Fine Art Conservation Laboratories (FACL, Inc.) Fine art conservation, painting conservation, art restoration Mon, 25 Jan 2016 04:24:41 +0000 en-US hourly 1 Fine art conservation, painting conservation, art restoration Fine Art Conservation Laboratories (FACL, Inc.) no Fine art conservation, painting conservation, art restoration Fine Art Conservation Laboratories (FACL, Inc.) Art Conservation Forensic Analysis Of Wall Decorations In Burned Out Historic Building Mon, 25 Jan 2016 04:24:38 +0000 Continue reading ]]> Art Conservation Forensic Analysis Of Wall Decorations In Burned Out Historic Provo Tabernacle Assists In The Recreation of Historic Details In New LDS Provo City Center Temple (excellent new video at end of article)

Provo Tabernacle Burns in 2010

Provo Tabernacle 2010

The burning of the much used and much loved LDS Provo Tabernacle (conference and performance center) in December of 2010 was a shock for the community and all those that knew the Provo, Utah area.

The following April, I was asked to do art conservation forensic analysis of the wall decorations in what was left of the burned out Provo Tabernacle building by the LDS Church History Dept. to find out details and make proposals. It had, since the fire, been gutted and cleaned out leaving the much publicized image of the shell of the building.

As a side note, also a victim of the fire was a notable original painting of the restoration of the Aaronic Priesthood by Minerva Teichert. This painting, like all artwork, was self insured by the Church. So, while the $1.5 million valuation of the painting did not result in an insurance settlement, it was interestingly a wake up call to headquarters that there is a significant financially valuable heritage to be aware of, protected and preserved. This event put into motion mandates for better care and inventory of the History Department’s artifacts and has since evolved into a much greater sense of care of art and artifacts worldwide. In this sense, the destructive fire in the Provo Tabernacle was a valuable and beneficial landmark event benefiting the historic preservation policies of the Church as a whole.

Art conservation forensic investigation

I went exploring with scalpels etc through the burnt layers to identify what was original to the building. There were, if I remember correctly, 7 layers of paint and wall paper etc that had been applied over the ages. Then, I utilized various solvents to establish solubility parameters within projected uses of protective facing layers (and their removal) in the event of salvage and plaster removal. Tests were also done for potential cleaning procedures for the fire and smoke damage. Physically, knocking on the plaster layers helped me to see what voids were extant and gave me a general idea of the cohesion between plaster layers (to see if they had separated during the fire, water, etc). In areas of no decoration I did separation samples to see what the potential was for massiccio (en masse) detachment of wall plaster sections with design on them (perhaps for eventual historical displays). The onsite tests and discoveries were also photographed (the photos in the video below were provided my FACL) and videoed for future media needs.

historical decorations discovered in fire debris

Figuring out the conditions of the paintings and walls, then doing cleaning tests of what was left of the decorative painted layers and examination of the plaster layers under the decorations of the burnt out meeting center allowed for planning by the History Department that would be passed on to other concerned departments. While proposals to recoup or salvage original sections of decoration were not followed, our work was much appreciated and helped with the historic recreation of the details in the new building.

As you may have seen in the news, the Church of Jesus Christ of Latter-day Saints (LDS or Mormon Church) owns the building. Since there was little justification to rebuild the historic conference center, there was enthusiasm to convert the remains of the historic building into a functioning “destination temple” where weddings and other ceremonies would lend its character to many “Kodak moments.” Since a great amount of the identity of the LDS Church lies in the Pioneer Heritage, this new building was taken on as a Pioneer work of art and to become an architectural gem that would reflect that heritage. A wonderful video on the historical features and symbolism of the new building has just been posted… it is worthy of your time to watch it:

Screen Shot 2016-01-24 at 4.04.49 PM PLEASE, leave a great comment at the bottom of the blog page… and pass the link around to others. I love this video presentation!

Scott M. Haskins, Head of Conservation, Fine Art Conservation Laboratories,

805 564 3438

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Painting Restoration and Conservation – Chapman College in Orange County- Hilbert Museum of California Art Tue, 22 Dec 2015 06:11:42 +0000 Continue reading ]]> Professional painting restoration and conservation is a valuable service that is often searched for by asking for referrals from esteemed art dealers, museums and auction houses. But sometimes, the referral is no better than simply asking your hairdresser, depending if the person is referring you to a “friend” or a real professional who, not only, knows his/her stuff but also runs a quality professional business.

After several trial and error relationships, we were recently gratified to hear from a major collector in Orange County who was not satisfied with past restoration referral and services. Lucky for him, Mark Hilbert received glowing referrals from two quality businesses in Southern California; Redfern Gallery in Laguna Beach ( and from Scott Levitt at Bonhams Auction House in West Hollywood ( to call us at Fine Art Conservation Laboratories who regularly provide service throughout the southland. See short video:

Click on photo to see video

Click on photo to see video

You will be interested to know that Mark Hilbert is the main force behind the new major museum being established with Chapman College in Chapman, CA that is about to open in Feb. 2016. The Hilbert Museum of California Art will have its opening on Feb. 27th, 2016 and you may contact Mr. Hilbert for arrangements to attend ( or for a copy of the book. The vast collection focuses on California art in the 1930 and 1940s and is made up of mostly watercolors and paintings. The new book, just published is a gem full of wonderful photos.

Collection Overview - Windows in Time

Collection Overview – Windows in Time

Fine Art Conservation Laboratories is honored to be part of the team to assist with this collection. Some of the educational discussions we have had with collection management have been lighting issues, the use of a UV blacklight during examinations and the characteristics of different kids of varnishes and finishes on paintings. These are common discussions we have with art collectors, dealers and other institutional collections we serve in the area: We are the art conservators for the Festival of the Arts in Laguna, we do work for the Mission San Juan Capistrano, we receive referrals from the Bowers Museum and have done a lot of work in the past for the Irvine Museum.

Click here for our review of Art Restoration Consultation Services provided over the years:

Call Scott M. Haskins, Art Conservator, to discuss your questions and a personal visit. 805 564 3438

p.s.  If you would like to know more about what you can do to protect and preserve your original family history items, collectibles and memorabilia click on this link for a free copy of Scott M. Haskins book Save Your Stuff – Collection Care Tips, 210 pages with 35 embedded how-to videos.

p.s.s. CLICK HERE  for our YouTube channel – Subscribe!  See quick video on Discovering Hidden Signatures on Paintings!





#ArtRestoration, #ArtConservation, #PaintingConservation, #PaintingRestoration, #FACL, #FineArtConservationLaboratories, #HilbertMuseumofCaliforniaArt, #CaliforniaArt, #MarkHilbert, #ChapmanCollege

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Art Conservation Training in Italy – A tribute to Laura Mora Wed, 11 Nov 2015 18:45:34 +0000 Continue reading ]]> IMG_4953

During my years of acquiring a masters degree level education in art conservation of paintings (easle paintings and murals) at ENAIP in Italy (1975-1978) our Lombardy Province government sponsored program was in collaboration with the Istituto Centrale del Restauro (ICR), the Rome based Italian National art conservation lab. The various satellite centers to the head lab in Rome were overseen by ICR directors Laura and Paolo Mora (passed away in 1998). Laura’s passing in May of this year and the recent tribute in the Getty Conservation Institute Newsletter brought to mind those exciting days of my education.

I remember meeting with Mrs. Mora many times under her tutelage both theoretical and practical. She was always thorough, professional, available to teach and with a sense of humor. I remember her saying that “I love Paraloid B72 (an acrylic resin) so much that I’d put it on my breakfast toast.”

Knowing her extensive contribution to the professional field of art conservation, I feel lucky to have known her and I appreciate greatly her contribution to our field.

Scott M. Haskins

Tributo a Laura Mora

Nel mio periodo all”ENAIP (1975-1978) il nostro programma era organizzato con la collaborazione del Istituto Centrale del Restauro (ICR) a Roma sotto la sorveglianza di Laura (e Paolo) Mora. Con la mancanza della Signora Mora quest’anno in maggio (Paolo e’ venuto a mancare nel 1998) e il tributo del Getty Conservation Institute (GCI) nell’ultimo Newsletter, mi sta venendo in mente le tante visite che abbiamo fatto a ICR per partecipare nella tutela della Signora Mora. Era sempre professionale ma con un senso di umorismo. Mi ricordo che mi ha espresso, “Mi piace cosi’ tanto il Paraloid B72 che lo metterei sul pane tostato di prima colazione.” Apprezzo molto il suo contributo alla nostra professione e la sua accoglienza in quei anni.

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Hopeless Smoke Damaged Oil Paintings Given New Life – 3 Valuable Tips Tue, 03 Nov 2015 04:36:33 +0000 Continue reading ]]> By Annia Bonifaz, Guest BloggerAnnia Bonifaz

Responding and taking care of smoke damaged paintings, art and antiques is a job or need with which you will require expert, professional help. This

Smoke Damaged Office with Artwork

Smoke Damaged Office with Artwork

article tells about a couple of recent true-life stories designed to save you tons of $ and distress. Take the coaching to heart and plan ahead to avoid bigger problems if you have the misfortune to have to deal with this situation (act… don’t react!). The problem is aggravated, especially, if you have in your possession the property of others (artwork on consignment, for example). Actually, both of these stories tell of a fire NEXT door that affected the collection of art in question.

1st Story (Take note if you live in a condo or have art located in a business)
After the fire, a new roof on the old building was required. This obviously affected everyone under the roof. Even though the artwork in question next door to the fire was not damaged in the fire, the clean up and repairs were going to impact the art gallery. As the landlord and roofing company planned the work, it was clear they had no idea about protecting artwork or the value… and therefore the potential liability. (1st tip) It was the responsibility of the lessee to inform them of the precautions that needed to be taken!! In this case, the gallery owner had an art conservator that he knew and he related the detailed instructions and precautions to the roofing company… who ignored him. The response was, “This isn’t our first rodeo, we’ve done this before and know what we are doing.” Fortunately, the gallery owner did not back down and read the “riot act” to him, let him know he was going to be liable and related the dialog to the landlord. This up front dialog with all concerned (and a threatened law suit up front), saved the gallery owner the cost of a massive clean up when the roofing project “didn’t go the way the roofing company thought” which was a $25K bill plus reimbursement for downtime. (2nd tip) A specialized professional in the gallery owner’s pocket gave him credibility.

2nd Story
Just this morning, as I was writing this article, I got a phone call from a gallery in New York (I’m in CA). The fire next door to him smoked his inventory badly. He got lucky and was being assisted by the disaster response company, ServPro who had declined to handle and clean the artwork admitting that the liability was too high and that artwork is not within their training. Interestingly, when a company says this to a client, it inspires the client to believe that the contractor tells him the truth and can be trusted! (Tips #3) The gallery owner was doing exactly the right thing by searching out a professional art conservator with disaster response experience. The art conservator that he knew didn’t know anything about disaster response (handling lots of objects (possibly damaged) all at once which includes packing, safe handling, safe storage practices and may include handling items exposed to toxic materials). In our phone conversation I referred him to the website for the American Institute for Conservation of Historic and Artistic Works (AIC) which has a referral program for someone closest to him.

During Cleaning of Smoke Damaged Still lifeAfter Cleaning Smoke Damaged Still life

Left photo – During removal of smoke damage…
Right photo – After cleaning, it regained 100% of its original value and is in perfect condition.


As an example of the capabilities of a high quality art conservation lab, the above photo shows a painting that was written off by the insurance company as a total loss, but was beloved by the owner. Fortunately, the disaster response company (ServPro) realized that they did not have the expertise to clean the artwork and didn’t muck around with futile attempts. Fine Art Conservation Laboratories is specialized in the handling, evaluating, testing and cleaning of artwork. This photo is a during cleaning shot. The final result was perfect with little or no inpainting (retouching) required. Obviously, the painting conservators were heroes for the clients and ServPro!

Here is an article from an Insurance Broker who specializes in Fine Art and Antiques policies with tips in filing a claim:

Before- Smoke Damaged AncestorAfter- Smoke Damaged Ancestor

Left – After the painting was cleaned by a restorer who didn’t know anything about the secrets of removing smoke damage from valuable and sensitive art.
Right – After it was cleaned a second time by Fine Art Conservation Laboratories.



Contact Info: Office – 805 564 3438  e-mail

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See quick video on Discovering Hidden Signatures on Paintings!

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Mural Restoration Expert Consultation Tue, 08 Sep 2015 21:40:59 +0000 Continue reading ]]> FACL travels nationally to discuss and undertake mural conservation projects. Here’s a testimonial from a small project in Western Texas

For our mural capability statement:

For our mural consultation statement:

Our mural conservation videos on YouTube at

For general mural conservation capabilities videos:

Scott M. Haskins 805 570 4140 mobile, 805 564 3438 office

faclinc, Scott M. Haskins, WPA mural, art conservation, art restoration, mural restoration, mural conservation, painting conservation, painting restoration, historic preservation, mural removal,

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Professional Art Restoration Painting Conservation Door to Door Service Tue, 01 Sep 2015 02:42:52 +0000 Continue reading ]]>

“Consultation at home or office at no charge?!?!”

“You pick up and deliver?”

We get around…

Our circulation through the areas listed below is done so often and effortlessly by our office that we consider these “our backyard:” Santa Monica and West LA, Beverly Hills, Hollywood, The Marina District, Silver Lake, Los Angeles… then on to Orange Country; Tustin, the beach cities around Newport to Laguna, San Juan Capistrano to San Diego.

In the Monterey-Camel area we are well known and admired for our work with both the cities of Monterey and Carmel, The Maritime Museum and The Monterey Museum of Art, many of the art galleries that sell vintage art and many many private clients.

We also provide pick and delivery service to the Las Vegas area, mostly concentrating on private clients, insurance companies (claims adjusters) and corporate collections.

Salt Lake City (and the Provo-Orem area) has been our familiar stomping grounds since 1978. We do continuous work for several departments of the LDS-Mormon Church, for the State of Utah and its museums, we connect often with Christiansen Fine Art Gallery and the Springville Museum of Art; we enjoy meeting with private collectors and anytime we are called…

So, let us answer your art conservation restoration questions!  Contact info 805 564 3438

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Cowboy Rodeo WPA Mural To Be Removed_Art Conservation Consultation and Painting Restoration in Texas Sat, 22 Aug 2015 00:07:20 +0000 Continue reading ]]>

While I enjoy the high profile jobs with important or even famous artwork I LOVE to work with small communities to save their public art. This art is often very important to the locals… maybe the only historical art in the community. Such was the case in the town of Lamesa Texas that has an old post office that is slated for demolition.

I’m often asked, over the phone or by email, “How much does it cost to remove a mural from a wall.” Well, we may be experts but giving an estimate a 1000 miles away from the project, sight unseen is beyond the magic that we like to perform. Perhaps they ask me for this quote because they think its a construction type bid that has a standardized catalog of hours and costs per square foot much like putting up wall board or running electrical wires. Not so.

In fact, in the Socialist Republic of California, Art Conservation is considered a “Professional Services” field and is not issued a contractor’s license even though other contractors that do decorative painting and other tasks in historical properties are required. This sets up another discussion about art conservation services being bonded. Performance bonds are almost never required and I’ve never heard of a professional art conservator not finishing a project or stiffing a client on a contract (though I have heard of a non professional hack/quack that did).

Since there is no licensing by the national professional organization, The American Institute of Conservation of Historic and Artistic Works (AIC), it requires a little research to nail down who is professional or not. Scrutinizing past work, talking to references and referrals is always good. And requiring that the person in charge of the art conservation services is a “Professional Associate of the AIC” are all good ways to confirm you are working with a professional and is something the Big Boys do (major General Contractors, government contracts etc).

We look forward to discussing with you your project!

Click here for a video of examples of several different kinds of mural removal projects:

For more information on our background experience with murals click here:

For testimonials, click here: mural testimonials towards the bottom of the page)

Questions? Call Scott M. Haskins 805 564 3438

Scott Haskins Inpainting Water Damage

Scott Haskins Inpainting Water Damage

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Keywords: Scott M. Haskins, Lamesa Texas, remove a mural from a wall, detach a mural, WPA mural, WPA Artwork, art conservation, art restoration, mural restoration, mural conservation, mural restoration consultation, mural conservation consultation, painting conservation, painting restoration, save a historical mural, historic preservation,

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Authentic WPA Mural of “Old West” Art Conservation Consultation and Project Planning Fri, 21 Aug 2015 16:30:22 +0000 Continue reading ]]> Click to see short video

In South Central Utah among the red earth table top landscape filled with dinosaur bones, there is an old coal mining town with a surprisingly good quality WPA mural.

dinosaur skeleton in Price Utah

The panorama historical WPA mural is 4′ high and 200′ feet long and depicts the life of the area’s original pioneers and cowboys… truly a time capsule of the Old West. Renown artist, Lynn Fausett, a native of Price, Utah was just the right person in 1938 to pull together this historically accurate mural of his country.

In the pre-war years of 1930’s, the Works Progress Administration (the name was changed to the Work Projects Administration a year after it got started) funded a municipal building in Price that was the perfect place for Fausett’s talents and vision for the mural. Based on photos, entries in archives and his own personal experiences, he planned the composition of this historical rendering of his town for the mural.

This really was the far west of cowboys, bandits and pioneers. Our fantasies of the Old West are mostly made up of romantic encounters and full of folklore, novels, movies etc. But back then, Fausett had lived this life among the buildings in this mural and knew these people. This mural is an authentic historical record of actual people (whose names are written below their portraits), buildings, customs and the process of taming the Wild West. The mural is a documentation of the pioneer settlers, the beginnings of society in the newly constructed town and the development of the area and its industries.

Trading Post Price Utah

35 years ago my painting conservation career in the USA (I studied and started working in Italy) started in Utah and I’ve known Lynn Faucett’s painting style, having worked on the restoration of his paintings previously and looked at many others. And to tell you the truth, I wasn’t previously impressed with his painting style compared to the other Utah Impressionists that came before him.

1st Mormon settlers and church organization in the area

1st Mormon settlers and church organization in the area

When I first saw this mural, I was surprised… this mural may have been the masterpiece of his early career. The faces were very well done and reflect feeling and expressions that were quite realistic.

National Register of Historic Sites, Price Utah

This mural was considered so well done and so historical that it was a main reason why the entire WPA funded building was added to the US Register of Historic Properties, a considerable honor… but then something happened…

Fausett was employeed to “touch up” the murals in the 1960s and, as is almost always the case, artists don’t respect the qualities of the earlier work and has to change or update it. This happened on this mural when Fausett repainted most of the faces and much of the composition. The result was a change in style and, in my opinion, a reduction in the quality of the mural.

The result of Fausett’s repainting in oil, today, is a blotchy discoloration of the retouchings as they have aged at a different rate than the original mural. This is especially noticeable in the sky. Touch up of the seams of the canvas glued to the wall are discolored as are many other details.

Entrance lobby to City Hall for Price, Utah with the panorama murals by Lynn Faucett 1938-1941

Entrance lobby to City Hall for Price, Utah with the panorama murals by Lynn Faucett 1938-1941

It is presumed also that he varnished the murals, and likely didn’t clean them first. So, a gray layer is trapped. Then add to that the following 40+ years of grime deposited on the surface and that brings us to today’s appearance: considerably muted, flattened depth of field and contrast in the composition and an overall grayish appearance.

Fine Art Conservation Laboratories is honored to have been called and entrusted with the health and art restoration of this historical mural, so important to the City of Price and to the area. We removed the last 40+ years of grime which brightened the painting considerably, without risk to the paint layers. However, we were hesitant to remove the old varnish as, according to preliminary tests, it would be hard to remove without damage to the original paint and would result in disturbing the retouchings that Faucett put on the mural in the 60’s thereby opening the proverbial “can of worms” during the cleaning and causing a real mess, even seriously damaging the mural.

Removal of deposits, pollution and grime from the mural

Removal of deposits, pollution and grime from the mural

Water damage infiltrations have occurred in the last years that have stained the front of the painting in several areas. So, these areas were cleaned. Then whatever was left of the stains and all of the blotchyness of Fausett’s retouchings were glazed and toned to blend in better and not be noticeable. We never do retouching in oils for the very reason now noticeable from Fausett’s 1960’s work. All of our materials are conservation grade, chemically stable, reversible materials that will be easily removable without damage to the original painting far into the future.

Inpainting water damage on a mural

Our varnishes are also conservation grade and have gone through extensive testing to determine their reversibility and removability, color fastness and compatibility with the work of art. They will not yellow and will always be easy to remove.

In the end, we have stabilized the deterioration of the painting, returned it to it’s best appearance and protected it for many generations into the future… which should help make some more history. I love my job. It feels like my work is socially conscious!

Cowboy Camp, Price Utah


If you would like to know more about our background

in mural restoration:

See our mural conservation videos on YouTube at

For general mural conservation capabilities videos:

For our written mural capability statement:

For our written mural consultation statement


Scott M. Haskins

805 564 3438 office

Lynn Fausett signature 1938

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Mural Conservation Consultant – Travel with me to see hidden and secret places!! Tue, 28 Jul 2015 19:22:33 +0000 Continue reading ]]> Have you ever thought about how art conservation and especially painting restoration of old works of art help us to look back in history? Think about how much info we get about old architecture long lost, old and ancient clothes and fashion,? I love the message of the movie, Monuments Men!! Do you love art, history, old movies, travel, vintage collectibles and antiques, old-classical-European architecture? You will LOVE the short behind-the-scenes videos embedded this article!

As a professional art-painting conservator, Oh! The places I go (and the people I meet)… that sounds like the title of a Dr. Seuss book… but its the truth. In fact, I even have Italian friends (from Italy!) that say they want to tour Italy with me and see and go where I go. So… I’m about to share a very interesting trip with you and show you some places you can’t get into, behind the scenes, to see wonderful art you may never see.

In order to “set up” the second video for you, let me show you a short video, first, about an art exhibition that was open to the public. People that connect with me though Facebook and my blog seemed to like this video a lot. This art exhibition was in Rome and was about some of the most famous Venetian Baroque painting artists:

So now that you know which Old Master artists we are talking about, this second video is about the home and neighborhood of THE most famous of them, Tintoretto, which you can visit today (if you were in Venice… duh…) and where the neighborhood hasn’t changed much in 500 years. We also visit a government painting restoration lab for these gigantic artworks. I hope you enjoy watching this as much as I enjoyed putting it together!

During this last trip to Italy, I went up on the scaffolding of a couple of projects that have asked me to help out on a consultation basis. I loved the whole vibe of this project: we are saving 1000 years of art and history!!! People in the area call this chapel the “Sistine Chapel of Northern Italy” and you can see it before restoration. The updates should be sooo interesting and I’ve even been asked to conduct tours from the USA to see this chapel during the art conservation treatments… but we’ll see IF that happens! Click here:

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Questions: Scott M. Haskins 805 564 3438
Appraisals? Richard Holgate 805 895 5121

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Meeting with Our Art Conservation Colleague In Barcelona, Spain Sat, 06 Jun 2015 17:29:22 +0000 Continue reading ]]>  

Nuria Pique, painting restorer for Museu Frederic Mares

Nuria Pique standing in front of Museu Frederic Mares for which she provides art conservation services and, in fact, did the painting restoration on the painting in the advertisement.


I’ve just had the pleasure of going to Barcelona, Spain to exchange a visit with our (FACL’s) recent visiting painting conservator, Mrs. Nuria Pique. At the end of last year we were fortunate to have Nuria work with us in our Santa Barbara lab to help us with our work load and to exchange art restoration techniques.

The professional exchange with her was much enjoyed by everyone in the lab. Nuria is a well accomplished, well experienced and very well known art conservator employed in the Barcelona museum system who, like all institutional painting restorers, also does work on the side privately. In fact, many very high quality projects come through her private sources.


"Walking tour" with Nuria Pique and Scott Haskins discussing painting restoration

Another of Nuria’s clients

I had the opportunity to go to a few of her museum and exhibition locations and see some of her projects and “to talk shop.” It was so enjoyable that though she had planned a very nice lunch in the out-door side walk restaurant in the main square of town, we barely had time to grab a sandwich in a side-street shop usually overrun by local university students (too bad for us!!)


Having discussions with colleagues about international professional standards in painting restoration treatments and methodology is always an interesting chat, for me. Comparing notes about how certain paintings react to certain treatments, discussions about how materials age and what kinds of standards we hold ourselves to are always of interest. Here is a short video testimonial she made about working at FACL: .


I remember that while working in Italy, I was constantly exposed to the two centuries of Italian Baroque art (1600’s and 1700’s) which made up about 85% of my work. About 5% was older than 1600 and 10% was from the 1800’s. At that long ago time I had very little exposure to working on 20th century art. Boy has that changed over the last decades!!

Nuria’s work load “type” is about the same as I when I was working in Italy although she works on older works of art more often than I did. Her time with us in Santa Barbara was a chance for her to gain experience working on more “modern art.” As you may be aware, our work load is mostly 80% works of art from 1875 – 1940. About 10% is Post World War II Abstract Expressionism (which we really enjoy because of the diversity of materials and problems to solve) and about 10% “Old Master” works older than 1850 (although the Europeans wouldn’t call paintings from the 1800’s “Old Master”).

As we look forward to our future of working together, I’m hoping to add Nuria to our valuable team of traveling painting restorers who are my “hired guns:” people I can call on like Luisa Pari and Anna Frassine who fly in to a historical job site to help me with a mural project so we are able to complete the project in a timely way for the client. The last project I needed help with was the mural in the City Hall Council Chambers of Cedar Rapids where we removed 6 layers of overpaint from off of controversial WPA murals painted out in the 1960’s. Here’s a page that tells about the project: http://www. Our A1 results on this project were only possible because of our well choreographed team, well experienced in working together. I’m looking forward to seeing if Nuria can be part of this team.

Scott M. Haskins, Painting Conservator, 805 564 3438 Look us up on Facebook (and “Friend” or follow us) at Scott M. Haskins, Fine Art Conservation, Painting Restoration, Mural Conservation

Click here for a valuable Painting Collection Care Tip:

For a FREE 210 page preservation manual by Art Conservator Scott M. Haskins, full of collection care tips and 35 embedded how-to videos (a $27 value) go to






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