Name/Title
Paul the HermitEntry/Object ID
98.5.3Description
"Paul the Hermit," oil on canvas, probably Italian, 17th - 19th century. Depiction of a semi-clad figure with arms raised in supplication toward a cross set atop an alter framed in front of a grotto. A raven carrying a loaf of bread flies over the alter. High cliffs are shown on either side of the painting, with trees atop each. There are palm trees on the left side images of buildings on the upper left side. There is a light blue sky with large white cloud formations.
Frame: Boxed rectangular wood frame with plaster.
Part of Governor William Aiken's Art Collection, probably purchased in Europe in the 1830's. Appears to be the mate of AZ 2350.
Owned by Francis Dill Rhett prior to its donation to the Charleston Museum.Collection
Historic Charleston Foundation CollectionAcquisition
Accession
98.5.Source or Donor
The Charleston MuseumAcquisition Method
TransferCredit Line
The Charleston Museum, gift of Mrs. Frances Dill RhettMade/Created
Place
Location
probably Europe in the 1830'sLexicon
Nomenclature 4.0
Nomenclature Primary Object Term
PaintingNomenclature Class
ArtNomenclature Category
Category 08: Communication ObjectsOther Names and Numbers
Other Numbers
Number Type
Other NumberOther Number
AZ 2351Dimensions
Height
17-1/8 inWidth
30 inDimension Notes
Frame: H: 23.5" W: 36.25" D: 2.75"Location
Category
PermanentDate
February 7, 2023Condition
Overall Condition
FairNotes
Stretcher and keys are early 19th century. Visable canvas on front is coarser grained than the relining canvas. Wood strips nailed to stretcher. Much of the gilt on the frame is missing. The frame and the stripping outside of the stretcher are each marked with "A" (in pencil).Notes
The painting is an oil on canvas. The canvas has been lined to a secondary fabric support with glue paste adhesive. The original canvas is an open tabby weave while the lining fabric is a more closely woven fabric. The original tacking edges have been cut from the painting. The lined painting is nailed to its stretcher with half bent nails with is Italian in technique. The stretcher has mitered joins and is not beveled on the front of the reverse. There are two keys in each corner of the stretcher for a total of eight keys. There is no protective backing on the reverse of the stretcher. The ground is red in color and is visible in the paint loss. The paint layer appears to be oil and is medium in application. Slight impasto is visible but most of the impasto has been flattned due to excessive heat and/or pressure from the previous lining treatment. Fine age and mechanical cracks are located throughout the ground and paint layers. Restoration work is visible in the foreground. Ther is no signature visable on the painting.
Damage Information: A layer of dust and grime covers the reverse of the painting. There is debris between the canvas and the lower stretcher members. Water stains are noted int the lower left quadrant and correlate to paint damage on the front of the painting. There are areas of old fills which have been cracked and are now lifting away from the canvas support. There is active flaking especially in the water damaged area of the lower right quadrant. There is a natural resin varnish which has discolored and yellowed with age. It is not the original varnish as the painting has been restored. Numerous fly specks and accretions are noted on the surface of the painting. There is a layer of dust and grime on the surface of the painting.Conservation
Treatment
Conservator
Catherine G. RogersNotes
Scope of work: The painting will be photographed to document its condition before, during, and after treatment with 35mm color slides and black & white photography. Areas of loose or flaking paint will be consolidated using an appropriate adhesive. The debris will be dislodged between the stretcher bars and canvas and the reverse of the painting will be vacuumed. The stretcher bars will be wiped with a damp cloth to remove any dust or grime. The surface grime will be removed and the varnish laer reduced using organic solvents that are safe for the paint layer. The painting will be keyed out. An isolating varnish of MS2a or Acryloid B-72 resin will be brush applied to the painting. Areas of ground or paint loss will be filled with gesso. Losses and abrasions will be inpainted using Golden MSA and Lefrac & Bourgeois pigments to match the surrounding areas of loss. A final spray coat varnish of Acryloid B-72 will be applied ot hte painting. The rabbet of the frame will be lined with black fet to protect the front of the painting with direct abrasion from the rabbet of the frame. A protective backing board will be attached to the reverse of the strether with washers and screws. The painting will be installed in its frmae with metal plates. New hanging hardware and wire will be attachd to the reverse of the frame.
Cost: 3000Provenance
Notes
Collected By: Governor William Aiken
Last Owner: owned by Francis Dill Rhett prior to its donation the the Charleston MuseumExhibitions
Exhibition
2Notes
Exhibit Start: 2004-06-07General Notes
Note
Notes: conservation treatment proposal/ estimate has the title as "Kneeling Figure with Cross in Landscape", Treatment Estimate:$3,000.00 ( Catherine Rogers, 8/9/02)
A photo is neededCreated By
admin@catalogit.appCreate Date
July 1, 2002Updated By
museumsintern@historiccharleston.orgUpdate Date
July 14, 2025