1010

Armin Carl Hansen

(1886-1957)

"Men at Rigging," circa 1924

Etching on wove paper
Edition: 30/50 (the first and only edition issued from the original copper plate, except for two posthumous impressions made for the estate; presumably not issued publicly)
Unsigned; numbered on a label affixed to the frame's backing paper; David Kelso, prntr.; Monterey Peninsula Museum of Art Association, Monterey, CA, pub.
Plate: 7.875" H x 10" W; Sight: 9" H x 11" W

  • Provenance:
    Monterey Peninsula Museum of Art Association, Monterey, CA
    The Collection of David and Holly Davis, Pasadena, CA
  • Literature:
    White 73

    Other Note:
    While Armin Carl Hansen is perhaps best known as a painter, his graphic work in various print mediums is an important part of his artistic contributions to California and American art history. Hansen was formally trained in San Francisco at the California School of Design and, following the 1906 earthquake and fire that destroyed the school, Hasen went on to study at the Stuttgart Academy in Germany from 1906 to 1908 under Carlos Grethe. After leaving Germany, Hansen spent time in Paris and West Flanders, Belgium. In Belgium in 1910, Hansen first explored the etching medium. These earliest prints featured coastal views of Nieuport and Ostend.

    Following his artistic education, Hansen spent time working as a crew member on North Sea trawlers while painting fishing scenes, maritime seascapes, and picturesque coastal villages. His interactions with the resilient and hardworking seafaring community, and the in-depth personal knowledge of sea vessels and the working life of a sailor gleaned from these experiences, became the central and career-long theme of his paintings and prints.

    Upon his return to San Francisco in the autumn of 1912, Hansen quickly re-immersed himself in the local artistic community, joining the California Society of Etchers where he served on their Executive Board, and participating in exhibitions including San Francisco Art Association shows. Hansen exhibited six etchings in the 1915 Panama-Pacific International Exposition, and through the 1930s, he continued to exhibit his print and graphic works in most of the major print shows in the US, regularly receiving awards and prizes.

    Hansen relocated his studio from San Francisco to the Monterey Peninsula in 1916, where he was in closer proximity to the vibrant artist colonies of Monterey and Carmel, as well as his preferred maritime subjects. Intimately familiar with the fishing industry along this part of the California coast, Hansen considered many of the Italian and Portuguese men who worked on the boats and on the docks there as his friends, and vigilantly depicted their likenesses, as well as the specific vessels used in the area. Hansen did not appear to make a hierarchical distinction between his painting and print mediums, and often a subject executed in one medium would share or inspire compositional choices in another medium.

    In total, Hansen self-identified in a 1939 letter that he produced 152 career prints consisting of 75 etchings and 77 drypoints between 1910 and 1939 (four of these works have never been identified). His print output also included two lithographs. His decision to cease making prints in 1939 was likely related to declining print sales due to the aftermath of the Great Depression.

    The following extraordinarily large group of Hansen's etchings and drypoints from The Collection of David and Holly Davis, Pasadena, CA presents varied maritime compositions that celebrate the daily lives of these Monterey fishermen. Stormy seas, raingear-clad men, docks, rigging, working boats, and wrecks are depicted with the fidelity of the subject and rendered in exquisite detail. Hansen "had an extraordinary ability to put a large slice of life into his [print] scenes. Even his tiniest drypoints...encapsulated epic narratives...Hansen created drama by carefully organizing forms and pulling viewers into his compositions through the rich chiaroscuro of closely massed and deeply bitten lines" (Scott A. Shields PhD, "Armin Hansen: The Artful Voyage," Pasadena Museum of California Art, Portland, OR, 2015, p. 72).
  • Condition: Overall good condition. With margins. Not examined out of the frame.

    Framed under glass: 16" H x 18" W x 1.125" D


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March 11, 2025 12:00 PM PDT
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