Technical Bulletin Volume 15, 1994
The fine canvas of A View in Delft, glued to a walnut panel with some misalignment and visible lumps of glue, was freed mechanically after the accumulated varnish had been removed. The canvas had been well protected by the panel, and was not impregnated with glue. The use of a low-pressure table, to give good humidity control to correct deformations, and finally to line the work onto a linen canvas with Beva 371, is described.
The perspective of the image suggests that it was designed to be seen as a 'peepshow'. Two ideas on appropriate viewing systems are presented. Traces of a copper-protein complex on the reverse suggest that it was once glued to a copper panel, which could then have been shaped for perspective viewing. But few details could be deduced with certainty and the work is now displayed flat, as it was before.
Carel Fabritius, linen, lining (process), painting (technique)
To cite this article we suggest using
Keith, L. 'Carel Fabritius' "A View in Delft": Some Observations on its Treatment and Display'. National Gallery Technical Bulletin Vol 15, pp 54–63.
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