Mary Potter

Technique and condition

The commercially prepared canvas with a white oil-type priming is attached to the original stretcher, which is of relatively flimsy construction and includes a cruciform arrangement of cross-members.

The paint film was applied mainly by brush but has been scraped back in many areas and modified elsewhere with a blade. The muted range of colours, avoidance of strong tonal contrasts and the thin translucency of much of the paint film combine to provide an unusually soft effect which is emphasised by the generally matt surface of the painting. The painting is not varnished.

At the time of acquisition, the painting was found to have been fitted with a reverse moulded gilded frame and similarily minor abraded damages to the painting, principally along the edges. Acquisition treatment included the removal of dirt from the paint surface and some modification to the forward face of the stretcher cross-members to render them less injurious to the adjacent canvas and paint films. The general condition of the painting at this time was considered to be good.

Peter Booth
1995

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