AFTER MARIE GUILLEMINE BENOIST, PORTRAIT OF MADAME PHILIPPE PANON

AFTER MARIE GUILLEMINE BENOIST PORTRAIT OF MADAME PHILIPPE PANON DESBASSAYNS DE RICHEMONT (JEANNE EGLÉ MOURGUE, 1778–1855) Oil on canvas 114.5 x 87cm (45 x 34¼in.) The present work appears to relate to the portrait in The Met of the same sitter with her son, previously attributed Jacques Louis David and now to his pupil, Benoist. The original picture was probably exhibited at the Salon of 1802. Condition Report: The canvas has been lined. There appears to be a repaired horizontal tear (approx. 15cm) to the left of the sitter's head. This can be seen in a raking light. The paint surface appears uneven, most likely caused by the application of the varnish. Rubbings and abrasions along the framing edges with some associated knocks and losses. Light patches of craquelure together with some light surface dirt and superficial scratches throughout. Inspection under UV light reveals some light scattered retouching together with a smaller, more concentrated area of retouching under the sitter's eye (this can be seen in a natural light once you know where it is), as well as the aforementioned area of repair to a previous tear. A thick varnish may be concealing further restoration. Condition Report Disclaimer, AFTER MARIE GUILLEMINE BENOIST, PORTRAIT OF MADAME PHILIPPE PANON DESBASSAYNS DE RICHEMONT (JEANNE EGLÉ MOURGUE, 1778–1855), AFTER MARIE GUILLEMINE BENOIST PORTRAIT OF MADAME PHILIPPE PANON DESBASSAYNS DE RICHEMONT (JEANNE EGLÉ MOURGUE, 1778–1855) Oil on canvas 114.5 x 87cm (45 x 34¼in.) The present work appears to relate to the portrait in The Met of the same sitter with her son, previously attributed Jacques Louis David and now to his pupil, Benoist. The original picture was probably exhibited at the Salon of 1802. Condition Report:, The canvas has been lined. There appears to be a repaired horizontal tear (approx. 15cm) to the left of the sitter's head. This can be seen in a raking light. The paint surface appears uneven, most likely caused by the application of the varnish. Rubbings and abrasions along the framing edges with some associated knocks and losses. Light patches of craquelure together with some light surface dirt and superficial scratches throughout. Inspection under UV light reveals some light scattered retouching together with a smaller, more concentrated area of retouching under the sitter's eye (this can be seen in a natural light once you know where it is), as well as the aforementioned area of repair to a previous tear. A thick varnish may be concealing further restoration. Condition Report Disclaimer

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