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Condition Report
SUPPORT:
Construction: The painting is executed on a medium weight linen (estimate) support. The linen is moderately coarse with an open weave and is tacked to a light weight five member mortise and key stretcher. The center cross brace is padded with foam to dampen vibration. There are two 8" square canvas patches on the reverse in the upper left quadrant.
Condition: The linen support is somewhat dry but still strong. However, the tacking margins are fragile and there are small canvas bulges scattered around the edges. On the back, the canvas is quilted where distorted by the paint craquelure. The canvas patches probably cover tears, however, they have begun to delaminate around the edges.
The stretcher, although in satisfactory condition, is undersized for the weight of the paint and canvas. All ten stretcher keys are missing.
PAINT AND GROUND:
Construction: The paint is typical of an oil bound medium and is applied as a stiff paste in multiple layers. In many passages, it is nearly 1/4" thick and the impasto is conspicuous. The ground is a white continuous layer that somewhat fills the coarse canvas texture. It does not extend into the tacking margins and is estimated to be an oil medium.
Condition: The paint-ground are generally stable. A sparse network of deep craquelure is distributed over the design. Some of the gaps are nearly 1/8", however, cupping is moderate and there are only a few areas of associated cleavage. Scattered losses are evident around the edges at the tacking margin folds. A small loss is also present in the bottom right quadrant. Adhesive residue around the site suggests that a broader area of cleavage has already been secured.
SURFACE LAYERS:
There is a moderate to heavy grime layer deposited on the surface. Treatment notes from 1963 state that the painting was surfaced with spray applied coating of PVA/AYAA varnish, a stable but very soft resin. Unfortunately, considerable grime is also embedded in the varnish.
RECOMMENDATION:
In its present state, the painting cannot be safely handled or transported. The sheer weight of the paint exceeds the ability of the stretcher and canvas alone to provide adequate support. In time, the tacking margins will tear and the painting will begin to sag under its own weight. At present, it is very difficult to move, much less transport the painting without causing the canvas to trampoline possibly resulting in additional cracks. Because the paint layers are so thick, the canvas can never be adequately tensioned.
To exhibit and transport the painting without unnecessary risk, replacement of the present system is highly recommended. A custom modified strainer with a light weight solid insert would be the most rigid and stable support for the painting. The weight of the paint would be distributed evenly and trampolining eliminated. The rigid panel would provide passive support only and gluing the canvas to the panel would not be necessary. However, trampolining would strengthen the tacking margins and improve the attachment around the perimeter.
The canvas patches on the reverse are curiously not noted in the 1962 ICA condition report. However, they appear to have been there for a long time. They may or may not have been applied by Dunn himself. The patches will be evaluated and either reattached or replaced with a more discreet repair as necessary.
The surface grime is disfiguring and should be removed. Although the varnish is not discolored, the PVA resin is soft and much of the grim is now embedded. Unfortunately, in order to remove the grime, the varnish will also have to be removed. Losses can be filled and inpainted. After curatorial consultation, some of the wider paint cracks could be selectively filled and inpainted.
Custom modifications to the back of the frame will be made to accommodate the new painting support and to provide a more discreet and integrated side view profile.
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