Edward Stott ARA (1855-1918) A nude figure on a branch signed with monogram l.l., coloured pastel 17.5 x 16.5cm together with: 'Washing Day' stamped l.r., chalk and charcoal, believed to be a study for the painting 'Washing Day', 1899, in the collection of the Watts Gallery Trust 31.5 x 31.5cm (2) Condition Report: Overall: 44 x 42cm and 48 x 48cm 'Washing day': light crease marks thoughout. Some small pinholes dotted around the edges. Nude figure seated on a branch: time staining with a cocklng to the top and bottom edges. Not viewed out of glazed frames.
EDWARD WILLIAM STOTT (BRITISH 1855-1918) TREES OLD AND YOUNG, SPROUTING A SHADY BOON FOR SIMPLE SHEEPOil on canvasSigned (lower left)38 x 46cm (14¾ x 18 in.)Painted in 1888.Provenance:Bridgeman Images (listed as Springtime)Waterhouse and Dodd, LondonPrivate CollectionLiterature:Webb. V, Edward Stott, A Master of Colour and Atmosphere, Sansom & Company, 2018, p. 56, ill. No. 19William Edward Stott was a British artist born in Lancashire. He attended Manchester School of Art before furthering his studies in Paris from 1880, enrolling first at the studio of Carolus-Duran, and then between 1882 and 1884, at the Ecole des Beaux-Arts under Alexandre Cabanel.He returned to England and helped to found the New English Art Club in 1886, which at its inception had 50 members. The idea behind this new group was that it would be an exhibiting society for artists influenced by Impressionism and rustic naturalism. Among its members were Sir George Clausen, Philip Wilson Steer, Walter Sickert, and Henry Herbert La Thangue.In 1906, Stott was elected Associate of the Royal Academy of Arts. 1888 was an important year for the members of the New English Art Club as it marked the opening of the New Gallery. Founded by J. Comyns Carr and Charles Edward Hallé, it was completed in time to house the annual summer exhibition on 8th May. The theme of shepherds and their flocks played an integral part in the portraying of rural life, and proved a popular subject at the New Gallery exhibitions. Certain artists focused on shepherds herding sheep into pens, whereas others depicted the shepherd and his flock at rest, as is the case with Trees Old and Young, Sprouting a Shady Boon for Simple Sheep. The title of the work is taken from Book I of Keats' poem Endymion (1818), of which a collection of his poems was published in 1884, four years before Stott produced his work. The reference to poetry in his painting was typical of New Gallery artists who found inspiration in combining art and poems. Both Alfred East and Arthur Tomson referenced lines from poems in their 1888 exhibition pieces.
EDWARD WILLIAM STOTT (BRITISH 1859 - 1918)THE SACRED POOLPastelSigned with initials (lower left)29 x 40cm (11¼ x 15½ in.)Exhibited:Rochdale Art Gallery, Edward Stott Memorial Exhibition, 1920
EDWARD STOTT A.R.A., N.E.A.C. (BRITISH 1859-1918) THE PIPING SHEPHERD BOY Signed with initials, oil on canvas (51cm x 47cm (20 in x 18.5 in)) Provenance: Abbott & Holder, 1972, where purchased for the current collection Exhibited: London, Royal Academy, 1916, no. 866. London, The Fine Art Society, and Rochdale, Rochdale Art Gallery, William Stott of Oldham and Edward Stott ARA, 2 June - 29 August 1976, no 97. London, Christie's, New English Art Club Centenary Exhibition, 27 August - 17 September 1986, no. 105 Provenance: The Peter Rose and Albert Gallichan Collection
Property removed from Fenton House to be sold on behalf of the 7th Earl of Durham Edward Stott, A.R.A. British 1859 - 1918 Orpheus bears an inscription Orpheus / the late / Edward Stott / Amberley / Sussex on an old label attached to the stretcher oil on canvas, circular Unframed: 90cm., 34½in. diameter Framed: 120cm., 47in. diameter
Edward Stott (British 1859-1918)There Was No Room At The InnPastelSigned with initials (lower right)24.5 x 30.5cm (9½ x 12 in.)Exhibited: Eastbourne Town Art Gallery, Edward Stott Master of Colour and Atmosphere, 26 May - 16 September 2018The artist exhibited a version of this painting in oils the the Royal Academy, London in 1910
Edward William Stott ARA NEAC, British 1859-1918- Summer Moon; pastel, signed with initials, bears inscribed label attached to the reverse, 14.5x14cm Provenance: Sarah Colegrave, London, where purchased in 2010 Please refer to department for condition report
Edward Stott (British, 1855-1918) "Mother and Children" pastel on paper monogrammed lower left. Matted, glazed and framed. sight 13" x 10", framed 29-1/2" x 25" Provenance: The Collection of the Late Dr. E. Ralph Lupin, New Orleans, Louisiana.
EDWARD STOTT A.R.A. (1859-1918) STUDY FOR THE WATERING PLACE pencil 20.5 x 29.0cm / 8.0 x 11.4in Stott's The Watering Place hangs in Standen House, owned by the National Trust, in West Sussex.
Edward Stott, ARA (British, 1855-1918) Peaceful rest signed 'Edward Stott' (lower left)oil on canvas60.5 x 81cm (23 13/16 x 31 7/8in). ProvenancePrivate collection, UK.ExhibitedLondon, Royal Academy, 1902, no. 281.LiteratureRoyal Academy Illustrated, 1902, p. 80.Pall Mall Magazine Extra, 'Pictures of 1902', 1902, p. 85.The Royal Academy - Local Exhibits - Second Notice, Western Daily Press, 19 May 1902, p. 3.The Royal Academy - Third Notice, The Globe, 22 May 1902, p. 5.Fine Arts: The Royal Academy II, The Athenaeum, 24 May 1902, p. 665.Current Art: The Royal Academy Exhibition – II, The Magazine of Art, 1902, p. 398.M.H. Spielmann, 'A First Look round the Royal Academy', The Graphic, 3 May 1902, p. 595.Marion Hepworth Dixon, 'Edward Stott: An Appreciation', The Studio, Vol LV, 1912, p. 9.Valerie Webb, Edward Stott (1855-1918), A Master of Colour and Atmosphere, 2018, Sansom & Co, Bristol, pp. 79-80.By the turn of the twentieth century, poetic sentiment had emerged in the work of Edward Stott. In the current critical debate, the word 'Impressionism', was, James Stanley Little remarked, 'something of a misnomer'.1 Colour may be his preoccupation, but his work was now frequently described as pastoral, bucolic and at times, elegiac. Stott had succumbed to the charm of his surroundings – to motifs drawn from the rich pasture surrounding Amberley in Sussex. These grazing grounds at the foot of the South Downs frequently flooded as the river Arun, swollen with spring rain, often burst its banks. At the pools and ponds that appeared in nearby fields and chalk pits, horses, cattle and sheep were, as Stott observed, ritually watered. Increasingly his shepherds and cowherds were enveloped in a romantic idyll that carried the spectator back through the work of Samuel Palmer to find spiritual solace in Virgilian groves. Amberley became Arcadia. Stott drew upon a rich visual and literary heritage that was currently being revived in the poetry of AE Housman and the writings of WH Hudson on the shepherd's life. As part of his researches, Hudson recorded his lonely existence when for days the only sound he might hear on the downs was that of tiny bells tied round the necks of his sheep. He noted that the old customs of sheep husbandry were falling into abeyance in Sussex. Farmers for instance no longer paid a shepherd with five or six lambs a year in addition to his wage. The forms of partnership between master and servant that reinforced loyalty to the well-being of the flock were being eroded. Cash was replacing 'payment in kind' and barter systems on the land and while none of this was directly important for Stott's pastoral vision, it emphasised the sense that burgeoning mechanized industry in cities and towns had brought past and present into a state of tension.2 In the year following the death of Queen Victoria and the ending of the South African War, English sensibilities are likely to have been tuned to lines from AE Housman, wherein his Shropshire Lad, 'on moonlit heath and lonesome bank/the sheep beside me graze', might reflect that '... the road one treads to labour/will lead one home to rest'.3By 1902, when Peaceful Rest was shown at the Royal Academy, Stott had been developing imagery associated with sheep husbandry for a dozen years or more. Back in 1889 for instance, he had shown Returning to the Fold (unlocated) at the New English Art Club, while in 1898 his impressive canvas, The Fold (fig 1), appeared at the Academy. Between the two there were numerous drawings and pastel studies describing down-land flocks. Clusters of sheep often appear in similar configurations, but the familiar poses were never quite the same when seen in different lights and seasons. Touring the Royal Academy in 1902 MH Spielmann, editor of The Magazine of Art, picked up on these resonances in a short piece for The Graphic, declaring that, '... in landscapes, Mr Edward Stott tells once more with admirable force, for his modest and subdued visions of rustic life and scenery are sincere in spirit and subtly fine in colour'. With more space in his own journal he went on to explain that the painter's works had, '... all his habitual minuteness of observation and delicate balancing of tone against tone and tint against tint, but it is more sensitive as an expression of nature, and more subtle in its gradation of colour, than any of his previous works'.4 It was however, the critic of The Globe who expanded appropriately on the character of the present work. On Peaceful Rest he wrote that Stott, '... does not seek to be monumental nor to arrive at a commanding result by the elimination of all minor details, his aim is rather to study and record every subtlety of form and every variation of tender tone in the subject before him, and to bring them all into harmony by minute exactness of statement. His picture is a twilight note in shades of blue, grey, and green, with an accent of orange in the flame of the match with which a shepherd in the foreground is lighting his pipe'.5 The picture of the resting shepherd with his ever-alert sheepdog was, with its companion, Youth and Age (unlocated), among the most satisfying canvases Stott had yet produced. Such was its success that it was followed by other works expanding its subject matter, such as Folding Time, 1904 (Ferens Art Gallery, Hull) The Shepherd, 1905 (Private Collection), and Lambing Time,1906 (fig 2). The sheepdog in the latter work of 1906, derived from The Fold, virtually replicates that in Peaceful Rest.In an account that concentrates upon Stott's working methods, ACR Carter was convinced that, 'There is no skim-milk process here. The excursionist has not dumped his easel down in a field, and after titillating a canvas for a few days, produced an 'Idyll of Amberley'. Here is blood – and treasure. The noonday sun streaming down upon the mead, or piercing through the shady canopy of a pool, the twilight gathering round the folded sheep, or the tired wayfarers, have been watched and remembered for many a long day'. The tentative Impressionist, hailed by Walter Sickert and George Moore in the early nineties, had gained in strength. Like Robert Burns, Stott did not produce his poems 'after a scamper through the Lowlands'.6 What Housman described as the 'hiving process' of memory took time to yield its richness.7 It was a richness informed by Millet and Bastien-Lepage but it also included Palmer's Sleeping Shepherd, and Claude's pastorals with their illustrious pedigree in Virgil, Milton and Keats.We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot. 1 J Stanley Little, 'On the Work of Edward Stott', The Studio, Vol VI, 1896, p. 80.2 WH Hudson, Nature in Downland, 1900, JM Dent ed., 1932, pp. 109-110.3 AE Housman, Collected Poems, 1930, Penguin ed., 1956, p. 30.4 Current Art: The Royal Academy Exhibition – II, The Magazine of Art, 1902, p. 398; MH Spielmann, 'A First Look round the Royal Academy', The Graphic, 3 May 1902, p. 595.5 The Royal Academy – Third Notice, The Globe, 22 May 1902, p. 5.6 ACR Carter, 'Edward Stott and his Work', The Art Journal, 1899, p. 295.7 Laurence Housman, 'Mr Edward Stott, Painter of the Field and of the Twilight', The Magazine of Art, 1900, p. 532.
Circle of Edward William Stott (1859-1918) British. 'The End of the Day', a Man and Horse, with Ducks in the foreground, Pastel, Indistinctly Signed, 13.5" x 21.5".
Edward William Stott (1859-1918) British. "Trees, Old And Young, Sprouting; A Shady Boon For Simple Sheep", with a Young Girl and Sheep by the Water's Edge, Oil on Canvas, Signed with Monogram, and Inscribed on the reverse, 23.75" x 30". Provenance; Auckl
Oil on canvas Signed lower left 63 x 67 cm. (24 3/4 x 26 3/8 in) Painted circa 1903. Exhibited: New Gallery, London Summer Exhibition ,1903 Edward William Stott was born on 25 April 1859 in Rochdale, Greater Manchester, the son of mill-owner and mayor of the borough. In 1880 he moved to Paris, against the will of his family, to study initially at the atelier of the portrait painter Carolus-Duran and later, from 1882 to 1884, under Alexandre Cabanel at the Ecole des Beaux-Arts. He is described as "the poet-painter of twilights and is famous for his atmospheric rural and biblical scenes that he lets appear in a particular lighting. As a British artist trained in Paris, Stott was strongly influenced by the rural Naturalism of Jean-François Millett, Bastien-Lepage and the Impressionism of Claude Monet. In his essay in the Art Journal of 1893, Stott describes Impressionism as "a combined impression of the artist's feeling - colour and form with the character of the subject, whether light and delicate, or strong and powerful; in short, a recording of the impression on the painter's nature". ('Some Remarks on Impressionism', The Art Journal, April 1893, p. 104) Although Stott was influenced by Monet and Bastien-Lepage concerning lighting and colouring, he moved away from the 'plein air painting' where the artist paints outside directly in front of the sujet . Stott drew several sketches for a work in preparation to finalise the main painting - the form and composition was recorded in his pencil and crayon drawings and his pastels documented the colours of the subject. In 1883, Stott exhibited for the first time at the Royal Academy where he became an Associate Royal Academician in 1906. During this time, he dedicated himself more and more to religious themes which was underlined by his strong naturalism. In 1889, Stott moved to Amberley in West Sussex and was intrigued by the day-to day village life which became a life-long source of inspiration. Like other contemporaries, he was influenced by Jean-François Millett and the French rural naturalism. Although it seems that the capture of nature is to the fore, he often underlined his rustic genre subjects with symbolism rather than realism. This subtle symbolism is also visible in the present painting "Maternity", which was exhibited at the Summer Exhibition of the New Gallery in London in 1903, and was described by Frank Rinder in The Art Journal as follows: "I do not recall any group by [Stott] more tender, more true, than that of the mother, baby on knee, child at side, seated on the low wall of the garden path. Maternity is a temperamental little picture; it yields pleasure." (The Art Journal, 1903, p. 183)
EDWARD STOTT, ARA (1859-1918) A PAIR OF DRAWINGS Including studies of a young child and a mother and child; one pencil, one black and white chalk; one stamped with the artist's studio stamp 28cm by 38cm; 11in by 15in 30.5cm by 23cm; 12in by 9in (2) ++significant staining to both sheets, both sheets could benefit from a decent clean, some tiny holes and abrasions mainly to the edge of the sheet
EDWARD STOTT (1859-1918) Study of a cow, pencil and charcoal heightened in white, 22 x 29cm Inscribed in pencil to attached strip verso 'Twilight Brooke 9.20. June 12/15' also inscribed by another hand 'Edward Stott ex. Coll Ms Dinnage, Amberley'
Belated signed 'Edward Stott' (lower left) also inscribed with title and artist's address on an old label on the reverse oil on canvas 55 x 83cm (21 5/8 x 32 11/16in).
Edward Stott British (1859-1918) Oil on Canvas "Feeding the Birds" Signed Edward Stott Lower Left. Good Relined Condition. Measures 15 Inches by 9 Inches. Unframed. Shipping $40.00
'Garden Scene (Reading 1900)' bears inscription label verso oil on canvas 24.5 x 30.5cm (9 5/8 x 12in). plus another in the manner of James Charles, a country landscape with cattle seated, oil on board, 23 x 28.5cm, (2)
![Edward Stott [1859-1918] Harvest landscape, a](https://stageimg.invaluable.com/housePhotos/Bearnes_Hampton_Littlewood/31/416531/H4025-L44792299.jpg)
