Kate Lowry has noted (25 September 2021): The painting was viewed off the wall and in its frame.
Frame: Rococo style carved and gilded. No backboard or glazing. Probably not the original frame but suited to the period of the painting.
Support: Original canvas is medium weight linen. The painting has been relined onto a much finer weave linen canvas using animal glue. The treatment was possibly carried out in the late 19th century. The weave of the original canvas is quite prominent at the face of the painting due to pressure applied during lining. The original turnovers appear to have been removed at the time of lining and it is now attached to the stretcher by the lining canvas turnovers. It was not possible to examine the edges of the original canvas, which are covered by the frame rebate. Even tension of the support suggests the attachment to the stretcher and there appear to be no damages to the original canvas or its lining. Adhesion between lining and original canvas is still good. The style of stretcher indicates that it dates from the lining treatment and is not original. It is constructed of pine and consists of seven members; joints are square mortice and tenon with provision for keying out. All keys but one are present and the stretcher is not much keyed out. Keys are not taped or tied in any way. Vection cracks in the paint of the upper sky, and at either side of the composition, indicate the width of the original, slightly narrower, stretcher members.
Labels on stretcher reverse: Centre top paper label almost illegible due to heavy staining; however the words 'Richard Wilson RA' are visible. The label probably dates from the relining treatment. A small luggage-type label bears the number 189 and this is also chalked on the reverse of the lining canvas.
Painting:
Ground: This is visible in sky where paint is worn or cracked. It is dark red in colour, similar to the grounds found in some of Wilson's early works in imitation of earlier Italian and French painters. It appears to be in good condition and is probably an oil ground.
Paint film: Seen in normal light the general effect is slightly woolly and forms less well defined than one would expect of Wilson. The foliage of the main tree at the right hand side of the painting is very thin and appears to have been much over-cleaned. The clouds at upper left have a purplish tint, and the distant mountain is a very strong blue, uncharacteristic of Wilson. The middle ground to right of centre is much too dark in tone, and so appears to jump forward, upsetting the aerial perspective. One of the best parts of the work is the group of trees, their trunks back lit at the left of the composition, very reminiscent of a motif in P182 View of the Wilderness in St. James's Park.
When viewed under UV light it is clear that all the areas of the painting have been retouched and that this may well have altered the colour and tonal balance of the work. In the upper part of the painting the sky has been retouched all over, using small dabs of paint, possibly on more than one occasion; similarly the rubbed foliage of the main tree at the right of the composition has also been retouched. In the darker areas of the foreground and trees, an older layer of varnish has not been removed, but instead the forms have been strengthened by retouching in the surrounding dark tones. The white of the man's shirt in the centre foreground fluoresces very brightly under UV, suggesting the use of a modern pigment here. The yellow highlight on the rock right of centre also fluoresces unusually brightly.
The painting as a whole does not appear to have suffered any major damages and the paint film seems secure. There is some drying crackle in the remaining worn paint of the foliage at upper right against the sky but otherwise no major cracquelure or lifting of original paint.
Surface film: There is an overall even coating of resin varnish in fair condition.This probably postdates the lining treatment. The darker areas of the painting still bear the remains of an earlier varnish film.
General observations: There is nothing to suggest that the painting is not by Wilson, however, it is hard to judge the actual quality of the painting with all the retouching it has undergone and with the extreme thinness of the main area of foliage at the upper right due to over-cleaning. A full cleaning and careful restoration might serve to improve its appearance and help to establish its status.
