The Annunciation

Before treatment

보존처리 전

After treatment

보존처리 후

Identification and bibliographical details

Title/descriptive signifier: The Annunciation

Artist: Edward Arthur Fellows Prynne (1884)

Date of work: 1884

Technique: Graphite, Chalk cartoon

Dimensions (mm): 938 (h) x 1820 (w) (mm) (Landscape)

Composite materials: off-white, medium-weight machine-made woven paper

Owner: John Barkes

Before treatment photodocumentation:

Fig. 1 Recto of the object

Fig. 2 Recto under the raking light

Fig. 3 Verso of the object

Fig. 4 Verso under the raking light

Historical context and details of research

The chalk and graphite drawing by Edward Arthur Fellows Prynne (1854-1921) was created for St. Peter’s Church in Plymouth. Prynne, trained in London, Antwerp, Italy, and France, was known for his portrait and genre paintings in a late Pre-Raphaelite style, influenced by Edward Burne-Jones. He also designed stained glass, murals, and altarpieces for various churches.

The drawing in question, depicting the “Annunciation,” is suggested to be a design for a mural rather than stained glass, despite an inscription to the contrary. Evidence from historical publications and church plans indicates that the drawing might have been a preliminary study for a large mural, aligning with Prynne’s later work in the church. Financial constraints likely delayed the mural's completion, and the final execution differed from early plans. The drawing possibly served as a conceptual exploration for the eventual mural.

Fig. 5 The details from The Western Morning News, 1882.

Fig. 6 The details from The Building News, 1880.

Fig. 7 The illustration of the new church plan in 1880

Fig. 8 figure 4. Detailed image of illustration of the new church plan in 1880

Fig. 9 The photo of the St. Peter’s church Plymouth in 1904

Description

This is a chalk and graphite drawing, rectangular in shape, with a maximum approximate size of 1820 x 940 (mm). The substrate is off-white, medium-weight, machine-made woven paper. The underdrawing was done in graphite, and the final drawing was done in red chalk and black crayon.

The artist signed the drawing (AEP) in graphite at the lower centre of the recto, along with the year of creation.

Pinholes and indentation along the image are observed on the verso of the drawing, which is evidence of transferring the image.

There are two inscriptions in graphite on the verso, stating the provenance of the drawing as St.Peter’s Church, Plymouth, and providing the title "The Annunciation”. Collectors or later custodians may have added this inscription.

Due to its large size, the drawing was at one point misfolded and stored in a folded state, resulting in multiple tears and losses. An attempt to repair these issues was made using pressure-sensitive tape, which has left tape residues.

Condition

Poor - widespread damage, extensive conservation needed.

Recto:

Structural Damage: The drawing shows substantial damage from folding and unfolding over time, with creases, wrinkles, cracks, and tears, particularly around the Angel Gabriel’s wing and foot.
Surface Damage: The edges are chipped and delaminated. There are pricked pinholes along the figures and background, with scratches on the right edges.
Adhesive Damage: Previous repairs with self-adhesive tape have deteriorated, with oxidised residue and loss of adhesive properties.
Discolouration: The substrate is slightly discoloured with foxing, especially at the edges and centre.
Surface Soiling: Heavy dirt along the top edges, likely from past folding and storage.

Verso:

Surface Soiling: Severe discolouration and dirt on the right first folded area, with greasy finger marks and a red waxy substance present.
Adhesive Damage: Residue from self-adhesive tape remains, with some paper carriers still present on the upper middle edge.
Previous Conservation Treatment: Minor treatment with toned Japanese Kozo paper visible on the second fold line.

Treatment description

Dry Surface Cleaning

Preparation: The drawing was stabilised with weights and Bondina to prevent movement during cleaning.

Verso Cleaning: Loose particles were removed with a soft Japanese brush, followed by a smoke sponge to tackle ingrained dirt, careful not to disturb the graphite.

Recto Cleaning: The recto was gently brushed to remove debris, avoiding direct contact with the fragile chalk and graphite.

Localised Bleaching

Purpose: Bleaching was used to reduce prominent foxing stains, avoiding aqueous methods due to the artwork's sensitivity.

Procedure: The solution was applied carefully with a fine brush, monitored to prevent over-bleaching, and followed by rinsing with deionised water.

Tear Reattachment and Realignment

Repair Method: Torn sections, particularly around Angel Gabriel, were realigned and adhered. No additional reinforcement was needed.

Tear Alignment: The alignment was verified with a lightbox to ensure accurate integration.

Toning

Materials: Various thicknesses of Japanese papers were used for repairs, and toned to ensure a seamless blend with the original artwork.

Tear Repair

Reinforcement: Toned repair papers were used for structural support, with careful application to avoid obscuring inscriptions. Repairs were checked for precise alignment using a lightbox.

Loss Infill

Filling: Toned repair paper was used to repair loss areas, with Western paper for infill, colour-matched and applied.

Reintegration

Touch-Up: In-painting addressed major loss areas and tear joins, blending with the original artwork and maintaining visual coherence. The process involved close work with the owner to balance aesthetics and preservation.

Frame-Making

Construction: A slightly smaller frame was built using stretcher bars, with a French cleat for wall hanging. Magnets were used to display the artwork securely, covered with toned Japanese paper.

Box-Making

Storage: The artwork was rolled with Bondina and Melinex for protection, and then placed in a custom-made tube and box. The box was reinforced to prevent warping covered with durable buckram cloth and lined with protective Heritage paper.

Fig. 10. Before and after the treatment

Fig. 11 Toned Japanese paper

Fig. 12 Frame-making process: (a) holes for the magnet (b) magnet in position

Fig. 13 Details of bespoke storage box

After Photo-documentation

Fig. 14 Recto of the object; After treatment

Fig. 15 Verso of the object; After treatment

Fig. 16 Detailed image of recto; infills

Fig.17 Detailed image of repair on verso

Future Recommendation

Storage: Although rolling the drawing is less ideal, it was necessary due to space constraints. To protect the artwork, layers of Bondina and Melinex were used during rolling, with Bondina covering the recto. The rolled drawing should be left flat for several days before display to help it flatten properly.

Rolling and Packing: Tuck the end of the drawing to the line on the tube to ensure a straight roll. The rolled artwork can then be placed in a storage box to minimize damage during storage and transportation.

Framing: When framing, use a spacer between the drawing and the glass to protect the sensitive media. UV glazing is recommended to guard against UV light, and the drawing should be displayed away from direct sunlight to prevent deterioration.

Transportation: For international travel, keep the drawing in the storage box to shield it from vibrations and environmental changes. Provide clear handling and unpacking instructions to ensure the artwork's safety during transit.

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