Anthropomorphic depictions of the four seasons

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.

The first:
The canvas is supported with a glue lining. The varnish is cloudy in places and the paint is stable. Under natural light, craquelure is visible. Some of the pigments in the fruits on the head are rough and appear to be strengthened. Wooden slats are secured to the edge of the canvas to assist with framing. Strengthening is visible over a 7 inch horizontal strip 1 inch from the upper edge, to the left of the grape stem. Some losses are visible along the extreme lower edge, possibly due to frame contact. Additional losses to a 1 inch area are visible at lower right,. Ultraviolet light does not easily penetrate the varnish, however additional scattered strengthening is visible to the background, particularly in the upper left corner, and to some of the fruit on the figure's head as well 3 more recent touches to the white fruit at the lower center.

The second:
The canvas is supported with a wax lining. The varnish is clear and the paint is stable. Under natural light, craquelure is visible. Scattered strengthening is visible to the background. A ¼ inch of the extreme upper edge appears to be repainted. Under ultraviolet light particular concentrations of strengthening are visible in the upper left corner and along both the left and ridge edges. Scattered touches are visible over the figure, in particular, to an area 6 inches from the upper center, to the roses in the lower center and along a 1 inch wide strip that runs approximately 2 inches from the lower edge.

The third:
The canvas is supported with a glue lining. The varnish is clear and the paint is stable. Under natural light, craquelure is visible. There is slight scuffing along the extreme edges due to frame contact. A 1½ inch loss is visible to the lower center edge, as well as smaller losses along this edge. Scattered strengthening is visible to the background as well as to a 1 inch area 3 inches below his nose. Ultraviolet light does not easily penetrate the varnish; however additional scattered touches of strengthening are visible to the bearded area, over his back and fingers, with greater concentration to a 7 x 3 inch area at the lower center.

The fourth:
The canvas is supported with a glue lining. The varnish is cloudy in places and the paint is stable. Under natural light, craquelure is visible. Wooden slats are secured to the edge of the canvas to assist with framing. Scuffing is visible along the extreme left and right edges due to frame contact. Strengthening is visible along a 3 inch horizontal strip (possibly a tear), 3 inches from the left and edge and 4 inches from the upper edge as well as to scattered areas in the background. There is a 1½ inch crack 5 inches from the upper edge and approximately 11 inches from the left edge as well as a 3 inch horizontal crack with associated losses, 1 inch from the lower center edge. Ultraviolet light does not easily penetrate the varnish; however strengthening is faintly visible, including an L-shaped strip of strengthening is visible beginning 7 inches from the left edge and 19 inches from the upper edge, which extends 6 inches to the right and then 3 inches toward the lower edge, which is probably a repaired tear. A few ½ inch spots of strengthening are visible in the background.

All four paintings could be displayed as is.