Technique and condition

The painting has been executed in oil paint on stretched, primed canvas It is framed in a deep moulded wooden frame painted with off-white housepaint.

The artist did not prepare his own support but acquired it ready-stretched, sized and primed on a French fixed wooden strainer. The priming is probably oil, it is well-bodied but thinly-applied to create a smooth surface. The artist drew out the design probably in pencil and then filled in the regions with oil paint, probably artist's tube paint.

In each pre-defined area the paint appears to have been used directly from the tube in simple mixtures of a basic colour and white. Linear detail is painted on top with a thin round brush. In the townscape these lines are added after the underlying paint was dry but in the nets and baskets the artist worked into wet paint, pushing and scoring through the pasty surface with his brush. In this way he carved coloured ripples and waves into the paint. The sky and the cliffs are created from heavy applications of thick paint brushed in short staccato strokes. Similarly, the sea, which was the last part to be painted, is filled in methodically in green and various quantities of white and blue.

The paint is distorted by a thin layer of loosely applied natural resin varnish, which has now yellowed and is covered by a layer of black surface dirt. There is a small amount of overpaint at one corner but otherwise the painting is in very good condition.

Mary A. Bustin
January 2002