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Edward Henry Potthast
American, New York, 1857-1927 “Spring Morning” Oil on Canvas Signed E Potthast & Titled in Script Verso To be included in the forthcoming Edward Potthast catalog raisonne
Edward Henry Potthast (Sr.) is among the more significant painters of turn-of-the-century America. Born in Cincinnati, Ohio, he began his art studies at fourteen, making his first trip to Europe in 1881, studying at the Munich Academy, and briefly in Paris. A second trip to Paris, from 1886 to 1889, produced an even more profound change in his work. The Munich School of painting arises from a dark ground, with unbroken brush strokes. In Paris, at the Academy Julian, and at the Grez colony of painters, his palette shifted to shorter broken strokes, cooler and lighter tones, more freely and thinly applied. Thus began his transition to the light-filled canvases for which he is best known - of Northeast beaches, with sun-filled seascapes of bathers and children playing.
This somewhat scarce pastoral scene appears dated in pencil '91, and probably slightly precedes his more famous vibrant beach scenes. It is thinly painted in cool tones and with soft contrast. It will be included in the upcoming catalog raisonne.
Potthast is represented in many major American museums, including The Metropolitan Museum, Boston Museum of Fine Art, Pennsylvania Academy of Fine Art, Art Institute of Chicago, and of course, the Cincinnati Art Museum. His work will be on exhibit until October 2008, at the Massillon Museum, Massillon, Ohio.
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American (California) 1886-1977
"Double Enders, Docked"
Oil on Canvas
Maurice (Maury) Logan was a member of the early Northern California group of painters, "Society of Six", who abandoned the late 19th century California muted Tonalist method of painting for the bright colors, energized brush strokes, and simplified shapes, popularized by American and French Impressionism and Post-Impression. Its members were William H, Clapp, August Gay, Selden Gile, Maurice Logan, Louis Siegriest, and Bernard von Eichman - perhaps the most financially successful of the members being Maurice Logan. In addition to being a successful painter, Logan also had a strong business as a commercial illustrator. His commissions included Sunset Magazine covers, illustrations for Southern Pacific Company, Dole, Ghirardelli Chocolate, and Standard Oil of California. He received many major awards, becoming an associate of New York's National Academy in 1954, and a full member in 1960. His work is represented in many major museums, including the Metropolitan Museum, Los Angeles County Museum of Art, and San Francisco Museum of Art.
Throughout his career, Logan's painting was done exclusively en plein air, with only touch-ups executed in the studio. He worked both in oil and watercolor, working quickly, and mostly "wet into wet" in the latter. Logan's two favorite painters were John Singer Sargent and Joaquin Sorolla, some of each being seen in the above painting, "Double Enders, Docked". A cursory glance at the above might even attribute the painting to the hand of Van Gogh, with its strongly directional brushstrokes and rhythms. It also combines the energy of short slashing brushstrokes with a softened palette that marries the best of the earlier Tonalist palette with the brighter Fauvist colors which predominated the Society of Six from 1917 until the late 20's. The end result is an outstanding work which was exhibited at the Montgomery Gallery, San Francisco, California, October 5 - November 11, 1989. |
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American (Boston) 1862-1938
"Girl Reading" Pencil on Paper Signed Lower Left: Edmund Tarbell Bearing "Foster Brothers, Boston" Label
Edmund Tarbell was a founding member of "The Ten American Painters," a group of leading impressionists from Boston and New York, that included Childe Hassam, William Merritt Chase and Frank W. Benson. Tarbell was considered the leader of the Boston Impressionists, not only painting throughout his career, but teaching and co-directing at the Boston Museum School, and later directing the Corcoran Gallery of Art in Washington, D.C. Unlike many of his contemporaries, who dwelt mostly with landscapes, Tarbell's focus was on figural work. His earlier training at the Academy Julian in Paris had combined classical training - including plaster cast rendering and copying masterworks at the Louvre - while being exposed to late 19th century new "impressionism". This combination marries uniquely in Tarbell's works, classically drafted but still imbued with light, often vibrant color and air. Many of his works were of his own family in domestic activities, as reading and sewing, both indoors and outside, where they become luminous with color and light.
Tarbell's works hang in numerous American art collections and museums, including The Metropolitan, The Boston Museum and The White House.
In "Girl Reading", classical drawing techniques are perfectly fused with classical light and the fleeting moment. The beautifully rendered young girl appears immersed in soft light from above, as well as reflected lights from below, most effectively depicted in the simple light on the chin. Air is keenly felt around her with the implied movement of her hair. Even the turn of the torso and folds of the clothing impart gentle movement and the brief transitional stage of youth.
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American (Massachusetts) 1896-1978
"Nymph by the Stream"
Oil on Canvas
Emile Gruppe is best known for his marine scenes, primarily in the Gloucester, and Rockport, Massachusetts area, and also those painted of the Florida shorelines. The hillsides and trees of Vermont were another favorite subject. He was the son of Canadian/American painter Charles Paul Gruppe, spending part of his youth in Holland, where his father was a favorite painter of the Dutch Royal family, and returning with his family to the United States at the outbreak of World War I. Emile Gruppe became a prolific painter, and recipient of too many awards and honors to list. He was also an author and teacher, founding the Gruppe Summer School, and the Gloucester School of Painting. He is represented in many major private and public collections, including the White House, Washington, DC, the Los Angeles County Museum of Art, John & Mable Ringling Museum of Art, the National Academy, and The Salmagundi Club.
However, of all his accomplishments, his paintings of nude bathers or 'nymphs', as he often called them, usually depicted in the woods at the edge of a stream or lake, remain my favorite. They have a certain unspoken whimsy beyond the many well executed harbors with colorful boats, or sophisticated seascapes. It was the period of popularity for paintings of the pure winged Psyche on the rock - possibly influencing this choice of subject matter. But the streamside nudes of Gruppe stand on their own technically and esoterically - with a shy modesty and innocence that never attempts at sensuality, but only pure enjoyment of the nature about them. This painting is quite singular among the series, in Gruppe's use of strong violets and blues surrounding the orange-red hair and white skin, projecting a more magical aura than human. It is a painting that I am compelled to view with a sense of child-like and surreal wonder.
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American (New York / Massachusetts)1868-1948
“The Winding Stream” Oil on Canvas Signed Lower Right: Olive P. Black Titled Verso
Olive Parker Black is best known as a landscape painter of the Northeastern United States. Her Hudson River school paintings also incorporated the influence of her teachers: Barbizon from Hugh Bolton Jones at the Art Students League; free brushwork and impressionism from William Merritt Chase at the New York National Academy of Design (and probably Shinnecock). She was considered one of Chase's best students. Usually quite evident in Black's work are atmospheric effects of the season and time of day.
She exhibited at the National Academy of Design from 1897 to 1930, and in Boston with the Boston Art Club, and in Philadelphia at the Art Club of Philadelphia. In 1910, she moved from her native Cambridge, Massachusetts to New York City, where she exhibited at the National Academy of Design (1897 to 1930). She also exhibited at the Carnegie Institute. She was a member of the National Association of Women Artists, the National Academy of Design, the New York Society of Painters, American Artists Professional League and the Copley Society in Boston.
The excellence of her work stands on its own. "The Winding Stream" is an exceptional example, embodying all of the romance Black held for the rural landscape, with a richness of texture and depth that is hypnotic to view.
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American 1903-1968 (California)
"Mums" Oil on Masonite Signed Lower Left: Emil Kosa Jr.
Emil Kosa, born in Paris in 1903, immigrated to the US early in life, and to California in 1927, returning to Paris several times to continue his art education at the Ecole des Beaux-Arts, and with Pierre Laurens and Frank Kupka at the Academy Julian. In the US, Kosa was one of the first of the California watercolorists to be accepted into shows at the National Academy of Design and the American Watercolor Society in New York, thereby bringing attention to the West Coast style of painting. He painted in watercolor, oils, pastels and pencils, specializing in portraits, stylized landscapes, and as above, exceptional floral still lifes.
Kosa is equally well known for his excellence as a special effects artist with 20th Century Fox, winning an Oscar for his special effects work for Cleopatra in 1963.
Among the museums and collections housing Kosa’s work are the Los Angeles County Museum, The Smithsonian, Boston Museum of Fine Arts, The Carnegie Museum, and the 20th Century Fox Film Co. "Mums" is a particularly well executed still life, exhibiting the short curved broken brushstrokes and juxtaposed dabs of color, characteristic of many Americans studying at Paris' Academy Julian. This manner of applying paint has a vibrancy, energy and subtle excitement that I find quite singular in fine art.
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Australian/American (New York, Massachusetts) 1876-1978
"Steamer in Port (Cornwall, England)" 1908, Oil on Canvas Signed Lower Right: Hayley Lever Titled and Dated Verso
Prior to immigrating to America in 1912, Richard Hayley Lever, worked in England for a 18 years, settling in St. Ives, Cornwall. There he painted luminous harbor scenes, including the above "Steamer in Port". Its bold post-impressionist colors, directional brushwork and use of strong black are typical of the best works by Lever. Thinly painted steam contrasts a thick brushwork-constructed dock scene and choppy waters, framing the mass and power of the steamer, that is given further scale by onlookers at the lower right. Energy and movement are evident throughout the painting.
In 1912, Lever was urged by Ernest Lawson (whom he had met at the Academy Julian in Paris) to immigrate to the United States. His canvases and watercolors of American life were immediately sought after, and collected by major museums, including the Metropolitan, and the Corcoran Gallery. He worked throughout New England and Canada, producing a body of paintings vibrant with color and energy. They are particularly "American" in their presence.
Lever held a lifetime membership in The National Arts Club, taught at the Art Student's League, and served as Director of the Studio Art Club in Mt. Vernon, NY. He held memberships in most American and British societies, including the National Academy of Design and the Royal Institute of Oil Painters. He is represented in 30 museums, listed in 64 books, and numerous magazine articles.
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American 1888-1969 (Massachusetts)
“Spring Blooms on the Farm” Signed Lower Right: W. Lester Stevens Housed in a 22K giltwood carved frame.
William Lester Stevens was the youngest member to exhibit in New York’s National Academy, with 5 paintings accepted at age 18, in 1906. Stevens was born in Rockport, Massachusetts, and is considered one of Cape Anne’s leading painters. He was compulsive about painting outdoors daily, often tying his easels down with rocks on windy days. He was prolific, producing over 5000 paintings during his lifetime, and receiving more awards than any other living artist of the era. He also taught at Princeton and Boston Universities.
His bold brushwork, loaded with color, and often with black-outlined subject matter, depicted the farms, quarries, and fishing industry of Cape Anne, as well as North Carolina, where he worked shortly. Stevens painted several versions of scenes with apple blossoms. This gouache embodies the best of his strong compositions and coloration, with the usual slashing directional brush strokes. Its life under glass makes the condition pristine, with brilliant colors.
Stevens is represented in 15 museums, including The Smithsonian. He has been the subject of one monograph in book form (W. Lester Stevens, N.A. (Judith Curtis), and one by American Art Review, October 2003.
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American (California / Illinois) 1883 - 1971
"Peacock and Cockatoos" Oil on Canvasboard Signed and Titled Verso: Jessie Arms Botke, Carmel by the Sea Calif. Provenance: Gifted to the Family from the Artist
Jessie Arms Botke, one of the most celebrated female artists of the early 20th century, is best known for her paintings of exotic birds. Her favorite subjects were peacocks, toucans and cockatoos, among detailed leaves and flora. The work is fanciful and jewel-like in its conception and execution, often on a gold leaf ground. Her work ranges from small works to large murals, always with the same rich tapestry of design. She discovered the peacock when commissioned by the Herter Looms (NY) to paint murals for Billie Burke's home at Hastings-on-the-Hudson. "It was love at first sight and has been ever since," she recalled. She later stated, concerning her love for birds: “My interest in birds was not sentimental, it was always what sort of pattern they made, and the white peacock was so appealing because it was a simple, but beautiful white form to be silhouetted against dark background, and the texture and pattern of the lacy tail broke the harshness of the white mass without losing the simplicity of the pattern.” The work of Jessie Arms Botke is represented in many major collections and museums, including The Art Institute of Chicago, The Carnegie Art Museum, The Irvine Museum, and The Norton Gallery of Art. Her murals are housed in the University of Chicago and the Oxnard California Public Library. Botke was married to well known early California impressionist Cornelius Botke.
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American (New York / Pennsylvania) 1865-1929
“Flying Spray", Probably Monhegan Unsigned, Authenticated
Robert Henri remains one of America’s most important painters. He was a founder of the New York group of painters - “The Eight” - later known as The Ashcan School. He was a highly influential teacher at New York’s Art Student’s League, as well as several other schools, including the New York School of Art (formerly the Chase School).
Most know Henri for his strong portraits, lit usually with classical ¾ quarter lighting, producing powerful contrasts, enhanced through slashing brush strokes and quite strong coloration. However, he also painted many seascapes, cityscapes and landscapes. Many remain unsigned, as this example. One of Henri’s colleagues was Canadian James Wilson Morrice, who introduced him to the practice of painting pochades on tiny wood panels that could be carried in a coat pocket along with a minimal kit of brushes and oil. This facilitated the kind of spontaneous depictions of scenes such as the example above. This palette of coloration is consistent throughout his body of works. There is an unmistakable energy to this panel, a great element of Henri's work that makes it so immediately powerful and appealing.
Robert Henri’s works are held in most major American museums, and the Luxembourg Gallery in Paris.
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American 1864 – 1940 (Massachusetts & Maine) “New England Coast With Boats” Oil on Canvas Signed and Dated Lower Left: Woodbury 1901
Charles Herbert Woodbury is recognized as one of the finest marine painters of the 20th century. He chose to live and work near the water, in Ogunquit, Maine. There, in 1898, he founded the Ogunquit School, and became one of the most influential teachers of his time, training over 4000 students – many of whom were already important painters. He taught there until his death in 1940, and was singly responsible for the making Ogunquit a preeminent summer art colony. He also taught at Wellesley College, Dartmouth College, and The Art Institute of Chicago.
Woodbury had over 100 solo exhibitions in his lifetime, in addition to invitational and juried shows. Memorial exhibitions have continued, including the 1988 M.I.T. monumental Woodbury exhibition titled Earth, Sea and Sky that traveled to museums through 1993. He is represented in many major museums throughout America. In his sea paintings, you see not only transparent liquidity of water, but the motion that he held so very important. He told his students to paint in verbs, not nouns: "Don't just paint it, paint it doing something." This is evident in “New England Coast With Boats". The long, smooth directional brush strokes, simply applied, give not only transparency but rolling motion to the water, and moisture to the sand - contrasted with the lively short strokes of the colored boats, in the grayness of a New England day.
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Price Range of Items in This Catalog : to 23,500.00 USD.
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