Artist: Laslett John Pott (British, 1837–1898)
Title: Mary, Queen of Scots, Being Led to Her Execution
Medium: Antique Steel Engraving on wove paper after the original oil on canvas by master engraver P. Lightfoot.
Dimensions: Image Size 7 1/4 x 9 7/8 inches.
Framed Dimensions: Approximately 16 x 19 inches.
Framing: This piece has been professionally matted and framed using all new materials.
A historical scene. On the right of the picture is a stone staircase, leading from Mary’s room, where she has been held. The bannisters are draped with black material. At the top of the stairs are the Queen’s courtiers, all in black. One of her ladies-in-waiting weeps; next to her on the wall is a tapestry. Mary herself is on the bottom step, being guided by the arm by a male courtier dressed in a breastplate and thigh-length leather boots. He carries a sword at his side. The queen looks straight at us, a look of shocked composure on her face. She wears a long black dress, with a red underdress, a long white veil, which is worn at the back, and a stiff lace ruff. Around her neck is a crucifix, and she holds another, with a lace handkerchief, in her right hand. On the extreme left of the picture, descending the lower flight of stairs, we see the soldiers that have come to lead her away. Above them we can see Mary’s room, with its window and desk.
Laslett John Pott born and raised in Nottinghamshire, specialized in historical paintings set in the 16th through the 19th century, many chronicling Napoleon’s bloodstained battles. Catering to the preferences of the middlebrow Victorians, he also painted emotionally laden narratives and sentimental scenes from classical English literature. From 1860 to 1897, Pott exhibited an impressive 43 works at the Royal Academy of Arts. Some of his most famous paintings are: Mary Queen of Scots on Her Way to Her Execution, Charles I After His Trial, and On the March from Moscow. Disinherited was exhibited at the Royal Academy in 1884. Pott expressed a passion for painting and displayed extraordinary talent at a very young age. However, Pott’s father insisted that his son pursue a career in architecture and forced him to become an apprentice to a local architect at the age of sixteen. Bored of columns and corbels, the younger Pott eventually persuaded his father to enroll him at a well-known art school in Bloomsbury, London. A few years later, Pott became a student of Alexander Johnstone (1815 – 1891), a Scottish history and genre painter. While training in Johnstone’s studio, Pott produced his first paintings accepted for exhibition at the Royal Academy. Almost instantly Pott won the respect and admiration of the top professional art critics, as well as the general public. When he was only 26 year old, Pott’s painting, Puss in Boots, was selected to hang “on the line” at the 1863 Royal Academy Exhibition – a huge honor, since many paintings were hung too high or too low to be viewed properly. The next year, Pott’s Rebecca describes the Fight to Ivanhoe was exhibited at the Academy, followed by Old Memories in 1865.