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拍品專文
The relationship between John Frederick Peto and William Michael Harnett has proved to be one of the most fascinating puzzles of twentieth century American art history. In the late 1940s, when Alfred Frankenstein was working on a comprehensive study of American still life, he devised two basic classes of William Michael Harnett's work: those in his "hard" style and those in his "soft" style. His research also coincidentally led him to John Frederick Peto, then a virtually unknown artist.
After considerable research, it dawned on Frankenstein that these paintings in Harnett's "soft" style, were actually the work of John F. Peto such as the present lot. Over time, however, many of these works by Peto had acquired Harnett signatures, presumably signed by individuals hoping to associate their paintings with the then-more celebrated artist. Many paintings by John Frederick Peto have had spurious Harnett signatures subsequently removed. This example however stands as a testament to the development of our understanding of both Harnett's and Peto's oeuvre.
A letter from Alfred Frankenstein accompanies the lot.
After considerable research, it dawned on Frankenstein that these paintings in Harnett's "soft" style, were actually the work of John F. Peto such as the present lot. Over time, however, many of these works by Peto had acquired Harnett signatures, presumably signed by individuals hoping to associate their paintings with the then-more celebrated artist. Many paintings by John Frederick Peto have had spurious Harnett signatures subsequently removed. This example however stands as a testament to the development of our understanding of both Harnett's and Peto's oeuvre.
A letter from Alfred Frankenstein accompanies the lot.