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Condition: Craquelure radiates from the corners (the painting is mounted on a strainer not a stretcher) and is more prominent in the sky. Surface exhibits some light surface soil and slight yellowing of varnish. Under black light, there is no visible restoration - the painting appears to be untouched. See photos above.

Under a 20x loop, the crazing in the outer paint strata is consistent within the signature and the signature area itself. Meaning, the strokes of the signature have (consistent with the rest of the painting) also experienced the crazing. The paint of the signature is not on top of the crazing. The crazing runs through the signature. The signature does not fluoresce; the second color is consistent with another blue in the painting and reacts to the black light in the same manner as the other blue. See photos above.

The [excess] canvas that wraps around the stretcher (it is actually a strainer) appears to have been trimmed on three of the four sides. This has not affected the image and structure of the paint in any way. There are a few tack holes in the canvas along the three stretcher edges that do, in fact, have corresponding penetration or tack holes under and into the wood edge. The fourth (uncut) canvas edge has additional tack holes that have no corresponding penetrations (holes) into the back of the stretcher. The uncut canvas edge is the left side verso. See photos above.

The image size has not been altered in any way.

Original owner was Louis B. Goodall, grandfather of the current owner (who has owned it for 50 years). The current owner believes (by his memory) that his grandfather purchased it in Sanford, Maine in the 1920s.