Ancilla Domini circa 1896, oil on canvas, 100 x 110 cm, M.J.M Carter Carter Collection, Art Gallery of South Australia; Untitled (Annunciation to the Virgin) circa 1890s, watercolour and pencil, 13 x 9.6 cm, The University of Melbourne Art Collection; Untitled (Annunciation to the Virgin), circa late 1880s-mid 1890s, ink, 17.6 x 11.2 cm, The University of Melbourne Art Collection; Untitled (Annunciation to the Virgin), circa late 1880s-mid 1890s, ink 9.7 x 20.1 cm, The University of Melbourne Art Collection.
Rupert Bunny arrived in London with in 1884, almost immediately he came under the influence of the British Pre-Raphaelites, the French Symbolists and Italian painters of the latter part of the 16th century. This influence is tangible in the choice of the religious and mythological subject matter of his paintings of the last decade of the nineteenth century. In particular he was influenced by the work of Edward Burne Jones (1833-1898). The artist here places the timid Mary in congress with the Arch Angel Gabriel, identified by his beautiful wings, within the safety of her gardened courtyard"Bunny explored the theme of the Annunciate Virgin during the 1890s and tried various settingsbut common to all works is the intimacy Bunny created, showing an interest (particularly) in mediaeval iconography." (B Kane, Sanctity and Mystery: The Symbolist art of Rupert Bunny, Melbourne 2001. p.20).