The painting, executed in oil on a fine linen canvas, was not secured to a secondary support and had been rolled, leading to numerous deformations and losses.

The painting was surface cleaned, at both front and back, and a thin glair-type finishing layer, together with older varnish remnants, were removed. Due to the extremely fragile nature of the surface, with extensive flaking to both paint and ground, consolidation was carried out simultaneously with dirt and varnish removal. Moisture treatment was then carried out to reduce the numerous surface deformations, and tear repairs were carried out locally. The canvas was then lined on the studio vacuum lining table, ensuring support for the delicate original canvas and the best possible adhesion of the fragile ground and paint layers above. The lined canvas was then re-stretched onto a new wooden stretcher. An isolating varnish layer was applied, the numerous losses filled and retouched, and then a final varnish applied.

For display, a new dark brown hand-finished, softwood frame, with an inner gilt slip, was supplied. The frame was fitted with low-reflective museum glass, with ultra-violet filtering, and a flexible, strong but lightweight backing was secured to the reverse of the framed ensemble, to protect the painting during transit and display.

Full documentation was provided.