Portrait of Samuel Coleridge-Taylor
Ernest Stanmore Gibbs, Samuel Coleridge-Taylor by Stanmore Gibbs,19th C, oil on canvas, gilded frame, 711 x 605 mm, in the collection of the Museum of Croydon
Decant, Condition Check, and Storage
Location: London, UK
About Samuel Coleridge-Taylor
Samuel Coleridge-Taylor, b. 1875, was an English composer and conductor. He was the first black student to be accepted into the Royal College of Music, as a violin student at 15 years of age, and was also the first black person to be the recipient of a Blue Plaque, which you can still see on his house in Dagnal Park, South Norwood.
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Project Scope
Samuel's portrait has been on constant display at the Museum of Croydon since 2008. As the museum is no longer in full operation and visitors are no longer permitted to enter the museum galleries, it was necessary to decant the painting and move it to the stores to rest. A member of the Museum of Croydon collections care team and I carried out this decant. The painting received a full condition audit, and is now resting stably and securely in the stores.
The Condition Report
Materials: Oil on Canvas, Wood, Textile
Number of parts: 3
Does the object have a base/ mount/ frame? Yes: Textile-covered mount, gilded frame
Packaging requirements: To be hung on a rack. No flat boxing is required.
Handling requirements: Nitrate gloves. x2 handlers. At least two hands in contact with the frame at all times. Moved on a padded trolley. Travel flat.
Display requirements: Should be in a case or distanced from viewers, and hung with two screws on either side using mirror plates attached to the verso of the frame.
Structural condition
Stability Good
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Additions Yes
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Chips No
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Cracks Yes
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Delaminations None
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Holes None
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Losses None
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Repairs None
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Other None
Surface condition
Abrasion Yes
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Accretions None
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Corrosion None
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Cracks None
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Losses & Flaking Yes
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Discolouration Yes
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Paint Spots None
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Scratches None
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Other Yes
Structural Condition
1 Additions: Yes
1a: Two white-painted wooden blocks on the verso are connected to the frame with screws. One mirror plate is attached to each block with two screws each.
1b: Framers tape on verso. Appears new, so likely added around 2008 when the painting was displayed at the Museum of Croydon, however, previous condition reports do not specify this.
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2 Cracks: Yes
2a: Top left, horizontal edge
2b: 2 inches down from the top right corner, on the vertical edge.
2c: 1 inch from the bottom right corner, on the horizontal edge.
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Surface Condition
3 Abrasion: Yes
3a: Mount: Small area of abrasion just left of the centre bottom, on the white
4 Losses & flaking: Yes
4a: Frame: Chip on the bottom right corner
4b: Frame: Chip on the top right corner
4c: Gild: Top left
4d: Gild: Top right
4e: Gild: Center bottom
4f: Name plaque
4g: Mount: x3 small chips just right of the center bottom, on the white and gold
4h: Painting: Chipping on the perimeter, just right of the center, long the base
4i: Painting: Bottom right corner
4j: Painting: Top right corner
4k: Painting: Top left corner
4l: Painting: Left side of Samuel's shoulder, near the perimeter
4m: Mount: Small area of abrasion just left of the centre bottom, on the white
4n: Mount: Chip on the gold lining, 2 inches down from the top left corner
Discolouration: Yes
Surface soiling (dust) present throughout the frame (e.g. gild), mount, and painting.
Verso appears to be n good condition with minimal surface soiling.
Varnish has yellowed.
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Other (surface): Yes
We believe that the dark spot on the verso, on the top right corner, is staining from blue-tak that we found whilst de-installing on the wall behind the painting.
To Conclude...
Thankfully, the painting has remained in good condition, despite its extended time on display. Although not the most 'true' representation of the trailblazing composer, the portrait, after being given some focused care and conservation attention, will remain stable and will be preserved so future generations can continue to be inspired by Samuel Coleridge-Taylor.
Read on...
The Cleaning of Sanuel Coleridge-Taylor; Preventive Cleaning | What, How and Why/