Pair of hunting scenes - Pierre Testu (1889-1928)

Pair of paintings depicting hunting scenes: an English Setter and a Pointer standing still at the edge of a pond in front of a group of mallards, and a Gordon Setter and an English Setter standing still in front of a thicket.

Oils on canvas signed at the bottom (left for one, right for the other).
French school of the 19th century.
Presented in large gilded wood frames.

Paintings in very fine original condition, one lined and mounted on a new stretcher with key, but without restoration for both.
Frames in superb condition.

Dimensions: Frame 65 cm x 54 cm - Frame 84 cm x 73 cm.

Although he is of course listed in the Bénézit, little is known about the life of this painter, well known for his seaside scenes. Testu specialized in marine scenes, especially of fishing and kelp gatherers, but he also painted scenes of country life and hunting scenes, the latter particularly close to those of Eugène Petit, and of equal quality.
For example, we had a painting of a hunting scene by Petit, and then saw exactly the same scene painted by Testu on the Internet (although the latter borrowed from the former, his painting appears to us to be superior in quality, which we shouldn't take as a generality, as the two painters are, in our opinion, of roughly the same level and have, as is often the case, two painting qualities - and we'll end by saying that here we're looking at the painter's best quality). Just as we were about to bring this description to a close, we found a painting by Eugène Petit identical to one of those we're presenting, our painting appearing to us (once again, therefore for Testu) to be slightly superior.
Of course, these analogies raise questions...
It turns out that the difference in quality is minute, and sometimes the reverse: sometimes Testu's dogs are better and Petit's landscapes better, sometimes Petit's dogs are better and Testu's landscapes better.
What if they had worked together?
Indeed, one wonders whether Pierre Testu and Eugène Petit might not have perpetuated the tradition of two-handed painting?