The canvas is unlined and is securely attached to what appears to be the artist's original,
keyed wooden stretcher. This is ensuring a stable structural support. The canvas is inscribed
on the reverse.
The paint surface has a relatively even and discoloured varnish layer. The painting should
respond well to cleaning.
There is a very small flake of fragile and lifting paint close to the lower part of the left edge.
There are two very small paint losses below the signature in the lower left corner, two very
small paint losses above the centre of the lower edge, and a very small paint loss in the upper
right corner of the sky. There is also evidence of frame abrasion on the extreme edges of the
composition, most notably on the right edge.
Inspection under ultra-violet light confirms the discoloured and degraded varnish layer which
prevents the ultra-violet light from fully penetrating. Inspection under ultra-violet light also
shows very small horizontal lines of retouching towards the lower left corner including two
intermittent fine lines running through the signature. These appear to have been applied on
top of the discoloured varnish layers. No other retouchings are visible under ultra-violet light.
The painting would therefore appear to be in good condition and would benefit from
cleaning, restoration and revarnishing including the localised consolidation of the small flake of
fragile and lifting paint mentioned above and from filling and retouching any paint losses. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."