Garda in USA

Cultural event about Garda Lake in the USA

A very special invite from Scott M. Haskins and Fine Art Conservation Laboratories to have, as our guest, an authentic Northern Italian lunch and live Garda Lake Italian cultural webinar THIS SATURDAY 10:30am – 12:00pm in Laguna Niguel (weird hours, yes, we know but we are coordinating with the live webinar from Italy). Nothing to buy, just come and enjoy as our guest. Reservations are very limited and required for this very unique and enjoyable event!!! Come taste typical recipes from Garda Lake at Bistro K, an exceptional Northern Italian restaurant in Laguna Niguel, and discover new (just made public) or little-known cultural secrets and treasures in the live webinar transmission from Italy’s Garda Lake. Scott will comment, as a professional who has been on-site, about these cultural gems.

Merchants from Lonato del Garda, on Garda Lake next to Desenzano and Sirmione,

have sent food stuffs to be served at Bistro K during the webinar

 

If you love the North Italian vibe, food, culture and the Garda Lake Region, then you will not want to miss this very savory, unique, live, cultural event

designed to stimulate your wanderlust senses.

This Sat. April 17th, 2021 at Bistro K

30100 Town Center Dr.

Laguna Niguel, CA 92677,

(949) 495-9101

katia@thebistrok.com

http://www.gobistrok.com/

Reservations Required

Reservations Very Limited

Call NOW

Complimentary Menu Served at Bistro K

White mushroom salad with Lonato/Garda Lake olive oil and lemon

Risotto w/Lonato Saffron accompanied w/ Osso Buco

Cold Zabaglione w/berries

Call to attend NOW

 

30100 Town Center Dr.

Laguna Niguel, CA 92677,

(949) 495-9101

katia@thebistrok.com

http://www.gobistrok.com/

Sponsored, supported, promoted and transmitted by the town of Lonato del GardaLonato del Garda Small Business Adminstration, the Merchant Association of Lonato del Garda, Italian Lake Garda tourism dept., The Madonna del Corlo Foundation (Mural Conservation Project),  The Archaeological Association La Polada, agriculture dept., wine industry, L.A.CU.S regional cultural office, The Italian Cultural Center di San Diego, Il Ristorante Pizzeria La Campagnola (in Lonato del Garda), L’Azienda Agricola “La Marchesa, L’Azienda Agricola Winery Saottini, Restaurant Bistro K (Laguna Niguel, CA), Disvelarte Restoration and Conservation Firm (Brescia, Italy),

Fine Art Conservation Laboratories (FACL, Inc. in Santa Barbara, CA) a consultant and team member for the Mural Conservation Project of Madonna del Corlo Community Center will be speaking live at Bistro K about some amazing mural masterpieces in the process of being discovered and still unknown… even to the locals!!

Posted in Consultations, Murals, Travel | Tagged | 1 Comment

Lost Post Office WPA Mural Found, Restored, and Installed in San Francisco Bay Museum

Just published in the prestigious newsletter for the International Institute for Conservation in London, “Lost WPA Mural: Found, Conserved, and Installed in San Francisco Bay Museum.”

Scroll to page 18 for the article:
https://www.iiconservation.org/…/journal/2021/b2021_2.pdf

Richmond Industrial City, 1941 is a WPA mural by Russian immigrant Victor Arnautoff, who was also the past project director for the 1934 Coit Tower mural project and protégé of international superstar artist, Diego Rivera. 

Juliann Stephenson and Virginia Panizzon work on the mural restoration treatments

Richmond Museum of History and Culture Saves Lost Historic Mural

The mural  hung in a post office from 1941 to 1976. After it was taken off the wall while the building was renovated, it was put in a crate and left in a basement. It took four years to raise $45,000 dollars to restore the canvas. KQED Reporter, Raquel Maria Dillon,

KQED Reporter, Raquel Maria Dillon, is quoted on the station’s website as promoting that the Richmond Museum let languish for 4 years, and was considered lost in a basement, a valuable and historic WPA mural by the renowned Art Director for the installation of the Ribera murals in Coit Tower Victor Arnautoff.

That was not the story at all. And its puzzling too. Because KQED says it is a proud member of NPR and PBS. But how could they be a proud member of these news sources and also be so sloppy about covering the preservation and restoration work done for the mural by a conservation team which is a noted and awarded PBS featured quality company?

Fine Art Conservation Laboratories is honored to have been a part of this worthwhile community effort to save their heritage and retell the stories important to their history.

Call to discuss any questions about your art you may have: Scott M. Haskins and Virginia Panizzon Art Conservators 805 564 3438 FACLOfficeManager@gmail.com

Posted in FACL in the media, Historic Buildings - Construction Sites, Murals | Tagged , | 2 Comments

A 2,000 Year Old Greek Geared Calculator For Astronomy

This is not an article about art conservation but the incredible technology known and produced anciently was irresistible to me for posting. I hope you find this a wondrous evidence of the human mind… especially in ancient times.

I had a very busy morning planned but this posting by Craig Deller on the Facebook page of The Art of the Conservator grabbed me and highjacked my schedule. I couldn’t tear myself away from this wonderful quality video of the inconceivable 2,000 year old Greek technology and manufacturing wonder. Wow, its incredible how much we do not know about past civilizations and their capabilities. I’m bedazzled.

https://vimeo.com/518734183?fbclid=IwAR2ZoELQhhZvXS3paAvuvL8g-bHMavK7xGshn6udsKFKGxVrGti6MW8S9X4The research, technology and collaboration of specialized knowledge to update us on the unraveling of the corroded puzzle was put together very nicely in this video.

The UCL Antikythera Research Team struggle to solve the front of the Antikythera Mechanism—a fragmentary ancient Greek astronomical calculator—revealing a dazzling display of the ancient Greek Cosmos. The team represented so many academic disciplines, that you found how Parmenides approximation method applied and the nested axles. I really hope you find a method the Greeks could have used to machine those tubes. But I don’t think that is such a mystery: A comment by Adam Wojcik at 25:31 “If you’ve got no lathe in Ancient Greece…”

Why would you assume that? Given the complexity of the gearing and the engineering knowledge required to come up with it in the first place… Why would you presume the Ancient Greeks incapable of imagining a machine as simple as a lathe?? A potter’s wheel is little more than a foot powered lathe. If you can understand how a gear works, you can definitely figure out how to cut with a lathe-like machine. So, as soon as he said it, I had a knee jerk reaction. Given the technology of the device, a lathe would have been child’s play.

Something like this doesn’t spring fully formed from nothing. I know it’s difficult to put the pieces of material technology together that far back. More interesting info on the ingenuity and applied intellect of the ancient Greeks: https://en.wikipedia.org/wiki/Hero_of_Alexandria#Inventions

Want to contact me? Scott M. Haskins 805 570 4140 mobile

Have a wondrous day!

Scott M. Haskins in the lab with WPA murals from the Long Beach Library

Posted in Travel | Comments Off on A 2,000 Year Old Greek Geared Calculator For Astronomy

A Section of Santa Barbara Mission Original 1785 Lienzo Mural Restored And On Display

The historical photo of the Lienzo in the main chapel of the Santa Barbara Mission

I’ve posted previously about the exciting research, fundraising and mural conservation efforts for an extremely important and historic element of the main chapel of the Santa Barbara Mission. The 1786 backdrop was designed with architectural features, statues and lots of color enhancing the stone wall at the head of the chapel behind the altar with richness and movement that enhanced the devotional activities, experiences and emotions.  And additional value of this important feature is that it’s colors and design were probably influenced and painted by the indigenous members of the community.

The Lienzo was damaged in earthquakes

Damaged badly in several earthquakes it was finally removed, rolled up and put into storage. Along the way, several attempts were made to restore it but the Lienzo was very brittle and very heavy. It’s understandable that the Padres gave up on its maintenance and restoration given their lack of knowledge in such matters. In fact, the story goes, that a section of the Lienzo was used as a sail for a small boat that sunk in the bay.

So, given that, after mural conservation efforts, it’s use as a full sized Lienzo at the head of the chapel is not possible… and given that it is so fragile and that it is not complete… it was decided to use the remaining sections for display as backdrops in small side chapels and exhibits at the Mission complex.

Actually, I love the idea of some of the sections being used inside chapels behind an altar as this fulfills the purpose for which it was created historically.

The 1st section of the original 1786 Lienzo after painting conservation treatments and installed behind an ancient alter and other artifacts as a side chapel.

The effort of painting conservation included stabilizing lifting paint, re-joining breaks and rips, cleaning, carefully inpainting (limited retouching with reversible paint… we never use oil paint)  and, very important, a backing was applied that allowed the mural to be mounted to the wall and protected against future earthquakes. To see how the mural was reinstalled, click on the link https://www.youtube.com/watch?v=_4Bi0-8oZ6M and forward to the 4;30 minute. We are confident that these preservation and restoration treatments will ensure its presence and historical relevance far into the future.

Congratulations to the Mission’s Executive Director, Dr. Monica Orozco and the Friends of the Mission who were responsible for saving such an important part of our history in the community and State of CA. Dr. Orozco has been a champion for ongoing quality preservation and restoration efforts following professional standards of practice.

Fine Art Conservation Laboratories is honored to be part of this historic preservation work.

There are a total of five panels in need of conservation, costing close to $100,000 for the entire project.  If interested in supporting this project, donate today at https://www.santabarbaramission.org/online-donation/ and select the Lienzo Conservation Project in the drop down.

Contributions can also be sent to (and make the check out to) “Old Mission Santa Barbara” at 2201 Laguna Street, Santa Barbara, CA 93103. You may also contribute with a credit card by calling (805) 682-4713.

See more about art conservation efforts at https://www.sbmal.org/conservation

Spanish Colonial Cherub

Questions or media call Scott M. Haskins

805 570 4140 or faclartdoc@gmail.com

 

#SantaBarbaraMission #SpanishColonialArt #ScottMHaskins #FineArtConservationLaboratories #MonicaOrozco #ArtRestoration #ArtConservation #PaintingConservation #PaintingRestoration #MuralRestoration #MuralConservation

Posted in Historic Buildings - Construction Sites, Historic Preservation, In Lab, Murals, Painting on canvas | Tagged | Comments Off on A Section of Santa Barbara Mission Original 1785 Lienzo Mural Restored And On Display

Rediscovering The Important Genius of The Woman Who Broke The Mold of French Fine Art High Society At The End Of The 1880’s, Elisabeth Jerichau-Baumann

Elisabeth Jerichau-Baumann was born in Poland of German parents, who painted in Italy, was adored in France, admitted to the harems of the Ottomans and got away with creating erotic paintings of mermaids. She is considered an important figure in opening up the male dominated French fine art society to women artists at a time of the Salon’s greatest international acclaim.

At the age of nineteen, she was admitted to one of the most important art centres in Europe and was associated with the Düsseldorf school of painting. In 1844 she attracted public attention for the first time and moved to Rome like the rest of the art world. Though she painted in Italy, Baumann had great success abroad, however, and had a special following in France where she was twice represented at the World Fair in Paris, first in 1867 and again in 1878. In 1852 she exhibited some of her paintings in London, and Queen Victoria requested a private presentation in Buckingham Palace.

The Harems of the Ottoman Empire: In 1869–1870 Baumann traveled extensively in the Eastern Mediterranean and Middle-East, and again in 1874–1875 accompanied by her son Harald. She was able to gain access to the harems of the Ottoman Empire and as a result was able to paint scenes of harem life from personal observation, in contrast to most artists of the time, whose work on this popular subject was entirely derived from the imagination or other artists in the same position as themselves. Nevertheless, as Roberts[4] points out, she had to curb her desire to paint the women of the harems as Europeans liked to imagine them because they insisted on being painted in the latest Paris fashions. How funny is that?

A fellah woman with her child, 1872

In 1869, she was admitted into the harem of Mustafa Fazil Paşa. She was entranced by Mustafa Paşa’s daughter Nazlı and wrote home to her husband and children, ‘Yesterday I fell in love with a beautiful Turkish Princess’.

The sensualism in some of these paintings was still considered taboo in some parts of Europe and the Danish art world which tried to keep these works out of sight. She is also known for a series of mermaids that were also by some considered erotic in  quality.

I thought you would like to see an interesting painting by this artist that we have in the art conservation lab right now. The wonderfully high quality painting was painted by Madame Elisabeth Jerichau-Baumann in about 1882. There is a very interesting historical background of intrigue of this artwork.

For several reasons, today it is not the masterpiece that it used to be: perhaps she mixed her colors poorly and as the drying took place, a network of cracking formed that distract the eye and made many details “lose resolution.” But, the painting could have also easily been next to a heat source (fireplace) which could have also caused the network of cracking.

We also have to remember that this panting has been through a couple of revolutions and world wars too, so, there’s that! Its probably been hauled around in hay wagons, traveled internationally on ships and who knows what else.

Previous restoration of the cracking was remedied with a broad brush with little attention to detail nor did it honor the genius and details of the original artist as fine details and colors were obliterated under the fast, easy, cheap method of restoration. When people ask our lab if we can do the restoration job faster and cheaper I show them this photo:

The result of the past restoration work (repainting) was a serious reduction or covering over of the original quality that the painting was known for in “its day.” That quality still exists under all the repainting and is being uncovered through the cleaning and removal of overpaint to re-reveal the original details (including the cracking) which we are doing today in our lab.

Our inpainting of the cracks will be done with a very small brush and will respect the original details and colors of the original artist. The painting is accompanied by its original ornate frame, also being conserved back to its original excellent quality after extensive poor patch work (you can’t even call it restoration its so ugly! ) over the last 140 years.

Another painting but the same model.

But to be precise, we don’t have a tube of oil paint in the lab and none of us are artists. For inpainting, we use pigment/resin mixtures that remain always reversible and don’t discolor. The challenge of “touching up” a painting is a color matching issue (also texture, shine etc). In my 45 years of experience, I’ve never had to reinvent a face. There is nothing creative about what we do. In fact, when I was in college and my art history chairman suggested art conservation to me, he “got me” when he said that it was “the application of science to the preservation of art.”

If you would like to discuss a painting conservation question,

please feel free to call 805 570 4140 or faclofficemanager@gmail.com

Here is more about us: https://www.FineArtConservationLab.com/media-room/

Posted in In Lab, Painting on canvas | Tagged | Comments Off on Rediscovering The Important Genius of The Woman Who Broke The Mold of French Fine Art High Society At The End Of The 1880’s, Elisabeth Jerichau-Baumann

Master Degree Level Collection Care and Public Outreach at Queens University with Ann Shaftel

Queen’s University – Masters in Art Conservation Program

Public Outreach For Students and Alumni

Using As An Example “Treasure Caretaker Training”

The Margaret Light Visiting Scholar Ann Shaftel

 Today is the first day of an entire week of THANGKA events for Queen’s University Masters in Art Conservation Students and Alumni. Everyone is looking forward to lively, interactive, online discussions about the preservation and conservation of thangka paintings, textile mountings, textile thangkas, and a live online visit to a local Buddhist monastery to see thangkas in a shrine room setting (hosted by resident monastics). Also, please join us for a free event on Tuesday!

This event and Treasure Caretaker Training is supported in many ways by the following organizations: Preservation of Buddhist Treasures,  Canadian Conservation Institute, Canadian Association for Conservation of Cultural Property, American Institute for Conservation, International Institute for Conservation (IIC), Tibetan Studies at SOAS and in London, Khyentse Foundation ,Prince Claus Fund, Rubin Museum of Art, 香港佛學研究所 Hong Kong Buddhist Studies, Association Shang Shung Foundation,  International Institute for Tibetan Culture, Tsadra Foundation, NYU Shanghai Dalhousie University. School of Information Management,Buddhistdoor Global, Fine Art Conservation Laboratories (FACL, Inc.) who is also an Advisor of Treasure Caretaker Training, the “award-winning international non-profit advising monasteries and communities on how to protect and preserve their own sacred art”. “For decades, Ann Shaftel, the Treasure Caretaker Training Project and its advisors have shared their expertise with many institutions and individuals in the Himalayan region and beyond so that the precious literary and artistic treasures of Buddhist traditions may be skillfully preserved. I am delighted with regard to the new initiative, the Preservation of Buddhist Treasures Resource, which will make this carefully developed and unique skill set even more impactful. I offer my best wishes, blessings and prayers for the success of this worthy altruistic endeavor.” Dzogchen Ponlop Rinpoche

The example of preserving this culture’s heritage is certainly a marvelous example for the master degree program’s associates. The presentations highlight the work of teaching and implementing collection maintenance standards and procedures but also exemplify the necessity and methods of reaching out to the public to share the experience, open understanding and to give others the opportunity to connect, participate and assist in humanitarian work, cultural heritage preservation work and promote cross cultural travel and understanding.

Given the importance of reaching out to our communities with interesting adventures in conservation,  Ann Shaftel offers this testimonial for Scott M. Haskins and FACL’s participation in this Master Degree level course: “The FACL lecture looks so professional and inspiring for the students that we made it the agenda for the entire first day! A good example of how to do engaging public outreach but keep it educational.”

Saving a WPA mural from demolition in West Texas

“The response from the attendees was very positive to your outreach. I explained that your presentations are successful because you have control over it, and also I explained that you targeted the specialized needs of your audience and don’t just throw up something generic. I held you up as an example of someone who is successful and doing outreach correctly.”

It should be remembered, or even learned, that as an important strategy for marketing this educational material, each piece of media is produced to target a specific type of “client.” None of this educational media is ever produced with the professional conservation field in mind, for example. Here are some samples from the course:

Example of a small project (making it entertaining and educational): https://www.youtube.com/watch?v=Quxc5mGb55Q

Example of a big project (unusual): https://youtu.be/j38D2O_4MN8

Client testimonials (others share with your public):

FB, Tweets, Instagram examples:

 

Pre covid publication

¶l0

https://www.youtube.com/watch?v=2b8mVo8UaKg

During Covid Quarantine,

(instead of watching soap operas)

Other ideas to discuss if time permits:

Students were invited on their own time to look through FACL’s blog: https://www.FineArtConservationLab.com/blog

This media page is fun: https://www.FineArtConservationLab.com/media-room

Here is our YouTube channel : https://www.YouTube.com/bestartdoc

Please leave comments below the videos and articles you see… and give them a thumbs up.

Treasure Caretaker Training is a 501 (c) 3 charity

https://www.treasuresresource.com

https://www.facebook.com/TreasureCaretaker

Since 1970, monks, nuns, conservators and scholars working together within monasteries for preservation of Buddhist treasures. Combining science with respect for traditional methods and materials.

Preservation Resources for Pandemics, fire, earthquakes, floods, and theft threaten Buddhist treasures in monasteries and communities!

TO DONATE: https://treasure-caretaker-training.networkforgood.com

https://www.buddhistdoor.net/features/buddhistdoor-view-a-devotional-approach-to-preserving-buddhisms-treasures

https://treasure-caretaker-training.networkforgood.com

Working in monasteries since 1970, we are dedicated to preservation of Buddhist treasures. Because of your kind and generous donations, Preservation of Buddhist Treasures Resource is available free-of-charge on-line, including topics of disaster planning and recovery, documentation, safe storage and more. Monasteries are requesting translation from the English original into Tibetan, Hindi, Mandarin, Nepali and Dzongkha.

All Risk Assessment chapters are freely available on https://www.treasuresresource.com.

Written in response to preservation questions from monks, nuns and community members, and illustrated with images from within monasteries, the Risk Assessment chapters are enriched by input from scholars, conservators and our monastic readers. By request, the next chapter will be Thangka Preservation, when your donations make this possible.

Our monk and nun treasure caretakers are also grateful for your donations towards 2021 preservation workshops, with invitations from Nepal, Bhutan, and Sikkim when travel resumes. Read about Risk Assessment in monasteries and how it can prevent damage to precious lineage treasures.

What can FACL and Scott M. Haskins do for your organization to help increase a sense of “community,”, fundraise, membership drives, docent training? Call 805 564 3438 or faclofficemanager@gmail.com

 

Posted in Consultations | Tagged | Comments Off on Master Degree Level Collection Care and Public Outreach at Queens University with Ann Shaftel

You Think Your Art Has Faded? Maybe Not.

What used to be a gorgeous kimono, was now only a suggestion of what it used to be before its colors were blasted to smithereens by the light from the window.

Fading of art is something about which I get a lot of questions. Some of the types of items that I notice fade the fastest and of which there is the biggest change of color are:

  • Many Asian cultural items like dyes in textiles
  • Many Asian wood block prints/watercolors
  • Watercolors in general, from any country, any time period
  • Many “oriental” or middle eastern rugs

While oil paintings, in general, have minimal fading, there are some pigments that are inherently sensitive. Or sometimes, artists mixed techniques. For instance, the Golden Age English portrait painters at the turn of the 18th century often did lace and glazing on their oil paintings with tempera and watercolor (a nightmare for art conservators). Usually, on oil paintings, a final glazing layer may be more inclined to fade than thicker layers of color. Sometimes this is why you see portraits of people looking like death warmed over…. cause the rosy cheeks have faded.

Pens used for autographs (and signing certificates, diplomas etc), especially ball point pens, fade fast. Even my Art Conservation Director used a pen that faded quickly on my diploma!! Only permanent markers (which bleed through) and pencils seem to last.

Here are a few interesting facts about fading of vintage oil paintings that may surprise you:

  1. Ultraviolet (UV) rays are not the only part of light that causes fading. In fact you can block out all the UV (like with UV filtering framing glass) and still get a lot of fading because there is simply too much light…
  2. Fading is cumulative which means that if a sensitive work of art gets a low amount of light consistently for a long time, it will be like getting a lot of light in a short time.
  3. Fluorescent lights fade colors like crazy!!!
  4. Fading cannot be undone or restored. It is permanent damage. But it can sometimes be made to look much better.Call us if you would like to discuss: 805 564 3438 CA PST

Here’s something to think about.

Has your art really/actually faded?

Sometimes fading can be confused for the whitening of varnish or paint layers that can be caused by humidity and micro cracking (A breakdown in the varnish structure or the binder in the paint). For instance, a common problem is house maintenance personnel that wipe down the artwork and frame every once in awhile with a damp rag. Storage in high humidity situations can also result in the fogging up of the varnish or paint layers. Paintings over fireplaces that have exposure to heat and then get wiped down have this problem occur more often more rapidly. This haziness or fogging of the varnish and paint layer is sometimes called “blooming”… but this problem can usually be reversed or “restored.”

Another reason art can look faded, when it is not, is when it has a substantial layer of dust on it. This is especially true for outdoor monumental art. If your art is under glass, is your glass clean? People feel pretty dumb when they ask me to evaluate their art to discuss fading and actually, its only hazy glass. Of course, if you are buying “new” art from a sale, perhaps its been in a smoky environment or stored in dirty conditions and has a layer of dust and grime that dull the colors to look faded.

So, has your artwork faded?

Is there anything that can be done about it?

If you have questions about painting restoration/conservation give us a call to chat:

Scott M. Haskins, Virginia Panizzon – Art Conservators

805 564 3438 faclofficemanager@gmail.com

If you like the analytical side of art conservation, here is a really nice article about fading from an exhibition at the Met. I really liked the slide graphic for comparing the effect of fading. Nicely done. Enjoy!

The Science of Fading

https://www.metmuseum.org/blogs/collection-insights/2019/margareta-haverman-vase-of-flowers-digital-conservation?utm_source=MetNews&utm_medium=email&utm_campaign=2019_0731_Met_MetNews&fbclid=IwAR2u7Al5N4Vx6rRsrBZLILsKf41Xfj7OORgvugZZHIE1UXmFYmlbWYJHDvc

#ScottMHaskins @ScottMHaskins @VirginiaPanizzon #VirginiaPanizzon #FineArtConservationLab #FadedArt #ArtConservation #ArtRestoration #PaintingRestoration #PaintingConservation #PublicArtMaintenance

Posted in In Lab, Painting on canvas, Saving Public Art | Tagged | Comments Off on You Think Your Art Has Faded? Maybe Not.

Brigadier General Chuck Yeager Valued Expert Professional Advice and Consultation Provided to Edwards Airfare Base by Scott M. Haskins

With Brigadier General Chuck Yeager’s passing on Pearl Harbor Day, Dec. 7th last week, a flood of memories of my childhood years came back as I remembered the fascination with the flights to breach the atmosphere with the X-15, the space race and subsequent moon race. Yeager’s critical breaking of the sound barrier in 1947 and in later years his pioneering efforts and influence on the US space industry made him a hero and as NASA Administrator Jim Bridenstine called his death “a tremendous loss to our nation.”

With such a lofty reputation you can imagine my surprise and pleasure when I found out he had acknowledged the importance of and weighed in on a historic preservation project I consulted on at Edwards Airfare base.

This article was syndicated for USA national redistribution. What does it mean that this article is “ syndicated”? See end of article for explanation.

Brigader General Chuck Yeager Good Luck to Scott Haskins

As a renowned Art Conservator, I have shared many times,”Over my decades-long professional career in consulting with people on protecting and preserving our community’s heritage, I’ve had many opportunities to work on military bases on historical murals, mostly. But my visit to Edwards Air Force Base was a bit different… they had a Flyer’s Wall in the Officer’s Club on base with signatures of many great and notable pilots including Amelia Earhart. Major Hutchison, who had solicited my services, was very interested in preserving the historical signatures on the wall as we chatted and made plans. Her testimonial was very kind, “Mr. Haskins, B. Gen Chuck Yeager was here last week and we told him about your wonderful help with the signature wall in P-1. He was enthusiastic, supportive and grateful for your expertise.”  Shortly thereafter, the above wonderful gesture by her and Brig Gen Yeager’s part arrived in the mail, which I was thrilled to receive! I consider Brigadier General Chuck Yeager’s breaking of the sound barrier a major technological and heroic event.

Obviously, professionally oriented art conservation professionals should know more than just how to inpaint or clean a painting. And, after 45 years in the profession, “we know a thing or two because we’ve seen a thing or two.”

Art Conservation Consultation Services include consulting and planning for; mural conservation and restoration projects, restoration of art on paper, care for painting collections and historic properties; setting collection art conservation/preservation priorities, long-range art conservation needs planning and short-range budget plans, evaluations of art storage facilities and environmental needs, consultant for  art traveling exhibitions/shipping, emergency preparedness and disaster response planning and research as it relates to art and collectible items, fine arts insurance evaluations connected with art preservation, emergency/damage surveys, art acquisition/deaccession evaluations, grant preparation and applications for art collection maintenance, fundraising for art restoration conservation related projects, expert testimony/ legal witness services on art and mural relate issues. We provide these services on a continual basis, sometimes on a quick one-task basis and sometimes as a key player on a team for a long term project. https://www.fineartconservationlab.com/consultations/

The above example of expert consulting for Edwards Airforce Base is an excellent example of how we can help figure out the details of a potential project. Among the additional services (in addition to art conservation treatments) by Fine Art Conservation Laboratories is our new effort to provide a professional art storage and the associate concierge services. Allow me to consult with you about your art storage needs and other collection care and art conservation issues at your location at no charge (if you are in the many areas of where we provide door to door services throughout SoCal, OC, Inland Empire, Las Vegas, SLC, Thousand Oaks and Santa Barbara). Give me a call on my mobile phone at 805 570 4140 or reach out at faclartdoc@gmail.com.

Let us help…

 

Here is more about Chuck Yeager’s life…

Brigadier General Chuck Yeager, who broke speed of sound, dies at 97

Dec. 7, 2020, 8:05 PM PST / Updated Dec. 7, 2020, 9:38 PM PST

By Tim Stelloh and The Associated Press

Chuck Yeager, a former U.S. Air Force officer who became the first pilot to break the speed of sound, died Monday. He was 97.

NASA Administrator Jim Bridenstine called his death “a tremendous loss to our nation.”

“Gen. Yeager’s pioneering and innovative spirit advanced America’s abilities in the sky and set our nation’s dreams soaring into the jet age and the space age. He said, ‘You don’t concentrate on risks. You concentrate on results. No risk is too great to prevent the necessary job from getting done,’” Bridenstine said in a statement.

“In an age of media-made heroes, he is the real deal,” Edwards Air Force Base historian Jim Young said in August 2006 at the unveiling of a bronze statue of Yeager.

He was “the most righteous of all those with the right stuff,” said Maj. Gen. Curtis Bedke, commander of the Air Force Flight Test Center at Edwards.

His wife, Victoria, paid tribute on Twitter.

“An incredible life well lived, America’s greatest Pilot, & a legacy of strength, adventure, & patriotism will be remembered forever,” she wrote.

Oct. 14, 1947, Yeager became the first test pilot to break the sound barrier as he flew the experimental Bell XS-1 (later X-1) rocket plane over Muroc Dry Lake in California.

US Air Force test pilot Chuck Yeager, stands beside the plane in which he broke the sound barrier, the Bell X-1, nicknamed Glamorous Glennis in honor of his wife, in California, circa March 1949.US Air Force / The LIFE Picture Collection via Getty Images file

Yeager nicknamed the plane “Glamourous Glennis” after his wife.

“Sure, I was apprehensive,” he said in 1968. “When you’re fooling around with something you don’t know much about, there has to be apprehension. But you don’t let that affect your job.”

The modest Yeager said in 1947 he could have gone even faster had the plane carried more fuel. He said the ride “was nice, just like riding fast in a car.”

Yeager’s feat was kept top secret for about a year when the world thought the British had broken the sound barrier first.

“It wasn’t a matter of not having airplanes that would fly at speeds like this. It was a matter of keeping them from falling apart,” Yeager said.

Sixty-five years later to the minute, on Oct. 14, 2012, Yeager commemorated the feat, flying in the back seat of an F-15 Eagle as it broke the sound barrier at more than 30,000 feet above California’s Mojave Desert.

The pilot later commanded fighter squadrons in Germany and Southeast Asia during the Vietnam War and was promoted to brigadier general in 1969. He retired on March 1, 1975.

Air Force Captain Charles Yeager, 25, in Los Angeles on Jan., 21, 1949.Bettmann Archive/Getty Images file

He became familiar to a younger generation 36 years later when the actor Sam Shepard portrayed him in the movie, “The Right Stuff,” based on the Tom Wolfe book. The book and movie centered on the daring test pilots of the space program’s early days.

Yeager himself even made a cameo as Fred, a bartender at Pancho’s Palace.

Yeager was born Feb. 23, 1923, in Myra, a tiny community on the Mud River deep in an Appalachian hollow about 40 miles southwest of Charleston. The family later moved to Hamlin, the county seat. His father was an oil and gas driller and a farmer.

“What really strikes me looking over all those years is how lucky I was, how lucky, for example, to have been born in 1923 and not 1963 so that I came of age just as aviation itself was entering the modern era,” Yeager said in a December 1985 speech at the Smithsonian Air and Space Museum.

“I was just a lucky kid who caught the right ride,” he said.

A hero of mine and a great technological feat.

Yeager enlisted in the Army Air Corps after graduating from high school in 1941. He later regretted that his lack of a college education prevented him from becoming an astronaut.

He started off as an aircraft mechanic and, despite becoming severely airsick during his first airplane ride, signed up for a program that allowed enlisted men to become pilots.

Yeager shot down 13 German planes on 64 missions during World War II, including five on a single mission. He was once shot down over German-held France but escaped with the help of French partisans.

After World War II, he became a test pilot beginning at Wright-Patterson Air Force Base in Dayton, Ohio.

Among the flights he made after breaking the sound barrier was one on Dec. 12. 1953, when he flew an X-1A to a record of more than 1,600 mph. He said he had gotten up at dawn that day and went hunting, bagging a goose before his flight. That night, he said, his family ate the goose for dinner.

He returned to combat during the Vietnam War, flying several missions a month in twin-engine B-57 Canberras making bombing and strafing runs over South Vietnam.

Yeager also commanded Air Force fighter squadrons and wings, and the Aerospace Research Pilot School for military astronauts.

“I’ve flown 341 types of military planes in every country in the world and logged about 18,000 hours,” he said in an interview in the January 2009 issue of Men’s Journal. “It might sound funny, but I’ve never owned an airplane in my life. If you’re willing to bleed, Uncle Sam will give you all the planes you want.”

When Yeager left Hamlin, he was already known as a daredevil. On later visits, he often buzzed the town.

“I live just down the street from his mother,” said Gene Brewer, retired publisher of the weekly Lincoln Journal. “One day I climbed up on my roof with my 8 mm camera when he flew overhead. I thought he was going to take me off the roof. You can see the treetops in the bottom of the pictures.”

Yeager flew an F-80 under a Charleston bridge at 450 mph on Oct. 10, 1948, according to newspaper accounts. When he was asked to repeat the feat for photographers, Yeager replied: “You should never strafe the same place twice ’cause the gunners will be waiting for you.”

Yeager never forgot his roots and West Virginia named bridges, schools and Charleston’s airport after him.

“My beginnings back in West Virginia tell who I am to this day,” Yeager wrote. “My accomplishments as a test pilot tell more about luck, happenstance and a person’s destiny. But the guy who broke the sound barrier was the kid who swam the Mud River with a swiped watermelon or shot the head off a squirrel before going to school.”

Yeager was awarded the Silver Star, the Distinguished Flying Cross, the Bronze Star, the Air Medal and the Purple Heart. President Harry S. Truman awarded him the Collier air trophy in December 1948 for his breaking the sound barrier. He also received the Presidential Medal of Freedom in 1985.

Yeager retired from the Air Force in 1975 and moved to a ranch in Cedar Ridge in Northern California where he continued working as a consultant to the Air Force and Northrop Corp. and became well known to younger generations as a television pitchman for automotive parts and heat pumps.

He married Glennis Dickhouse of Oroville, California, on Feb. 26, 1945. She died of ovarian cancer in December 1990. They had four children: Donald, Michael, Sharon and Susan.

Yeager married 45-year-old Victoria Scott D’Angelo in 2003.

Tim Stelloh

Tim Stelloh is a reporter for NBC News based in California.

The Associated Press

Reuters contributed.

https://www.nbcnews.com/news/us-news/chuck-yeager-u-s-air-force-officer-who-broke-speed-n1250322?fbclid=IwAR1oKh3ZKZnojBnRLw4yr3tNkOdG9lli4pf8mlYyOyyWuw2b9G6a7BKlC-c

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Painting Restoration Los Angeles Testimonial Gratitude for the FACL Art Conservation Team

Meet the experts at https://www.FineArtConservationLab.com We provide door to door services throughout Los Angeles, Orange County, Las Vegas, Salt Lake City, Thousand  Oaks and Santa Barbara areas 

Note our media page: https://www.FineArtConservationLab.com/media-room. See the playlists on our YouTube channel for numerous testimonials and fun adventures in an area of art you probably don’t know much about. Subscribe!!

Scott M. Haskins, Virginia Panizzon, Juliann Stephenson Art Conservators 805 564 3438 faclofficemanager@gmail.com

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Its a bit of a coup to get an article syndicated, and its certainly prestigious, as additional “proof” that the info and the author are considered far and wide authoritative and an expert in the field. So, enjoy and trust our content!!

What does it mean that this article is “ syndicated”?

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: www.NewsReleaseWire.com/238939

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.

 

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Restore Heirloom Paintings? Treasured but worth it? Orange County, CA

A quick client’s testimonial in Orange County, CA for the restoration of a family heirloom painting. But, was it worth it? What is junk and what is a treasure? Is it authentic? What is something worth? This is the mystery and business of collectibles, antiques, memorabilia and art industry and the appeal behind the Antiques Roadshow. As you might imagine, just anybody’s opinion about what you have will NOT be sufficient, appropriate nor probably accurate information. See this video of some examples or heirlooms saved for future generations, some nice stuff from Europe and a celebrity guest in the lab!!

This article and video are syndicated publications. See end of article for “What does syndication mean?”

Here is the personal story of a client of mine about being involved with Antiques Roadshow. “Participating in the whole process and affair is quite interesting. It is pretty well organized, in spite of all the people. It takes about 2 hours, start to finish, of standing in lines. It might be disappointing to you in that they may not have an appraiser who is specialized in your item after you’ve gone to all the trouble to show up. I took a painting in to be evaluated and the appraiser actually thought the portrait of the Russian Tsar was of English Prince Edward. Amazing. The appraiser did not really “get” the idea that the value of the painting lies in the history of this person, a painting actually “of the moment” of the Russian Revolution. She kept reiterating that the “condition” of the painting was not good (it had been bayoneted, shot, ripped from its frame, rolled up and smuggled to safety). So, actually the whole experience was pretty disappointing for me, also because the Antiques Roadshow is severely prejudiced and really emphasizes American pieces.”

The value of an antique or work of art, of a collectible or item of memorabilia can have an impact on people for lots of reasons, as you might guess: family history items document a family’s heritage and legacy and therefore contain strong emotional value that probably cannot be insured; Memorabilia items document our lives, loves and experiences like our favorite team or movies or movie stars or cars. The memorabilia sales industry is all about “investing” in those memories. And, of course, investing in vintage art and antiques has been a popular asset class for millennia. Many items, both collectible and memorabilia, may have important historical value and may be of interest to other people in a locale, region or nation. Collectibles can be an investment or something that “holds” our memory.

Caught in a mud flow. Worth restoring?

So, given that an item may have tremendous emotional power, significant historical importance or a solid financial value… what is something worth? Consider these questions about the items for which you are the “curator.”
1. Can your treasured item be scheduled on an insurance claim in case of damage or loss? Is it insurable? (a painting, yes… vintage family photos, no?)
2. If the building were going up in smoke, would you be heartbroken about loosing which of your items?
3. If your item is damaged, will it be worth restoring? Would you restore it even if the financial value was less than the appraised value because it has emotional or historical value?
4. Is your item valuable to others you know (are you a caretaker)?
5. Are you aware that the financial valuation (appraisal) will be different in the case of insurance coverage, probate, donation, auction sale or gallery sale?
6. Will you get a different evaluation from a garage sale appraiser than from a professional specialist who knows or can research the history, provenance and specialized regional sales for the item? The professionalism and expertise of the appraiser can make a HUGE difference in your expectations from sales, from settling IRS issues, settling estate issues and settling insurance claims.

So, if I ask you what are you doing to protect your investment in collectibles and treasured family history items, would you have a blank look on your face? The above questions bring up a number of risk management questions that should be extremely important to you!

Let’s talk specifically about paintings

For many centuries, maybe millennia, paintings have served as the best representation that demonstrates the quality, prestige, style, and class of their owners and patrons. Why else do you think notable hotelier, Steve Wynn, shares his magnificent collections with his guests? It doesn’t take many of these valuable paintings to be worth even more than a resort or casino! By proxy, these works of art allow the owner to share in the famous reputation of the artist and connect with the works’ cultural ties. Keeping track of all this history, value, importance, and prestige is called the “provenance.” If you collect valuable art, you know you must keep the documentation that establishes this history and background of the artwork safe (see hurricane story below). Even if your artwork isn’t an important work by Picasso, you still are interested in whose hands your artwork has passed throughout the ages. Its easy to see why so many people value these works of art and have an emotional and deeply rooted historical connection to them.

With no other class of collectible does it happen that the value of the artwork on the walls exceeds the value of the building. Some of my clients refer to paintings as “moveable real estate.”

A True Story Illustrates My Point. . .
I recently removed two murals (paintings from the 1930’s on canvas glued to walls) from a public building in Idaho that was about to undergo asbestos/ lead paint abatement and updating the building to code. The two 9’ paintings were valued at $1.4 million each! Combined, they were more than the building and took the general contractor’s breath away at the thought of damaging them during his work.

But, as I have mentioned, value is not always expressed in financial terms. I had in my lab a portrait of the “who-knows-how-many-greats-ago” grandmother pioneer of the owner. During the United States’ sesquicentennial celebrations, the original pioneer portrait was loaned out for a pioneer display. During the day, it fell off of its pioneer tripod and onto a pioneer bedpost. Disaster! Did anybody argue about the $3,000.00 price tag to make the damage go away? No, because even though the actual financial value ranged in the $350.00 range (and now that it was damaged, it was less), there was high historical value. And what are you going to do, leave great grandma with a hole in her head? For another interesting story (with videos) of the value of an heirloom, click here: “Heirlooms may be treasured but are they worth protecting?”

That reminds me of another similar sad story: A woman called me one day quite upset, but wouldn’t talk about the damage to her family portraits until I went to her office in the San Francisco Bay Area. She had broken up with her boyfriend, and in a fit of rage he had taken a knife and viciously attacked her three family portraits in her office, shredding them to pieces (could this happen from a disgruntled employee?!). By the way, we made them look perfect again—but what a disaster!

In other words, for many, having paintings is not just a way to decorate the office. Whatever type of artwork you have in your office, its important to assess your needs and understanding the disaster preparation tasks for these types of items: It should be a major part of your emergency preparedness plan if you have paintings.

Where do you keep the records of your collection?

A Florida client of one of my associates is a major corporate collector. They had an insurance policy, but when a hurricane ripped off the roof and planted a 150-foot yacht on the front lawn, many of his paintings were blown away, never to be seen again. Those that remained were soaked with sea water and in truly bad shape.

When he made his claim for his fine art losses, he was asked to prove the quality of the art and provide documentation to prove the condition of each work of art being claimed previous to the hurricane. These are two important points that can make a huge difference in the value. Unfortunately, his supporting documentation was also destroyed in the storm. A battle ensued with the insurance company that was never resolved satisfactorily for the corporation. This entanglement could have been avoided even though the damage by the hurricane could not have, perhaps.

Paintings, more than any other art form, convey to your clients, public, and competitors an image of status and quality of your business or company. Your art collection tells others you are educated and knowledgeable, and if you collect the right kind of art it will represent that you are at the “top of the food chain” in affluence and savoir faire. It’s been this way for thousands of years.

No matter the value of the artwork, be it Old Master or contemporary, an oil or on paper behind glass, you can see how these items make up the image and contribute forcefully to the company culture. Don’t take lightly the importance of protecting, preserving and the risk management of these collectibles and memorabilia.

Take an Inventory
There are lots of reasons to have art besides just owning a financial asset. Here is an assessment checklist to help jog your memory about what you have. Check off what you think you have, and keep in mind there may be some overlap.
* Oil paintings
* Acrylic paintings, Ancestors’ portraits, Inherited heirlooms, Family portraits
* Founders’ portraits
* Portraits of company officials, high mucky-mucks
* Purely decorative artwork (little or no financial value)
* Art collected for the love of art, indifferent of value or status
* Investment-quality paintings
* Artwork that represents accomplishments, projects
* Gifts from clients, dignitaries, sponsors
* Artwork that represents your company’s soul, like philanthropic work, causes you sponsor, important travel experiences
* Your children’s art or paintings done by other family members
* Souvenirs, items bought while traveling
*Other people’s property (artwork) in your care—your responsibility *Inherited assets from mergers or settlements

This quick video shows some family portraits we’ve had in the lab lately. Click on this link.

Also to be considered important to protect and preserve, following list of items you may need in case of an insurance claim (and therefore in an effort to protect your financial holdings). You will want to consider the following documentation for each and every work of art:
• A high-quality photograph to document the quality
• Receipts for acquisition and expenses
• A report narrating the condition, previous restorations, etc.
• An appraisal. For an accurate financial assessment of some of these items, it makes sense to contact a reputable art appraiser. For more information contact http://www.faclappraisals.com, Mr. Richard Holgate, International Society of Appraisers, (805) 895-5121, jrholgate@ yahoo.com.
• A copy of the type of insurance coverage
• Specific historical papers, documentation of exhibitions, copies of publications about the artwork
• Remember to keep a copy of all this documentation in a second location, preferably outside your area.

Scott M. Haskins is a professional painting conservator. Questions? Call 805 564 3438 or faclartdoc@gmail.com

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What does it mean that this article is “ syndicated”?

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: www.NewsReleaseWire.com/238939

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 In Lab, Painting on canvas, Professional activities | Tagged | Comments Off on Restore Heirloom Paintings? Treasured but worth it? Orange County, CA