The late-period painting, found in the artist’s studio when he died, had been dramatically changed over the years, including being cut down on the sides and trimmed at the top, as is demonstrated by a photograph taken by Fernard Lochard in a studio inventory. Overpainting included an added signature (“Ed Manet”) and filling in the trellis-like background, which was less “finished”. The syrupy top, dark layer of varnish is a type typically used for musical instruments or wood furniture, also muted the painting’s sketchy energy. Even the subject’s right eyebrow was changed during the earlier restoration from a raised arch to a more neutral and passive line.