William Michael Harnett

Lot Description William Michael Harnett (1848-1892) A Bachelor's Friends signed with monogram and dated 'WMHarnett./1891.' (lower left) oil on panel 11½ x 9½ in. (29.2 x 24.1 cm.) Provenance Acquired by the present owner, 1993. Pre-Lot Text PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION View Lot Notes › Lot Notes William Harnett played an exceptional role within the context of late nineteenth century still life painting due as much to his virtuoso and technique as to his subtle wit. A Bachelor's Friends is a masterful and engaging example of the synthesis of these talents that reveals Harnett at the height of his abilities. Although the present work depicts the seemingly casual scene of a gentleman's work table, it is a carefully composed symphony of form, color and texture in which each element plays a role. Harnett spares no opportunity to intrigue the viewer in his assiduous attention to detail and interest in capturing the various textures of the scene. The meticulously rendered surface of the jug, built up to emulate the grainy surface of stoneware, is juxtaposed with the smooth, reflective oil lamp. The book and sheet of music, which hang off the table, invite the viewer into the painting and rounded forms contrast with angular edges throughout to create a lively composition that entices the eye to roam. The flute draws attention into the depths of the painting where the viewer is met with frustration in the form of semi-discernable wood paneling. Similarly, the text appears tantalizingly legible, drawing the viewer in and then thwarting each attempt to decipher it. These legerdemains, as well as the small size of the picture, all serve to simultaneously entice the viewer into the painting and rebuff his investigative attempts. Harnett orchestrates an interaction between viewer and painting and creates a "cycle of reading in which response is a steady movement toward the picture." (P.J. Staiti in D. Bolger, M. Simpson, J. Wilmerding, eds., William M. Harnett, New York, 1992, p. 38) In A Bachelor's Friends, Harnett suggests a narrative as the haphazard positioning of the objects alludes to recent human presence. The title and erudite elements suggest the quiet, solitary activities of a wealthy, cultured man. Indeed, Harnett often chose items that suggested wealth, "He was appealing, of course, to the new moneyed class that had come to being in the wake of the Civil War, the collectors who were to rummage through Europe for both Old Masters and antiquities...In their dark, jewel-like tones and their Dutch reflections, Harnett's paintings not only resembled Old Masters but were replete with the objects...that the collectors were actually buying." (W.H. Gerdts, R. Burke, American Still-Life Painting, New York, 1971, p. 135) Harnett painted A Bachelor's Friends as the world was becoming increasingly industrialized, leaving many people with a desire for the simplicity of the past. Here he concurrently references the past and present and thus the passage of time, juxtaposing worn elements, which suggest age, with those of a more fresh and immediate nature. "Harnett's paintings participated in the materialism of their time, but they also subtly resisted it or at least attempted to mediate it by means of their ennobling, quietly inspiring, or even down-home humourous treatment of familiar artifacts that exuded 'the mellowing effect of age.' This is not to suggest that his art was antimodern or that it failed to take part and pleasure in the era's adoration of accumulation and display, but only that its way of doing so--of reconciling potentially guilty consciences and abundant material success--involved dusting off old objects and bathing them in a reverential light." (P.J. Staiti in William M. Harnett, p. 49) Harnett had a number of followers such as John Fredreick Peto and Richard La Barre Goodwin, who adapted not only his style, but also his choice of objects. Of Harnett's extensive influence William Gerdts wrote, "The change in emphasis as to subject matter and aesthetic point of view that took place in American still-life painting during the last quarter of the nineteenth century was molded by one man to a degree that has never been equaled before or since. That one man was William Michael Harnett." (American Still-Life Painting, p. 133) The sophistication of works such as A Bachelor's Friends is a testament to Harnett's continuing legacy.

LOT 258 PROPERTY FROM THE UNIVERSITY GALLERY, UMASS AMHERST, TO BENEFIT FUTURE ACQUISITIONS WILLIAM MICHAEL HARNETT 1848 - 1892 STILL LIFE WITH MUNICH NEWSPAPER, FRUIT AND DECANTER signed with the artist's monogrammed signature WMHarnett and dated München 1881, l.l.; also inscribed Harnett Munich 1881 on the stretcher oil on canvas 8 3/4 by 7 1/4 in. 22.2 by 18.4 cm.

LOT 86 PROPERTY FROM THE UNIVERSITY GALLERY, UMASS AMHERST, TO BENEFITFUTURE ACQUISITIONS WILLIAM MICHAEL HARNETT 1848 - 1892 STILL LIFE WITH MUNICH NEWSPAPER, FRUIT AND DECANTER signed with the artist's monogrammed signature WMHarnett and dated München 1881, l.l.; also inscribed Harnett Munich 1881(on the stretcher) oil on canvas 60,000—80,000 USD measurements measurements 8 3/4 by 7 1/4 in. alternate measurements (22.2 by 18.4 cm) signed with the artist's monogrammed signature WMHarnett and dated München 1881, l.l.; also inscribed Harnett Munich 1881(on the stretcher) oil on canvas Gilbert May and George Abraham, Granville, MassachusettsGifted to the present owner, 1966

William Michael Harnett (1848-1892) Still Life with Jug and Newspaper signed with initials in monogram and dated 'WMHarnett/München/1881'(upper left) oil on canvas 10 x 8 in. (25.4 x 20.3 cm.) Provenance Private collection, Hamburg, Germany, circa 1914-19. By descent. Sotheby's, New York, 3 December 1992, lot 39. Acquired by the present owner from the above. Lot Notes The year 1880 marked a significant stylistic transition inWilliam Harnett's work and heralded the birth of his mature style.Works such as Still Life with Jug and Newspaper mark a shift to asmaller scale and the naissance of the more detailed, fastidiousbrushstroke that became the hallmark of Harnett's later work.Harnett played an exceptional role within the context of latenineteenth century still life painting due in equal part to hisvirtuoso technique and to his subtle wit. Still Life with Jug andNewspaper is a superb example of the synthesis of these talents. Hehad a vast number of followers such as John Fredreick Peto andRichard La Barre Goodwin. These artists adapted not only his style,but also his choice of objects. Of Harnett's extensive influenceWilliam Gerdts wrote, "The change in emphasis as to subject matterand aesthetic point of view that took place in American still-lifepainting during the last quarter of the nineteenth century wasmolded by one man to a degree that has never been equaled before orsince. That one man was William Michael Harnett." (AmericanStill-Life Painting, New York, 1971, p. 133)

WILLIAM MICHAEL HARNETT American (1848-1892) "The Golden Horseshoe" oil on canvas, signed lower right and dated 1886. 16 x 14 Provenance: Mr. & Mrs. James W. Alsdorf, Winnetka, Illinois. Exhibitions: Art Institute of Chicago, Illinois, "Treasures of Chicago Collectors", 1961; La Jolla Museum of Art and Santa Barbara Museum of Art, California, "The Reminiscent Object, Paintings by William Michael Harnett, John Frederick Peto and John Haberle", July 11-October 31, 1965; Traveling, University Art Gallery, Berkeley, California, California Palace of the Legion of Honor, San Francisco, California, National Gallery of Art, Washington, D.C., Whitney Musuem of American Art, New York and The Detroit Institute of Arts, Detroit, Michigan, "The Reality of Appearance, The Trompe L'Oeil Tradition in American Painting", March-October, 1970, n. 50, pp. 84-85, reproduced on p. 19 and on cover of catalogue; Traveling, Metropolitan Museum of Art, New York, Amon Carter Museum, Fort Worth Texas, The Fine Arts Museums of San Francisco, California, National Gallery of Art, Washington, D.C., "The Still Life Paintings of William M. Harnett", March 1992-June 1993. Literature: "After the Hunt, William Harnett and Other American Still Life Painters 1870-1900", Alfred Frankenstein, 1969, pp. 72, 159, cat. no. 99A, p. 177, pl. 64 (a similar painting "Colossal Luck, 1886" is reproduced in Frankenstein's "After the Hunt", 1953 edition, pl. 64); "The Blithe Deceivers, Saturday Review", Katherine Kuh, vol. LIII, n. 30, July 25, 1970, pp. 38-39.; "American Paintings V", Berry-Hill Galleries, 1988, p. 179 (reproduced as frontispiece); "Smithsonian Magazine", vol. 22, n. 12, March 1992, cover illustration for article "Will the real William Harnett please stand up", p. 2. Other Notes: Please click on the ESSAY for further information. Estimate $ 300,000-500,000