The composition was executed on a canvas mounted on the stretcher using nails. The stretcher was made by the artist who also mounted the canvas herself. The traces of white paint on the reverse of the canvas and the fact that the edge have been cut suggests this canvas was originally painted for a different-size stretcher. The paint layers were adjusted as visible in the lower edge and right edge. Furthermore, the white areas have also been altered by the artist: the tint of the added white paint is slightly different, and is also present both on the canvas and the stretcher. On the front of the stretcher, the white paint covers the previous stretcher marks. One can also note the black layers of paint were applied using a trowel contain little oily binding agent, which is why they are matte and present cracks. However, they do not present uplifts, which leads us to conclude they are inherent to the artist's choice of technique. The white and black paint layers also presents cracks but no structural problems. The work is lined with a white stripe stapled along the edge. The surface is clean and there is no evidence of any uplifts. To conclude, this work is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."