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This wonderful painting is an oil on canvas measuring 39cm x 50cm (excluding the frame) and 47cm x 58cm (with the frame from the second half of the twentieth century).
The painting is still on its original canvas and stretcher and is characterised by heavy craquelure, typical of a work created in the 1860s or 1870s.
When the work was purchased, its signature and the lower part of the painting were hidden by a false layer of gray varnish. The layer of gray varnish was removed, revealing the signature "Claude Monet." It is possible to assume or hypothesize that the signature was hidden in the late 1930s, when attempts were made to save the work, which had been brought from France, from German invasion and raids. The gray varnish has subsequently remained intact, to this day.
The painting was legitimately purchased and is of legitimate provenance.
Among the photographs, and in particular the penultimate photo, there is a detail from Claude Monet's painting "Still Life with a Tea Service," another painting featuring a cup of tea with the same decorations as this particular ceramic featured in the work we are presenting.
The last photo shows an image of the painting with the signature still half-hidden.
Furthermore, the priming of the painting presented here is characterised by being very similar to that of the sketch for "Fishermen of Poissy", recently attributed to the hand of Claude Monet by two Italian scholars, and in fact the craquelure is characterised in both cases by these liftings along the cracks.
The work is an original oil on canvas from the second half of the 19th century. It should be noted that, even if the signature were not original, many of Monet's works were later signed or stamped by the artist's son. In any case, this work is offered here at a modest price considering its potential value.
An analysis under Wood's lamp reveals very little overpainting, almost all along the edges of the work. These are visible under the lamp's rays as darker, purplish spots. Even the signature, which is quite thick, is integrated into the work and is clearly not an overpainting.
Claude Monet (1860-1926) was one of the fathers of Impressionism, if not the greatest exponent of this fundamental and revolutionary artistic movement. Before this revolution, however, he was a pupil of, among others, the master Charles Gleyre. His time with this artist is characterized by the execution of still lifes. Renoir was also a pupil of Gleyre.
The signature almost in the centre of the work is found in many other works by this artist, for example in "La rue de la Bavolle à Honfleur", and in "Le jardin de l'artiste à Vétheuil".
According to Italian law and given the significant value of the work, before being exported, it must undergo certain bureaucratic procedures in Italy that last up to 30 days.
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