Fig.1
Cornelius Johnson 1593−1661
Apolonius Veth
1644
Oil paint on canvas
781 x 635 mm
N01320
This painting is in oil paint on canvas measuring 781 x 635 mm. The thick, linen canvas is plain woven (figs.2 and 3). Cusping on all four edges indicates that we have close to the original dimensions, although the original tacking edges are no longer present.1 The original canvas has many old, mended tears and holes in it; it is reinforced with a glue composition double lining, which was probably applied in the late nineteenth or early twentieth century. The stretcher appears to be contemporary with the lining.
Fig.2
Detail of the sitter's right hand
Fig.3
X-radiograph of Apolonius Veth
As in the companion portrait of the sitter’s wife, Cornelia Veth (Tate N01321), the ground consists of two layers followed by a priming (fig.4). The first coat, which was applied directly to the canvas, is bright opaque red; it is composed of red earth colour, chalk and red lake.2 This was covered over with a coat of opaque grey paint. The final priming coat is biscuit coloured.
Fig.4
Cross-section through the background, photographed at x320 magnification. From bottom to top it shows: red ground; grey ground; biscuit coloured ground; dark paint of the background
Fig.5The same cross-section as fig.4, photographed in ultra-violet light
Fig.6
Cross-section from the sitter’s cuff, photographed at x320 magnification. From bottom to top it shows: biscuit coloured ground (the two first layers of ground are fragmentary in this sample); dark grey paint; white paint of lace cuff; varnish
Underdrawing is not apparent but there appears to be thin, sketchy dead colouring underneath the figure.3 The artist used bone black for the costume.
October 2003