The Bay of Naples with Santa Maria degli Angeli; and The Arno towards the Ponte alle Grigio

拍品的狀況可能存在極大差異，而由於其性質使然，拍品難以處於完美無瑕的狀態。拍品均以拍賣時的狀況出售。

The first:
The painting has a glue lining. The paint is stable on the support and the varnish is yellowed. There is a fine craquelure visible in natural light. Two pinhead size losses are evident in the sky. In natural light a thin line of retouching to address an earlier mark from a stretcher bar is visible at the upper edge, as are scattered small passages of retouching in the sky along the right edge. Inspection under ultraviolet light reveals a network of fine strokes to close the drying craquelure as well as several further small passages of retouching in the sky and water. The painting presents well and can be displayed in its current state.

The second:
The canvas is reinforced on the reverse with a glue lining. The paint is stable on the support and the varnish is slightly yellowed. A fine craquelure is visible in nature light, as is a small loss measuring approximately 1/8 inch in diameter in the boat at lower left. The impasto in the clouds remains appreciable. Inspection under ultraviolet light reveals a handful of small passages of retouching which fluoresce in the sky, the largest of which is approximately ½ inch in diameter in the clouds at upper left. A few scattered incidental strokes of retouching also fluoresce in the architecture at left and to reinforce the countours of the boat at lower left. The painting presents well and can be hung in its current condition. Inpainting of the small loss would enhance its appearance.