Pierre Eugène Montezin (1874-1946), Entrée de Bessé-sur-Braye, (Sarthe), huile sur toile, signée, titrée au verso, 75x75 cm
Pierre Eugène Montezin (1874-1946), Entrée de Bessé-sur-Braye, (Sarthe), huile sur toile, signée, titrée au verso, 75x75 cm
Condition report:
Good to average condition
Oil on canvas monted on a stretcher with keys, central crossThe original canvas has been relined. The stretcher could be the original onePossible consolidation in the upper right corner. However, it was not possible to determine with certainty the presence / absence of tearsGood planarity of the canvas and good adhesion of the reliningGood tension of the canvas on its stretcher
The pictorial layer has a fairly marked cracking network with some minor losses. This one is accentuated on the sky and the light tonalities with cracks slightly in raising. It is likely that the relined was done to alleviate old adhesion problems related to this network of cracks. We notice indeed many retouching (rather repainted) on the whole, targeted on the cracked zones, largely overflowing with the real gaps of the work, (see photos to illustrate), as well as traces of wax-resin related to consolidation These retouching concerns about 10% of the surface of the entire work (see photos UV) and its visible with the naked eyeThe pictorial layer has some wear, especially on the parts without impasto (such as the dog, the characters to the right at the end of the path, the foliage to the left).Dirty
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Pierre Eugène Montezin (1874-1946), Entrée de Bessé-sur-Braye, (Sarthe), huile sur toile, signée, titrée au verso, 75x75 cm
Condition report:
Good to average condition
Oil on canvas monted on a stretcher with keys, central crossThe original canvas has been relined. The stretcher could be the original onePossible consolidation in the upper right corner. However, it was not possible to determine with certainty the presence / absence of tearsGood planarity of the canvas and good adhesion of the reliningGood tension of the canvas on its stretcher
The pictorial layer has a fairly marked cracking network with some minor losses. This one is accentuated on the sky and the light tonalities with cracks slightly in raising. It is likely that the relined was done to alleviate old adhesion problems related to this network of cracks. We notice indeed many retouching (rather repainted) on the whole, targeted on the cracked zones, largely overflowing with the real gaps of the work, (see photos to illustrate), as well as traces of wax-resin related to consolidation These retouching concerns about 10% of the surface of the entire work (see photos UV) and its visible with the naked eyeThe pictorial layer has some wear, especially on the parts without impasto (such as the dog, the characters to the right at the end of the path, the foliage to the left).Dirty