AIC's 53rd Annual Meeting

This paper describes an exceptional collaboration between two private practice firms in the treatment of a large (90” x 104 ½”) canvas painting depicting Abraham and the Three Angels (1762) by the French painter, draughtsman and printmaker Noël Hallé (1711-1781). It was brought to Gianfranco Pocobene Studio in need of comprehensive structural treatment, cleaning and restoration. Remarkably, the painting had remained unlined for more than 260 years and was relatively untouched, but the canvas support was very loose, and it suffered from extensive craquelure, severely cupping paint, incipient paint loss and a badly repaired tear caked with a thick, lead white adhesive patch. An oxidized and yellowed varnish layer dulled the image but overall, the paint layers remained largely intact and well preserved.



The unique circumstance of having a large canvas that had remained unlined for more than 260 years initiated much discussion and consideration about the best course of treatment. Could the painting be treated without lining or did its condition in fact warrant a lining to ensure the long-term preservation of the painted image? Ultimately, the need to line the painting proved vital and while other lining methods such as a BEVA adhesive lining were explored, the decision was made to perform a traditional glue-paste lining which, which in this case it was decided, would best deal with the paint and canvas problems. This lining technique is rarely if ever executed in North America and so a treatment collaboration was struck between Gianfranco Pocobene Studio and ArtCare Conservation. The success of the lining procedure was made possible through considerable planning between the two firms and most importantly, its execution which was led by Oliver Watkiss, an expert in glue-paste lining techniques.



The design and fabrication of an aluminum Dutch stretcher (loom) to facilitate the lining procedure in collaboration with a local metal worker will also be explored. Furthermore, the project provided two conservation graduate summer interns with the opportunity to learn new techniques and actively participate in a large and complex painting conservation treatment.