Looking at an old painting: stretcher, craquelure, frame

The stretcher reads first. Oxidised wood, corner keys, canvas fixed with forged nails or small tacks: these date a work more reliably than a signature.

Craquelure comes next. On an old painting it follows the structure of the canvas and spreads coherently. A network that is too regular, or that stops abruptly in one area, often signals repaint.

The frame, finally, deserves separate consideration. Many modest paintings carry remarkable frames — and the reverse is true. The two sell together but should be judged apart.