Technique and condition

The support is fairly coarsely woven linen canvas and the oil-bound priming is coloured yellowish-buff. Weave distortion of the canvas threads all around the perimeter (caused when the cloth was stretched up for priming) indicate that the painting has not been reduced in size.

The paint is oil and was applied with small, smooth brushes for the animals and the architecture and with larger, stiffer ones in the landscape. All the darks are semi-translucent, making use of the warm coloured ground lying beneath them. The painting was glue-lined during the nineteenth century. It was cleaned and restored shortly before being acquired.

Rica Jones
1997