Gent:

Lined, four keys missing, fair tension. A quantity of varnish has seeped to the reverse of the canvas. Very slight distortion to the bottom edge from debris behind stretcher bar. Brittle age craquelure and impact cracks throughout, slighly raised in areas - notably the impact cracks and stretcher bar marks - both of which have old tiny flaked losses. Doesn't appear to be actively flaking. There are a few cracks that are slightly open in the forehead. Minor scattered tiny losses, some retouched, some unretouched, from flaking and impacts. There are a few slightly larger retouched losses for example to the hair to the right of the neck, in the background top right and top left, and at top edge, and one at lower edge. Some strengthening overpaint in the shadows of the right eye, nose and chin. Fairly widespread abrasion to the upper paint layers throughout, the ground is visible in places over the tops of the canvas weave and delicate glazes are much reduced for example in the face, the red drapery and the hair. Remnants of an old yellowed varnish and ingrained dirt in places. Upper varnish fairly even and not appreciably yellowed. Light surface dirt and accretions including flyspotting.

Lady:

Lined, four keys missing, fair tension. Brittle age and impact craquelure throughout, very slightly raised, particularly those cracks associated with the stretcher bars, but all currently secure. there has been a history of flaking in the past, with scattered pinpoint losses (unrestored and restored) associated with this. There are a series of unrestored losses behind frame rebate, just visible where the canvas sits slightly away from the frame at the top. There are also a few old unrestored small losses in the bodice. There are further restored losses scattered, with a couple in the background, but mostly in the face and chest. There are larger patches of overpaint in the forehead (see images in ultraviolet light). There has been some abrasion to the paint layers, particularly in the hair and the blue drapery, which appears to have been fairly extensively damaged, and then later painted over in bright blue, which is in itself now patchy and broken up. There is a portrait miniature to the bodice (which resembles the accompanying portrait), which has a thin layer of white paint over, and a jewelled fastening sits on top over the face of the sitter. It is not clear if it was painted out by the artist and then revealled as the paint layers have thinned, or if was painted out at a later date. There is ingrained old dirt and varnish, a fairly even upper varnish, and a light surface dirt layer.

We are happy to provide Condition Reports to Prospective Buyers, but would welcome your request as soon as possible, preferably at least 48 hours before the Day of Sale.

We cannot guarantee a reply to any requests made within 48 hours of the start of the auction. The absence of a condition report from a lot does not mean that the lot is in perfect condition.

 A Condition Report is an honest expression of our opinion, not a statement of fact and is provided as a service to the Seller. All lots are available on public view ahead of an auction and we encourage people to see an item in person when possible.

Our Condition Reports are not prepared by professional conservators, restorers or engineers, and are prepared with the naked eye unless otherwise stated.

 Works are not examined out of the frame, unless specifically stated. We accept no liability for the opinions expressed in any Condition Report.

Tennants Auctioneers do not cover damage to gilded wood or plaster picture frames, or to picture frame glass whilst the item is in our possession.