AIC's 52nd Annual Meeting

In recent years, with the focus on structural conservation spearheaded by the Getty-funded “Conserving Canvas” Project, there has been increased awareness of the Mist-lining technique developed at Stichting Restauratie Atelier Limburg (SRAL) in the 1990s. However, published case studies for Mist-Lining outside of SRAL have been scarce. In this presentation, the authors will describe two recent Mist-Linings undertaken at Yale University Art Gallery with special attention to why this technique was chosen, and highlight the adaptability as well as the versatility of the technique in treating painting with a range of condition concerns both expected and unexpected.

The main principle of the Mist-Lining Technique is, to have a minimal adhesive layer that is as open as possible on the lining fabric, to achieve a reversible nap-bond. The adhesive is sprayed mist onto a roughened lining fabric. The water content in the adhesive is allowed to evaporate. It is then aligned with the original canvas prior to bond formation. The adhesive is regenerated in a low-pressure envelope using solvent vapor. Once the adhesive becomes tacky, low-pressure is used for bond formation between the lining and the original canvases.

This presentation focuses on the structural treatment, specifically Mist-Lining, of two paintings by Edwin Austin Abbey. The two paintings, Unknown Figure (c. 1890’s) and Apotheosis (c. 1902-1911) are studies by Abbey for his mural paintings and have been made in different ways. The treatment of these paintings in preparation for an upcoming exhibition on Abbey in the fall of 2024, provided an opportunity to study Abbey’s techniques shedding new light on his use of unique materials as well as their response to conservation treatments. Differing condition concerns on each painting led them to be Mist-Lined in preparation for the exhibition.

Unknown Figure is modest in size (37 x 32 inches) with a gilded background that was prepared using gold leaf with a kneeling figure painted on the gilded background. It came to the Art Gallery unstretched and with its upper tacking edge cut off. The gilded background is on a soft, temperature-sensitive mordant layer and the gilding is coated in a toning layer. This structure led to a surface that is very sensitive to heat, pressure, and many solvents. In weighing treatment options, an edge-lining was considered in order to stretch the painting. However, most edge-lining adhesives would require heat and/or pressure to activate. Mist-Lining provided a gentle alternative using only low pressure that conformed to the gilded surface without causing textural changes.

The other painting, Apotheosis is a sizable painting (68 x 68 inches) with an extremely brittle canvas. The canvas has split along the foldover edges and in many areas along the tacking margins. A previous treatment has left the canvas partially saturated in wax-resin where large patches reinforced areas of weakness. In this case, local tear mending was considered. However, the extent of embrittlement of the canvas, exacerbated by uneven wax-resin saturation, also led to Mist-Lining as a reversible and gentle reinforcement of the canvas.