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.

PLEASE NOTE THAT THIS CONDITION REPORT WAS PREPARED BY HAMISH DEWAR, AN
INDEPENDENT PAINTINGS CONSERVATOR UNCONDITIONAL AND WITHOUT PREJUDICE

Structural condition
The canvas is unlined and is securely attached to a keyed wooden stretcher within one central
vertical and one horizontal cross member. There are numerous patched repairs on the reverse
of the canvas, including a cluster of repairs in the upper centre left, one patch in the upper
centre, two patches towards the upper right corner and two further patches towards the lower
right corner. These appear stable. Brown paper gum tape covers the tacking and turnover
edges of the canvas

Paint surface
The paint surface has a relatively even varnish layer.
There is an overall pattern of raised craquelure, including corresponding to the stretcher
members. This appears stable at present.
Inspection under ultraviolet light reveals the figure to have been selectively cleaned in the
past. An opaque uneven varnish layer covers the background. Inspection under ultraviolet
shows a large area of retouchings to the right of the figure's torso which corresponds to the
cluster of repairs on the reverse, a further large retouching towards the upper part of the left
edge which also corresponds to patched repairs on the reverse and more scattered
retouchings within the background including corresponding other repairs and numerous
retouchings above the lower edge. It should be noted that the figure is in a good state of
preservation with minimal inpainting, including one small retouching on her navel and one on
her right ankle. There are also a few retouchings within the veil.
Summary
The painting is therefore in fair and stable condition. with the retouching largely confined to
the background.