An Original Painting by George Michaud (American, 1929–1970)

What to document first (so attribution and pricing are defensible)

If you want a useful estimate (or an insurance figure), start by collecting a “photo dossier”. For an oil on canvas, the back is as important as the front because it tells you how the piece was made, stored, repaired, or titled.

• Front photo in daylight: straight-on, plus angled shots to show texture and brushwork.
• Signature close-ups: take 3–5 photos at different angles so you can see whether the signature sits on top of dried paint or seems mechanically applied.
• Back of the canvas: full shot plus close-ups of staples/tacks, stretcher keys, labels, and any handwriting (including “First Ballad”).
• Dimensions: confirm whether 24×30 inches refers to the canvas size (common) and measure depth and frame size too.
• Condition: photograph the tear with a ruler, plus any cracking, flaking, varnish yellowing, or stretcher damage.

These items determine whether you can market the work as “signed by”, “attributed to”, or simply “signed ‘Michaud’” (the most conservative, legally safer phrasing when you don’t have a clear artist bio yet).

George Michaud (American, 1929–1970): what “listed” status really means

Collectors often assume that a signature automatically equals a known artist. In reality, mid-century American painters span a wide range: nationally exhibited artists with deep auction records, and regional or commercial painters with minimal formal documentation.

When you see a biographical line such as “George Michaud (American, 1929–1970)”, treat it as a lead—not a guarantee. The best next step is to verify whether the artist is:

• Listed in art reference databases (and whether the listing includes exhibition history, museum holdings, or publications).
• Consistently identifiable by signature (same hand, same spelling, similar placement).
• Connected to a region (schools, galleries, art associations), which often drives market value for local collectors.

If the only evidence is the signature and a handwritten back note, you can still reach a useful valuation range—but your range should reflect that uncertainty.

Signature and reverse inscription checks (practical, non-destructive)

Most authenticity problems we see with “found” paintings are not sophisticated forgeries—they’re misattributions, overconfident online listings, or later-added signatures meant to increase appeal. You can do a lot without lab testing:

1. Look at the signature under raking light: does it sit atop varnish (later) or feel integrated with the paint layer (more consistent)?
2. Check medium consistency: an oil signature on an oil painting often has similar gloss/texture; marker or ballpoint on old oil is a red flag.
3. Compare handwriting front vs. back: if the reverse reads “First Ballad 24x30 Oil by Michaud”, photograph it clearly and compare letter forms to the front signature.
4. Inspect the stretcher and staples/tacks: they help date the support and can contradict claimed age.
5. Look for labels: framer labels, gallery stickers, and shipping labels can unlock the region and time frame.

Tip: do not “clean” the signature area before documenting it. Even gentle wiping can change how varnish and pigment read in photos.

Condition: how a tear affects value (and when conservation pays)

A tear is one of the highest-impact condition issues for an oil painting on canvas. It matters for two reasons: (1) it can cause paint loss and future flaking, and (2) most retail buyers expect a stable, display-ready piece.

In practice, a small puncture or short tear that can be professionally repaired is often a manageable deduction. A long tear through key visual areas (faces, focal points) can be much more severe.

General guidance (not a substitute for a conservator quote):

• “Display-level” tear repair (stable patch + inpainting) can sometimes restore marketability for decorative buyers.
• Museum-grade conservation (lining, complex tear alignment, varnish removal/revarnish) may exceed the painting’s resale tier unless the artist is strongly listed.
• Never use tape, glue, or DIY patch kits on the canvas. Many adhesives permanently stain and make future conservation more expensive.

For valuation, appraisers usually estimate the “as-is” market value first, then consider whether a rational buyer would also pay for conservation. That helps answer your second question: “what would it have been worth in mint condition?” Mint condition is not just “no tear”—it also includes stable paint, no severe yellow varnish, no water damage, and no structural distortion.

Value ranges: what’s realistic without a deep auction record

Without confirmed auction comparables tied directly to George Michaud, we anchor value using market behavior for mid-century signed decorative oils of similar size and presentation, then adjust for attribution confidence and condition.

For a 24×30 oil on canvas signed “Michaud” with an identified title (“First Ballad” on the reverse):

• As-is (with a visible tear): often falls in a broad range like $150–$500, depending on subject appeal, frame quality, and how disruptive the tear is.
• In “clean, stable” condition (professionally repaired): a similar piece might trade in the $350–$1,200 zone if the work presents well and attribution is consistent.
• If a strong listing/provenance is confirmed: the ceiling can rise materially, but only confirmed documentation (exhibition history, gallery labels, archive references) justifies that jump.

These are intentionally conservative, because “unknown-signed” paintings can be mis-marketed online. If you need an insurance replacement figure, you may be valuing at a retail gallery replacement level rather than an auction/secondary-market level—an appraiser can document that methodology clearly.

Where to sell (or how to keep it for insurance)

Your best venue depends on what you learn about the artist:

• If attribution remains uncertain: a local auction house, estate auction, or curated online auction is often the most honest outlet.
• If you find regional ties: galleries and auctions in that region may achieve better results due to local collector interest.
• If the painting is decorative-first: online marketplaces can work, but only if you disclose the tear and show clear photos of back/condition.

If you’re keeping it, document the work now: full photos, measurements, and a written condition note. That documentation is what helps with insurance scheduling and future estate administration.

FAQ: common questions about signed mid-century oil paintings

Q: Is a handwritten note on the back proof of authenticity?
Not by itself. It’s helpful evidence, especially if handwriting matches the signature, but provenance and construction details matter too.

Q: Should I remove the canvas from the frame to photograph it?
Only if it’s easy and safe. If you’re unsure, photograph around the edges and the back as-is; forcing it can worsen the tear.

Q: Does “24×30” usually mean inches?
In the U.S., yes—24×30 inches is a common canvas size. Measure to confirm.

Q: Can a tear be repaired without lowering value?
Professional repair can improve marketability, but collectors usually still apply some deduction. Documentation of conservation helps.