FACL, Inc. (Fine Art Conservation Laboratories) under the direction of Chief Art Conservator Scott M. Haskins has provided, over the years, extensive mural conservation services over a wide geographical base. On large projects, team organization and working with numerous committees is an important ability. In these cases, an excellent quality team of professionals (associate art conservation specialists and experts) comes together to contribute a great depth of experience in craftsmanship and talent, problem solving expertise, analytical capabilities, professionalism and art connoisseurship. For video testimonials click on this link: https://www.youtube.com/playlist?list=PL41D80C1C65FF2CE7
Professional Mural Conservation projects, nationwide, is a big part of our business and services. Besides doing the actual work, we also consult, do analytical work and trouble shoot on difficult problems and have even done so for the Getty Conservation Institute, The Church of Jesus Christ of Latter-day Saints, The City of Los Angeles, The State of Texas and others (see consultation projects by clicking here).
Past Mural Projects
2019 Mural Conservation of “The Contribution of Negro Women in American Life and Education” by Dr. John Biggers, 1953, Houston Texas. Oil on plaster, 8′ x 24′ Hurricane Harvey recovery project. Extensive mold, flaking: http://www.fineartconservationlab.com/murals/mural-conservation-of-the-contribution-of-negro-women-in-american-life-and-education-a-national-treasure-in-houston-tx/
2018 – 2019 Blue Moon Trilogy freeway mural, Arts Commission City of Los Angeles – 45’ x 180’ acrylic on concrete with graffiti. Cleaning, pictorial restoration, coating. Project in progress
2018 Two 8’ x 15’ historical murals in Logan, Utah for Corporation of the President, 1930’s, clean, inpaint, varnish.
2018“Scenes From English Literature” by Suzanne Miller, 1937, 80’ long WPA mural, City of Long Beach CA Worked with 3 entities to remove and reinstall after new construction. Lead white presense, http://www.fineartconservationlab.com/murals/long-beach-public-library-wpa-mural-preservation-and-restoration/
2018 El Centro Chicano Movement Murals, University of California at Santa Barbara (UCSB), 1993, 9’ x 100’ acrylic on wood paneling on wall. El Centro was renovated and the murals considered an important part of the University culture and history. Our lab consulted with the general contractor and two University departments and student organizations to coordinate and guide the mural conservation treatments and processes through to the completion of the reinstallation.
2017 – 2020 City of Los Angeles Department of Cultural Affairs – Awarded 3 year contract to be their painting art conservation experts. So far, work on 3 public art murals has been performed. http://www.fineartconservationlab.com/los-angeles-department-of-cultural-affairs-engagement-letter/
2018 (began in 2011) Ongoing working relationship with contemporary mural artist, Kent Twitchell, protecting public art with anti-graffiti coatings, consultations about mural construction, graffiti removal. Projects have include iconic LA mural monuments Strother Martin Mural, Steve McQueen Mural, Jim Morphesis Monument, The Word (Biola Jesus), Ed Rauscha Monument, Michael Jackson Monument . See short video: https://www.youtube.com/watch?v=CJhlIY_TXuM
2017-2018 “Animal Circus” oil on canvas removed from wall, Denver Colorado, private client, 6’ x 27’. The mural was previously removed from a demolished building. Artwork required lining onto supportive material for remounting to a wall, inserts of new fabric for missing mural sections. Mural was mounted to allow for future removal and seismic safety of artwork. See similar mural treatments and installation at this link.
2016 – 2017 “One Nation, Indivisible…” oil on plaster 12′ x 30′, by Baron Rudolph Charles von Ripper, 1942, at Ft. Bliss, El Paso, Texas. Work performed for the Department of the Army, United States Army Corps of Engineers through Cherokee Nation Management & Consulting, LLC. Extensive flaking required prolonged consolidation treatments to save the mural. The mural conservation work was divided into and performed in several stages in order to meet budgetary cycles.
2016 (begun 2012) “The History of Cattle Ranching” in Texas by James Buchanan ‘Buck’ Winn, c.1950, (three 30‘ sections) 6’ x 90’ (originally 280’ long divided into 11 contiguous sections) oil on fabric previously removed from wall, Texas State University, San Marcos, Texas; lead white adhesive removal and abatement, distortions/folds removal, rip repairs, paint consolidation, stain removal, cleaning, varnish, lining, store until needed for installation, design and consult with architects and mount the mural in preparation for new permanent exhibition in the university library, work with university on installation. http://www.thewittliffcollections.txstate.edu/support/giving/buckwinn.html See video of toxic materials mitigation .
2015-2016 The Horse Breakers 1939 by Fletcher Martin, 4′ x 13′ oil on fabric adhered to wall with lead white adhesive; City of Lamesa, Texas. WPA mural removed prior to demolition of the old post office. Conservation treatments were performed in lab in Santa Barbara, CA and then reinstalled in Community Center in Lamesa. For review and video go to http://www.fineartconservationlab.com/travel/after-mural-restoration-in-california-the-horse-breakers-by-fletcher-martin-is-again-in-lamesa-tx/ For a testimonial, CLICK HERE.
2015 Historical mural of Price, Utah by Lyn Faucett, 1938, 230 feet long, oil on canvas marouflaged, City Hall (Historic Landmark). Extensive previous restorations made cleaning a difficult (but successful) process (so as not to complicate the treatments and the budget). See short video and testimonial, CLICK HERE
2015 Law and Culture by Everett Jeffery, 1936, WPA, 6’ x 62’ oil on fabric marouflaged, City Hall, Cedar Rapids, Iowa. This Beaux Arts styled building was a federal courthouse (until 2008) where the subject matter of this wall was so controversial in it’s day that all four walls of mural were painted out in the 1950s. Second thoughts resulted in the overpaint being cleaned off about 10 years later but then the public was so outraged, that the murals were re-overpainted. This mural had 5 layers of paint over the original mural. This high profile contract included working with the City Manager’s office and was partially funded by National Endowment for the Arts (NEA), other local grants, and a State Historical Society of Iowa grant. Work included overpaint removal, rip repair, consolidation, inpainting, varnish, video documentation: http://www.fineartconservationlab.com/wpa-mural-restoration-in-city-hall-of-cedar-rapids-iowa/ Speaking at public outreach meetings and other consultation were also provided. Work performed ahead of schedule and on budget. Testimonial: CLICK HERE
2014-2015 Two pioneer murals by Minerva Teichert, 1940s, 10’ x 9’ ea., City of Montpelier, Idaho. Conference center required extensive renovation. Murals, valued at more than the building, were removed from the walls, brought to FACL in Santa Barbara for conservation treatments and then reinstalled, after construction, in Feb. 2015 with seismic mitigation considerations. Click here to see info page with videos. This project won the Idaho Heritage Preservation Award.
2015 Installation of two new large murals into exhibits in the Church History Museum, Salt lake City, UT. A special request was made by the curator to design a system for installing murals onto walls keeping in mind their eventual safe removal. Instructional videos were made to show the theory of the methods, then a video was made of the installation of these two murals as an example of the practical application. This video shows the installation of the murals and provides links to the other related videos: https://www.youtube.com/watch?v=wVEC-4Is7uo These educational instructional materials were made available to other artists contracted to paint murals for the LDS Church in properties around the world.
2015 Conservation of decorative painting from the 1920’s on archways and passages of the Santa Barbara County Courthouse. Work included consolidation and stabilization of extensive flaking, inpainting, matching finishes and varnishes. We have also been an important consultant for the SB County Courthouse regarding their mural room, several times, called upon by Fireman’s Fund Insurance Company to double check on work quality for murals, resolving difficult logistical problems with future mural conservation treatments and meeting with different entities interested in Historic Preservation on this property. Click on this link: https://www.youtube.com/watch?v=BeHMxDh0pvA
2014 Panorama of Historic Eugene, Oregon by Andrew Vincent, 1964, 11.5’ x 43.5’, acrylic on canvas marouflaged, Council Chambers of City Hall. Old City Hall demolition required the saving of the art component by the general contractor. Mural removal was complicated by discovery of asbestos in wall materials. Project completed on time and on budget. Click here to see GC testimonial. Click here to see project summary. Click here to see video on toxic materials mitigation experience.
2014 11,500 sq. ft Art Deco decorated historic ceiling in the Beaux Arts Building at 1600 West 7th St., Los Angeles. Damaged by arson and smoke the oil paint stenciled ceiling decorations on cement were consolidated, cleaned and varnished. Consultation services allowed the owner to interact successfully with the Historic Preservation organizations of the City of Los Angeles. See video of toxic materials mitigation: Click here
2014 Station of the Cross XII (Crucifixion) by Jose Francisco Zervin, 1800, 12’ x 7’, Mission San Juan Capistrano in California located in the Father Serra Chapel oil on canvas encased in the wall with architectural molding. Hidden and forgotten for 40 years, this very important painting was recently found. The painting conservation treatments on this Spanish Colonial monumental painting included, removal from the building and reinstallation, consolidation of flaking paint, rips and hole repair, special lining to compensate for the 10 sections (seams) of fabric, cleaning, filling, inpainting, varnishing. Multiple public relations presentations and fundraising collaborations were also provided. http://tipsforfineartcollectors.org/oil-paintings/200-year-old-painting-newly-restored-returns-to-mission-san-juan-capistrano/
2014 – 2015 Murals at an undisclosed location for the Corporation of the President in Manti, UT, 9’ x 9’ by Robert Shepherd, 1934, oil on canvas marouflaged. Failure of plaster layers required removal and reinstallation onto same wall. Removal and prep for reinstallation was complicated by old lead adhesive. Click here to see toxic materials mitigation.
2014 Mural at an undisclosed location for the Corporation of the President, Washington DC, 15’ x 30’ oil on canvas marouflaged. This masterpiece was previous worked on ineptly causing damage to paint layers. Careful cleaning, inpainting and varnish were required to bring the image back into focus, restore damage, restore lost contrast and depth of field.
2014 Murals at an undisclosed location for the Corporation of the President Saints in St. George, Utah. 3,500 sq. ft of murals. Oil on canvas murals marouflaged by various artists between 1915 – 1925. Work included consolidation of flaking, fills, inpaint, surface cleaning, local varnish.
2014 Cody Wyoming Historical Visitor’s Center Murals by Edward T. Grigware, 1951, 9’ from bottom up to the curvature of the dome x 80’ the circumference of the room. Oil on fabric (linen) marouflaged. Vandalism had sprayed/thrown material on the unvarnished murals. The stains were removed, the entire surface was cleaned and varnished. Here is a video we made of the inspection process before we did the actual work: Click Here
2013 Inherited Culture by Harry Donald Jones, 1936, WPA, 6’ x 48’ oil on fabric marouflaged, City Hall, Cedar Rapids, Iowa. Overpainted in 1957, then cleaned and then reoverpainted in 1964, this mural had 5 layers of paint over the original mural. Worked with City Manager’s office to recuperate these high profile historic murals in the City Council Chambers. Work included overpaint removal, rip repair, consolidation, inpainting, varnish, consultation for lighting, video documentation: http://www.fineartconservationlab.com/wpa-mural-restoration-in-city-hall-of-cedar-rapids-iowa/ . Testimonial: CLICK HERE
2012 – 2013 Murals at an undisclosed location for the Corporation of the President, Salt Lake City, Utah. 1906, 1924 3,500 Sq. ft.; Oil on plaster; Murals cleaned of discolored varnish, over paint removal and other previous repairs, consolidation of flaking, Conservation team included the use of client’s interns to be an educational experience for them.
2012 – Murals at an undisclosed location for the Corporation of the President, Salt Lake City, Utah. 5,600 Sq. ft of murals treated for maintenance (cleaning) and disaster preparedness reasons (varnishing) even though these murals are in a very clean environment. Conservation team included the use of client’s interns to be an educational experience for them.
2012 – Murals at an undisclosed location for the Corporation of the President, Idaho Falls, Idaho. 12 murals treated for maintenance including cleaning of drip stains, cleaning of surface grime, stabilizing of flaking paint, adjust unevenness in appearance of previous repairs, readhere lifting fabric from wall.
2012 7th St. Alterpiece – Jim Morphesis Monument by Kent Twitchell, 1984, 15’ x 45’, acrylic on sailcloth glued to cement. The first mural worked on as a result of the MCLA efforts. Located on the freeway, graffiti and older discolored varnish coatings were removed, then retagged, then cleaned again, retagged and then cleaned and recoated again. See webpage with videos: http://www.savefreewaymurals.com
2011 “The Purpose of Life – Man’s Search for Happiness” 6’ x 20’ 1963, oil on canvas adhered with paste to wall, Hyde Park, London England. Removal from wall prior to building demolition and preparation for shipping to USA. See video at http://mormonartconservation.org/murals/purpose-of-life-mural-art-conservation-treatments-completed-and-a-twist/
2011 Graffiti removal, conservation and restoration of the Jim Morphesis Monument by Kent Twitchell. 15ft x 45ft, acrylic on synthetic fabric glued to cement wall, located under the Grand Ave. overpass in downtown Los Angeles. This is the first mural of 13 murals to be worked on for The Mural Conservancy of Los Angeles that is part of the 1984 Olympic Arts Festival Murals. Ongoing maintenance of graffiti removal is also part of this project. For more information and videos go to http://www.fineartconservationlab.com/jim-morphesis-monument-by-kent-twitchell/
2011 CalTrans, State of CA had painted out 8 of the 13 ’84 Olympic murals Not only are these murals a special celebration of the 1984 Olympics held in LA, but the artists are still living and, in California, artists have legal rights to their artwork… especially if it is public art. I was asked to test and evaluate, based on professional art conservation principles and ethics, CalTrans’ materials, discuss the methodology and find out if there was a way to diffuse a law suit. My “intervention” was also of intense interest to SPARC, the Community Redevelopment Agency of Los Angeles, all the 10 artists involved, the Public Works Dept. of CA, the City of Los Angeles, the “Special Projects Dept” of the Getty Conservation Institute (who are looking into protecting murals from graffiti) and the population of art conservators in the LA area that are interested in murals. In short, I found myself reporting-in taking into consideration all the interests of these entities.
From my two meetings on the freeway in front of the murals with CalTrans official Vincent Moreno I determined that a video report would be the best way to report in and have everyone on the same page. Those two videos are found at:
http://www.youtube.com/watch?v=qIsi8U-PBu0 Video #1 and..
This project is designed to become a maintenance program for the outdoor murals of Los Angeles, to keep graffiti off of them, conserve, restore and preserve this very visible cultural patrimony of Los Angeles. A blog has been set up to update the public with written and video media at http://www.SaveFreewayMurals.com
2011 “The Word” aka Biola Jesus by Kent Twitchell, 1991, 30’ x 50’ acrylic on masonry. Did tests/evaluations to determine reasons for deterioration and whitened layers. Performed consolidation and regeneration of top glazing layers in preparation for pictorial restoration by artist. Also helped artist to mix paints, prep project and do final varnishing. See http://www.fineartconservationlab.com/twitchell-biola-jesus-mural. Also provided consultation on technique and performed final varnishing for the Strother Martin Mural and the Steve McQueen Mural.
2011 Murals at an undisclosed location for the Corporation of the President, Laie, Oahu, Hawaii. 1914, 1924 LeConte Stewart, Provided trouble shooting and consultation for complex conservation problems associated with murals that hired art restorer could not resolve. Subsequently, hired to remove murals (on canvas adhered to walls with starch paste) and oversee mold abatement processes, consolidation of detached plaster layers behind murals.
2011 Naval Airbase, Ft. Lauderdale, Florida. Gray Miller 1941 2’ x 35’ oil on canvas marouflaged adhered with lead white paint, black mold, brittle paint. On site evaluation and consultation for removal from building about to be demolished. Coordination of general contractor, base authority, historical society. Featured in video http://www.fineartconservationlab.com/taking-off-a-mural-from-a-wall-removing-murals-detaching-murals-video/ Click here to see video on toxic materials mitigation experience.
2011 Texas Southern University (TSU), Houston, Texas – Surveyed, did analysis and proposed treatments for 123 murals painted on campus since 1949. Considered one of the most important collections of African American Art. Coordinated efforts with University Admin, TSU Museum, Mural Task Force. Reports included written, photographic and video. See http://www.tsumurals.org
2011 Los Angeles Wholesale Produce Market Murals by Thomas Suriya, 1986. Mixed media on plaster, heavily varnished, outdoor murals with no protection. 6,600 sq. ft. Bloomed (fogged) varnish made colors appear faded. Extensive water damage streaking, numerous scrapes, splattered food etc. Cleaned off surface grime, smog deposits, surface deposits etc. Varnish layers regenerated (not removed), consolidation, inpainting (as per instructions of living artist). We also assisted original artist with final retouching/enhancing- restoration of major components of composition. See http://www.fineartconservationlab.com/la-produce-market-murals
2010 – 2011 Ramos Contreras Murals (3 – 8’ x 8’ each), 1936, survey and conservation treatments. Oil on fabric mounted to wall, removed, lined and remounted onto movable supports. Cleaning, rip repair, inserts, fills, inpaint, varnish. Work featured in video at http://www.fineartconservationlab.com/taking-off-a-mural-from-a-wall-removing-murals-detaching-murals-video/
2009 – 2012 City of Los Angeles, Community Redevelopment Agency, Cultural Arts. Open ended project of various mural projects and consultation projects (assessments) in partnership with fine art handlers Cooke’s Crating.
2010 – 2014 Murals at an undisclosed location for the Corporation of the President, Ogden, Utah. 12’ x 15 approx oil on fabric marouflaged to wall. Removed mural from wall due to demolition. Clean, consolidate, prepare for reinstallation into new building. Store for client for 4 years until new building was ready. Installed into new space directly in the wall in 2014.
2010 Don Quijote Mural Study by Channing Peake, Westmont College, Santa Barbara, CA. Oil on fabric mounted. Extensive flaking, dirty paint surface, holes.
2009 Fair Park Esplanade and Parry Gate Conservation Project, 1936, Fair Park, City of Dallas, Texas. Project required the (double) survey and analysis of 22 monumental murals (20,000 sq ft), 6 monumental concrete sculptures, 3 monumental painted base reliefs in cement, 5 monumental pylons with painted base reliefs and various painted bas relief panels, bronze plaques and friezes in other locations. Oversight of General Contractor with consultation, planning and implementation of protection plans (during demolition and reconstruction). Historical reproduction of decorative painting was performed on bas reliefs at Parry Gate and on ticket booths: https://www.youtube.com/watch?v=VC-4DHBIDcs
2008 – 2009 Firemen and Policemen at work by Terry Schoonhoven, 1998, acrylic on fabric mounted, Interior lobby of Police and Fire Dept. building, Burbank, CA. Construction defects resulted in infiltrations of rain water and in mold growth within wall structures. Murals were removed in preparations for demolition, cleaned front and reverse sides, consolidated and processed on hot table for future potential weaknesses in paint layers, reinstalled, inpainted, varnish.
2008 Landing of Cabrillo by Arthur Beaumont, 1956, oil on fabric mounted, Jonathan Club, Los Angeles, CA. Stabilized extensive flaking, cleaning, fills, inpaint, varnish.
2008 Tropical Birds by Jessie Arms Botke, 1950, 7’ x 13’ Oil on fabric mounted, Oxnard Public Library, Oxnard CA. Stabilized extensive pinpoint flaking, cleaning, inpaint, varnish.
2007 Sports figures by attributed to Marion Simpson, 1936 WPA, Darius Anderson. Removed murals (2) painted in tempera on thin cotton fabric. Water stains, rips, flaking, toxic materials. Stabilized condition: consolidation, repaired rips, removed and inpainted stains, toxic materials abatement, prepared for remounting. Work referred by Oakland museum of Art, Oakland, CA. Click here to see video on toxic materials mitigation experience.
2007- 2008 Monument to Ed Ruscha by Kent Twitchell 60’ x 90’, 1987, acrylic on cinderblock outdoor wall, Los Angeles, CA. U.S. Department of Labor and Schwartz and Jansen LLP. Mural located on outside of building owned by US Dept. of Labor was painted out. In the resulting lawsuit by the artist, FACL met with and collaborated with the artist, government reps., lawyers and other conservator to plan the removal of the overpaint and also to propose, separately the removal of the original paint from the cinderblock wall. Tests were made, proposals outlined, interacted with media etc.
2006 Hopi murals by Fred Kabotie, Painted Desert Inn, 1947, Petrified Forest National Park, US Gov’t, Holbrook, Arizona. 7 murals in tempera on plaster. Settling of the building caused plaster detachments (both arriccio and intonacchino) and cracks, infiltrations from roof caused water stains, general flaking of paint, surface grime, residual wax from 1977 conservation treatments. Plaster layers were stabilized with injections of consolidants, flaking paint was consolidated with topical applications of adhesives with heat solvents and local pressure, cleaning (including stain removal), fill, inpaint, varnish. See article, click here.
2005 “Water and Light” by Hugo Ballin 1943, 13’ x 30’, oil on fabric marouflaged. City of Burbank, CA, Dept. of Water and Power. Very sensitive cleaning of thinly glazed execution, fills of original joins in fabric, injection consolidation of detached fabric, inpaint, varnish.
2003 – 2005 “The Sea” by Gottardo Piazzoni Mural Project for the De Young Museum and the New Asian Art Museum, San Francisco, CA. 5 mural panels by Gottardo Piazzoni (1931 and 1945) Technique: oil on fabric marouflaged removed from Old Main Library (New Asian Art Museum) in 1999. Mr. Haskins was the Team Leader for the conservation team (made up of professionals from several areas of the US). Removed paintings were cleaned, special mounting to aluminum honeycomb panels, inpaint and prepared them for reinstallation, working with new De Young Museum planners for exhibit construction and installation design.
2001 – 2002 Portrait of Mexico Today by David Alfaro Siqueiros, 1932. Mixed media on Portland cement on lathe and plaster construction. The mural was moved, along with its walls, foundation and ceiling structure, from Pacific Palisades (Los Angeles) to Santa Barbara, CA (about 100 miles). The process required working with a team of conservators, technicians and specialists to prepare the mural for the move, and perform the conservation work once installed on it’s new site in front of the Santa Barbara Museum of Art. The mural was moved with no visible damage resulting from the move. Innovative techniques were used in the processes. Extensive public review was performed, a documentary was made, and many presentations were given. http://www.youtube.com/watch?v=ACRmeSkgCaA
2001 Carlo Ciampaglia Murals located in Fair Park, Dallas, Texas on the Sheep and Goat Building. Original murals painted in house paint on Portland Cement. Murals were damaged beyond repair by sand blasting and power washing. FACL recreated the murals from historical photographs in Kiem paint as specified. Contract with the City of Dallas at Fair Park, Parks and Recreation Department. https://youtu.be/fEaTODczxDs
1999 – 2001 Carlo Ciampaglia Murals located in Fair Park, Texas 1930’s. 7500 sq. ft. Technique: (house) paint on Portland cement. Contract with the City of Dallas at Fair Park, Parks and Recreation Department. Mr. Haskins provided consultation services to assist in the planning of the project and was head of conservation. The project included the conservation and preservation of the Carlo Ciampaglia murals on the Centennial Building and the Food and Fiber Building in Fair Park. The treatments included the removal of four to six layers of overpaint, consolidation of flaking, fill, inpaint, coating. Educational presentations and materials also resulted from the project. Mr. Haskins was the chief Conservator, Project Manager. The conservation team consisted of approximately 24 professionals and technicians. www.fairparkmurals.com. This mural conservation project was awarded the Dallas Preservation Award and the United States Historic Preservation Award, this nation’s highest honor for preserving our heritage.
2000 – 24 paintings/scenes from the Old and New Testament by Harry Anderson, Grant Anderson and John Frost, ranging from 8’ 12’ to 8’ x 18’ each, located in The North Visitor’s Center, Temple Square, Salt Lake City, UT. Oil on fabric marouflaged to wall. The paintings were removed from the walls in preparation for demolition and seismic retrofitting. They murals were cleaned, stabilized, varnished and mounted onto auxiliary supports for remounting onto the walls of the same building. Special considerations were made for seismic precautions.
2000 Mural at an undisclosed location for the Corporation of the President, Los Angeles, CA. Mural was 50% detached/bubbled off the wall. Mural was removed, cleaned, readhered, inpainted, varnished, frame modified.
1999 – Murals in the Crocker Estate, Pebble Beach, CA., 1921. 2500 sq. ft. Technique: casein on plaster on the ceilings and oil on fabric with raised gesso, gold leaf and jeweled inclusions on murals for vertical surfaces. The Gothic Castle underwent historical restoration; treatments on the murals included removal of 4 layers of overpaint from the ceiling murals, stabilization of flaking, fills, inpainting and surface coatings. The paintings on canvas (previous removed from the site in 1982) were cleaned of paste, mold and dirt on the reverse, cleaned on the front, consolidated, the many pieces were reconstructed, rips and deformations repaired, lined, fills, inpaint, coated, reinstallation on site. http://dmfpo.org/wp-content/uploads/2015/09/dmf_origins6_crocker_mansion.pdf
1998 – 2000 Mural Project for the New Asian Art Museum Project, San Francisco, CA. Contract with the Asian Art Museum/ City of San Francisco. 14 mural panels by Gottardo Piazzoni (1931 and 1945), two murals by Frank DuMond (1914). Technique: oil on fabric glued to wall with paste, vinyl adhesives and plaster milk. 2000 sq. ft. Provided consultation services to assist in the planning of the project. Mr. Haskins was the Team Leader for the conservation team (made up of professionals from several areas of the US) whose mandate it was to remove the murals safely from their present location, effect their conservation, prepare them for reinstallation, oversee installation.
1998 Aerodynamics by Lucien Adolph Labaudt, 1934 (WPA), Technique: oil on fabric marouflaged (white lead). 256 sq. ft. Contract with GSA. This painting was removed previously. FACL reconstructed the 12 pieces of the painting, performed the conservation treatments and marouflaged the painting to the ceiling of the Federal Courthouse, 312 N. Spring St. Los Angeles CA. Click here to see video on toxic materials mitigation experience.
1997 – 2000 General Services Administration (GSA), United States Government, Indefinite Quantity Contract for conservation services for paintings in federal buildings in 20 Western States. This contract was awarded after competitive bids based on price, competency, professionalism were compared with conservators from all over the US. FACL participates as a team member with two other labs who are responsible for artwork in the Midwest and East Coast.
1997 WPA murals in four post offices in rural Pennsylvania under contract with the Department of Transportation. U.S. Government. Conservation services included evaluations, condition reports, budget proposals, on site conservation treatments.
1997 Chinese fantasy murals, c. 1850 (installed in the 30’s), 800 sq. ft. Johnny Weismuller Estate, Bel Air California. Technique: tempera on paper glued to plaster. Water infiltrations and poor installation/restoration techniques caused stains, flaking of paint and delamination of paper. Superficial treatments included consolidation, inpainting.
1996 The Stations of the Cross, 1930, technique: oil on fabric marouflaged (lead white adhesive), St. Andrew’s Cathedral, Pasadena, CA. The 1994 Northridge Earthquake had caused damage to the building. The murals, mounted with lead white adhesive, were removed, cleaned, rips repaired(during building repairs), flaking consolidated, inpainting, varnish and reinstalled. Click here to see video on toxic materials mitigation experience.
1996 The Landing of Cabrillo, 1934, technique: oil on fabric marouflaged(lead white adhesive), Dana Middle School, San Pedro, CA. Water infiltrations had caused a massive section of the painting to detach from the wall and numerous stains down the front of the murals. The murals were cleaned, consolidated, reattached, inpainted, varnished. Click here to see video on toxic materials mitigation experience.
1995 and 1996 Aspects of Education by Hugo Ballin, 1934, approx. 1500 sq. ft. technique: oil on plaster, El Rodeo Middle School, Beverly Hills, CA. Preparation of mural’s surface and protection against injection epoxy grouting process. Subsequent removal of protection layers, consolidation of paint layers, fills, inpaint.
1995 Frieze, La Casa Grande Vestibule, Hearst Castle, San Simeon, CA, 16th Century, Italian, technique: affresco, strappato, approx. 303 sq. ft.. Work included removal of organic deposits and dry cleaning, consolidation, stabilize damaged areas, flatten deformations, reattach detached fabric seams, tone and inpaint, varnish.
1995 At A Fiesta, 1930s mural on canvas marouflaged, Mission Inn, Riverside, CA. Removed from a wall previously, the paint layers were stabilized, cleaned, inpainted, varnished and the mural installed in the Sculpture Gallery. Extensive other work performed with Spanish Colonial paintings. See short video: https/::www.youtube.com:watch%3Fv=6yZxor5Mu8c
1994 Seabee Mural by Duffy Lewis, Port Hueneme Naval Base, Oxnard, CA, 1947, technique: tempera on acoustic tiles, approx. 1800 sq. ft. . Mural was very dirty, and many tiles (101) were damaged or missing. The mural was dry cleaned because of the solubility of the paint. After consolidation, missing tiles were replaced and painted to match original design. Damaged tiles were filled and inpainted. A final protective varnish layer was then applied to saturate all colors evenly while still maintaining the unvarnished look. Conservation completed on time and on budget.
1994 St. Monica’s Church, Santa Monica, California, 1920’s, technique: oil on plaster, approx. 300 sq. ft. . This church was extensively damaged during the Northridge earthquake. The consultation work included proposals and specs for saving the historic murals and decorative friezes.
1994 Galleria Ceiling, Biltmore Hotel, Los Angeles, CA, 1923,technique: oil, acrylic and gilding on plaster, Giovanni B. Smeraldi, approx. 450 sq. ft. A large portion of the Galleria ceiling fell due to water infiltrations. A reproduction of the plaster relief was cast off original portions of the ceiling and installed. FACL painted, gilt and toned the new plaster to match the 1923 original (which had been previously restored in 1987).
1993 “Fiesta at a Mission” by Albert Herter, Los Angeles Central Library 1928, 1930, technique: oil on fabric marouflaged to plaster. The wall behind the mural was in the process of collapsing. The 13’ x 35’ painting was removed by rolling it onto a turntable/ cylinder (built by FACL, Inc.), demolishing the weak section of the wall, reinforcing the original wall with new metal studs, metal lathe and new plaster (work performed by contractor), remounting of mural on wall in exactly same position (so as to fit within decorative borders). The conservation treatments of the mural included facings, removal, consolidation of flaking, readhesion to wall, fills, inpainting, varnish. Scaffolding handled by general contractor. Project required 1 1/2 months (including drying time for plaster). Featured in video http://www.fineartconservationlab.com/taking-off-a-mural-from-a-wall-removing-murals-detaching-murals-video/
1993 Historic Ceiling, Room 100 Moore Hall, University of California at Los Angeles, 3800 sq. ft., technique: oil on plaster. Surfaces cleaned and varnished. Losses filled and inpainted. Lost design work reconstructed (repainted) with the use of templates. All reproduction work (which was extensive) had to meet rigorous quality control and pass approval by numerous entities. Scaffolding provided by general contractor. Project required 4 weeks. Project was completed on time and on budget.
1993 “Labors of Hercules” by Michael Spafford, Washington State Capitol Building. 2 murals 16’ x 45’ each, technique: acrylic on fabric and plywood adhered to plaster. These murals were adhered with a tenacious “permanent” adhesive (like lead white adhesive though not as toxic). The murals were removed by detaching the plaster layer behind them from the building’s wall then removing the plaster once the murals were down. Light cleaning and facing were required. Special handling, detaching, removal from building, crating and shipping performed by Cooke’s Crating. No scaffolding required. Project required 7 days. Click here to see video on toxic materials mitigation experience.
1993 Murals by Dean Cornwell, South and East Walls of the Rotunda, Los Angeles Central Library, c. 1926, technique: oil on fabric marouflaged to plaster, 2400 sq ft., . Earthquake damage on a section of the East wall murals had detached a large section (60 ft high x 40 ft wide) of plaster from the concrete structure and was at risk of falling off. Treatments performed included readhesion of plaster layers to original wall structure by injection of adhesives into plaster voids, use of bracing systems and humidity to flatten distortions, fill injection holes, inpaint. Scaffolding handled by general contractor. Project required 3 weeks.
1992 “Spring In Georgia” by Andre Ruellan, c. 1920, technique: oil on fabric, 51 3/4” x 134 3/8”, R. G. Stephens Federal Building, Athens, GA for the General Services Administration. This painting was improperly removed from a wall which set into motion a number of problems including flaking. The flaking had been (unsuccessfully) treated twice previously. Our previous (1991) successful work on a similar project lead us to this work. Conservation treatments included cleaning, proper consolidation, vapor treatment, lining, new stretcher bars, fill, texture, inpaint, glaze, varnish.
1992 ‘Tropical Scene’ by Jessie Arms Botke, c. 1920, technique: oil on fabric marouflaged to wall, 7’ x 27’. Irvine Museum, Irvine CA. Remove mural from wall which was about to be demolished (after facing and prep.) onto a large cylinder, clean, consolidate, vapor treatment (heat humidity and vacuum to remove distortions), lining, new stretcher bars, fills, inpaint, glaze, gilding, varnish. CLICK HERE to see more about project
1991 Landscape with Flowers by Paul Rohland, 1938, technique: oil on fabric adhered to plywood, 63” x 132”, Richard B. Russell Federal Building Courthouse, Atlanta, GA for the General Services Administration. This painting was improperly removed from a wall which set into motion a number of problems including flaking. The flaking had been (unsuccessfully) treated previously. Treatments included cleaning, proper consolidation of air pockets between fabric and wall, consolidate flaking paint, fill, inpaint, varnish. No scaffolding required. Project required 4 weeks.
1990 Four Murals by Hugo Ballin, 1934, technique: oil on fabric marouflaged to plaster, 1800 sq. ft. Los Angeles Times Building, Los Angeles, CA. Clean, fill holes (which were drilled into surface twenty eight years ago for aluminum paneling which covered these murals), inpaint, varnish, replacement of a missing corner of the mural. Gilding and painting was required on decorative borders and panels. Provided scaffolding. Project required 3 weeks.
1989 Ritz Carlton Mural by Cuneo van den Steene, 20′ x 65′, technique: oil on wood, ss Rotterdam for Holland America Lines. Consolidate entire surface, set flaking, fill, inpaint, varnish. Project required 2 weeks on site in dry dock in Portland, OR
1988 “America Tropical” by David Alfaro Siqueiros, 1700 sq. ft. technique: synthetic, automotive paint on Portland Cement, El Pueblo de Los Angeles Historical Park, Los Angeles, CA. Analytical investigations into the artist’s technique, causes of deterioration and budget preparation for the conservation project. Work performed for Friends of Mexico Foundation with collaboration from the Getty Conservation Institute. Click here to see 12 minute video summary by Getty Conservation Institute
1981 Murals at an undisclosed location for the Corporation of the President in Manti, UT, Murals dating 1884, 1935, 1945, technique: oil on canvas and directly on plaster, 10,000 sq. ft. Most of the work required removal of discolored varnish layers. Extensive structural consolidation of plaster to masonry walls in the largest room was required. Filling of cracks, inpainting, varnishing.
1980 “The Restoration” by Lewis A. Ramsey, 1913, 15’ x 10’ oil on fabric marouflaged to cement wall with lead white adhesive. The wall with the mural was saved in 1960 during demolition (stacco a massiccio), stored and forgotten. This widely published famous masterpiece by this artist was rediscovered and conservation treatments included reassembly of myriads of broken pieces, extreme cleaning measures (rats), mounting to a honeycomb panel, inserts, fills, inpaint, varnish. Project was completed on time and on budget for the Church of Jesus Christ of Latter-day Saints. See http://mormonartconservation.org/murals/mural-of-the-restoration-by-la-ramsey-found-and-restored/ Click here to see video on toxic materials mitigation experience.
1979 Historical Murals, 1909, 1500 sq. ft. technique: oil on fabric marouflaged to plaster. Union Pacific Railroad Station, Salt Lake City, UT. Cleaning of thick layers of discolored varnish and removal of repainting from bad restorations. Consolidation of voids between canvas and wall. Fills at joins, inpainting and varnish. Scaffolding handled by general contractor. Project required 4 weeks. Project was completed on time and on budget. http://www.lincoln-highway-museum.org/BRMFP/200-JM/RR-01-SLC-Index.html
1978 St. Erasmus, 1465, technique: alfresco, 10’ X 6’, San Giovanni, Lumezzane, Italy. Extensive cleaning, consolidation of abrasions and water damage, structural repairs to building, filling of lost areas, inpainting. Research involved the rediscovery of the layout of the original Romanesque Church on the site.
1977 Santo Corpo di Cristo, 1525, technique: affresco, 20,000 sq. ft. (entire church), painted by Foppa, Brescia, Italy. Removal of overpainting, cleaning of dirt, smoke, etc., filling, inpainting.
1976 – 1977 The Gospel, 1492, technique: affresco, 1500 sq. ft., Dominican Library ceiling, Calvisano, Italy. Cleaning removed 9 layers of repainting from 5 centuries. Consolidation of structural cracks, water damage, filling and inpainting were needed. See short video.
1975 Procession of Saints, 1395, technique: affresco, 2000 sq. ft., Ex-Monastero of the Trinity, San Gallo, Italy. Treatment on three layers of affresco work spanning three centuries. Work included consolidation, extensive and sensitive cleaning, fills, inpainting.
American Institute for Conservation (AIC), Professional Associate member (member since 1978) Participation has included talks and presentations at annual meetings. Activity also includes participation in the Paintings Specialty subgroup, the Book and Paper subgroup (Art on Paper) and in the Conservators in Private Practice subgroup (CIPP) for which I was Vice Chair then Chair from 1990 to 1993 and 2014 – 2017. During my four years as Vice Chair, I organized the annual meetings in Albuquerque, N.M., Buffalo, N.Y. , Denver, CO. Montreal Canada and Chicago, IL. As a professional member of AIC, I have pledged to uphold the Code of Ethics and Standards of Practice.
International Institute for Conservation (IIC), Associate member since 1978. Attendance at several meetings at international locations over the years and have participated with talks.
Western Association for Art Conservation (WAAC), member 1978 – Present
1984 – 85 Board of Directors, 1982 – 83 Vice President, 1983 – 84 President
Organized the annual meeting in 1983 in Oakland, CA and 1984 in Santa Barbara, CA. Participation has included talks and presentations at annual meetings.
International Institute for Conservation (IIC) member since 1978
Shroud of Turin Research Project: Consultant and Participant.
Institute of Museum Services (U.S. Gov’t): Current grant proposal reviewer.
Santa Barbara City College, teacher since 1988 – 1998.
Class entitled, “Preserving Your Treasured Family History Possessions.”
Teacher/Presenter/Lecturer – Professional Exchange with Italian Conservation Centers in Venice, Brescia – 1990 to present
ENAIP Conservation Center, Lombardy Province, Botticino Italy
Centro di Restauro per I Beni Culturali, Veneto Province, Venice, Italy
Publications, papers given and seminars presented have been many. See separate sheet.
2014 Asbestos abatement and mitigation (handling toxic materials both on site and in the lab). Training performed by PBS Environmental. See video of toxic materials mitigation: Click here
Infrared reflectography training – Dr. James Druzik, Getty Conservation Institute 1986
Polarizing microscopy – McCrone Institute, Chicago, Il
Paper Conservation – 1979 studies with Craig Jensen (Rare book and paper conservator at Brigham Young University and Joe Nkruma, Art Conservator Kunst Museum, Bern Switzerland
Videos on YouTube showing FACL’s capabilities (both murals and easel paintings) may be found at “best_artdoc channel” http://www.youtube.com/user/bestartdoc?feature=mhee
For video testimonials click on this link: https://www.youtube.com/playlist?list=PL41D80C1C65FF2CE7