Technique and condition
The front faces of the doors appear to have been initially prepared with an unpigmented layer, possibly an animal glue size. Although there is no overall pigmented preparatory layer, a white priming (possibly an acrylic gesso) has been applied over all of the canvas pieces, extending slightly beyond each canvas edge. The paints are a mixture of artists' oil paints, a glossy black household paint (based on an alkyd resin) and silver and gold metallic paints, which have been applied in various brush techniques. The paint which was applied directly onto the door panels was done so as rather lean paint and in several thin layers which have often been applied wet-in-wet and then extensively scraped back, abraded or rubbed out with further thinner. This has produced a highly complex layered structure in these areas. In contrast, the paint over the relief work is thicker and more textured and exhibits a reasonable impasto from brushwork, and is more characteristic of paint used directly from the tube.
There is no varnish on the painting and the work is not framed. The condition of the painting is good. The plywood support only has a few slight deviations from a flat plane and a few minor bumps and damages to its edges. The paint layers possess a few minor scuffs, particularly towards the edges, although the artist may have intended many of these. Providing a careful handling policy is adopted and a stable environment kept, the painting's condition should not suffer any further deterioration.