Anton Petter

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. Although this painting may not have been restored very recently, it is presentable as is. The canvas has been lined. There is no abrasion to the original paint layer, which provides all of the details with a very attractive surface. At some point in the painting's history it may have been removed from its stretcher and rolled, and as a result some structural damages seem to have occurred, particularly in the center of the right side where there is a group of vertical paint losses running between the two girls on the right. There are other losses around the tennis racket and on the lower edge on the right side. There is another loss in the base of the watering can and further losses in the maroon drape of the kneeling girl on the right, in the head of the sheep and in a few other spots. If this restoration were reexamined the painting would improve, but this would be a costly procedure and the painting is very attractive as is.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

The unusually large scale of this group portrait allows Petter, who is perhaps best known for his historical and religious subjects, the freedom to express not only his accomplishment in portraiture but indeed his dexterity in the treatment of greenery and landscape within an expertly balanced composition.  The artist uses clear motifs to express the innocence of childhood play; the eldest boy rides a sheep, emblematic of meekness and simplicity, while the girls play with turtle doves, tied with ribbons, accentuating their gracefulness and youthful naivety in love.  In a written expertise, Professor Fernando Mazzocca describes the monumental portrait as "one of the most significant works" by the Viennese artist, deeming it a "unique piece in the panorama of portraiture of the period" (private communication with the present owner, dated July 2009).

Petter worn in Vienna, the son of architect and cousin of the still life flower painter, Franz Xaver Petter.  In 1808 the Anton travelled to Rome and a year later won the coveted Reichel Prize for painting.  Following his return to Austria, he was accepted into the Vienna Academy in 1814, later becoming a professor and serving as Head of the Painting and Sculpture School from 1829 to 1850.