here is a biography on the artist and I will now look up his values of copies of his paitings. Now to clarify do you mean prints of his oil paintings or oil paintings by an artist copied of his paintings?
Born on a farm in Voigstaedt, Weimar, Germany, Richard Lorenz became a painter and illustrator of dramatic western scenes, especially of the Plains Indian culture and the consequences of encounters with the whiteman's civilization. His most famous pupil was Frank Tenney Johnson. He was also well known for panoramic* painting and for depictions of horses, genre and landscapes.
As a young person in Germany, Lorenz determined to become a Biblical painter because he was fascinated by the subject of wandering, nomadic people inwilderness areas. He grew up in a village twenty-eight milesnorth of Weimar, and at age 15, began art study in Weimar including atthe Royal Academy of Arts, where his work was recognized with severaldistinguished prizes. One of those prizes was endowed by composerFranz Liszt, and another was the Karl Alexander Prize, which he wontwice. It was the school's highest award. One of his mostinfluential teachers was Heinrich Albert Brendel (1827-1895), famousEuropean painter of animals, especially horses. Other teacherswere landscapist Theodor Hagen (1842-1919) and portraitist Max Thedy(1858-1924).
In May 1886, Lorenz arrived in Milwaukee, Wisconsinwhere he established his career and lived for most of the remainder ofhis life. He has been described by an art historian of that cityas "the most gifted German immigrant artist to settle in Milwaukee."(Merrill 66). Lorenz initially emigrated to Milwaukee at therequest of William Wehner who had formed the American Panorama Company*and then recruited German painters noted for their skills withreligious and historical subjects. The resulting panoramas were hugelengthy canvases, some of them 25 X 350 feet. Lorenz worked on The Battle of Atlanta,which became the company's most famous work. Lorenz specializedin horses, depicting them in every kind of activity and perspective.
From1887 to 1890, he travelled and sketched in the West including Oregon,Arizona, Colorado, Texas, and California. In 1887, he worked withAugust Lohr to install a panorama in San Francisco. While there hesketched scenes of Chinatown and Monterey. On this extensivetrip, he went to the Crow Reservation, and from this experience, didhis first Indian subjects inspired by stories he heard of the SiouxMassacre at Little Big Horn.
He returned to Milwaukee inDecember 1888 to replace Otto Von Ernst as Director of the WisconsinSchool of Design, the new name for the old Milwaukee Art School. WhenVon Ernst returned from a one-year leave of absence, Lorenz stayed onas Assistant Director until the school closed in 1891. Later he taughtat the Wisconsin School of Art maintained by the Milwaukee Art StudentsLeague, and in 1894, he established his own school, the Lorenz ArtSchool.
During his teaching career, Lorenz continued his ownfine-art painting. He frequently traveled West and was especiallyfascinated by storms of the Great Plains. He also did much regionalpainting around Wisconsin, where his trademark subject matter waspanoramic landscape with unique lighting and a sense of anever-expanding country. Milwaukee collectors found his workappealing, and it was widely exhibited. He also exhibited outsideof Milwaukee including Munich in 1891, Paris Salon* in 1901, ChicagoWorld's Fair in 1893*, the St. Louis Exposition of 1904*, and regularlyat the Art Institute of Chicago* and in exhibitions sponsored by theWestern Society of Artists*.
On August 3, 1915, Lorenz died inMIlwaukee from a stroke suffered while walking near his home. Hishealth had been declining and he suffered near blindness fromcataracts. He is buried in Evergreen Cemetery in Milwaukee.
Duringhis lifetime, he was often compared to western painter FredericRemington because he was an important recorder of western subjects forfuture generations. Although the reputation of Lorenz has not been asgreat as that of Remington, he made significant contributions throughhis own canvases and joint-project panoramas in enlightening Easternersof scenes of the American West.
Peter Merrill, German-American Artists in Early Milwaukee
Peggy and Harold Samuels, An Illustrated Encyclopedia of Artists of the American West
Peter Hastings Falk, Editor, Who Was Who in American Art