5. Treatment Report

The painting was evaluated by the Strauss Center for Conservation (Harvard University Museums), see attachment 5.1. In particular, the white pigment was analyzed for titanium (see 5.2 Spectograph), a UV evaluation was conducted, and the canvas stamps on the verso were photographed using infra red (see 5.3.)


No trace of titanium was found, and it is evident that the canvas origin was a Paris based art supply dealer. There are several areas of retouching identified by UV examination.


The Straus Center reports are attached in this section sections 5.1 to 5.3.)


Professor Higonnet comments in the Treatment Report


The Strauss Center for Conservation used their own judgment in consulting with Professor Higgonet. The treatment proposal did not include this requirement. Indeed the comments of Professor Higgonet are opinion unlike the scientific findings discussed in the balance of the report. At a subsequent meeting with Professor Higgonet we discussed the painting and the evidence for ther paint site. Professor Higgonet stated that the work could be by Morisot , but that there was no body of work for the period on which to make comparisons. Further she stated that she did not profess to be an expert on Morisot's signature, and that Mr. Yves Rouart would be a better authority for that purpose.


Interestingly, Professor Higonnet's comment concerning the small size and sketchiness of the work are exactly compatible with the observations made by M. Edmond About in 1864 on viewing the work (see Style and Description). 137 years have passed, but two art critics describe the work in the same manner!


As for Professor Higonnet's comments on the signature and the fact that Morisot would almost certainly have signed the work for the Salon, we just do not know. Teri Hensick states that it is not possible to date the time after the work was completed that the signature was added. Perhaps it was added 9 months later, but before the Salon (after getting acceptance to exhibit), or perhaps it was just not signed at that time as Mr. Perrault thinks could have been likely (see expert opinion in the “Style” section).


Laboratoire d’Analyses d’Objets d’Art, Gilles Perrault.


On the recommendation the Yves Rouart, the painting was X-rayed by Mr. Gilles Perrault. No other images or painting was identified beneath the present work.