Basic Information about the Artwork

Author: Sláva Tonderová-Zátková
Technique: Oil painting on canvas

Dimensions: 60 cm x 50 cm

Date: 1924

Condition of the Artwork Before Restoration

The canvas is stretched on a rectangular stretcher frame with a profiled edge, tightened with eight wedges. Despite this, the canvas sags, and stretcher bar marks are visible. These marks disrupt the painting’s appearance, flattening, and layer cohesion. The edges and corners show significant warping, which is obvious under strong side lighting.

We can see that the canvas was previously restretched, possibly on the original stretcher, but it was done incorrectly. The paint on the left and right sides doesn’t extend over the stretcher’s edges, while it does at the bottom. At the top edge, there’s a half-centimeter unpainted strip, matching the paint overlap at the bottom. This might indicate an artist’s adjustment for framing, so we should consult the owner about the decorative frame and this possibility.

The paint and ground layers are missing in several large areas. Around these spots, the paint is loose, raised, or cracked, with a high risk of further flaking. This is most noticeable in the upper left background, the upper left part of the face, and along an imaginary line leading down to the hands holding the book. The back of the canvas shows traces of liquid damage, which caused the layers to separate. We need to stabilize these areas to restore cohesion.

The painting is covered with a thin layer of surface dirt, and the varnish is slightly degraded and yellowed. Dirt is especially noticeable on the back.

The canvas is fastened to the stretcher with nails spaced too far apart, contributing to further warping and unevenness when tightened. The stretcher has minor mechanical damage, surface dirt, remnants of glue tape, and pencil and chalk marks (possibly an old price or inventory number). The bottom stretcher bar is narrower than the other three.