the two texts to be made available side by side. For the webmaster a quite difficult assignment yet to be accomplished. But the image of the significant portion of that page is now available for viewing by site visitors here.

I have not yet succeeded in getting access to any edition of that volume (published and republished in the period of 1876/1894) but now know much about it. It would seem that it contained 81 illustrated essays of prominent citizens of the day including painters and sculptors. All illustrated, so far as I can see, by photographs taken by Ferdinand Mulnier, a French photographer, active in the period of 1870/1876, whose studio was at 25 Boulevard des Italiens, Paris. I cannot yet locate his dates of birth and death.

Individual 'woodburytype' plates from the volume, are offered for sale frequently. The National Gallery of Canada had 61 such plates in its collection identified 'Goupil & Cie' - who perhaps then were the publisher of the volume.

Why am I telling you all this? Because the 74th plate in the volume is none other than Albert Schenck. And at left above, without more ado, is that portrait or at least the significant content of the Schenck plate since I cut a portion off the top. At last an image of the artist! From the period of 1870/1876 it would seem. A larger version of such image, again with the top portion cut off, can be seen here.

It is from 'Galerie Contemporaine Artistique, P36, p45', but how that relates to what seems to be a full page image in 'Galerie Contemporaine des Illustrations Françaises', as above, I do not know. You used to be able see what I found at a now dead 'Mercury National Gallery of Art Archive' page.

Here it is. An important one, which has his signature at bottom right. And probably needs to be seen in full size even if that requires scrolling.

It features the shepherd who appears in so many of Schenck's works & now almost seems to the webmaster to be a long lost friend!

In building these pages, one small piece of data often leads to another!

At left is what I now know to be another image of the artist - not the full image that is available but rather a selected and sharpened portion of an image which used to be available in larger size on the website of the City of Écouen, located just north of Paris, France, & now I suspect essentially a northern suburb of the City of Paris. Albert Schenck, of course, lived in Écouen for a great many years.

The Ville d'Écouen website used to have a page on which a number of paintings were shown. The image of the artist did not used to be identified, but was later identified as being of Albert Schenck. The full image, which seems no longer to be Écouen available is here. Today, in Sep. 2021, a large image of the work is here, thanks to 'Kunstmatrix' & 'Peintres Ecouen', via this page.

For many years the name of the painter of the work was unknown. But his identity is now known. This 'Kunstmatrix' site, however, states clearly that such painting, a large painting indeed (4 ft. 7.12 in. (140 cm.) wide by 7 ft. 2.61 in. (220 cm.) tall, was indeed painted by Frederick Henwood (Frederick Dimble Henwood, 1864/1948), further i) that he painted it after Schenck had died using the Mulnier photograph as his basis & ii) gave it to Schenck's widow. The matter is further confirmed by this page which tells us that Henwood was one of Schenck's foreign students & offers images, not only of the painting, but also of both Henwood (black & white head image) & of Mulnier (under left column). This all explains the similarities of Mulnier's photograph & the painting of Schenck. The painting was later, I read, given to the Ville d'Écouen by Schenck's widow, along with the work La Rafale (the gust), 'in exchange' for the naming of the street on which they lived, after her husband. La Rafale is the name which today is used for what used to be named L'Echir, covered on site page 12.

Another of the images that used to be available at the Écouen site is clearly also by Schenck. The work is now identified as being L'Echir & can be seen on site page 12.

All three images of Albert Schenck, two photographic images and one painting, are essentially the same pose! Hopefully other images of the artist will emerge in the future.

I have seen a reference to the artist in German and I would like, for German speaking visitors to the site, to be able to present that text in its original German along with a translation of the text into modern English. But the webmaster speaks no German. And his efforts at translating text of languages other than English into English via WWW sites so often produces results that are amusing perhaps but of limited value. That by way of saying that a German text is shown here. I do not know enough German to tell you accurately what it in fact is, when it was published & who wrote it. If you can help in that regard, your assistance would be appreciated.

The Mar. 1877 issue of 'Harper's New Monthly Magazine', has at page 496 a brief reference to the artist, but the few words are of considerable interest. 'Schenck was a wine-merchant at Oporto. He sold out his wine vaults, came to Paris, and became an artist of merit.' The entire article in which those words appear was available at the wonderful Cornell University site, available here. (Search for Schenck, journals, Benjamin S. G. W. 'Contemporary Art in France'). But I cannot find it there now.

The National Gallery of Victoria, in Melbourne, Australia, believe that the artist lived in France from c 1857 to his date of death. Perdus clearly means the work known with the English title of Lost

There does seem to be confusion as to the artist's nationality. Many listings state he was Danish, or German, both of which I believe to be wrong having read the words elsewhere on this page. I believe he chose to become & did become a citizen of France.

There is a little information about Écouen, where the artist spent most of his life, on site page 04.

In this site, I will put the titles of the Schenck paintings in bold text, to aid the visitor in his or her search for a specific work. But only where the name appears in my own text since it is inappropriate, I believe, that I alter text where I am quoting the exact original source.

I find it confusing that the artist can be known by so many names. To some he is Albert, to others Albrecht, to others AFA & so on. It would appear that the originals of some Schenck works are located as follows:

1. Daims Dans La Neige, an 1866 oil painting, in the Lille, France, Musée des beaux-arts. The word "daims" means a fallow deer.
2. Le Reveil des Moutons, an 1865 oil painting, in the Bordeaux, France, Musée des beaux-arts. "Reveil" means "awakening". See this site page. It would seem to be the painting referred to in the above 1884 text.
3. Troupeau de Moutons En Fuite, an 1875 sketch? in brown ink, in the Paris, France, Musée du Louvre. That listing refers to Leon Bonnet and he is I believe the artist 'after Schenck'. The word "troupeau" means a flock. "Moutons" are sheep. And "en fuite" means, in flight or running away.

It is possible that images of items 1 & 3 above are available through that link. But I was not able to find them, if they are there.

Values? '' used to describe the market for Schenck's work as being "Uneven. Between $5,000 and $13,000". They too said he was Danish. I presume that those were U.S. dollars.

What would our artist have thought about these pages dedicated to his life's work? Over 100 years ago, it would all have been beyond his wildest imagination, I am quite sure!

This page will then expand as I introduce additional data that interests me & may well interest you also. But a reminder as always. This page and the site to which the above link takes you, are designed for a 1024 x 768 screen setting.

And some of items that probably would, if available, add to my limited body of knowledge of the artist. I do not really want the following, per se. Just whatever new data that they might prove to contain. If you could help in any way, drop me a line.

Data sought

1 'Salon de 1884' book of art prints by Goupil, Paris, France Contains an image of 'Le Rapel' and possibly some related French text.
2 A good quality image of 'Lost - Souvenir of Auvergne' The work which is now on page 06 is always for sale but a well coloured & large image is elusive.
3 Any more images of the artist I do now have three images on site (above), but really just one pose. Can you help with more images of the artist?

Some of those who have graciously helped me, along the way. But I have surely omitted some of the earlier names, alas. In alpha sequence by surname.

aahrt, of Michigan, U.S.A., whose e-Bay store is here
Ron Buol, of Sedona, Arizona, who used to be a fine e-Bay vendor. (Sedonaron Collectibles)
Denis Burke, of Runnells, Des Moines, Iowa
Liette Cere, currently based on an Indian reservation in Northern Ontario, Canada
Karen Comeau, of Port Coquitlam, British Columbia, Canada
Christian C____ of France
Susan D____ of California, U.S.A.
Jeri Dalbec, of Miles City, Montana, U.S.A.
Norman D____ of West New York, New Jersey, U.S.A.
Kimberley Dery, likely of U.S.A.
Sue Harpell, of Edgecomb, Maine, U.S.A.
Christian Janes, of Zieglstadl, Austria, whose kennels are here.
martin2001, printseller, whose store is here and whose e-Bay store is here - who probably does not know that one of his prints started all of this.
Jean Massey, from Quebec, Canada
Wolf M_____ of Vienna, Austria
The National Gallery of Victoria, in Melbourne, Australia
Samantha Prince from the Central Pennsylvania countryside
Eric Raunig, of Boston, Massachusetts, U.S.A.
Kaneda Shotaro, of Melbourne, Australia
Shannon ____ of San Diego, California, U.S.A.
JoAnn Speidel, of Tampa Bay, Florida, U.S.A.
John (Johnny) S. Stanton, of Gary, North Carolina, U.S.A.
Kim Townsend, from the U.S.A.
Linda Walsh, of Cincinnati, Ohio, U.S.A.
Martin Wiseman, of Melbourne, Australia
Darris Yeager, of Olympia, Washington, U.S.A.

Not forgetting
Jan from
Linda ??? from the U.S.A.
Sue from the U.S.A. re page 11
e-Bay, which is becoming a quite irreplaceable research tool

I thank you all!

Albert Schenck Datapages 01, 02 & 04 are now on site. Plus all of the image pages, accessible though the index on page 05. NEXT PAGE

To the Schenck Lake Applet Page & to the Special Pages Index.

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BIOGRAPHISCHES KÜNSTLER-LEXICON A WWW page, which used to be available here (no longer), sets out in German some biographical words about Schenck, words described as being 'Dr. Hermann Alex. Müller, Leipzig, Verlag des Bibliographischen Instituts, 1882'. Which sounds to me, but I may be totally wrong, to be a directory of biographies, published in Leipzig, in Germany, in 1882.

I did attempt to translate the text using WWW translation sites. But do not show the English results here, results which are very poor indeed. A translation of the German text into modern English, for insertion in the empty box at right below, would be most welcome.

Schenck, August Friedrich Albert, Tier- und Idyllenmaler, geb. 23. April 1828 zu Glückstadt in Holstein, wurde anfangs für den Kaufmannsstand bestimmt, kam schon mit 14 Jahren nach England und von da nach Portugal, wo er fünf Jahre blieb und in seinen Mußestunden Zeichnungen aus dem dortigen Volts- und Strandleben machte, deren Grazie und Melancholie sehr an Leopold Robert erinnerten. Dann gab er die kaufmännische Laufbahn auf und widmete sich in Paris unter Cogniet der Malerei. Auf der Ausstellung 1855 blieb sein Bild aus dem portugiesischen Volksleben unbeachtet, weil ihm noch die koloristische Routine fehlte. Als er bald darauf einen großen Teil seines Vermögens verlor, widmete er sich mit um so größerm Eifer der Tiermalerei und errang hierin sehr bald bedeutende Erfolge. Dieser Art sind die Bilder: Ruhe am Meeresufer (1864), das Erwachen der Schafherde (1865, vom Staat angekauft), auf dem Berg, die Herde im Schnee, die letzte Stunde der Schur (1868), die Esel um den Trog, dieZiegenherde im Schneesturm (1870), mein Regenschirm (ein komisches Erlebnis aus dem Jahr 1875), Stoppelfeld mit Schafen, der Verlorne Weg, der Strohwisch und der landschaftlich besonders meisterhafteGebirgsweg (1877). Fast alle diese Bilder und andre Motive aus der Auvergne zeigen eine scharfe Beobachtung der Tierwelt und ein glänzendes Kolorit. Er lebt in Ecouen bei Paris.