1999 – 2000 Murals in the Crocker Estate, Pebble Beach, CA., 1921. 2000 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 style castle estate 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.

 1999 - 2000 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 has provided consultation services to assist in the planning of the project. Mr. Haskins is the project leader for the conservation of the murals, the mandate is the conservation and preservation of the Carlo Ciampaglia murals on the Centennial Building and the Food and Fiber Building in Fair Park. The treatments will include the removal of four layers of overpaint, consolidation of flaking, fill, inpaint, coating.

 1998 - 1999 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 is the Team Leader for the conservation team (made up of professionals from several areas of the US) whose mandate it is 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 marouflage (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.

 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 Weismiller 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. Conservation completed on time and on budget.

 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. Conservation completed on time and on budget.

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. Conservation completed on time and on budget.

 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.  Conservation completed on time and on budget.

 1995 Fiesta, Mission Inn Hotel, Riverside CA, WPA oil on fabric marouflaged. Conservation work included installation, cleaning, inpainting, varnish.

 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).  Conservation completed on time and on  budget.

 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). Project was completed on time and on budget.  Conservation completed on time and on  budget.

 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.  Conservation 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. Project was completed on time and on budget. 

1993  Murals by Dean Cornwall, 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. Project was completed on time and on budget.

 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. No scaffolding required. Project required 4 weeks. Project was completed on time and on budget.

 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. No scaffolding required. No time requirement. Project was completed on time and on budget.

 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. Completed on time and on budget.

 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. Project was completed on time and on budget.

 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. No scaffolding required. Project required 1 week. Project was completed on time and on budget.

 1981 The Manti Temple Project, murals dating 1884, 1935, 1945, technique: oil on canvas and directly on plaster, 10,000 sq. ft. Manti, UT. Three rooms entirely painted. 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. Scaffolding handled by general contractor. Project was completed on time and on budget.

 1979 Historical Murals, 1902, 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 repaintings 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.

 1978 St. Erasmus, 1465, technique: affresco, 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. Provided scaffolding. No time or budget requirements.

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. Provided scaffolding. No time or budget requirements.

 1976 The Gospel, 1402, 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. Provided scaffolding. No time or budget requirements.