Due to the poor adherence of the paint layer to the acidic substrate panel this painting had suffered some large areas of loss.

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As some areas of the work had been executed in thick impasto, it was possible to gather large solid fragments of paint and assess where these were able to fit back into the painting itself.

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Where possible any fragments were re-integrated back in place on the panel using a conservation consolidation medium which also helped to consolidate any further loose fragments around these areas.

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Any remaining areas of loss were then built up using a conservation ground and infill medium and then toned in place.