Canvas & Clay: The Collection of Judith and Philip Sieg, Bellefonte, Pennsylvania

Provenance:

Helen Peto Smiley, the Artist's daughter, Island Heights, New Jersey

Mr. and Mrs. Frank T. Howard, Bryn Mawr, Pennsylvania, by 1965 until 1973

Hirschl & Adler Galleries, New York

Davis & Long, New York

Stuart and Mimi Feld, 1974-2013

Davis & Langdale, New York

Acquired from the above by the present owners, 2013

Exhibited:

La Jolla, California, La Jolla Museum of Art, The Reminiscent Object: Paintings by William Michael Harnett, John Frederick Peto, and John Haberle, July 11 - September 19, 1965, no. 55 (as Still Life)

University Park, Pennsylvania, The Pennsylvania State University Museum of Art, Selections from the Collections of Mimi and Sanford Feld, March 22 - May 24, 1981, no. 17, illus.

Literature:

John Wilmerding, Important Information Inside: The Art of John F. Peto and the Idea of Still-Life Painting in Nineteenth-Century America, no. 68, pp. 82-83, illus. (as Orange, Lemons, Nuts, Pitcher and Honey Pot on Box, probably 1890s)

Lot note:

Born in 1854 in Philadelphia, John Frederick Peto was an American master in trompe l’oeil (or trick of the eye) effects. Much of Peto’s work, particularly those that include fruits, vases, and jars, including Still Life with Almonds (Lot 20) and Still Life with Box, Orange, and Bottle (Lot 21), invites comparisons to the great French master, Jean-Baptiste-Siméon Chardin. While there is no record that Peto was familiar with Chardin’s work, it is likely that he was aware of Chardin’s oeuvre and might have even seen the French artist’s work in person. The present two paintings recall the work of Chardin for its simple elegance, celebration of quotidian life, and prioritization of light effects. However, Peto stands out amongst other still life painters for simplifying his objects’ forms, which grants them an abstract power without obscuring their appearance. Additionally, both of the still lifes here are particularly striking examples of the artist’s use of bright colors, a hallmark of his work.

Framed: 15 5/8 x 18 1/2 inches.

Condition reports are available upon request. All lots are sold “as is,” in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold "AS IS," in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot's condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition. Condition reports prepared by Freeman's staff are provided as a convenience and may be requested from the Department prior to bidding.

The absence of a posted condition report on the Freeman's website or in our catalogues should not be interpreted as commentary on an item's condition. Prospective buyers are responsible for inspecting a lot or sending their agent or conservator to inspect the lot on their behalf, and for ensuring that they have requested, received and understood any condition report provided by Freeman's.

Please email fineart@hindmanauctions.com for any additional information or questions you may have regarding this lot.