Christopher | Christopher Stott

By Christopher

Christopher Stott is a contemporary realist painter.

Itoya 2025 Calendar

I am happy to share the ninth calendar featuring my paintings, published in Japan by Itoya. The calendars are available worldwide and are shipped from Japan!

You can find the calendars on Itoya’s website → wall calendar • desktop calendar

Featuring a dozen paintings as a wall or desktop calendar, the wall calendar is printed on sturdy, heavy-stock paper, measuring 23½ inches x 16½ inches. The desktop calendar is 6¼ inches x 5¾ inches. The calendars are printed for the Japanese market and feature Japan’s national holidays. I am thrilled that they are now shipping the calendars around the world.

2025 Itoya Calendar / Christopher Stott / January

2025 Itoya Calendar / Christopher Stott / July

2025 Itoya Calendar / Christopher Stott / October

2025 Itoya Desktop Calendar / Christopher Stott

2025 Itoya Desktop Calendar / Christopher Stott / April

2025 Itoya Desktop Calendar / Christopher Stott / June

2025 Itoya Desktop Calendar / Christopher Stott / September

A Garden of Stories at Robert Lange Studios

I have the pleasure of participating in the 20th anniversary exhibition at Robert Lange Studios in Charleston, South Carolina. The exhibition will be on display all of November 2024.

Over the years, I have sent many paintings to inspiring group exhibitions curated by the gallery’s crew. I was happy to be asked to participate again in this milestone show.

My wife and I are increasingly interested in tending to our garden, so I created this to celebrate what I see as an increasing hobby for our future. The books featured are Victorian-era garden books.

Garden of Stories / 24 x 24 inches / oil on canvas / 2021 / framed

On to Something Big

These two paintings have just arrived in New York City. I worked on them over the last few weeks of summer, just as a commission for the largest painting I will probably ever do came to me.

Stories We Like, Up and Away / 40 x 30 inches / oil on canvas / 2024

The commissioned painting is four feet high by eight feet wide. It is large enough for me to rent a van and move it around once it is completed. It will take me a few months to complete, but after several weeks of working on it, I already like what I see, which is good news.

Good Society

My family took the dogs for a walk, and when we rounded the corner to another block, I spotted this shabby old chair on a driveway with a sign saying “FREE.” I knew I could make it work in a painting or two the second I saw it. So, I told my family to go on without me as I lugged the old chair back home.

I set it up in my studio and took out several antique books. And three of them were just given to me by my brother-in-law. A set of three volumes titled “Good Society.” I like that these two paintings are comprised of found and given objects.

Good Society No.2 / 36 x 24 inches / oil on canvas / on the easel / 2024

The Billis Williams Gallery will exhibit these two new paintings at the upcoming Seattle Art Fair, which will run from July 25 to 28.

2024 Hamptons Fine Art Fair

Two new typewriter paintings made it to the East Coast for the upcoming Hamptons Fine Art Fair. The George Billis Gallery will show the paintings, and the fair runs from July 11-14.

1937 Remington Noiseless Portable Typewriter / 36 x 36 inches / oil on canvas / 2024 / on the easel

I enjoy blowing up the scale of these bird’s eye view typewriter series. The next ones I do, I think I’ll go even larger. You can get so much detail worked in when they’re extra large.

1967 Olivetti Lettera 32 Typewriter / 36 x 36 inches / oil on canvas / 2024 / on the easel

Ten Cameras

I was excited when this commission came my way — the client gave me a dream scenario. It would be a challenge pushing me to work very large and maintain precisely what I convey in my work entirely. I am pleased with the final result.

Ten Cameras by Christopher Stott — Ten Cameras / 40 x 60 inches / oil on canvas / 2024 / on the easel

2024 San Francisco Art Fair

I’ll have new work showing at the upcoming San Francisco Art Fair with the Billis Williams Gallery from April 25 – 28.

1957 Royal Quiet De Luxe, From Above / 24 x 36 inches / oil on canvas

Last year, I had a few bird ‘ s-eye view paintings of typewriters at the fair, so this year, I returned with a few more.

1915 Corona No.3, From Above / 24 x 36 inches / oil on canvas

I am now working on a very large 60-inch x 40-inch complex commission. It will take me a long time and I’m excited to share it once I’ve worked past the difficult first few layers of paint.

Blacking Out

Last month, I visited the Los Angeles County Museum of Art and saw an exhibition that displayed numerous Dutch paintings from the 17th century. They’re always so striking with the details, and the very dark settings make the subjects emerge from the depths. So, on my return, I decided to keep experimenting with my subject and paint this Corona No.3 typewriter. My technique has always been an adapted indirect Dutch master’s style approach, but I settled on a high-key bright setting for my subjects. Sometimes, it’s nice to step out of your comfort zone and take a trip back in time. This painting is currently showing in New York City at the George Billis Gallery.

Corona No.3 / 24 x 30 inches / oil on canvas / 2024 / on the easel

Corono No.3 / 24 x 30 inches / oil on canvas / 2024 / framed

Fresh Off the Easel

I just finished this fifth painting in my Memory: Facts and Fallacies series. It’s on the way to New York to be shown at the George Billis Gallery.

Memory: Facts and Fallacies No.5 / 24 x 30 inches / oil on canvas / 2024 / on the easel

A Quick Trip to Los Angeles

Billis Williams Gallery / Los Angeles / February 24, 2024

Seven Clocks / 36 x 30 inches / oil on canvas / 2023

I have returned from a whirlwind trip to Los Angeles to attend the opening reception of my current solo exhibition at the Billis Williams Gallery.

I went to the Los Angeles County Museum of Art, where I saw an exhibition called “The World Made Wonderous,” showcasing 17th-century Dutch collections, including many paintings from which I draw direct influence. I won’t get too nerdy here, but I was entirely in my element and wandered through the gallery twice to absorb as much as possible.

Then, it was off to the gallery for the reception, where I met and talked with artists, collectors, and curious gallerygoers. The conversations I have during the receptions are always so encouraging. The best part is connecting with Tressa Williams, principal director of the gallery, who has shown my work for thirteen years. The key to any artist’s success is having a team of enthusiastic people who share your work with the world — that is precisely what Tressa does.