Christopher Stott Paintings

"French Interior with Statues" Oil on canvas Large original, one-of-a-kind, painting 80x60cm / 31.5x23.5in. Framed! Part of Interior series. Free shipping with 1stDibs code. This painting, "French Interior with Statues", radiates elegance and a strong sense of place. The artist has masterfully conveyed the sophistication of a French interior, blending architectural depth, light, and intricate details with expressive, painterly techniques. The composition draws the viewer’s eye through a series of framed spaces: an open door, a corridor, and a distant room. This layering technique creates a sense of depth and invites the viewer to explore the scene step by step. The checkerboard...

Early American super realist trompe l'oeil still life oil painting. Framed. Oil on canvas, lain to board. Signed. Image size, 14H by 10L.

Jack Hooper "View From the Window" c. 1950s Oil on Canvas 32"x25.25" silver and black wood frame 26.5"x33.25" Unsigned Minor wear consistent with age and ...

Doug Newton’s hyper-real paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways light can transform our perceptions. His subject matter concentrates on still lives of food, toys, candy and household objects. In addition to many group shows across the country, Mr. Newton’s show, “HARD CANDY and other confections” represents his fifth solo exhibition. His paintings have been collected in numerous private collections. Mr. Newton resides in Fort Greene, Brooklyn, NY. Dr. Sonia Coman writes in her essay, Doug Newton’s hard candy: the confection of painting Doug Newton’s paintings are about… painting. The hyperrealist technique of trompe l’oeil or “trick the eye” is knowingly playful. It simultaneously calls attention to the illusion of a different material—for example, translucent candy wrappers—and the reality of the layers of paint, masterfully applied to the canvas. In that, Newton’s paintings pay homage to an esteemed series of trompe l’oeil masters, from Inquisition-era Spanish painter Francisco de Zurbarán to Gilded-Age American painter William Michael Harnett...

An American Still Life of an Apple, Pear and Grapes Oil on canvas on board Signed illegibly circa late 1800s 9 3/4 x 5 7/8 (16 x 12 3/4 frame) inches This is an example of late 19...

Artist/ School: J.Darras, French 20th century, signed Title: Still Life of Grapes and Fruits net to a basket, beautiful deep shades of green colors. Medium: oil painting on canvas...

Italian painter (19th-20th century) - Still life with vase of flowers. 83 x 62 cm without frame, 96.5 x 76.5 cm with frame. Antique oil painting on wood, in a wooden frame (not sig...

Still Life Painting of American Diner Interior in New York City by Leading British Urban Landscape Artist, Angela Wakefield. Paintings of American Diner...

Large gestural still life painting of light pink peony flowers in a simple tabletop vase "Bouquet", oil on canvas, 50 x 36 inches Framing is optional, sides are cleanly painted whit...

Oil on canvas. Framed. Signed.

Antique Still Life with Fruit and Melon Traditional European style still life with harvest fruits, figs, pears, grapes, and cantaloupe. The range of to...

“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...