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<p>[QUOTE="birch, post: 361332, member: 7541"]There is some info on the web about this Polish-Belgian artist Eugene Fehdmer (1846-1918) to be found at an number of sites and even at <a href="http://www.rkd.nl" target="_blank" class="externalLink ProxyLink" data-proxy-href="http://www.rkd.nl" rel="nofollow">www.rkd.nl</a> the national Dutch Institute of Art History. But it will helas all be irrelevant here as this is a reproduction. It shows the discoloration of printing paper, especially at the scratches which reveal how thin the image layer is; watercolour pigment, in its watery medium, sucks deep into the paper. And an artists' watercolour sheet would have a different structure from the one seen on the detail with the damage. Finally, unpolished spruce was the cheapest material for the reverse of a frame, seen never on unique pieces but often on printwork produced in quantities. I hope the price was negligible...[/QUOTE]</p><p><br /></p>
[QUOTE="birch, post: 361332, member: 7541"]There is some info on the web about this Polish-Belgian artist Eugene Fehdmer (1846-1918) to be found at an number of sites and even at [URL='http://www.rkd.nl']www.rkd.nl[/URL] the national Dutch Institute of Art History. But it will helas all be irrelevant here as this is a reproduction. It shows the discoloration of printing paper, especially at the scratches which reveal how thin the image layer is; watercolour pigment, in its watery medium, sucks deep into the paper. And an artists' watercolour sheet would have a different structure from the one seen on the detail with the damage. Finally, unpolished spruce was the cheapest material for the reverse of a frame, seen never on unique pieces but often on printwork produced in quantities. I hope the price was negligible...[/QUOTE]
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