Edward Stott

British 19th Century drawing of a nude by Edward Stott

Herbert James Draper (British, 1863-1920) Puck Pastel Inscribed ”PUCK” (middle left) and further inscribed and signed `Study for Puck/ Herbert Dra...

William Edward Frost RA (British, 1811 – 1877) Female nude Pen and ink and watercolour 7.1/4 x 4 in. (18.2 x 10 cm.) Provenance: The Maas Gallery, London. No. 13863

Alexandre Jacques Chantron (French 1842 – 1918) Baigneuses au bord de la riviere Pastel Signed 'AJ Chantron' (lower right) 24 x 18 in (61 x 45.7)

Louis Robert Arthur Latapie (French, 1891-1972) La Modele Black crayon Signed `Latapie’ (lower right) 24.5/8 x 19 in. (62.5 x 48.3 cm.)

Circle of Raoul Dufy (French b. 1877 - 1953) Venus a la Coquille Gouache / watercolour on paper Signed with monogram ‘OTS’ (lower left) 13.1/2 x 9.3/4 in. (34.3 x 24.5 cm.)

Francis Newton Souza (Indian, 1924 – 2002) Odalisque Pen on paper 15.3/4 x 9.7/8 in. (40 x 25 cm.) Provenance: The artist’s wife Maria, Nee Figueiredo, gifted to her nephew We have 5 other similar examples by this artist all of the same size. Please go to Ottocento's storefront on 1st dibs for further information. These examples were saved from being burnt on a bonfire by the artist’s nephew. Maria, Souza’ wife was sick and tired of Souza’s affairs and was burning many of his studies in the garden when her nephew intervened. These studies are from those. Others saved at the same time were executed in 1952 and is highly likely that these are from the same period. Layered, dynamic, brutally humanistic, the paintings of Francis Newton Souza reveal an artist who never stopped experimenting throughout his six-decade career, perpetually seeking new modes and languages of painterly expression. A founder of the inestimably important Progressive Artists’ Group in Mumbai, he wrote the group’s manifesto and was a crucial intellect in the group’s formation and articulation—as, indeed, he was for Modern Indian art on the whole. He holds an unshakable place among India’s most important and influential Modern painters. Despite the vast sweep of painting styles encompassed by his oeuvre, Souza’s work is unified by an overt sensuality, sometimes violent, sometimes sexual, but devoted above all to the human body as a wild, fragile, noble and corruptible object. He is hardly the first Catholic-raised artist to fixate on the body. Nudes...

James Tissot was among the most successful and critically acclaimed artists of the Victorian era. Although the artist is celebrated for his elegant scenes of fashionable life in Paris and London, this work is a fascinating rarity within his oeuvre. In this monumental pastel, Tissot depicts a prehistoric woman draped in a tiger skin, presented with a striking pose and heroic air. His delicate portraiture, combined with his fascination with conveying texture, demonstrates why he was one of the most revered artists of his generation, and La femme préhistorique illustrates the remarkable technique for which he was renowned. This work was completed in preparation for a series of works exploring the Old Testament undertaken by Tissot from 1899-1902 that remained unfinished at the time of his death. A portion of this series focused on illustrations of Adam and Eve, and among these sketches were images of a nude Eve partially draped in animal furs. Towards the end of his life, following his conversion to Catholicism, biblical subjects became important to the artist. A few years before this work was completed, Tissot embarked upon a highly ambitious group of nearly 300 watercolors illustrating the New Testament, presenting the illustrated epic in its entirety at the Paris Salon of 1894. Both of these series were a critical artistic departure for the artist, stemming from a desire to create works separated from his typical images of modern society. This pastel imagines Eve as the prototype of womanhood in the guise of a prehistoric woman. Tissot rarely painted the nude, and his skill as a draftsman highlights the figure's natural beauty, contrasting it with the stark landscape surrounding her. Although a study, this monumental work is incredibly well-finished and highly engaging, with the statuesque model commanding the majority of the canvas. Her pose is strong and theatrical, and she addresses the viewer with a direct, confident gaze. The imagined historical subject of this drawing is grounded by Tissot’s exceptional attention to detail. A master of conjuring an array of textures, Tissot showcased this ability in this work by juxtaposing many types of fabrics and natural elements within one composition. The tiger skin with which the woman partially covers herself was a favorite studio prop of Tissot’s, appearing in many of his most influential works from the period, including several paintings of his partner and favorite model Kathleen Newton. It, in particular, showcases the artist’s understanding of texture, yet it also serves as an exotic element that elevates the sensuality of the scene when placed against the woman’s bare skin. Born in 1836 in the port town of Nantes, Tissot traveled to Paris at the age of 20 in order to join the studios of Hippolyte Flandrin and Louis Lamothe. During this period, he became close with James Abbott McNeill Whistler, Edgar Degas and Edouard Manet, and the impact of these friendships is reflected in his portraits of modern life. Having enjoyed considerable success in Paris during the 1860s, Tissot fought in the Siege of Paris, and after the fall of the Commune in 1871, he went to London, where he stayed for the next ten years. He was met with incredible success there, and he also met the love of his life, Kathleen Newton, a divorcée, with whom he lived from about 1876 until her death in 1882. Today he is regarded among the great masters of Belle Époque painting, and his works can be found in important collections worldwide, including the Metropolitan Museum of Art, the Brooklyn Museum, the National Gallery of Art, the Musée d’Orsay, the Tate Gallery and many others. This pastel remained in Tissot's private collection until his death in 1902 and is referenced in the posthumous 1902-3 valuation of Tissot's home at 64 avenue du Bois...

"Kathy - Figure Study" is an original pastel drawing on mauve paper by Janice-Korinek Niedzialkowski. The artist signed the piece center left. It features a nude woman seated on a cl...

Work on watercolor paper

Work on paper Stamp of the workshop of O. Vautier Dimension of the passe-partout framing 52.5 x 38 cm

19th century Italian school drawing. Academic study of the figure of the young naked man. Drawing made from two sides of the sheet of paper On the other side two feet and an arm are ...

A very pure and tender rendition of a female nude. Elegant in its simplicity, the artist's model, is warming herself by a large stove! It is a work by Tito Lessi dating from circa 1890. Lessi was born in Florence, Italy and studied at the Florentine Academy of Fine Arts, under Enrico Pollastrini and Antonio Ciseri...