Why for the 1st time I Threw Someone Out of My Art Restoration Lab – DIY Oil Painting Cleaning Destroyed a $35,000 Artwork

Posted on April 3, 2026 by Scott M. Haskins

A Real Art Restoration Drama In Our Lab “If this story doesn’t shock you, then nothing will…. or at least you’ll shake your head and say, ‘What an unbelievable idiot and raise an eyebrow —

Fairly often we have special interest groups that have a “field trip“ to our Lab. We roll out the red carpet and enjoy showing them all the different kinds of projects we work on, how we use a black light (UV) how we use the stereo binocular microscope and we set up different displays to make the visit as educational as possible.

NY Times Tour at Fine Art Conservation Lab.com

What Happened When a Collector Brought His Vintage Painting of a Dutch Interior to the Lab

We also encourage the visitors to bring in artwork that they may have questions about that we can discuss with the group. We always get five stars reviews, and no one has ever been bored!

During one such visit, a man who collects old master paintings, brought in a small interior Dutch scene that was very nicely done. The first questions that usually come up in the question and answer moments are:

FAQ’s Common Questions We Hear During Lab Visits

How much is my painting worth?

How much does it cost to clean a painting?

How do you know if it’s worth restoring?

Can I clean my painting at home?

Dutch Old Master that begs for cleaning – not the painting related to this story

It’s unethical according to our professional ethics and standards for an art conservator to give an opinion about value. Even though the game of estimating appraisal values by uncertified art dealers and “restorers” is common, especially in Europe, there are many ways this practice is used to the disadvantage or manipulation of the client to sell the painting or to get the owner’s decision to have restoration work done.

Instead of offering my appraisal of the value, I can offer an opinion as to the comparative quality of the artwork based on artwork we’ve had come through the lab over the last 40 years and sometimes I give an opinion of the approximate value based on other paintings I’ve heard about from auction houses and dealers we work with, with a disclaimer.

After giving my disclaimer to the group in this story, I suggested that this very nice painting of an interior Dutch scene could be valued in the $35,000 range based on comparative quality and size we’ve seen. The owner didn’t seem surprised and then he asked if I could estimate what the cleaning cost would be.

Under magnification, conservators test solvents and adhesives for cleaning tests

The Microscope Demo: Showing How Careful Varnish Removal Must Be

This was a good opportunity to show the attendees of the lab tour how we use the stereo binocular microscope to do tests for varnish removal without dissolving the original paint. This was an excellent example because, as I pointed out to the group, the original painting technique of this 19th century interior used varnish mixed in with the paint in order to get the beautiful transparency and find detail. I explained that the process of removing the yellowed varnish would have to be very careful done, making sure that any solvents used would not move or dissolve the original paint. FACL NEVER damages artwork while working on it.

I indicated to the group that the solvents I was using on the varnish removal test under the microscope we’re not necessarily the technique and solvent, I would use in the actual cleaning, which would probably take several hours to do.

The owner was very appreciative of the information and insights as I gave his painting back to him. He wrapped it back up, tucked it under his arm and left with it when the tour was over.

Two Weeks Later: When He Returned with the “Cleaned” Painting

About two weeks later, I got a phone call from the same owner that he would like to come and see me. As I was unwrapping the painting, he said that he had cleaned the painting and that he did it in about a half hour. My stomach immediate knotted up.

I was shocked to see that the entire painting had been badly damaged by dissolving the original paint, losing many many details and reducing what was a painting in perfect condition to a thoroughly “skinned“ damaged painting in every area of the painting, including the signature, which has been badly abraided by this Due-it-Yourselfer.

DIY Cleaning a painting

How A Prideful Attitude and the Wrong Solvent Destroyed a $35,000 Painting

I looked at the owner, incredulous and I said, Wow, you’ve ruined this painting!

He retorted. I did what you told me to!“

Trying to restrain my response, “I never told you how to clean this painting or even gave you suggestions!“

He justified himself, “Well, I saw the solvent you were using in the testing under the microscope and figured I’d try that.“

I accused him, “You wiped this with a rag and a solvent that was way too powerful, dissolved the paint and in the process you’ve wiped off details everywhere and removed the signature 80%.! You’ve taken a $35,000 picture and reduced it to trash!“

To that, the owner got angry, raising his voice telling me it was my fault the painting was damagedbecause I had told him the wrong things to use… and now I had to “fix it.”

My blood began to boil and I got fired up inside with his exceeding stupidity. I was not calm… on the inside but I was still contained on the outside. “Repainting this once beautiful painting does not restore the original quality and does not restore the artwork’s lost value! You have destroyed this painting, permanently.”

I told him to get out of the lab! I stepped towards him and he took a step back towards my front door. I told him that he was never to come back, never to call, and I was never to hear of him again!

There was a 16th century art historian named Giorgio Vasari (1511–1574 who wrote Lives of the Most Excellent Painters, Sculptors, and Architects, the foundational text of Renaissance art history) that had the opinion that incompetent restoration had destroyed more art than all the volcanoes, floods, earthquakes and wars put together. This plaque of destruction of artistic and cultural items by Do-It-Yourselfer-Fix-er-Uppers obviously is not a modern-day problem.

His declaration sounds to me, that Giorgio may have been also (besides me) on a rant when he wrote that and I can’t imagine that he had a way to prove his statistic. But we often see, in our lab, the sad state of affairs with artwork that is loved and cherished that has been brutalized and reduced to a damaged whisper of something beautiful that used to sing soprano. One of the greatest offenders of this kind of tragedy occurs on family, history, items and ancestor portraits that are worked on or restored as an artist-friend of the family who is going to save them some money.

Bombed Artwork WWII

Why This Painting Survived Wars and Voyages — But Not DIY Cleaning

This painting had survived coups and revolutions. It survived the Nazi’s bombs, fires and thieves of World War I and World War II. It survived lousy packing and handling; transport across Europe, who knows how many times; its traveled in the back and hidden in hay wagons, bounced around in who knows what weather; it survived unscathed the voyage in the hull of a ship across the Atlantic. It had endured all of this, and more without damage, for more than 150 years. And yet it could not survive in the hands of a prideful, full of himself, do-it-yourselfer, who destroyed it in less than thirty minutes.

The Sad Pattern We See with Family Heirlooms and Artist Restorations

We see it happen often, if not constantly, to family portraits, heirloom ancestors who were “restored” by a friend who “knows how to paint.” Their creativity gets out of control, then they overpaint and lose the soul. Families hate the result in about 90% of the time, and then they bring it to FACL to try and undo the damage. Do you have questions about this process? Give us a call to discuss your questions.

Nellie after she was repainted by a family artist friend… and after FACL overpaint removal and return to her original glory.

Lessons from Famous DIY Disasters Like “Behold the Monkey Jesus!!”

And honestly? It’s not just young amateur DIY’s… Remember the “Beast Jesus” or “Behold the Monkey” fiasco? That 2012 Spanish fresco—Ecce Homo—where an elderly parishioner “restored” it herself? Her final result turned a solemn 150 year old devotional image of Christ into a monkey-faced cartoon. The outcry in the news went internationally viral overnight, but the original art? Gone. Or the guy in Italy who “cleaned” a 15th-century Madonna with acetone—wiped off half the face. These aren’t jokes; they’re losses which cannot be undone… even if there is an exceptional quality super talented artist who can copy exactly someone else’s style and technique… that still doesn’t undo the damage done… it still isn’t the original artwork anymore. And that has negative results.

Varnish yellows, dirt builds, cracks appear. But DIY? One wrong solvent, one too-hard scrub, and you’re not cleaning—you’re destroying. Professional work isn’t magic; it’s patience, testing, layers of protection. We map every stroke first, use micro-tools, work in controlled light. If something’s off, we stop. That’s why people trust us.

Virginia Panizzon Cleaning a Painting

If You Have Questions About Your Own Painting

The takeaway? If your piece looks dull, yellowed, or cracked—if you’re even thinking “maybe I could try”—don’t. Call someone who does this daily. Not because of marketing hype, but because we’ve seen what happens when DIY folks “wing it.”

If you have questions about art preservation, restoration, conservation, give us a call to chat. Here’s my mobile phone: 805-570-4140.

A word of warning: friends, who are artists, NEVER do a good job on restoring paintings and most often destroy the original. So there you have it! A true confession about throwing someone out of our painting conservation laboratory. My blood still boils to think that he told me it was my fault!!!!

Scott M. Haskins and Virginia Panizzon

Art Conservators

805 564 3438

gena.FACLBusinessManager@gmail.com

Posted in art restoration of family portraits, Consultations, In Lab, Interesting Stories, Painting on canvas | Tagged cleaning a painting | Leave a comment

Art Preservation Restoration of Conrad Buff Estate Oil Paintings, Laguna Art Museum, Orange Country, CA

Posted on March 30, 2026 by Scott M. Haskins

It Was An Important Part Of The “Process”: Making known, and more valuable, the life’s work of Conrad Buff has been a collaboration of many experts; passionate collectors, quality art dealers, scholars, museums, framers and Fine Art Conservation Laboratories’ professional art conservation services. The recent exceptional exhibition in Orange County, CA was “a milestone success.”

If you take note of early mid-century California art, then you probably know the name of Conrad Buff (1886–1975). However, as with many artists who were known and appreciated during their lifetime, their departure into the next phase of life left behind a storage room full of art with the family who didn’t know what to do with it. Recently, the Laguna Art Museum, held a wonderful large exhibition which reconfirmed his talents and the quality of Buff’s artistic expression, supported now (with the publishing of the LAM exhibit,) by two major catalogs.

In 2016, George Stern Fine Arts Gallery (with collector Martin Medak) had the opportunity to take the collection by the reins and put Conrad Buff back into the limelight and awareness of art collectors. They produced a catalog of the artist’s work that is highly prized (Will South and Libby Buff contributors). And now with added scholarship associated with the recent fine exhibition (and excellent publication with Dr. Deborah Solon) at the Laguna Art Museum, there is now established a more complete and documented record of Buff’s work. This includes identifying paintings in private collections, confirming attribution, and connecting individual works to the broader body of the artist’s production.

Dr. Solon’s catalog book debuted at the LAM exhibition, Solitude and Silence: Conrad Buff, Painter of the American Southwest, and is “a landmark exhibition exploring the life and legacy of one of California’s most distinctive modernist painters.” For owners, this expanded documentation provides appreciated scholarship in bringing the “mid-century art” into focus.

FACL’s part in the process

As the life’s work of Conrad Buff has been gathered and studied, the physical condition of the paintings and the state of conservation have also remained equally important.

Early on, Scott M. Haskins and Fine Art Conservation Laboratories (FACL) was brought in to provide valuable consultation support and painting conservation services. This expertise has been available to the estate of the artist, to the exhibiting institutions and the scholars.

All of the preservation and restoration work performed on the estate’s paintings was focused on their long-term collectability, protecting original qualities and intent of the artist. Top quality work was always required by those handling the estate.

The Role of Professional Art Conservation

At Fine Art Conservation Laboratories, professional art conservation focuses on stabilizing and restoring paintings to look their original best. This includes:

Removal of surface accumulation and discolored varnish
Stabilization of lifting paint layers or damage
Making sure that, structurally, the artwork was stable long term.

The objective was not to alter the painting’s original qualities or nature… in fact we religiously protect those original qualities and work to preserve the painting —ensuring that it remains consistent with the artist’s original intent.

Evaluation is the first step. It provides a clear understanding of the painting’s condition and determines whether any treatment is appropriate… and to have clear understanding with the owner. Personal consultation with the owner ensures that all questions are answered before any work begins.

A practical overview of this process is available here:
https://www.fineartconservationlab.com/in-lab/restore-heirloom-paintings-treasured-but-worth-it/

Conrad Buff was recognized during his lifetime as an important figure in California painting.

By the end of the 1930s he had participated in 13 exhibitions and had achieved national recognition. During the Depression, his professional status earned him recognized status in the WPA federal arts program. And then from the 1950’s onward he was exhibiting widely and placing works in both private and institutional collections.

As with most artists, who paint consistently throughout their lifetime, their styles of painting change or evolve, depending on their society’s tastes and they’re varied experiences. Buff’s artistic development was largely self-directed, influenced by both European training (he was born in Switzerland) and hands-on work experience. As “modern” tastes drifted further and further away from realism, he embraced and developed a strong understanding of structure, composition, and color relationships. Throughout the decades, his paintings increasingly emphasized simplified forms and broad spatial organization, reflecting an interest in balance and clarity rather than fine detail.

While the interest in his artistic talent and creative genius was appreciated in his Southern California areas, it also establishes the historical importance of his work which helps Conrad Buff art owners today understand how and where their individual painting fits within the larger body of 20th century “mid-century” art.

Conrad Buff’s associations with other well-known artists

In 1917, an opportunity came that would greatly expand Conrad Buff’s ideas about how to approach landscape painting. California Impressionist Edgar Payne enlisted Buff’s help with a massive mural project for all eleven floors of the new Congress Hotel in Chicago. Working on the project, Buff gained valuable experience which served as a precedent for his extensive mural work later in life. The experience also cemented a friendship with Payne.

After the project’s completion, Payne invited Buff on a trip to California’s Eastern Sierras along with fellow California Impressionist Franz Bischoff. The shadowed mountains set against the deep blue sky made a strong impression on the artists. Buff would continue making trips to the Sierras, embracing a life-long challenge of portraying the contrast and harmony between sky and landscape.

Following the Sierra trip, Edgar Payne invited Conrad Buff to live with him and his wife in their new home in Laguna Beach. Buff spent the winter of 1918 sketching in the afternoon and cooking in the evenings. In a period full of creativity and camaraderie, Buff spent time with other California painters such as Jack Wilkinson Smith, Elmer Wachtel, Frank Cuprien, and Mabel Alvarez. Never comfortable with promoting himself, perhaps his interactions with these artists inspired him to pursue the next step in his artistic career.

In 1920, Buff worked up the courage to show his paintings to the associate curator of the Los Angeles Museum of Science, History, and Art. The associate curator, Mary Marsh, was also an artist and had studied with Birger Sandzen. They began sketching together and a romance ensued that led to a lifelong creative partnership and marriage. With Mary’s support, Buff exhibited in group shows and in 1921, had his first solo exhibition at the Los Angeles museum.

Buff often traveled into remote areas of the Southwest, sketching directly from the landscape before completing larger compositions in the studio. This plein-air method was much appreciated and valued by his contemporary artist associates… These locations were deliberately chosen—rugged, undeveloped environments that allowed him to focus on form, light, and spatial relationships.

An important distinction in Buff’s paintings is that his creations are not postcard or photographic documentation of what he saw but, rather quit literally, were poetic depictions, but carefully developed interpretations of places, feelings, smells and of course, light.

Rather than producing art that was simply a home’s “decoration,” Conrad’s enthusiastic followers (a significant number of Conrad Buff paintings) were acquired directly from the artist or early exhibitions for their artistic appeal and remained within the same families for decades.

Passing a valuable item of cultural property on to future generations

Owning a Conrad Buff painting today means holding a work that is now part of a documented and recognized body of American art… with a story to tell. For those who “invest” in art, it’s clear that with this well cared for collection, there is also the element of more stable financial value. To always be considered, at the same time, responsibility for its physical condition remains with the current owner.

If you would like a clear understanding of your painting’s condition and whether any preservation steps are appropriate, you can contact Fine Art Conservation Laboratories for a direct evaluation.

Scott M. Haskins and Virginia Panizzon

Art Conservators

805 564 3437

gena.FACLBusinessManager@gmail.com

Art_Restoration_Painting_Conservation_Conrad_Buff_Laguna_Art_Museum.jpeg

George Stern and Scott Haskins at the Laguna Art Museum Exhibition Opening – 2026

Special thanks to Irene and George Stern for including FACL in on this project from beginning to end. It was a great experience for all of us. We have enjoyed our association since 1986!!

Posted in FACL in the media, Painting on canvas, Professional activities | Tagged oil painting restoration | Leave a comment

Art and Family Heirloom Restoration One Year After the Palisades and Eaton Fires: What We’re Still Saving

Posted on January 9, 2026 by Scott M. Haskins

Smoke damage restoration for artwork and heirlooms is still a daily need one year after the Palisades and Eaton fires, especially for soot, residue, and lingering odor. For many families, the first anniversary of the Pacific Palisades and Eaton–Altadena fires didn’t arrive like a headline. It arrived in a quieter way—at home.

Smoke damage restoration for artwork and heirlooms one year after the Palisades and Eaton fires—safe first steps, odor control, and claims support.

It showed up when someone finally opened a box that had been taped shut for months. When a frame with broken glass came out first. When two photographs stuck together were lifted from a stack. When a small inherited object came out and—just for a second—there was relief because it still looked “okay.”

And then, almost like a punch to the chest, the same sentence came out in one form or another:

“It still smells like smoke.” For a lot of people, that smell is the part that feels the most unfair… and is the current “scary thing” STILL to resolve if toxins and pollutants were in the smoke, soot and ash. You did the hard part. You got out. You saved what you could. You packed it carefully. You waited. You tried to be patient. And then a year later you open the box and it’s like the fire followed you home. Have you heard of any friend’s stories like this?

For many families, smoke damage restoration for artwork and heirlooms becomes the next step only after the dust settles—when they finally open the boxes and see what survived.

If this is you, you’re not alone—and you’re not being “too sensitive.” Smoke odor can hang on for a long time, and it can get stronger when heat or humidity changes. It’s also a clue that there may still be residue on surfaces or trapped inside the backings and framing materials. The good news is in many cases there are safe options. The key is not to gamble with quick fixes. If you were using the clean-up services of a disaster response company, after the attempted “odor removal” they did not offer to do “encapsulation”, an EPA term for sealing in any residual contaminants. Discuss this with our lab (805) 564 3438 or your contractor.

Sometimes you only notice it when the room warms up. Sometimes it hits you the instant the wrapping comes off. Sometimes the piece looks fine until you tilt it in the light and you see the thin gray film. And sometimes you don’t see anything at all until the smallest touch leaves a smear—like the surface isn’t clean, even when it looks clean.

This is exactly where recovery becomes personal. Because these are not just “things.” These are the objects that hold family history—art that has lived with you for decades, photographs and documents with names and faces, heirlooms you can’t replace.

Are you going to throw away Grandma?

At Fine Art Conservation Laboratories (FACL), we’ve spent the past year helping people protect and preserve those meaningful items with a practical, careful approach. We’ve also supported disaster response companies, insurance carriers, legal firms, and homeowners who needed help making sense of what they were seeing and what could be done next. A big part of that work has been smoke damage restoration for artwork and heirlooms—including soot and residue issues, odor problems, and the complications that happen when smoke exposure is mixed with water exposure, humidity changes, and rushed handling.

If you’re looking at something you care about and you suspect it’s still affected by smoke residue, soot, ash, odor, or water-related complications, the best outcomes usually start the same way: slow down, stabilize first, avoid “tests” that cause damage, document the condition, and then choose treatment steps that match the object—rather than the urgency of the moment.

If you want an overview of how we approach this kind of work, start here:
https://www.fineartconservationlab.com/disaster-emergency-response/smoke-damage-restoration-of-artwork-antiques-and-collectibles/

If odor is the main issue you can’t live with, this page explains the approach and options:
https://www.fineartconservationlab.com/disaster-emergency-response/smoke-and-odor-removal-art-antiques-restoration-services/

If the situation is complicated by an insurance claim—or you’re an insurance/response partner coordinating decisions—these pages help clarify documentation and process considerations:
https://www.fineartconservationlab.com/in-lab/smoke-damage-on-collectibles-memorabilia-heirlooms-art-and-antiques-tips-for-making-an-insurance-claim-smoke-damaged-oil-paintings/

https://www.fineartconservationlab.com/disaster-response-company-resource-smokefire-water-damage-earthquakes-hurricanes-tornados/

Even though the heirloom painting was a throw away because of the extensive smoke damage, according to the owner, he was elated that the cleaning brought it back to its original condition.

And if you simply want a conservator to tell you what is safe to do next, a free consultation is the most direct first step: Call 805 570 4140. Lots of people, institutions and governments depend on our expertise.
https://www.fineartconservationlab.com/consultations/

One year later- why this is still showing up in people’s lives. Why art and family heirloom restoration still matters

A year later is not “too late” for smoke damage restoration for artwork and heirlooms—it’s often the first time people feel steady enough to handle these items safely.

Public recovery is visible. You see rebuilding plans. You see businesses reopening. You see familiar corners of daily life slowly returning.

Private recovery is quieter. It’s the moment someone tries to hang the artwork again and realizes it doesn’t just look different—it feels different. It’s the day someone opens a box of photos and realizes “fine” and “stable” are not the same thing. It’s the uneasy question people don’t always say out loud: Is this safe to bring back into the house?

A year later isn’t “too late” for this kind of care. For many families, it’s the first time they’ve had the emotional bandwidth to even look at what they saved. And once they do, the questions get very real:

What can be saved?
What should never have been wiped or “cleaned” the way it was?
What is safe to handle?
What is safe to store?
Are any of these items going to keep off-gassing odor?
Could poorly cleaned or un-sanitized items contribute to health concerns?

Those are normal questions. They’re also the right questions.

Why smoke, soot, ash, and odor act differently on art and heirlooms

picture of a portrait before professional surface cleaning and after.

Results of our smoke-damaged art repair and cleaning services often appear like this.

The goal of smoke damage restoration for artwork and heirlooms isn’t just to make something look better—it’s to remove contamination without stripping, scratching, or permanently changing original surfaces.

People often assume smoke “cleans off,” like it’s ordinary dust. That’s understandable—but it’s not how this works on meaningful objects.

Smoke damage is usually layered. You might be dealing with a combination of:

Fine soot and ash particles (abrasive and easy to smear)
A residue film that can be oily, sticky, acidic, or mixed
Odor compounds that absorb into porous materials
Water exposure or humidity swings that cause swelling, staining, corrosion, or mold risk

And the tricky part is that each material of the object or heirloom reacts differently. What works safely for one surface can permanently damage another.

Odor is a perfect example. Smoke odor doesn’t just “sit on the surface.” It can sink into backing boards, mats, wood, textiles, paper, and adhesives. It can live inside a frame package—where you don’t see it, but you smell it later. This is why people often feel like they “cleaned it,” but the smell returns when conditions change.

That’s also why quick fixes can backfire. Sprays can leave residues. Sealing items can trap odor compounds and moisture. Rubbing can embed soot and scratch surfaces. And many household cleaners can react with original materials in ways that don’t show up immediately—but appear later as discoloration, haze, or surface change.

This is why professional care isn’t just about appearance. It’s about controlling contamination without changing the original object and without triggering secondary damage—either right away or as the piece ages.

For a clear overview of the way we approach smoke damage and odor issues, these are the best starting points:
https://www.fineartconservationlab.com/disaster-emergency-response/smoke-damage-restoration-of-artwork-antiques-and-collectibles/

https://www.fineartconservationlab.com/disaster-emergency-response/smoke-and-odor-removal-art-antiques-restoration-services/

Smoke damaged artwork and collectibles can be saved.

The moment that causes the most damage: the urge to “just wipe it” ## Smoke damage restoration for artwork and heirlooms: the safest first steps

This is the moment we see again and again.

Someone holds a piece up to the light. There’s a haze. A gray film. A dullness that didn’t exist before. And the mind reaches for the simplest solution: wipe it gently, spray something, test a tiny corner, “freshen it up,” and put it away again.

That instinct is human. It’s also where avoidable loss happens.

So I’m going to keep the “don’t do this” list short—because these are the few actions that cause the biggest irreversible problems:

Don’t dry-wipe soot or ash from meaningful surfaces, especially glossy or coated surfaces.
Don’t use household cleaners on artwork, frames, photographs, documents, or coated objects.
Don’t apply deodorizing sprays or home odor devices to art and heirlooms without professional guidance.
Don’t seal smoky items airtight too soon; odor and moisture can be trapped and worsen outcomes.

If you’re unsure what you’re seeing, it’s usually faster (and safer) to ask a conservator than to “test” something that can’t be undone:
https://www.fineartconservationlab.com/consultations/

## Smoke damage restoration for artwork and heirlooms: why smoke and odor linger

A conservation-led approach starts with one priority: don’t damage the object.

That sounds actually very practical.

It means we don’t begin with “make it look clean.” We begin with careful handling and stabilization so nothing gets worse during movement. We document condition before anything changes (especially if the piece is part of a claim). We look at what kind of contamination it is—loose soot and ash, residue film, or both—and where it is located. We account for hidden problem areas like frame packages, backing boards, mats, and porous components that hold odor. We also look for complications caused by water exposure, humidity swings, or long storage—because those factors change what is safe to do next.

Only after that do we move into controlled cleaning and odor-mitigation strategies that are compatible with the materials involved.

If you want a practical entry point to how this looks for smoke-affected property, these pages are the best references:
https://www.fineartconservationlab.com/disaster-emergency-response/smoke-damage-restoration-of-artwork-antiques-and-collectibles/

https://www.fineartconservationlab.com/disaster-emergency-response/smoke-and-odor-removal-art-antiques-restoration-services/

What happens in a consultation (so you know what you’re getting)

Most people don’t want a lecture. They want answers.

A consultation is designed to give you clarity. We look at what you have, what you’re seeing (and smelling), and what risks are present. We help you understand what is safe to handle, what should be isolated, what should not be “cleaned at home,” and what the realistic options are for treatment. If there’s an insurance claim involved, we can also help you think through documentation needs and how to avoid decisions that unintentionally reduce recoverability or value.

If you want that kind of steady, expert guidance as your next step, start here:
https://www.fineartconservationlab.com/consultations/ or call us at 805 564 3438

Train sets in process of cleaning.

For insurance claim adjusters, insured homeowners, attorneys, and disaster-response partners: why Standards of Practice matter

When multiple parties are involved, smoke damage restoration for artwork and heirlooms needs clear documentation and handling protocols, so the item doesn’t get worse between site, storage, and review.

When art and family-history items are involved, the process matters as much as the result.

Specialty items—especially those with high emotional value—can change quickly and permanently based on how they are handled, packed, cleaned, stored, or transported. That risk increases when multiple parties touch the same object before a defensible record is created.

This is why professional protocols matter. They support documentation that protects you legally… they help separate mitigation from conservation treatment, and they reduce the risk of secondary damage that creates disputes later. For insured homeowners, that often means fewer heartbreaking surprises. For claims teams and attorneys, it means clearer causation and cleaner decision-making.

New York Times reporter and photographer document and interview the clean up processes for family heirlooms salvaged from the mudslides

If you’re coordinating response or claims where art and family-history items are part of the loss, these pages are built to support that workflow:
https://www.fineartconservationlab.com/disaster-response-company-resource-smokefire-water-damage-earthquakes-hurricanes-tornados/

https://www.fineartconservationlab.com/insurance/smoke-damage-on-collectibles-heirlooms-and-antiques-tips-for-making-an-insurance-claim/

https://www.fineartconservationlab.com/in-lab/smoke-damage-on-collectibles-memorabilia-heirlooms-art-antiques-tips-for-making-an-insurance-claim-smoke-damaged-oil-paintings/

https://www.fineartconservationlab.com/art-damage-expert-witness-and-legal-testimony/

For homeowners and collectors: what to do if you’re not ready to decide yet. ## Smoke damage restoration for artwork and heirlooms: what not to do at home

Not everyone is ready to “deal with it” right away. That is normal.

If you’re not ready to make treatment decisions yet, the safest interim goal is simple: don’t make the situation harder than it needs to be. Reduce handling. Keep items away from unstable environments. Avoid tight sealing when odor is present. Keep simple documentation of what you noticed and when you noticed it. And get a professional opinion when you’re ready—not when you’re panicked or exhausted.

A consultation is often the fastest way to turn uncertainty into a safe plan:
https://www.fineartconservationlab.com/consultations/ 805 564 3438

What “we’re still saving” really means

If you’re unsure what to do next, a conservator can explain smoke damage restoration for artwork and heirlooms in plain language and help you choose the safest path forward.

Sometimes “saving” looks like visible restoration. But often it looks quieter than that.

It can mean reducing contamination without changing original surfaces. It can mean stabilizing fragile materials so they don’t continue to degrade. It can mean addressing odor in a way that doesn’t trap it or mask it. It can mean protecting the integrity of an object so it remains meaningful and present in the family’s life—without creating new damage through rushed handling.

A year later, many people aren’t looking for perfection. They’re looking for relief. They want to know that what survived can be protected, and that the next step won’t accidentally erase what time didn’t.

If you want to talk with a conservator about your specific objects—what is safe, what to avoid, and what options are available—start here:
https://www.fineartconservationlab.com/consultations/ 805 564 3438

One thing we’ve learned this past year is that people don’t just want their belongings “cleaned.” They want their life to feel normal again. They want to put the artwork back on the wall without worrying about odor, or contaminants, or toxins. They want to open the family photos without wondering if they’re damaging them… They want to stop the triggers, re-living the fire every time they touch a keepsake.

That’s what careful conservation and restoration work is really for: a calm path back to living with the things you love.

Smoke damage restoration for artwork and heirlooms is the only kind of damage that happens... this is damage from a dog stepping on the artwork when it was not properly protected when being transported.

This rip can be made to disappear.

And for service overviews:
https://www.fineartconservationlab.com/disaster-emergency-response/smoke-damage-restoration-of-artwork-antiques-and-collectibles/

https://www.fineartconservationlab.com/disaster-emergency-response/smoke-and-odor-removal-art-antiques-restoration-services/

Posted in Consultations, Disaster/Emergency Response, Expert Witness/Legal Testimony, In The News About Art Conservation | Tagged Smoke damaged collectibles | Leave a comment

Saving Don Manuel Domínguez: How a Water-Damaged Portrait of a California Founding Figure Was Brought Back to Life

Posted on December 11, 2025 by Scott M. Haskins

This case study of water-damaged oil painting restoration by Fine Art Conservation Laboratories shows how the early Southern California historic portrait of Don Manuel Domínguez was saved after severe water damage and previous inept restorations. See end of article for syndication notes.

Celeste Calabrisi Executive Director Dominguez Adobe Museum

If you walk into the parlor of the Rancho San Pedro Dominguez Adobe in the Los Angeles area (Museum Dominguez Adobe) today, you’re greeted by the steady gaze of Don Manuel Domínguez. At the time this portrait was painted in 1864, Manuel Domínguez owned, defended and cultivated the 43,119-acre Rancho San Pedro, one of the earliest and largest land grants in what would become Los Angeles County. The black coat, white shirtfront, and composed expression all signal a man used to responsibility and public life. The painting looks calm, dignified—and solid. Yet the Manuel Dominguez portrait restoration discussed in this blog post has been a complex rescue project after serious water damage, scraping, and heavy overpainting.

What this article means for you personally – Of course, we have written this article hoping you are entertained, better informed and perhaps it sparks the historian inside of you. By the time Fine Art Conservation Laboratories (FACL) was introduced to this painting, it was not just damaged by water — lifting paint was the result of previous poor quality restoration, and was threatened of being completely ruined/lost again, a second time. This is the story of how the survival of the portrait that was nearly destroyed (first by water, then by inept restoration techniques), was saved, and what this story can teach you if you ever face a water-damaged painting/heirloom of your own. So, this article will be of special interest to anyone with artwork that’s been damage by water (see the section with tips on “What You SHOULD Do If Your Painting Gets Wet” later on in this article)… or if you know someone who has a damaged painting, they will greatly appreciate your passing this along to them. Finding the right person or lab to correct these problems properly is difficult… but we’ll make it easy on you… (805) 564 3438

Check out this video…

Watch this video on YouTube

The water-damaged 19th-century portrait of Don Manuel Domínguez for the Dominguez Rancho Adobe Museum is returned after the art conservation work. See surprise photo at end of video!

This mid-19th-century oil portrait of Manuel Domínguez, painted by Solomon Nunes Carvalho in 1864, has in its past been through almost everything you don’t want a historic painting to endure: serious water damage, a shrinking and buckling canvas, widespread “tent cleavage” where the paint literally lifted off the fabric, an attempt at restoration including crude scraping of loose paint, and repainting that buried the original image under layers of thick wax and guesswork.

Who Was Manuel Domínguez—and Why Does His Portrait Matter?

This is not just a random 19th-century gentleman in a dark coat. Manuel Domínguez (1803–1882) was one of the key figures in the transition from Spanish and Mexican California to the American state of California.

Born at the Presidio of San Diego, Manuel became heir to Rancho San Pedro, a vast land grant that once covered much of what is now Compton, Carson, the Harbor area, and parts of the South Bay. As a young man he helped turn the rancho into a thriving cattle operation and a political power center. Talented with good bilingual talents, he was a bridge between the two cultures, something that was very advantageous (as it is today).

Dominguez was:
• Twice Alcalde (mayor) of Los Angeles during the Mexican period
• One of the delegates who helped draft and sign California’s first state constitution in 1849
• A determined defender of the family land grant through decades of legal and political change. This was an important political “power” as he had seen the land grant he inherited reduced from about 72,000 acres (when it was created by the King of Spain) to about 43,000 acres by the time he inherited it.

In 1826 he began building the Dominguez Rancho Adobe on a low rise above the floodplain. That home—where his portrait now hangs—became the social and administrative center of Rancho San Pedro and a gathering place for powerful Californianos, visiting dignitaries, and travelers.

Today, the Dominguez family’s land and decisions still echo in place names and businesses across the region. Streets, schools, and even a state university bear the Dominguez name. When visitors stand in the Adobe’s parlor and meet Manuel’s eyes in this portrait, they’re looking at one of the major players who helped shape Southern California’s landscape and identity and whose family connections continue today, economically and politically.

Beyond his lifetime, Manuel Domínguez’s decisions helped shape the physical and civic map of Southern California. Portions of his original rancho later became the sites of modern cities such as the city of Carson, parts of the city of Compton and the San Pedro Harbor area. His family’s land holdings supported companies and institutions that continue to influence the region. His name lives on in places like California State University, Dominguez Hills and Manuel Dominguez High School, reminders that this portrait does not just show an individual—it represents a family name whose choices still echo across Los Angeles today. In addition, one of Manuel and Maria’s daughters married into the family that became the Watson Land Company.

The Artist: Solomon Nunes Carvalho

The painting adds another layer of significance because of who painted it. Solomon Nunes Carvalho was a Sephardic Jewish artist and photographer from the East Coast, known for serving as photographer on John C. Frémont’s fifth expedition across the American West.

After barely surviving that journey, Carvalho reached Los Angeles in the mid-1850s and stayed with the Domínguez family at Rancho San Pedro. During that visit he painted portraits of Manuel, his wife María Engracia de Cota Domínguez, and other leading Californians. The Domínguez portrait is one of the rare visual records of that meeting between Old California ranchero society and a pioneering Jewish American artist. Sig. Dominguez was 61 years old when the portrait was painted in 1864 (apparently the artist was sensitive to the Don’s “suggestions” that he be painted looking younger).

So when we talk about “saving a painting,” we are really talking about protecting a crossroads of cultures and histories in one fragile historical and fine art object.

What Went Wrong: Water, Tent Cleavage, and Scraping

At some point in its later life, the portrait was exposed to water. Whether from a leak, a flood, or firefighting efforts, the result was the same: The canvas fibers swelled and then shrank, causing the brittle painting layers to crack, lift, and curl away from the surface.

Water-damaged Manuel Dominguez portrait before restoration by Fine Art Conservation Laboratories.

Before conservation: the portrait of Don Manuel Domínguez showed severe water damage, tent cleavage, wax build-up, and crude overpainting.

Conservators call this most alarming condition “tent cleavage”—ridges of paint lifting up along cracks, like thousands of miniature tents pitched across the surface. The paint is still clinging in places, but only just. One touch or vibration can make those islands snap off, turning temporary risk into permanent loss.

Instead of stabilizing the lifting paint, someone with neither the training nor the tools of a professional conservator took a scraper to the surface of the artwork as if they were cleaning off the old paint from the side of a building. The fragile paint was shaved away. Original detail disappeared. Large areas were then filled with wax, repainted, not once but several times, by different hands because of continuing problems trying to “fix” what had been damaged. The instability of the wax caused massive bubbling of the original paint it was meant to consolidate and the repainting.

During treatment: as wax and overpaint are reduced, Solomon Carvalho’s original brushwork and Manuel Domínguez’s true features begin to reappear.

By the time the portrait arrived at Fine Art Conservation Laboratories, Solomon Carvalho’s careful painting was buried under tinted putty, a massive amount of wax, and modern paint. Only a minimal amount of the original painting could be seen.

What Water Does to Paintings (and Why Speed Matters)

The Domínguez portrait is dramatic, but the basic pattern is common in our lab:

Supports move. Canvases swell and shrink. Wood panels warp and cup.
Paint films can’t keep up. They crack, lift, and flake.
Moisture leaves stains and tide lines. Dirty water dries into brown streaks and blotches.
Mold joins the party. In a warm, damp environment, mold can start within a couple of days.

The painting may look “dry” after a week, but inside the structure it can be unstable and actively shedding original material.

If a painting or family portrait gets wet, the first hours and days matter. The right steps can save it. The wrong steps—or well-intentioned scrubbing and scraping—can cause far more damage than the water itself.

For a more detailed step-by-step guide on how to handle water-damaged artwork and heirlooms in the Los Angeles area, see our article:
https://www.fineartconservationlab.com/water-damage/save-water-damaged-artwork-heirlooms-expert-tips-for-los-angeles-ca/

What You SHOULD Do If Your Painting Gets Wet

If you ever find yourself staring at a wet or warped painting, here are the basic emergency steps our conservators at FACL recommend:

Keep the painting flat or upright and handle it as little as possible.

• Gently blot standing water, if flaking will permit, with clean, lint-free cloths—no rubbing.

• Move it to a cool, dry, well-ventilated space, away from heaters, fireplaces, or direct sun.

• Take clear photos of the damage for insurance and records.

• Call a professional art conservator quickly for specific instructions.

And just as important, what not to do:

Don’t wipe, scrub, or “wash” the surface.

• Don’t use hair dryers, heaters, or fans blowing directly on the painting.

• Don’t press down flaking paint or try to scrape off bubbles, stains, or mold.

• Don’t re-stretch or try to flatten a distorted canvas on your own.

The portrait of Manuel Domínguez shows exactly what can happen when someone ignores those last points. More original paint was lost to scraping and amateur repainting than to the initial water damage.

How Professional Conservation Saved the Manuel Dominguez Portrait

When the Domínguez Rancho Adobe Museum sent the portrait to Fine Art Conservation Laboratories (https://www.fineartconservationlab.com) for professional portrait restoration, the request was clear: save as much original material as possible, make the painting stable for long-term display, and recover Manuel’s likeness so visitors could once again connect with the original portrait of the man behind the history.

The treatment unfolded in four broad stages.

1. Examination and Research

Before anyone picked up a tool, the painting was examined under magnification and raking light to map every crack, loss, and area of overpaint. Ultraviolet light helped distinguish original 19th-century paint from later restorations. The back of the canvas and stretcher were studied for earlier repairs.

Other historic images and other Carvalho portraits were consulted to understand how Manuel would have originally looked—his features, clothing, and the way the artist handled light and shadow. This research guided later decisions about how far inpainting should go and where we needed to respect gaps in the surviving evidence.

Conservator working under magnification on the face of Manuel Domínguez’s portrait during restoration.

Under magnification, conservators test solvents and adhesives to safely stabilize flaking paint and reduce later overpaint.

2. Structural Stabilization

Because of the earlier water damage and tent cleavage, stabilizing the structure of the painting came first.

Lifting paint was gently re-adhered using conservation-grade adhesives introduced under the flakes with tiny brushes and syringes, then set down with controlled pressure.

• Distortions in the canvas were relaxed with carefully controlled humidity and pressure so the picture plane could return to a more even surface.

• Where the original canvas had been badly weakened, a new support was added to share the stress and give the painting strength for years to come.

Manuel Domínguez’s portrait showing new support added during conservation.

The weakened original canvas was reinforced with a new support to give the portrait long-term structural stability.

Only when the paint layers and canvas were secure could anyone safely think about appearance.

3. Removing Crude Overpaint

The repainted areas that masked Carvalho’s work had to be removed carefully and in layers in order to remove the applications of wax from previous restorers without damaging the original paint.. This is patient work done under magnification:

Tiny solvent tests were run to find mixtures that would soften modern overpaint while leaving the original intact.

• In some passages, overpaint was carefully shaved back with scalpels.

• The goal was not to strip the painting raw, but to uncover and respect the surviving original while removing the most disfiguring modern additions.

After all the repainting and thick wax fillers and layers were removed.

Finally, after careful removal/cleaning, all the suits of the past are revealed… and the original date was discovered!

As the overpaint was reduced, Carvalho’s hand began to reappear—subtle modeling in the face, convincing volumes in the coat, a believable play of light rather than flat guesswork. What was most exciting, however, was the discovery of the original date, 1864, which was different than what the museum had on record but was confirmed by an entry in the artist’s journal which the museum has in its possession.

4. Visual Reintegration and Finishing

Once the original image was uncovered and the structure stabilized, conservators turned to visual reintegration (inpainting or careful and controlled retouching):

Losses where paint and ground were completely gone were filled with conservation putties and textured to match the surrounding surface.

• Using stable, reversible conservation colors, missing areas were carefully inpainted—only where there was enough information to do so honestly.
Careful inpainting requires color matching, not repainting… this is n to a “creative-artistic” process!!

Ethically, modern inpainting is always distinguishable under close inspection or ultraviolet light, and it can be removed in the future without harming the original. The aim is not to fake a brand-new painting, but to present a coherent, readable image that respects both history and damage.

Finally, a protective varnish was applied to even out the gloss and deepen the colors, giving the surface a unified appearance and providing a sacrificial layer against future airborne grime.

The Result: A Face, a Story, and a Second Chance

After conservation, the original portrait of Don Manuel Domínguez once again hangs in the parlor of the Dominguez Rancho Adobe Museum, where visitors can connect with his story and California’s early history.

Don Manuel Dominguez’s Portrait – After Conservation. Back to being his original handsome self

Today, visitors to the Dominguez Rancho Adobe Museum (https://dominguezrancho.org) see a dignified original portrait of Manuel Domínguez looking back at them—a founder, landholder, public servant, defender of the faith and head of a far-reaching family whose decisions still shape Southern California. Their daughter María Dolores Simona Domínguez (in the portrait painting with her mother in the same parlor room as Don Dominguez’s portrait) married James A. Watson in 1855; their descendants went on to form Watson Land Company, a major real estate and industrial landholding family still today in the Los Angeles area.

Under close examination, its hard to see where history left its marks and where modern conservation has filled the gaps. The painting once again, now, does its job: it puts a real authentic human face to a larger story of land, law, culture, and change.

For the museum, the successful conservation of this portrait means they can interpret Manuel’s life with an authentic object, not a modern imitation. For us at FACL, it’s a confirmation that even severely damaged paintings—scraped, repainted, and written off by some—can be saved if they reach a professional lab in time.

What This Means for Your Own Paintings and Heirlooms: This kind of water-damaged oil painting restoration requires careful testing, controlled cleaning, and ethical conservation methods to protect the original portrait.

Most people don’t live in historic adobes or active museums, but they do have portraits, landscapes, and family heirlooms that represent their own history. A wedding portrait, a painting inherited from grandparents, a favorite landscape in a vacation home—any of these can be hit by leaks, broken pipes, storms, or firefighting water.

The lesson from Don Manuel’s portrait is simple:

Water damage is not automatically the end.

• Amateur “restoration” can be more destructive than the original disaster—and can add significantly to the cost of proper conservation work and long-term preservation.

• The sooner the right professional conservator is involved, the better the chances of saving both the artwork and the story it carries.

If you’re ever unsure what to do, stop, protect the piece from further harm, and call someone who does quality, professional work every day. If you know someone in this predicament, refer them to this quality help to get answers to their questions and to ally their fears: (FACL, 805 564 3438)

Discuss Your Questions With Fine Art Conservation Laboratories (FACL)

Fine Art Conservation Laboratories has been conserving paintings, murals, and historic artifacts for more than four decades—working with museums, historic sites, churches, public art programs, insurers, and families who simply don’t want to lose what matters to them.

If you’re dealing with a water-damaged painting, an old portrait that’s flaking, or artwork that has already been “helped” by an untrained restorer, we’re happy to talk it through with you.

Southern California, Utah, and general inquiries: 805-564-3438

• Las Vegas / regional disaster response: 805-748-0145

• Website:https://www.fineartconservationlab.com

A short phone call, some clear photos, and timely professional help can mean the difference between a total loss and a rescued heirloom—just as it did for the Manuel Dominguez portrait restoration at the Rancho San Pedro Dominguez Adobe in the Los Angeles area (Museum Dominguez Adobe).

Wide and Daughter's portrait boy Solomon Nunes Carvalho

Portrait of Mother (Engracia Dominguez) and Daughter (Reyes Dominguez)

Stay tuned, coming quickly, the restoration of Solomon Nunes Carvalho’s portrait of Manuel Dominguez’s wife and daughter… and their interesting story.

Other educational, entertaining videos about water-damaged paintings

https://www.fineartconservationlab.com/in-lab/restore-heirloom-paintings-treasured-but-worth-it/

https://www.fineartconservationlab.com/disaster-emergency-response/water-damaged-oil-painting-restoration/

https://www.fineartconservationlab.com/disaster-emergency-response/water-damaged-

How to save water-damaged artwork and heirlooms FACL blog post: https://www.fineartconservationlab.com/water-damage/save-water-damaged-artwork-heirlooms-expert-tips-for-los-angeles-ca/

Dominguez Museum: www.dominguezrancho.org

Facebook and Instagram: @dominguezrancho

Donation page for the Museum (specifically for

conservation)

https://dominguezrancho.org/donate-dominguez-rancho/

Celeste Calabrisi-Hernandez

Executive Director

Dominguez Rancho Adobe Museum

18127 South Alameda Street

Rancho Dominguez, CA 90220

(310) 603 0088 Phone

(310) 603 0009 Fax

celeste.calabrisi@dominguezrancho.org

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This article has been syndicated at Expert Click

When something is published, usually by a news source, and is made available through different venues for redistribution then it is said to be syndicated. Publications that are syndicated are usually considered of value as being from an expert, educational, new worthy or valuable for wide popular interest. See syndication page at the renowned publicity site:ExpertClick.com

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2) Included in the ‘Speaker Bureau Platform Page.’

3) Shown on the front page of ExpertClick, in rotation with other most recent posts.

4) Shown in the ‘News Release Results page.’

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8) Syndicated to LexisNexis.com As of 2006, the company had the world’s largest electronic database for legal and public-records related information, distributor of academic content and expert opinion.

Posted in art restoration of family portraits, Disaster/Emergency Response, Historic Buildings - Construction Sites, Interesting Stories, Painting on canvas, Saving Public Art, Water Damage | Tagged family heirlooms, oil painting restoration, Water damaged Heirloom Portrait | 2 Comments

Save Water-Damaged Artwork & Heirlooms: Expert Tips for Los Angeles Area

Posted on November 20, 2025 by Scott M. Haskins

How to Save Water-Damaged Artwork and Heirlooms

When water-damaged artwork or treasured family heirlooms get soaked, stained, warped, or moldy, Los Angeles area homeowners often search for reliable help to save water-damaged artwork and heirlooms. Either right away after the damage — or even later after items have dried — it’s important to get expert help quickly.

INTRODUCTION — WHEN WATER DAMAGE THREATENS FAMILY HISTORY

When water-damaged artwork or treasured family heirlooms get soaked, stained, warped, or moldy, Los Angeles area homeowners often search for reliable help to save damaged artwork, restore heirlooms, and protect their family history. Either right away, after the damage or later… its important to get help even if items have dried out for awhile.

But remember, saving water-damaged artwork quickly prevents mold growth, staining, and distortion that can worsen within hours.

When water damage strikes – after people, pets, and the structure are safe – the real heartbreak begins when families discover that treasured collectibles or keepsakes have been damaged. You don’t need a major natural disaster to hit your neighborhood… sometimes this happens in surprising ways — even as simply as leaving a box of family memorabilia on the driveway during a move in, that gets hit after by the sprinkler… or maybe an unexpected downpour.

Caption: Left on the driveway during a move and then hit later with the sprinkler.

These objects hold memories. They represent the people, places, and stories that define a family. Fine Art Conservation Laboratories helps to bring hope, relief, clarity of colors, and professional guidance for insurance issues — while preserving the artwork and the emotional history it carries.

How to Save Water-Damaged Artwork and Heirlooms
Water damage affects artwork differently depending on:
• Whether it was framed or unframed
• Whether it was in storage or on display
• What materials it was made of (canvas, paper, panel, mixed media)
• How long it stayed wet
• The type of water exposure (clean water, dirty water, sprinkler, flood, leak)
• Environmental conditions during and after the incident

If you’d like to talk to someone knowledgeable and expert, contact us to discuss your questions on saving and preserving any water damaged art or historically related items.

Email: FACLOfficeManager@gmail.com
Phone: 805 564 3438
Also see: SaveYourStuff.com

TO DO TIPS — EMERGENCY CHECKLIST to Save Water Damaged Artwork & Family History Items – Here are the first steps to take when artwork or heirlooms get wet.

DO:
• Move artwork out of wet areas (if safe). Be hyper careful — wet items may fall apart!
• Keep artwork flat — never hung while wet.
• Increase airflow (fans in the room, not pointed directly at the art).
• Separate artworks so moisture cannot transfer.
• Call a professional conservator promptly.

DO NOT:
• Do not use a hair dryer, heater, or direct sunlight.
• Do not attempt to wipe or clean the artwork (attempts rarely improve a mark and often cause further damage).
• Do not soak, rinse, or use chemicals.
• Do not remove artwork from a frame if it resists.
• Do not press down warped or buckled areas.

Attempting do it yourself fixes on wet or damaged items — even gentle ones — can cause irreversible damage.

Save water damaged artwork and heirlooms – Fine Art Conservation Laboratories

Water Damage on an oil painting portrait before art preservation and restoration treatments and after treatments

HOW FACL SAVES WATER-DAMAGED ART
Our professional art conservation assistance is frequently requested by people looking for mold on painting treatment, flood damaged art repair, and professional art restoration after leaks. Our conservation treatments respect both the artwork and its emotional significance.
— Examination & Documentation
We evaluate all damage using magnification, UV, raking light, and scientific testing.
— Stabilization
We prevent additional paint loss, mold spread, distortion, or contamination.
— Controlled Drying
Using specialized techniques, we gently and evenly dry artworks to minimize warping. Sometimes we force dry specific items to prevent distortions or mold growth.
— Cleaning
We remove water marks, contaminants, tide lines, and residues using tailored cleaning systems.
— Structural Repairs
Includes addressing canvas distortions, panel warping, compromised stretchers, weakened supports, and failing adhesives.
— Inpainting (Only Where Needed)
Missing or damaged paint is carefully matched and restored — never overpainted.
— Protective Conservation
Conservation quality varnishes restore clarity of colors, depth of field in the composition, and long term protection.
Every step follows international conservation ethics and reversibility standards.

Los Angeles area clients often call us when water-damaged artwork begins to warp or show signs of mold.

VIDEO TESTIMONIAL — A FAMILY HEIRLOOM SAVED

Watch this video on YouTube

INSURANCE, CLAIMS & DISASTER RESPONSE
We frequently work with:
• Insurance adjusters from insurance companies and independent adjusters
• individual owners
• Restoration contractors
• Emergency services teams
We can:
• Document damage for insurance claims (we come to your location)
• Provide professional condition reports with options and estimates
• Pick up and deliver items when needed
• Undertake conservation treatments and stabilization
• Offer temporary storage during home repairs or renovations
We do not:
• Appraise value
• Buy or sell art
• Insure your items (they remain on your policy)
Homeowners never need to navigate the claims process alone.

How Water Damaged Artwork Is Affected
If your artwork or family heirlooms have suffered water damage, don’t wait. Damage can worsen in hours — not weeks.
Fine Art Conservation Laboratories (FACL) — trusted for art restoration in the Los Angeles area, water damaged painting repair, and emergency art conservation services.
Trusted by homeowners, museums, cities, and public agencies.
Call: (805) 564 3438
Visit: Our capabilities
Email: FACLOfficeManager@gmail.com

Our conservation team specializes in stabilizing, restoring and providing services for water-damaged artwork for homeowners across Los Angeles.

Virginia Panizzon and Scott M. Haskins and Veteran Art Conservators with decades of professional experience

Scott M. Haskins and Virginia Panizzon Veteran Art Conservators at Fine Art Conservation Laboratories.

FAQ — SAVE WATER-DAMAGED ART & HEIRLOOMS
1. Can water damaged artwork be saved?
Yes. Most water damaged paintings, prints, documents, and heirlooms can be stabilized and restored by a trained art conservator.
2. How quickly does mold begin to grow on artwork?
Mold can begin forming on wet or damp art within 4–48 hours, especially in warm humid environments.
3. Should I try to force-dry the artwork myself?
No. DIY drying can cause permanent warping, paint loss, or structural failure.
4. Does homeowners insurance cover water damaged art?
Often yes — especially if the damage resulted from a sudden or accidental leak. Some insurance companies require a ryder for water damage. FACL can provide documentation insurers require.
5. What if the artwork was damaged during a move?
Commercially shipped items often sit in warehouses, on docks, in containers where they get wet. Also, handling is often not careful and forklifts for heavy items often damage shipping crates. Accidents in storage containers and units are common. Once again, check both your home owner’s policy and the shipper’s insurance policy. Conservation treatments can often recover the piece when the insurance company declares the item a “total loss.”
5. Can you pick up the damaged items?
Yes. FACL provides pickup, delivery, and professional storage if you are in our regular service areas. Professional conservation ensures that saved water-damaged artwork is stabilized correctly so the condition is stopped and doesn’t get worse in the future. Call us to discuss 805 564 3438 or… if you know someone with these problems, they may be praying for help to find the right person to help them!

No one but fully trained professionals touch the artwork

WHY HOMEOWNERS TRUST FACL
You deserve a team with proven expertise — not guesswork.
Fine Art Conservation Laboratories has been entrusted with some of the most complex water damage conservation projects in the Western United States, including:
6,600 sq. ft. of water damaged murals — Los Angeles Produce Murals

350+ homeowner claims — Montecito mudslides & Woolsey Fire
A nationally acclaimed (water-logged) mural in Houston, Texas
Municipal, museum, and institutional emergency conservation
Scott M. Haskins is an internationally renowned, award winning author of the Save Your Stuff series of books for home preservation and disaster response for art.

Whether the artwork is one square foot or six thousand, homeowners receive the same museum quality care.

We are waiting for your call to discuss your concerns and questions!

or… if you know someone with these problems, they may be praying for help to find the right person to help them!

FACLOfficeManager@gmail.com
805 564 3437
Scott M. Haskins, Art Conservator
Virginia Panizzon, Art Conservator
Gena Dillon, Business Manager
Lindsey Geier, Office Manager

Syndication

“Your blog post has been syndicated at ExpertClick.com”

This website’s syndication included:
1) Included in the ExpertClick Press Room as a ‘press release.’ (different than a ‘news release’)
2) Included in the ‘Speaker Bureau Platform Page.’
3) Shown on the front page of ExpertClick, in rotation with other most recent posts.
4) Shown in the ‘News Release Results page.’
5) Included on optimized for searches on all my topics of expertise.
6) Shown via RSS linked from the Press Room. (A specific way news is actively distributed within the industry)
7) Shown in the full RSS feed from ExpertCick. (Another, different specific way news is actively distributed within the industry)
8) Syndicated to LexisNexis.com As of 2006, the company had the world’s largest electronic database for legal and public-records related information, distributor of academic content and expert opinion.

Posted in Water Damage | Tagged Collectibles and Family History, Water damaged Art | Leave a comment

New Grand Egyptian Museum – Grand Opening this week!!! Wow!!!

Posted on November 5, 2025 by Scott M. Haskins

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See video of New Grand Egyptian Museum Grand Opening 2025 towards the end of this article

My first memory of my imagination being captured by ancient civilizations and travel, I think, was the October 29, 1965 issue of Life magazine (I was 12 years old), which featured the Abu Simbel temples of Ramesses’ II on its cover, focusing on the incredible UNESCO project to relocate the temples before they were flooded by the Aswan High Dam. The cover highlighted the monumental effort involved in dismantling and moving the massive stone structures to hire safer ground.

I’m sure that multiyear project continued to put out PR that caught my attention but I remember the cover of National Geographic from the 1969 issue. Perhaps my peaked interest in archaeology was part of why I took up making pottery as a late teen in high school, which eventually paid my way to Europe.

It was during that first visit to Italy, in the City of Turin (Torino), that I met Luigi Briccarello. He was an old man who was high functioning autistic, spoke well 17 languages and read 27 languages, many of them ancient dead languages. One day, he invited me to go with him to the Egyptian Museum in Torino, at the time the third largest Egyptian museum in the world after the British Museum and the Egyptian Museum in Cairo. As we walked through the museum, he read to me the sarcophagi and papyri like they were newspapers! Wow… my surfer-boy thinking from SoCal was forever changed!!! And my sensitivities to antiquity and their stories were fueled!

Luigi Briccarello and Scott Haskins at the Egyptian Museum in Torino, Italy 1973

Such was my interest in archaeology that when, at the end of my bachelor’s degree, I was inspired to pursue the professional field of graduate studies in Art Conservation, my intent was to work in the field of archaeology salvaging, saving, preserving and restoring artifacts as they came out of the ground. I had a very romantic vision of my life!

Removing overpaint from Renaissance murals in Northern Italy.

But fate presented me with the opportunity to get into the conservation field being accepted into a painting conservation program in northern Italy. At first, I thought this would be a quality steppingstone towards my final destination of working in the archaeological field. But after a month of actually working on murals in a 1000-year-old monastery, I began to change my mind to stay with working on murals and paintings… though the thought and my interest about the preservation, restoration of archaeological materials stayed with me even until the end of my master’s degree level graduation.

One of my mentors in my educational process was Paolo Bacchin, a veteran of mural and paintings conservation from Vincenza who had worked for UNESCO on murals in lost temples in the jungles of Cambodia and had great stories and lessons about those experiences. He had also worked on murals in the tombs of Egypt and those experiences fired up my imagination.

When I graduated with that degree, I received an introduction to meet with Dr. Matteini, head or Director of the Fortezza da Basso conservation laboratories in Florence where he guided me through the archaeology conservation labs as they were working on world famous Greek bronzes of warriors and attic ceramics. What an amazing, stimulating experience and memory that visit was!! He offered to me an opportunity to work in that lab, even though my professional background experience had been in murals and paintings. But I had just invested and had great success in obtaining my three-year painting conservation degree, and I could not see compromising that focus by now changing specializations… so I stayed with the specialization of painting conservation.

You can imagine how advanced studies about antiquity in Italy would fuel my passion and interest… and it has never died.

Egypt with its support from the International community has finally seen the value in putting into context the Egyptian historical evidence in a way that spectacularly shows the high quality and major influence this civilization has had on our world for maybe 5,000 years (I agree strongly with Relational Archaeologists/Anthropologists/Ancient Studies Scholars that there has been a worldwide interaction of civilizations throughout the world’s history). The establishing of the new and amazing Grand Egyptian Museum has taken a long time, it seems to me, but that’s probably because with much interest I’ve been so anxious to how it progresses. Well, the Grand Opening happened this week!!

What a quality build, down to very fine details to represent the ancient civilizations. For example, When you stand in front of the facade of the Grand Egyptian Museum, you will notice a small hole in the wall, which is filled with cartouches with the names of ancient Egyptian kings. Many people think that it is just a ventilation shaft, but in fact it hides a truly extraordinary astronomical and historical secret!

This hole was specially designed to commemorate one of the greatest phenomena in the history of ancient Egypt – the alignment of the sun with the face of Ramesses II in his temple at Abu Simbel.

The hole is tilted at a precise angle, so that on the day of this phenomenon, a ray of sunlight passes through it and falls on the face of the statue of Ramesses II in the great hall – as if light itself were returning to visit him and celebrate with him his birthday and the day of his coronation as Pharaoh of Egypt.

Ramesses II

This is a series of images related to the mummy of Ramesses II, found in the Valley of the Kings in Egypt. Ramses II reigned from 1279 to 1213 BC, during the 19th Dynasty, making this relic over three thousand years old.

The first image showcases the mummy’s fragile state, a testament to the passage of millennia. The subsequent images offer a digital reconstruction of what Ramses II may have looked like in life. The reconstruction, while scientific, carries the weight of history.

What resonates most is the idea of bringing the past into the present. A ruler, once commanding armies and shaping an empire, is now reduced to dust, yet science attempts to restore his image. A poignant reminder of mortality and the enduring human quest to understand the Egyptian ancestors.

This is a big item on my “bucket list.” May your imagination and interests be stimulated and alert to the wonders of the world!!!

If you have art restoration questions, feel free to call us to discuss your questions at 805 564 3438 or write us at FACLOfficeManager@gmail.com Let’s have a chat!!

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Posted in Historic Buildings - Construction Sites, Historic Preservation, In The News About Art Conservation, Saving Public Art, Travel | Tagged Egyptian, Museum | 7 Comments

Position Available – Office Manager

Posted on November 3, 2025 by Scott M. Haskins

Our professional art paintings conservation laboratory is looking for a positive minded, well organized, energetic person to be part of the admin of an interesting, top quality, very active art preservation and restoration related business that services the government, cultural heritage organizations, museums, art dealers, auctions, designers, art collectors, and other private clients.

This person will be in the front office, assisting in the logistics of the 10,000 sq. ft. lab, interacting with all staff, clientele and public. Hours are 9-5, M-F. This position will have support from additional remote admin services. Preference will be given to qualified candidates who live locally. This is not a remote work opportunity.

Our work environment is very positive but busy, especially with the disaster response work we are doing as a result of the fires in the Los Angeles area. Applicant must work well with others and be a self-starter. We also will consider the expertise and services of an independent contractor for this position. Take note: a pleasant personality that does not get upset and has excellent organizational skills will trump any other qualities, skills or experience. Art related experience is not required, related to this position or desired.

Besides a positive attitude and organizational skills, what will be evaluated will be phone skills, social media experience, blogging experience and attention to detail. Reliable transportation and the ability to drive errands is required. Bookkeeping, etc. is not part of this job description. Your references will be called!

If you are interested in this position, please do the following two tasks before responding to discuss this position:

1. go to the blog on our website (see pulldown menus under slides in header), choose to read a blog post that interests you and then leave a comment and thumbs up. Here is a suggested blog post, but you may choose any one that interests you: https://www.FineArtConservationLab.com/blog…

Go to our YouTube channel and choose a video that interests you. Watch the entire video till the very end and then like the video and leave a comment. http://www.youtube.com/bestartdoc

Please respond to this offering by calling Scott Haskins, Head of Conservation and Pres. FACL, Inc. 805-570-4140. Please do not respond before you have accomplished the two tasks.

Once we talk we will discuss your financial and benefits needs. There will be a 3 month trial period to begin.

The first person who is qualified (see above descriptions) and is a blessing from heaven for us, we will hire.

Thank you.

Scott M. Haskins

805 570 4140

Posted in Travel | 2 Comments

An Irate Girlfriend – A Fine Art Insurance Claim?

Posted on October 27, 2025 by Scott M. Haskins

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One of our clients, recently told me the story of a wonderful project we did for him, but sometime later, “went South”…

Bobby told me about his live-in girlfriend who, in a fit of anger, grabbed his favorite painting (a beautiful view of Los Feliz done by Donna Schuster in the 1920’s on artist board) off the wall of the beach house and smashed/broke it into pieces!

Self portrait by Donna Schuster in Paris as she sat across the table having breakfast with Willliam Merritt Chase

Shocked, he gathered the pieces and asked the art dealer who sold him the painting what he should do. George Stern referred him to Fine Art Conservation Laboratories (Click here for his testimonial… ). It was with a very sad face and not much hope that he handed me the zip lock bag with the pieces of artwork in it…

We rejoined all the pieces, backed the original artist board for more strength and made it look like it never happened (click here for another amazing project of saving valuable art). Tony, the owner was over-joyed with disbelief.

Los Feliz by Donna Schuster

But Tony, I guess, had a thing for this girl… and didn’t break up with the girlfriend after her furious tantrum and her “attempt” to destroy his favorite painting. She was in fact a bit put out, once we had done the “amazing restoration,” that the painting was back on the wall looking as gorgeous as before! Too bad he didn’t throw the blonde out after her hissy fit…

It was no wonder, then, when her next furious tantrum erupted, she targeted the restored Donna Schuster painting again and, this time, threw it in the Pacific Ocean!

As hard as Tony tried among the surging tide and waves, it was never found again. I wonder which “loss” event could be claimed on an insurance policy?!?! The black-and-white photograph is the only evidence of the painting, illustrated in the “Southland” book of Ruth Westfall (page 102)… which means it was probably a worthy painting of being loved.

Watch this video on YouTube

See the expanded article with other stories of irate partners that “take it out” on their lover’s prized possession of art (and where art restoration comes to the rescue)! Click here… (coming soon)

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Posted in Insurance, Interesting Stories | Tagged #ArtConservation, #ArtRestoration, #IratePartner #Lostart #DonnaSchuster | 6 Comments

Old Indio – Mural Restoration and Maintenance – Public Art in Coachella Valley

Posted on March 25, 2025 by Scott M. Haskins

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Watch this video on YouTube

Old Indio by Bijan Masoumpanah painted in 2014, covers the entire side of a building 20′ x 70′ in historic downtown Indio, CA. Once an area known only for its date growing industry, most people not only kn0w about this area but flock to it several times a year for the multiple festivals that are held. The most famous is the Coachella Music Festival but I was surprised that they have a super well attended International Taco Festival!!! LOL…

Burning Man Festival is probably the most infamous… although, the Coachella Music Festival is huge and well known now. Anyway, its been with foresight that the City Council of Indio has been utilizing quality public art as an attraction to bring the festival goers to their town for over 20 years.

I was very surprised at the quality of the murals the first time I “got the tour.” None of them are thrown up casually.”Old Indio” tells a story and triggers stories by locals about how much things have changed in this corner of California.

Painted 10 years ago, the mural has needed maintenance, as you might imagine, given the hot desert temperatures (it gets direct morning sun) and winds, given the ding dongs with spray cans, and given the poor construction of the building’s walls. But, with a proper protective coating to make graffiti easier to remove and the upkeep of flaking plaster, this iconic mural in the main part of town will remain in good condition and reflect the “pride of ownership” of the City of Indio for many decades to come.

Kudos to the City for these efforts to beautify and inspire the community with quality art. There are now about 20 murals in the public outdoor art gallery of Indio.

Don’t be surprised if you see models and movie set crews posing in front of the murals… but don’t worry, you’ll look just as good as they do on social media.

Keywords #FineArtConservationLaboratories #ScottMHaskins #PublicArtMaintenance #ProtectiveCoatingsMurals #MuralMaintenance #MuralRestoration #AntiGraffitiCoating #MuralProtectionGraffiti#BijanMasoumpanah #CityofFestivalsMurals #IndioMurals #CoachellaValleyMurals #IndioPublicArt #CoachellaValleyPublicArt #CityofFestivals #PublicArt #MuralConservation #MuralGuard #RainGuardPro #CoachellaMusicFestival

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Posted in Consultations, Murals, Saving Public Art | Tagged anti-graffiti mural protection, art restoration | 3 Comments

Art Conservation of the Intermountain Intertribal Indian School Murals

Posted on March 6, 2025 by Scott M. Haskins

The Salvaging, Preserving and Professional Art Conservation of the Intermountain Intertribal Indian School Murals in Logan, Utah

January 24, 2025
Updated February 26, 2026

The Intermountain Intertribal Indian School Murals conservation project represents a coordinated institutional effort to preserve historically significant student-created wall paintings from the former Intermountain Indian School in Brigham City, Utah.

The Nora Eccles Harrison Museum of Art (NEHMA), the art museum of Utah State University (USU), formally engaged Fine Art Conservation Laboratories (FACL, Inc.) to carry out the professional art conservation of eleven mural fragments. The project reflects collaborative stewardship at the university, state, and national level.

Historical Background

Just after World War II, the Intermountain Indian School in Brigham City, Utah, opened as a federally funded residential boarding school for children from the Navajo Nation. Expanding its services in 1974, it admitted youth from any Native American tribe and as many as one hundred Native Nations were represented adding “Intertribal” to its name. In an effort to show pride and community, Native American youth who attended the school have gathered over the decades to repaint the symbolic “I”… (for “Intermountain”) on the side of the mountain overlooking the former campus and Brigham City, Utah both during and since the facility’s closure in 1984.

Former students continue to repaint the large white “I” on the mountainside overlooking Brigham City, maintaining a visible symbol of community continuity.

Intermountain was one of the 523 Native American boarding schools that dotted the United States during the nineteenth and twentieth centuries.

Artistic Significance

Nationally renowned Chiricahua Apache artist Allan Houser taught art at Intermountain for almost a decade. Houser and some other faculty and staff at Intermountain embraced the arts and encouraged students’ creative self-expression. Art with Indigenous themes was prominently displayed across campus, adorning hallways and dorm rooms. These vibrant artworks were not the product of professional artists but the students themselves. Given paint and permission from their teachers, these young individuals created images that connected them with home and their culture. Through their creativity and perseverance, students found ways to assert their cultural heritage and navigate the constraints of an educational system that encouraged blending in.

Today, the murals serve as primary visual documentation of student expression within that historical context.

This forward out-of-the box thinking and instruction by Allan Houser and his associates was the same intellectual process that Dr. John Biggers was encouraging at Texas State University in Houston, Texas.

Institutional Stewardship and Engagement of FACL

In 2013, when Utah State University purchased the land on which the former school sat, these murals were found in a garage. Someone in the community had removed and saved a small selection of the artworks before the buildings were torn down. The Nora Eccles Harrison Museum of Art has worked with Intermountain alumni, scholars, and tribal leaders to preserve these works of art.

NEHMA initiated a mural salvage, preservation, restoration and exhibition program and engaged Fine Art Conservation Laboratories (FACL) to execute the conservation strategy.

Scott M. Haskins, Head of Conservation at FACL, directed the professional art conservation treatments in coordination with NEHMA leadership and advisory representatives.

Fine Art Conservation Laboratories has specialized for over four decades in professional mural conservation, architectural wall paintings, and culturally significant works. The engagement followed institutional review of qualifications, experience in large-scale conservation projects and extensive experience working in Utah. Their over 50 years of irreproachable experience reassured to provide the best quality work and the highest quality services needed for this big project.

See this short video of their restoration treatments:

Watch this video on YouTube

Following their mural conservation treatments over the last four years, the eleven murals featured in the exhibition that once adorned the walls of the Intermountain Indian School, are proudly put on permanent display at the Intermountain Inter-tribal Native American Cultural Center. This is the first time these restored murals are available for the public to view.

Scope of Professional Art Conservation

Professional art conservation of salvaged murals involves structural stabilization, paint consolidation, controlled cleaning, and preparation for long-term exhibition.

For the Intermountain Intertribal Indian School murals conservation project, treatments included:

Stabilization of original plaster substrates
Consolidation of fragile paint layers
Reduction of surface soiling
Structural reinforcement of fractures and edges
Preparation for secure mounting and display

All procedures were documented in accordance with professional conservation standards appropriate for publicly stewarded collections.

Learn more about our professional mural conservation services.

Conservation Team: Fine Art Conservation Laboratories

The FACL conservation team included:

Scott M. Haskins, Head of Conservation
Virginia Panizzon, Senior Art Conservator
Gena Dillon, Business Manager
Laura Franchi, Art Conservator
Anna Frassine, Art Conservator
Luisa Pari, Art Conservator
Brooke Hendershott, Conservation Technician
Alice Taylor, Conservation Technician

FACL collaborated with Prince Gallery Inc. in North Logan, Utah, on framing and structural display considerations.

Federal and State Grant Support

The Intermountain Intertribal Indian School murals conservation initiative was supported in part by grants awarded to the Nora Eccles Harrison Museum of Art and Utah State University.

Funding included support from:

The National Endowment for the Humanities (NEH)
The Utah Division of Arts and Museums
The Terra Foundation for American Art
The Marriner S. Eccles Foundation
The Lubetkin Family Foundation

The involvement of the National Endowment for the Humanities and the Utah Division of Arts and Museums reflects recognition of the murals’ historical and cultural importance at both national and state levels.

Fine Art Conservation Laboratories performed professional art conservation services within this grant-supported institutional framework.

Exhibition and Public Access

Following four years of conservation treatments, the eleven mural sections have been prepared for permanent and traveling exhibition.

The murals are currently displayed at the Intermountain Inter-tribal Native American Cultural Center. Selected works will also enter permanent collections associated with Utah State University and the State of Utah Capitol complex, ensuring long-term public access within major civic and cultural institutions.

The project contributes to national discussions concerning Native American boarding school history, educational values, historical accountability, and responsible cultural preservation.

Some of the murals will be on permanent exhibition at the new museum being built on Capital Hill in Salt Lake City, some will remain at USU on exhibition and some will travel. They have already been the subject of intense research and helped to stimulate a resurgence of interest in study in the Federal Native American Boarding School System.

Institutional and Community Support

Additional individual supporters included:

Daniel Diem and Kent Bracken; David Lancey and Joyce Kinkead; Chuck and Louise Gay; Carl and Mary-Ann Muffoletto; Noel and Patricia Holmgren; Terry and David Peak; Jessica Schad; Ann Berghout-Austin and Dennis Austin; Evelyn Funda; Cree Taylor; Kirsten Vinyeta; Kerry Jordan and Jon Brunn; Jody and Dione Burnett.

Programming support was provided by:

Charles Redd Center for Western Studies, Brigham Young University
Cache County RAPZ and Restaurant Tax Program
Intermountain Mural Advisory Committee

Information used by permission of the Nora Eccles Harrison Museum of Art.

Intermountain Mural Advisory Committee
This committee was formed in early 2021 to advise NEHMA on the art restoration and exhibition of the murals.

Media and Related Resources

Repainting the I – NEHMA Exhibition:
https://www.usu.edu/artmuseum/exhibitions/repainting-the-i

Utah State University Art Museum:
http://artmuseum.usu.edu

Support Conservation Initiatives:
https://www.usu.edu/artmuseum/donate

Fine Art Conservation Laboratories:
https://www.fineartconservationlab.com

Information used by permission by The Nora Eccles Harrison Museum

Scott M. Haskins, Art Conservator 805 570 4140 mobile
Virginia Panizzon, Art Conservator 805 564 3438 work
Frank Prince Gallery of Art and Framing, 2600 N Main St # 106, Logan, UT 84341 Phone: (435) 750-6089
Katie Lee-Koven (she/her) Executive Director & Chief Curator Nora Eccles Harrison Museum of Art Utah State University 4020 Old Main Hill | Logan, UT 84322-4020 435.797.0164
http://artmuseum.usu.eduMore information from USU
https://www.usu.edu/artmuseum/exhibitions/repainting-the-i
To Donate to Art Conservation Efforts at the art museum https://www.usu.edu/artmuseum/donate

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Media Distribution

This article was vetted and distributed nationally through ExpertClick.com, a media and expert commentary distribution platform used for professional press releases and subject-matter expert content.

The distribution expands archival visibility of the project within media databases and public information networks.

Posted in Historic Preservation, Murals, Saving Public Art | Tagged art conservation, Intermountain Intertribal Indian School, Mural conservation, Native American Art, Utah State University | 8 Comments

Why for the 1st time I Threw Someone Out of My Art Restoration Lab – DIY Oil Painting Cleaning Destroyed a $35,000 Artwork

A Real Art Restoration Drama In Our Lab “If this story doesn’t shock you, then nothing will…. or at least you’ll shake your head and say, ‘What an unbelievable idiot and raise an eyebrow —

What Happened When a Collector Brought His Vintage Painting of a Dutch Interior to the Lab

FAQ’s Common Questions We Hear During Lab Visits

The Microscope Demo: Showing How Careful Varnish Removal Must Be

Two Weeks Later: When He Returned with the “Cleaned” Painting

How A Prideful Attitude and the Wrong Solvent Destroyed a $35,000 Painting

Why This Painting Survived Wars and Voyages — But Not DIY Cleaning

The Sad Pattern We See with Family Heirlooms and Artist Restorations

Lessons from Famous DIY Disasters Like “Behold the Monkey Jesus!!”

If You Have Questions About Your Own Painting

Scott M. Haskins and Virginia Panizzon

Art Conservators

805 564 3438

gena.FACLBusinessManager@gmail.com

Art Preservation Restoration of Conrad Buff Estate Oil Paintings, Laguna Art Museum, Orange Country, CA

FACL’s part in the process

The Role of Professional Art Conservation

Conrad Buff was recognized during his lifetime as an important figure in California painting.

Conrad Buff’s associations with other well-known artists

Passing a valuable item of cultural property on to future generations

Scott M. Haskins and Virginia Panizzon

Art Conservators

805 564 3437

gena.FACLBusinessManager@gmail.com

Art and Family Heirloom Restoration One Year After the Palisades and Eaton Fires: What We’re Still Saving

One year later- why this is still showing up in people’s lives. Why art and family heirloom restoration still matters

Why smoke, soot, ash, and odor act differently on art and heirlooms

The moment that causes the most damage: the urge to “just wipe it” ## Smoke damage restoration for artwork and heirlooms: the safest first steps

## Smoke damage restoration for artwork and heirlooms: why smoke and odor linger

What happens in a consultation (so you know what you’re getting)

For insurance claim adjusters, insured homeowners, attorneys, and disaster-response partners: why Standards of Practice matter

For homeowners and collectors: what to do if you’re not ready to decide yet. ## Smoke damage restoration for artwork and heirlooms: what not to do at home

What “we’re still saving” really means

Saving Don Manuel Domínguez: How a Water-Damaged Portrait of a California Founding Figure Was Brought Back to Life

Check out this video…

The water-damaged 19th-century portrait of Don Manuel Domínguez for the Dominguez Rancho Adobe Museum is returned after the art conservation work. See surprise photo at end of video!

Who Was Manuel Domínguez—and Why Does His Portrait Matter?

This is not just a random 19th-century gentleman in a dark coat. Manuel Domínguez (1803–1882) was one of the key figures in the transition from Spanish and Mexican California to the American state of California.

In 1826 he began building the Dominguez Rancho Adobe on a low rise above the floodplain. That home—where his portrait now hangs—became the social and administrative center of Rancho San Pedro and a gathering place for powerful Californianos, visiting dignitaries, and travelers.

The Artist: Solomon Nunes Carvalho

The painting adds another layer of significance because of who painted it. Solomon Nunes Carvalho was a Sephardic Jewish artist and photographer from the East Coast, known for serving as photographer on John C. Frémont’s fifth expedition across the American West.

So when we talk about “saving a painting,” we are really talking about protecting a crossroads of cultures and histories in one fragile historical and fine art object.

What Went Wrong: Water, Tent Cleavage, and Scraping

At some point in its later life, the portrait was exposed to water. Whether from a leak, a flood, or firefighting efforts, the result was the same: The canvas fibers swelled and then shrank, causing the brittle painting layers to crack, lift, and curl away from the surface.

By the time the portrait arrived at Fine Art Conservation Laboratories, Solomon Carvalho’s careful painting was buried under tinted putty, a massive amount of wax, and modern paint. Only a minimal amount of the original painting could be seen.

What Water Does to Paintings (and Why Speed Matters)

The Domínguez portrait is dramatic, but the basic pattern is common in our lab:

Supports move. Canvases swell and shrink. Wood panels warp and cup.

Paint films can’t keep up. They crack, lift, and flake.

Moisture leaves stains and tide lines. Dirty water dries into brown streaks and blotches.

Mold joins the party. In a warm, damp environment, mold can start within a couple of days.

The painting may look “dry” after a week, but inside the structure it can be unstable and actively shedding original material.

If a painting or family portrait gets wet, the first hours and days matter. The right steps can save it. The wrong steps—or well-intentioned scrubbing and scraping—can cause far more damage than the water itself.

For a more detailed step-by-step guide on how to handle water-damaged artwork and heirlooms in the Los Angeles area, see our article: https://www.fineartconservationlab.com/water-damage/save-water-damaged-artwork-heirlooms-expert-tips-for-los-angeles-ca/

What You SHOULD Do If Your Painting Gets Wet

If you ever find yourself staring at a wet or warped painting, here are the basic emergency steps our conservators at FACL recommend:

Keep the painting flat or upright and handle it as little as possible.

• Gently blot standing water, if flaking will permit, with clean, lint-free cloths—no rubbing.

• Move it to a cool, dry, well-ventilated space, away from heaters, fireplaces, or direct sun.

• Take clear photos of the damage for insurance and records.

• Call a professional art conservator quickly for specific instructions.

And just as important, what not to do:

Don’t wipe, scrub, or “wash” the surface.

• Don’t use hair dryers, heaters, or fans blowing directly on the painting.

• Don’t press down flaking paint or try to scrape off bubbles, stains, or mold.

• Don’t re-stretch or try to flatten a distorted canvas on your own.

The portrait of Manuel Domínguez shows exactly what can happen when someone ignores those last points. More original paint was lost to scraping and amateur repainting than to the initial water damage.

How Professional Conservation Saved the Manuel Dominguez Portrait

The treatment unfolded in four broad stages.

1. Examination and Research

2. Structural Stabilization

Because of the earlier water damage and tent cleavage, stabilizing the structure of the painting came first.

Lifting paint was gently re-adhered using conservation-grade adhesives introduced under the flakes with tiny brushes and syringes, then set down with controlled pressure.

• Distortions in the canvas were relaxed with carefully controlled humidity and pressure so the picture plane could return to a more even surface.

• Where the original canvas had been badly weakened, a new support was added to share the stress and give the painting strength for years to come.

Only when the paint layers and canvas were secure could anyone safely think about appearance.

3. Removing Crude Overpaint

The repainted areas that masked Carvalho’s work had to be removed carefully and in layers in order to remove the applications of wax from previous restorers without damaging the original paint.. This is patient work done under magnification:

Tiny solvent tests were run to find mixtures that would soften modern overpaint while leaving the original intact.

For a more detailed step-by-step guide on how to handle water-damaged artwork and heirlooms in the Los Angeles area, see our article:
https://www.fineartconservationlab.com/water-damage/save-water-damaged-artwork-heirlooms-expert-tips-for-los-angeles-ca/