The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.

THIS CONDITION REPORT HAS BEEN PREPARED BY HAMISH DEWAR FINE ART CONSERVATION,
IN THE CHRISTIE'S WAREHOUSE FOR THE PURPOSE OF THIS SALE.

Structural condition

The pair of oils on canvas are unlined and securely attached to what are evidently the original
keyed wooden stretchers.
There is a small patch on the reverse of the portrait of Thomas Webb and both paintings have,
inevitably for unlined canvases of this period, a pattern of slightly raised drying craquelure and
stretcher-bar lines.
The craquelure is stable and it is obviously most encouraging to find the canvases in their
original unlined state.

Paint surface

The paint surfaces of both paintings have reasonably even varnish layers.
Inspection under ultraviolet light shows both paint surfaces to fluoresce very unevenly, making
the identification of retouchings difficult. It would appear that both portraits have a number of
small spots of retouching on the sitter's faces and that some broader glazing has been applied
on the background and costumes of both paintings.

Summary

The pair of paintings would therefore appear to be in good and stable condition and no
further work is required for reasons of conservation. The difficulty in assessing the extent of
retouchings applied in the past should be noted.