| Preview | Description
  | Notes | Content | Updated by |
|---|---|---|---|---|
 | The Old Kettle c. 1890s National Gallery of Art Washington, D.C. | GA | Anonymous | |
 | The Old Cremona ca. 1887–90 Metropolitan Museum of Art New York, NY | Unrated | Anonymous | |
 | The Blue Envelope c. 1890s National Gallery of Art Washington, D.C. | GA | Anonymous | |
 | Mug, Pipe and Match CA. 1887 Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Washington, D.C. | GA | Anonymous | |
 | Lights of Other Days 1906 Art Institute of Chicago Chicago, IL | GA | Anonymous | |
 | For the Track 1895 National Gallery of Art Washington, D.C. | GA | Anonymous | |
 | Fish House Door 1905 Dallas Museum of Art Dallas, TX |  An eel-fishers tools of the trade are the subject of this late still life by John Frederick Peto, a close associate of William Michael Harnett, the other great trompe loeil (fool the eye) still-life painter of the late 19th century. Peto often chose to represent doors with objects hanging on or tacked to them, such as in this work. He frequently... | GA | Anonymous |
 | Door with Lanterns late 1880s Brooklyn Museum New York, NY | GA | Anonymous | |
 | Book, Mug, Candlestick and Pipe c. 1890s Butler Institute of American Art Youngstown, OH | Aside from this early inspiration of still-life forms, Peto also appears to have taken from Eakins his sense of painting as a meditative, almost psychological, act; and as with so many of Eakins's later portraits of isolated introspective individuals, Book, Mug, Candlestick and Pipe bears a similar mood of quiet closure | GA | Anonymous |
 | An English Breakfast c. 1890s National Gallery of Art Washington, D.C. | GA | Anonymous |
- John Frederick Peto
