Technique

The medium and technique have been analysed by Kimberley Muir at the Art Institute of Chicago. 1

It is painted thinly on a mahogany panel ca 10 mm thick, with a vertical grain. It was prepared with a pale grey ground of coarsely-ground lead white mixed with calcium compounds and barium sulfate. This shows through in many places. The pigment used for the portrait includes lead white, iron oxide or earth pigments, cobalt blue, vermilion, and bone black. 2

The face was first drawn roughly, possibly with charcoal, which is visible in places around the face and front of the figure. It was painted with soft, careful strokes of the brush, in thin paint; the hair was paint rather more dryly, and her clothes, much more roughly. It was left largely unfinished in the lower third of the panel. Muir states: 'A few final strokes were added wet-over-dry, including the slightly thicker and more opaque paint above the shoulders, some darker touches in the hair, and some of the background strokes above the head. The butterfly monogram was applied on top of these final strokes.' 3

Conservation History

The conservation and condition of the painting are discussed by Kimberley Muir in the Art Institute of Chicago online catalogue. The painting may have a natural resin varnish, and is in very good condition. 4

Frame

It is now in the broad, reeded frame illustrated above. 5