Fine Art Conservation Laboratories (FACL, Inc.) Fine art conservation, painting conservation, art restoration Tue, 16 Aug 2016 16:39:33 +0000 en-US hourly 1 Fine art conservation, painting conservation, art restoration Fine Art Conservation Laboratories (FACL, Inc.) Fine art conservation, painting conservation, art restoration Fine Art Conservation Laboratories (FACL, Inc.) Does This Painting Need To Be Cleaned? Mon, 23 May 2016 22:33:55 +0000 Continue reading ]]> Isn’t this girl pretty? She was painted about 1860. Note the cleaning test of varnish removal on her neck (and on the pearls). You can see that she has more problems than just yellowed varnish (in fact she has several patches from past restorations) but we’ll only discuss the cleaning question of oil paintings in this article.

Clean an oil painting

Does this old oil painting need to be cleaned?

A question that comes up often with curators at museums, dealers and auction houses is, “Does this painting I’m looking at, need cleaning?” Well, that’s not a “yes” or “no” question.

Certainly, a yellowed varnish changes the look of the original colors: A badly yellowed varnish usually turns purples to brown, it kills pinks, of course turns blues to green and orange to red… in other words, there is a complete shift in the true colors of the artwork. Add to that the grime, smoke etc that in the air and if an artwork hasn’t been cleaned in 100 years… well, you can imagine how changed the colors of the paint on the walls in your house would look if they weren’t cleaned in 100 years.

In addition to the changing of the original colors, depending on the clarity of the varnish, with the accumulation of grime etc… the saturation or brilliance of the colors is sacrificed and the depth of field, or 3-D effect, is flattened considerably.

So even with all these changes, does the artwork need to be cleaned? Well, maybe, maybe not.

Some artwork “looks better” to the world of collectors if it has the “glow of the ages” or “Titian’s dirt.” Primitively painted Early Americana and Spanish Colonial paintings are usually accepted as better if they are not cleaned completely. In fact, some of them are “antiqued” on purpose so they don’t look so garish or cartoonish… these types of considerations, however, are made mostly for artwork that has decorator value (or lower financial value) though, not for original valuable works of art.

There are also differing schools of thought. Some like old paintings to show their age supposing there to be a romantic story to be told. But I suspect that some dealers like to sell dirty paintings because its easier and cheaper to hide restorations.

The National Gallery in London likes their artwork to look as close as possible to the intent of the artist… therefore, cleaned.

Cleaning, mostly is a matter of taste. If you like the “glow of the ages” on your romantic paintings then leave them uncleaned. A yellowed varnish is not a preservation issue. Its an aesthetic issue to be decided by the “curator of the collection” (that might be you?).

Sometimes, however, restoration of missing paint on an oil painting might be more accurately inpainted if the painting is clean and the painting conservator can match original colors.

One more consideration for cleaning; Usually, clean paintings are easier to see and enjoy their details than dirty artwork. Only with a bright dedicated light will a dirty painting look good… but then again, a clean painting looks more fabulous with good light on it too.

Clean an old oil painting

If you decide to have your painting cleaned, the next issue to address is to make sure the process is done safely. It is not an exaggeration to say that more works of art have been damaged and destroyed by inept cleaning that my all the floods, volcanoes and earthquakes in history since the beginning of time.

For a quick time lapse video of a time lapse cleaning of an early California Impressionist painting by Edgar Payne, click on this link: Give the video a thumbs up and leave a 5 star comment?!?!

For a quick time lapse video of cleaning family portraits, click on this link: Leave a comment in the area under the video.


Scott M. Haskins

805 564 3438

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Virginia Haskins Panizzon Painting Conservator Fri, 22 Apr 2016 17:37:46 +0000 Continue reading ]]> Those that connect with Fine Art Conservation Laboratories already know Virginia, probably. She’s good at everything, including connecting with clients. A business properly run is a “team sport” and here’s a fun illustration of why:

You may find interesting Virginia’s background… here’s her resume.

Virginia Panizzon

P.O. Box 23557   Santa Barbara, CA 93103

Lab: 805-564-3438 



FACL Inc.    1994 – 1996, 2002 – present

§ Painting Conservator at Fine Art Conservation Laboratories in Santa Barbara, California. Facility specializes in the conservation of easel paintings (panel, fabric), murals (affresco, tempera, oil), works of art on paper and period frames. FACL, Inc. performs services for clients throughout the United States. The moveable artwork is treated in the 5000 sq. ft. Santa Barbara laboratory. On-location projects (murals, surveys) are performed each year.

§ Services offered include: All painting conservation treatments, an extensive amount of consultation work including collection surveys, authentication studies, expert witness services.

Etoile Srl. and Laura Franchi Interni Studio, Italy 1995-2001

§ Design work and decorative finishes, restoration of old wall paintings and decorative finishes, project planning, project preparations

§ 7 yrs working under the direction of professional interior designer and architect Laura Franchi. Both on site and studio work for her companies Etoile srl. followed by, Laura Franchi Interni Studio, Bedizzole, BS, Italy



       15+ year full time apprenticeship at Fine Art Conservation Laboratories in painting conservation, working in-laboratory on easel paintings and on-site mural projects.   Daily treatments and tasks were performed under professional art conservator supervision, intensive instruction, and hands-on experience. In all treatments and aspects of painting conservation. See a testimonial video from an FACL client:

Post – graduate training in Italy: Restoration and execution of decorative arts: Various wall painting techniques, working on site throughout Italy. Developing an acute sense for color and design. Diverse knowledge and ability for paintings any surface.

Continuing Education

– Attended “Advanced Career Inpainting Workshop” at the Campbell Center in Mt Carroll, IL – American Institute for the Conservation of Historic and Artistic Works

– Attended two specialized training workshops for Art Conservation at the Getty Conservation Institute, Los Angeles, CA. Workshop subjects were:

– Tear repair for paintings:

– Advanced aqueous cleaning techniques (for paintings)

– Attended specialized alternative lining technique workshop in Skaneateles, NY: Organized by the American Institute for the Conservation of Historic and Artistic Works

Special On Site Projects with FACL, Inc.

  • On-site restoration and conservation of 7,800 sq. ft. of murals: Fair Park, Dallas, TX:
  • On-site removal, restoration, conservation, and installation of murals: City Of Burbank, CA Police Dept. and Fire Dept.
  • On-site restoration of murals: City of Oxnard, CA
  • Removal of Piazzoni and Dumond murals for Asian Art Museum from the Old Main Library. San Francisco, CA. Re-adhesion to panels for installation in De Young Museum.
  • Restoration and Conservation of the painted cupola, ceiling, and walls in the formal dining wing of the Krocker Estate, on Pescadero Point. Pebble Beach, CA
  • Corporation of the President cycle of 25 murals for North Visitors Center, SLC, UT
  • Produce Market, Los Angeles – 2 monumental murals by Tom Suriya:
  • Murals in Los Angeles by Kent Twitchell, worked on Bob Hope Patriotic Hall, Biola Jesus and 7th St Alterpiece:

Special Projects in Italy

*Hotel Pantheon, Rome, Italy – Mural restoration and decoration in the historic center, Rome, next to the Pantheon.

* Decorative fresco-like band on canvas adhered to wall against ceiling in lobby. Private residence,    murals and decorative finishes in 17 century historic villa, Vicenza, Italy

*Residential village (123 units), Porto Rotondo, Sardegna, Italy

* Private 17th century murals in historic residence, Barcuzzi (Garda Lake), BS, Italy

* Faux finish throughout, decorative motifs in kitchen, hallways, sauna room, indoor pool room – Iseo Lago Hotel and Restaurant

*Faux finish to selected walls in entrance and lobby – Albergo Alleluja, Punta Ala, Tuscany, Italy

*Worked along side various freelance artists assisting in large scale new murals in private homes, restaurants, discotechs, and breweries, throughout Northern Italy.


Meet Virginia and Oriana Montemurro!

Come by our lab in Santa Barbara, CA for a VIP tour!

805 564 3438

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After Mural Restoration in California The Horse Breakers by Fletcher Martin is again in Lamesa, TX! Thu, 07 Apr 2016 00:24:53 +0000 Continue reading ]]> By Wilson Jackson, Guest Blogger

A valuable Depression Era oil-on-canvas-glued-to-a-wall mural called “The Horse Breakers” by renown artist Fletcher Martin, painted way back in 1939, is back in it’s original community of Lamesa, TX after it was removed from a wall in a building slated for demolition and sent for restoration to a professional art conservation lab in Santa Barbara, California. Most people in Lamesa didn’t even know about the notable painting, although its been present on the same wall where it was originally placed since 1939. I guess you had to be a real “ol’ timer” to remember it.

But The Horse Breakers broke into the news when it was reported in several media outlets to have been taken away for mural restoration last September 2015. People were unaware that such a mural existed! This is mainly because the building where this mural was located has been vacant for more than the past two decades and it had not been in public view for the past 30 years. Back then, the building was a federal post office building, which was owned by the Lamesa Independent School District. But as the building was not utilized, this mural was hidden from public view. It was probably a good thing too, given the value.

Recently, there was a study to rehab the old federal building and the price tag was way more than the building is worth or could be justified. Therefore as the idea of demolition began to be discussed, a local resident named Randy Leonard took an interest in the mural located in the building in question, and along with other local businessmen, got in touch with the Weaver Foundation for granting funds to save the mural and undertake the mural conservation process.

Click here to see a short video of the painting restoration and more about the WPA artist, Fletcher Martin

Historic Mural Saved From Demolition

After the art restoration was completed, the WPA (Works Progress Administration) art was put up on the north wall of the Forest Community Park Center’s main meeting area. The Horse Breakers will officially be unveiled in a formal ceremony which is planned for next month during the Original Chicken Fried Steak Festival to be conducted in Lamesa, TX.

The Horse Breakers was painted by Fletcher Martin, an artist during the Great Depression Era that painted murals in locations stretching from Southern California to New York City. He painted some very iconic images that reflect the Depression Era and the times leading up to WWII. It was originally financed as a Works Progress Administration (WPA) art contract, placed in the new US Post Office built in Lamesa back in 1939.

The Horse Breakers

Along with the restored mural, more details about Fletcher Martin and the creation of the mural along with recognition of Weaver Foundation for the financial help towards the painting’s restoration will be placed near the wall.

The Conservator of Fine Art and the owner of Fine Art Conservation Laboratories based in Santa Barbara, California, Scott M. Haskins, personally went to Lamesa several times to help plan the project, remove the mural and, this last time, to install the mural on the wall in the community center after it was shipped back from California.

Thanks to the efforts of Mr. Randy Leonard the mural is now restored and a piece of Lamesa’s history and a valuable work of art has now been saved from being forgotten and damaged and will be appreciated for generations to come.

“Like” this page now and leave a comment, please! It helps this article and website show up in the search engines for other people to find answers to their questions.

Installing an historic mural

Seen in the photo are Mr. Scott M. Haskins, Mr. Richard Leonard and Mr. Randy Leonard discussing about the installation of the mural at the Forest Community Park Center in Lamesa, TX. Mr. Haskins has been working with small communities through out his 40 year career as an art conservator and mural restorer to help save and preserve murals. He has worked on similar projects in 8 different old WPA post offices in Pennsylvania, Atlanta Georgia, Alamagordo New Mexico, several in California and Utah, Eugene Oregon, Cedar Rapids Iowa, and, of note, on the monumental murals in Fair Park, Dallas Texas.


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.

And CLICK HERE for FACL’s YouTube channel – Subscribe!

See quick video on Discovering Hidden Signatures on Paintings!

Contact Info Scott M. Haskins 805 570 4140 mobile or 805 564 3438 office

More about FACL’s background in mural restoration:

Capability statement:

Mural consultation statement:

Mural conservation videos:

For general mural conservation capabilities videos:



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Art Restoration of WPA Mural of Old West on Historic Register Thu, 18 Feb 2016 04:06:15 +0000 Continue reading ]]> See short video at end of article…

IMG_2310 lower res

Its like an old movie, walking along the WPA mural 4′ high and 200′ feet long that shows the settling of the Old West in the middle of nowhere in Butch Cassidy’s and the Sundance Kid’s country in South Central Utah surrounded by dinosaur bones and table top landscape.

Renown artist, Lynn Faucett, a native of Price, Utah was just the right person in 1938 to pull together the history of his country. He composed this historical review of the area for the mural based on photos, entries in archives and his own personal experiences. And, during the Depression, the new Works Projects Administration funded municipal building was the perfect place for his talents and vision for the mural.

Faucett’s depiction of the pioneer settlers, the beginnings of society in the newly constructed town and the development of the area and its industries are very competently done. There are dozens of wonderful smaller pictures within the composition of the mural. Today, we look back at the Old West’s history thinking that it was romantic and full of folklore, novels, movies etc. But back then, Faucett had lived this life, been in these buildings 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.

WPA Mural Settling the West

I’ve known Lynn Faucett’s painting style over the last 35 years of my painting conservation career 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.

But the original execution of this mural could have been the masterpiece of his early career. The faces were very well done and reflected feeling and expressions that were quite realistic… but then something happened…

About 20 years after the mural was painted, Faucett was employeed to “touch up” the murals and, as is almost always the case, the artist cannot respect the originality of the earlier work, doesn’t see the qualities of earlier work and has to change or update it. Such is the case on this mural when in the early 1960’s Faucett repainted much of the composition including most of the faces. The result was a change in style and, in my opinion, a reduction in painterly quality.

The result of Faucett’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.

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.

FACL, Inc is honored to have been called and entrusted with the health and art conservation of this historical mural, so important to the City of Price and to the area (see short video at end of article). 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.

Without risk, we removed the last 40+ years of grime which brightened the painting considerably. However, we were hesitant to remove the 1960’s 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.

In the past years, there has also occurred water damage infiltrations 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 Faucett’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 Faucett’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.

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!

Please leave a comment and give this article a THUMBS UP! Thanks!

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   805 570 4140

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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

CLICK HERE  for our YouTube channel – Subscribe!

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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