Relined. Kate Lowry noted 6th December 2024:
Oil on canvas
Dimensions: measurement not taken, but approx (h) 12ins x (w) 18 ins (300mm x 460mm)
Framed in a later style gilt compo frame, not glazed or backed. Viewed in frame.
Support: The original painting support is a simple weave, fine linen canvas and this has been lined onto a similar weight linen canvas using animal glue. Original canvas turnovers probably removed at the time of lining. The lining in good condition and its attachment to the original is good; there is a possible old damage to the original canvas at upper left in the sky above the monks, which has been repaired and overpainted. There is a small recent damage with paint loss at the centre of the top canvas edge.
Accessory support: A four member pine stretcher with square mortice joints and provision for keying out. The stretcher which probably dates from the relining treatment, possibly late 19th to early 20th century, is in good condition. All keys, bar one, are present. Keys not tied. Stretcher joints not keyed out.
Ground: The small damage to paint at top centre edge has exposed the ground which is a pale cream colour. Probably a commercially-prepared oil ground. Generally in good condition apart from the damages mentioned under Support. No flaking or other loss.
Paint Film: Oil medium. Under UV light the dark overpaint in the sky above the hill at the left of the painting is clearly seen to be overpaint and extends further than the area of damage to paint mentioned above under Support. There is also some minor retouching in the foliage of the right hand tree. Otherwise the paint film appears to be in excellent condition.
Surface Film: An overall later of natural resin varnish which is somewhat yellowed. Where this is thinner the original blue of the sky indicates that the painting would improve visually with cleaning.
Summary: Overall this work is well-painted; Wilson’s motifs of foreground rock with sticks and the curving tree trunks to the right of the foreground are well executed and there is no disjoint between the foreground, middle ground and distant view which often occurs in Wilson’s imitators. The waterfall with rustic bridge at the left is a nice touch which I haven’t seen before. The tree foliage is rather denser than in most of Wilson’s best work, but this could just be a result of the small scale. I wouldn’t hesitate to include this painting in Wilson’s oeuvre.
