- 63
Edward Stott, A.R.A.
Estimate
40,000 - 60,000 GBP
bidding is closed
Description
- Edward Stott, A.R.A.
- Harvesters
- signed l.l.: Edward Stott
- oil on canvas
- 59 by 78cm., 23½ by 31in.
Provenance
Sotheby's, Belgravia, 5 November 1974, lot 88 as The Gleaners;
Sotheby's, Belgravia, 11 November 1975, lot 96 as Harvesters;
The Fine Art Society, London, 1976;
Private collection
Sotheby's, Belgravia, 11 November 1975, lot 96 as Harvesters;
The Fine Art Society, London, 1976;
Private collection
Exhibited
London, Wilton Antiques, 19th and 20th Century European Paintings Collected by Mary and Charles Dugan-Chapman, n.d., no.31
Condition
STRUCTURE
This picture is unlined and in excellent original condition with no signs of craquelure. The paint surface is clean and the picture is ready to hang.
UNDER ULTRAVIOLET LIGHT
There is one very small area of retouching in the top right corner of the sky and another area of minor flecked retouching to the left of the hay-bale being carried by the girl in pink.
FRAME
The picture is contained in a moulded plaster frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
'The scenes he pictures from that part of Sussex which he has made his own are so satisfying because of the deep knowledge and intimacy of his outlook on them'
Magazine of Art, 1900, pp.531-32.
William Edward Stott (better known as Edward Stott) was born in Rochdale, Greater Manchester, the son of a mill-owner and mayor of the borough. Parental opposition at first prevented him from pursuing an artistic career, but he attended evening classes at Manchester School of Art and was determined to be a painter. Between 1882 and 1884 he trained in Paris at the Ecole des Beaux Arts in the ateliers of Carolus-Duran and Alexandre Cabanel. In Paris, Stott became acquainted with recent developments in French art and upon his return to England he was one of a new generation of British artists inspired by the naturalism of Jules Bastien-Lepage and the Impressionism of Claude Monet. The painting technique of Harvesters (also known as The Gleaners) embodies Impressionist principles whilst the subject recalls Millet's famous depiction of the same subject. Impressionism, for Stott, writing in The Art Journal in 1893, 'means 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' (p. 104). Havesters was probably painted in the fields near Amberley in Sussex, where Stott lived from the late 1880s.
Magazine of Art, 1900, pp.531-32.
William Edward Stott (better known as Edward Stott) was born in Rochdale, Greater Manchester, the son of a mill-owner and mayor of the borough. Parental opposition at first prevented him from pursuing an artistic career, but he attended evening classes at Manchester School of Art and was determined to be a painter. Between 1882 and 1884 he trained in Paris at the Ecole des Beaux Arts in the ateliers of Carolus-Duran and Alexandre Cabanel. In Paris, Stott became acquainted with recent developments in French art and upon his return to England he was one of a new generation of British artists inspired by the naturalism of Jules Bastien-Lepage and the Impressionism of Claude Monet. The painting technique of Harvesters (also known as The Gleaners) embodies Impressionist principles whilst the subject recalls Millet's famous depiction of the same subject. Impressionism, for Stott, writing in The Art Journal in 1893, 'means 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' (p. 104). Havesters was probably painted in the fields near Amberley in Sussex, where Stott lived from the late 1880s.