Technique and condition
The painting was carried out in an oil paint applied quite thickly in a paste-like consistency. The resulting impasto tends to be of a spiky nature or in the form of ridges at the brushmark edges.
At the time of Tate accession the thinness and porosity of the white ground layer allied with some defects in the stretcher were thought to justify preventative intervention. Thus, the canvas was removed from its stretcher and the reverse cleaned before reattachment to a new panelled strainer. The painting was surface cleaned and the frame strengthened, glazed and backboarded at the same date. Following his treatment the general condition and stability of the painting were regarded as good.
The painting has never been varnished. The frame in which the painting was acquired is believed to be the painting's original frame but would appear to be of nineteenth century origin. The frame had been cut down to fit the present canvas or one of similar size. The generally degraded state of the frame including the gold leaf and gesso on its face had been disguised and unified by the scumbled addition of a layer of burnt umber oil paint.