Christopher Stott Art

large scale original photograph from the body of works 'Persephone', a series of environmental still-life photographs of timeless palimpsest impressions Persephone VI by Erik Pawassar 40 x 31 inches (102 x 79cm) signed edition of 25 62 x 48 inches (157 x 122cm) signed edition of 7 archival fine art pigment print signed & numbered by artist on label custom/larger sizes are available on request ____________________________ Erik Pawassar's work focuses on the beauty of the disregarded or mundane object. The subjects for his striking and captivating visuals are typically set in the most ordinary environments, drawing the viewer into a charged but serene experience based on composition, palette and formal lines. Saturated in color, the nominal subjects gather a haunting and mesmerizing quality, creating a poignant pretext for the making of a formal color photograph. Decisively capturing the traces left by humanity, Pawassar's images are filled with a sense of universal nostalgia and pay homage to the passage of time and the extinguished moment, referencing documentary and street photographers like Henri Cartier-Bresson, Sebastian...

GOLDEN by Frank Schott from a series of photographic observances - environmental still life capturing found objects in urban cityscapes 40 x 32 inches (102 x 81cm) signed edition ...

French School, 19th century. Still life with oranges. Oil on canvas mounted on panel. 22.5 x 54 cm (49 x 60,5 cm with frame) without signature

“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...

Housed in an elaborate late nineteenth-century carved gilt frame lined with deep red velvet, the painting offers a harmonious composition of carefully arranged objects illuminated by...

Blue Glove (Michael Jackson) by Tom Schierlitz a highly detailed glamorous still life photograph of the performer's iconic blue and gold sequin and Swarovski rhinestone crystal glove...

This original oil painting captures a still life scene viewed from above, inviting you to explore its intimate details. At the center, a wooden board showcases a variety of cheeses, ...

Presenting an outstanding original oil painting by American artist Thomas Prentiss b.1920. Three Pears, is painted in the hyper realistic trompe l'oeil style, viewing this painting ...

large scale original photograph capturing frozen palimpsest of a person's existence Persephone II by Erik Pawassar 60 x 48 inches (152 x 122cm) edition of 7 signed 40 x 32 inches...

Robin Cole's "Pruned," a 2024 original, is an intimate oil on mounted linen painting that measures 12 x 12 inches, encased in a frame that extends the dimensions to 17 x 17 inches. T...

This composition suggests a garden gathered and brought inside, captured in a rare moment of perfect balance. The interplay of pinks and golds creates a harmonious, almost musical r...

This early Hunt Slonem interior piece was painted in 1977. In 1980, they published an edition of 250 serigraphs of this painting. The large scale is a perfect focal point for any roo...