Edward Henry Potthast

(18571927 ) - Artworks Wikipedia® - Edward Henry Potthast
POTTHAST Edward Henry Trees At The Edge Of A Clearing

Sotheby's /Oct 3, 2013
1,476.56 - 2,214.84
3,237.06

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Artworks in Arcadja
158

Some works of Edward Henry Potthast

Extracted between 158 works in the catalog of Arcadja
Edward Henry Potthast - Down In The Grand Canyon

Edward Henry Potthast - Down In The Grand Canyon

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Lot number: 37
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Edward Henry Potthast (1857-1927) Down in the Grand Canyon signed 'E Potthast' (lower right) oil on canvas 24 x 30 in. (61 x 76.2 cm.) Chapellier Galleries, New York. Doyle, New York, 3 December 2003, lot 253. Acquired by the present owner from the above. Chapellier Galleries, Edward Henry Potthast: 1857 to 1927, New York, 1969, n.p., no. 25, illustrated (as Grand Canyon).
Edward Henry Potthast - Moonlight Scene

Edward Henry Potthast - Moonlight Scene

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Lot number: 70
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Edward Henry Potthast (American, 1857-1927) Moonlight Scene signed 'E. Potthast' (lower left) mixed media on paperboard 20 x 28in Footnotes PROVENANCE: with Chapellier Galleries, New York Sale, Freeman's, Philadelphia, Pennsylvania, 27 June 2004, lot 104
Edward Henry Potthast - Studies Of Beach Figures

Edward Henry Potthast - Studies Of Beach Figures

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Lot number: 96
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Lot 96 Edward Henry Potthast American, 1857-1927 Studies of Beach Figures Signed E. Potthast (lr) Watercolor and pencil on paper 4 1/2 x 6 7/8 inches Provenance: Davis Galleries, New York, #DG-635 Forum Gallery, New York, #CG959 This work will be included in the forthcoming catalogue raisonne of the work of Edward Potthast in preparation by Mary Ran. C Estimate $3,000-5,000 Toned. Scattered minor stains. Matburn. Hinged with two pieces of tape on the verso along the upper register. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.
Edward Henry Potthast - Trees At The Edge Of A Clearing

Edward Henry Potthast - Trees At The Edge Of A Clearing

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Lot number: 99
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Estate of the artist Thomas French Fine Art, Fairlawn, Ohio Keny and Johnson Gallery, Columbus, Ohio 99 Edward Henry Potthast 1857 - 1927 TREES AT THE EDGE OF A CLEARING signed E. Potthast (lower left) crayon and pastel on paper 8 1/2 by 11 in. 21.5 by 28 cm. Estimate 2,000 - 3,000 USD Print (Work was not examined out of frame) in good conditition
Edward Henry Potthast - The Bathing Beach

Edward Henry Potthast - The Bathing Beach

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Lot number: 199
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Edward Henry Potthast (1857-1927) The Bathing Beach signed 'E. Potthast' (lower left) oil on panel 8 x 10 in. (20.3 x 25.4 cm.) Private collection, Cincinnati, Ohio. Berry-Hill Galleries, Inc., New York. Acquired by the present owner from the above, 1981. PROPERTY FROM THE WESTERVELT COMPANY (Possibly) The Peoria Art Guild of Lakeview Center for the Arts and Sciences, Exhibition of Paintings: Edward Henry Potthast, exhibition catalogue, Peoria, Illinois, 1967, p. 29, no. 41. D. Burrell, "The Mildred Warner House: American Art, American Spirit," Southern Accents, November-December, 1985, p. 65. New York, Salmagundi Club, Thumb Box Exhibition, n.d. (Possibly) Peoria, Illinois, The Peoria Art Guild of Lakeview Center for the Arts and Sciences, Exhibition of Paintings: Edward Henry Potthast, June 28-August 20, 1967, no. 41. Sylacauga, Alabama, Sylacauga Art Museum, February 24-March 24, 1982, on loan. Birmingham, Alabama, Birmingham Museum of Art, American Masterpieces from the Warner Collection, January 30-March 29, 1987. South Bend, Indiana, South Bend Art Center, American Masterpieces from the Warner Collection, December 9, 1989-February 4, 1990. Montgomery, Alabama, Montgomery Museum of Fine Arts, Impressions of America: The Warner Collection of Gulf States Paper Corporation, June 18-July 28, 1991. In the late nineteenth century, hoards of New York working class families frequented nearby beaches, such as Coney Island or Rockaway Beach, to escape from their crowded apartments and factory buildings and relax in the sunshine. The Bathing Beach exemplifies Edward Henry Potthast's interest in depicting these working class families at leisure, as well as his arresting stylistic hybrid of French Impressionism and American Realism. Unlike his contemporaries who focused on the formal upper class, Potthast held no reservations toward portraying more ordinary people as they truly acted on a day at the beach. For example, "[William Merritt] Chase's genteel, elegantly dressed mothers who had kept their pristine children and themselves safely away from the surf are supplanted [in Potthast's beach scenes] by coarser women--probably single girls rather than mothers." (H.B. Weinberg, et al., American Impressionism and Realism, the Painting of Modern Life, 1885-1915, New York, 1994, p. 121) In this work, all the figures are engrossed in their recreation, turning away from the viewer's gaze. Their behavior, as well as their dress, obviously differentiates them from Chase's upper class subjects. While a woman holds a baby in her arms, a group of teenagers unconcernedly chat at left. All are casually dressed in bathing costumes and are familiarly talking. The young child at right is alone, enjoying freedom in the softly breaking waves. Henri also suggests a breeze with the boat's sails filled with wind, softening the day's heat. In true Impressionist style, Potthast has captured in The Bathing Beach the essence of a fleeting moment of working class life in vibrant color and adroit, bravura brushwork.
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