New “Twists” on Authenticating Artwork

Identifying Art Fakes and Challenging Art Forgers with High Tech

Scott M. Haskins inspecting a 300 year old painting for previous restorations.

As an art conservator, I am asked once a week (or more) to technically examine artwork in the hopes of “authenticating” it. Most of these requests come from people that have already been through a lot of discussions with art experts or institutions that they consider were not “helpful.” In fact, most people hit a lot of dead ends from people not taking them seriously. This article will explain some of that dilemma. I mean if your life, as a mild mannered scholar, were threatened would you be available to the public?

Separating originals from fakes has become a risky business but new tools help spot the cheats. But first, lets discuss the questions you should ask. Assuming you are reading this article because you have questions about the process, the first step is to get a clear picture of the nefarious world of art authentication and fakes. Second, is to clarify, what you actually want to achieve from the process. Let’s illustrate the problem with getting your ideas clear about what you want.

Knoedler, New York’s most notorious art gallery, K’O’d

“Is it authentic?” isn’t really the right question to ask. Here are a few more exact questions you may want to asking instead.. Is the artwork from the period it should be? Is the signature added or original. Was the signature added after the artwork was dry or mixed into the paint? Is the writing on the back original? Are the labels original or added (I have seen many fake labels… or taken off of other paintings)? Are there restorations? How many previous restorations? When was the last restoration? There are so many unethical restorers and art dealers “out there” working together that it could be said that the majority (not all) are dishonest. What was the reputation of the dealer(s) that handled your artwork? Is it worth the effort and expense to pay for research and analysis to authenticate?

This is a BBC TV program on finding lost treasures through authentication, going now for several seasons and a great success. Note the portrait of the woman on the floor. This painting was in our lab for cleaning and research. See the link to the short video of the interesting story and the very peculiar way it was authenticated later in this article.

What does it cost? You may pay a couple of hundred $ just to quickly have an expert look at it an offer some guidance. And in this episode of Fake or a Fortune, they gallery owner spend over $30,000.00 of the process: https://www.bbc.co.uk/programmes/b01n62dw  There are lots of variables, options, processes, types of analysis… and analysis or technical evaluation is not the end all for many experts.

The research of the art and its history is a very exciting part of the process of authentication. Here’s a quick interview with a world famous harpsichord maker and restorer who also collects paintings: https://www.youtube.com/watch?v=7ltm5sJTChc

The world art market is flooded with fakes and forgeries. There are a lot of emotions and money wrapped up in this world, as you can imagine. Art experts have faced legal action and even death threats for refusing to authenticate works as original.

Years of trying to figure out a good way to get the job done, often under extreme mounting pressure, experts are responding by establishing an organization to give them confidence to express opinions without fear of retaliation.

The ICRA (International Catalogue Raisonné Association) is a not-for-profit group that will support the production of definitive inventories of an artist’s accepted artworks. At the Royal Academy of Arts in London it was organized last June 2019,with the aim of helping to limit the flow of fakes, partly by giving authenticators access to discounted specialist legal advice.

Says ICRA founder Pierre Valentin, head of the art and cultural property practice at law firm Constantine Cannon in London “At a time when authenticity committees are closing down, and experts are being threatened and becoming concerned about expressing an opinion for fear of retaliation, it is really important that scholars and experts have a place where they can feel free to talk, discuss and share.”.

The Andy Warhol Foundation disbanded its authentication board after a 2007 lawsuit over its refusal to authenticate a silkscreen print. The foundation does not deny reports its legal costs ran to millions of dollars, and says the experience prompted its decision to close the board and spend its money on “artists, not lawyers”. A silkscreen print that the Andy Warhol Foundation refused to authenticate The estates of several other 20th-century American artists, including Jackson Pollock, Jean-Michel Basquiat, Keith Haring and Roy Lichtenstein, have also closed their authentication services, to avoid the legal tugs-of-war involved in being both arbiters of authenticity and owners of works — where, for example, decisions might affect the value of works they themselves hold. “It is becoming increasingly obvious that liability claims are regularly brought against the experts or connoisseurs,” says Marc Restellini, a Paris-based art historian whose catalogue raisonné of early-20th-century master Amedeo Modigliani will be published next year. “The fact that they have become a threat and a weapon to try to intimidate them is obvious and unacceptable.” Some art experts report even worse forms of intimidation. “I’ve had my life threatened because I didn’t do what somebody wanted,” says Richard Polsky, a California-based authenticator who specializes in valuable American artists whose estates have stopped their authentication services.

As an example of the difficulties involved in authentication. Former forger Ken Perenyi says at least 2,000 of his forgeries of sporting and marine pictures by 18th- and 19th-century British and American artists are “certainly out there”. His advice is “caveat emptor.” This flippant advice should guarantee him 30 years in prison, in my oinion.

In New York, the well know, even famous IFAR (International Foundation for Art Research) has offered an art authentication research service since 1969. One fake Jackson Pollock came with letters and photographs purporting to show the painting had been hidden for 50 years in Fidel Castro’s Cuba. IFAR concluded the evidence was part of an “outrageous” scam. In a research paper, Lisa Duffy-Zeballos, IFAR art research director, noted that “the painting’s style had no relation to authentic works by Pollock”. Crucially, IFAR established that accompanying photographs had been doctored. Two showed Pollock, “or someone who looked like him”, in a loft-style studio, with the IFAR painting on display. In the background in one photo was another painting that strongly resembled works by another American painter, Franz Kline. Research revealed that the photograph had been digitally altered from a 1954 Life magazine photo of Kline. Sharon Flescher, IFAR’s executive director, says the organization was asked to authenticate Pollocks by the Pollock-Krasner Foundation after it was sued three times, albeit unsuccessfully.

Michael Daley, director of ArtWatch UK, an art conservation campaign group, “There is an acute problem developing, in that fewer and fewer scholars seem to be trained in the vital skill of what might be termed ‘forensic looking’,” he warns. He adds that, in any case, national museum curators are increasingly forbidden to pronounce on artworks. “Their lawyers are telling them not to risk it.” Fewer and fewer scholars seem to be trained in the vital skill of what might be termed ‘forensic looking’ Michael Daley, director of ArtWatch UK Polsky, the California-based authenticator, says he has come to realize how pervasive forgeries and scams are in the art market. “The reason I work with Lichtenstein, Warhol, Basquiat, Haring and Pollock is because they have the most problems with fakes,” he says. “And collectors have nowhere to go since all of their authentication boards went out of business back in 2012. “When you have a business that is unregulated — this is the key to the whole thing — people make up the rules as they go along. It is like someone waking up in the morning and says, ‘Hey, I just read a book on medicine: let’s open an office and become a physician’.”

Art authentication is not an exact science, but scientific methods are becoming so advanced “that it becomes more and more difficult to produce forgeries”.

In 2016, Sotheby’s acquired Orion Analytical, a conservation science lab, becoming the first auctioneer to have an in-house service. It followed the discovery that in 2011 it had sold a fake Frans Hals, the Dutch master, for £8.5m. Pigment tests showed it could not have been painted in the 17th century. Sotheby’s refunded the buyer. “With the technology available to the forensic laboratories today, the chances of a fake standing up to the challenge of such analysis is almost zero,” says former forger Perenyi, who operated in the 1980s and 1990s. But he adds: “Anyone who thinks such obstacles will rid the market of fake paintings will be in for a disappointment. Art forgers are always thinking a few steps ahead.

A fake Edgar Payne “embellished” with an $8,000.00 hand carved, water gilt frame to “sell the sizzle.”

Would all this hoopla occur when someone asks me if I will authenticate a painting by their (only locally known) grandmother? I actually had this request?!?! No, of course I doubt my life would be threatened. How about for inspecting a signature of an Edgar Payne to see if its authentic? Although I’ve done this dozens of times, not yet. What kind of fooey would hit the fan when I discover 4 fake signatures on a $35 painting from a thrift store? Probably no much fall out.

There are many aspects, turns and types of authentication of art and antiques. Asking the correct questions is the place to begin. Start with the least expensive methods of analysis and look for “red flags.” If you find titanium white on your priceless Russian Renaissance Icon after $300 of analytical work, you are done.

Recommended fun on this subject: On Netflix see Fakes or a Fortune.

For more info call Art Conservators

Scott M. Haskins, Virginia Panizzon

 805 564 3438  faclofficemanager@gmail.com

 

Fine Art Conservation Laboratories, Scott M. Haskins, Art Authentication, Art Conservation, Art Restoration, painting conservation, painting restoration, Virginia Panizzon

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Smoke Damaged Collectible Restoration Cave Fire Santa Barbara

While some structures will be directly affected by the heat and flames, many more are affected by the smoke and ask. If you have smoke damaged contents, do you want the same company who cleans your drapes and sofa to take a mop to your heirlooms, art collection and antiques? Check out this short educational video in this article.

You need help settling the claim for smoke damaged art, antiques and collectibles restoration after a house fire or wildfires. We have done evaluations and written proposals for disaster response companies and insurance claim adjusters for many hundreds of homeowners just during the last couple of years. 

The video below shows an example of an heirloom painting that was declared a complete loss and a complicated collectible, near and dear to the family, that would have perpetuated health issues.

3 Valuable Tips

Expert, professional help to take care of smoke damaged paintings, art and antiques will save you tons of $ and distress. Take the coaching to heart and plan ahead to avoid bigger problems.

1st Story (Take note if you live in a condo or have art located in a business)

After the fire, a new roof on the old building was required. This obviously affected everyone under the roof. Even though the artwork in question next door to the fire was not damaged in the fire, the clean up and repairs were going to impact the art gallery. As the landlord and roofing company planned the work, it was clear they had no idea about protecting artwork or the value… and therefore the potential liability. (1st tip) It was the responsibility of the lessee to inform them of the precautions that needed to be taken!! In this case, the gallery owner had an art conservator that he knew and he related the detailed instructions and precautions to the roofing company… who ignored him. The response was, “This isn’t our first rodeo, we’ve done this before and know what we are doing.” Fortunately, the gallery owner did not back down and read the “riot act” to him, let him know he was going to be liable and related the dialog to the landlord.  This up front dialog with all concerned (and a threatened law suit up front), saved the gallery owner the cost of a massive clean up when the roofing project “didn’t go the way the roofing company thought” which was a $25K bill plus reimbursement for downtime. (2nd tip) A specialized professional in the gallery owner’s pocket gave him credibility.

2nd Story 

Just this morning, as I was writing this article, I got a phone call from a gallery in New York (I’m in CA). The fire next door to him smoked his inventory badly. He got lucky and was being assisted by the disaster response company, ServPro who had declined to handle and clean the artwork admitting that the liability was too high and that artwork is not within their training. Interestingly, when a company says this to a client, it inspires the client to believe that the contractor tells him the truth and can be trusted! (Tips #3) The gallery owner was doing exactly the right thing by searching out a professional art conservator with disaster response experience. The art conservator that he knew didn’t know anything about disaster response (handling lots of objects (possibly damaged) all at once which includes packing, safe handling, safe storage practices and may include handling items exposed to toxic materials). In our phone conversation I referred him to the website for the American Institute for Conservation of Historic and Artistic Works (AIC) which has a referral program for someone closest to him. 

We hope this article has given you the confidence to call our office to ask you questions and get some expert coaching.

Call 805 564 3438 or faclofficemanager@gmail.com

Scott M. Haskins, Oriana Montemurro, Virginia Panizzon Art Conservators

Andrew Jacobs, Disaster Response Service Coordinator

 

 

#CaveFire #SantaBarbaraWildfire  #SmokeDamagedCollectibles  #SmokeDamagedAntiques #SmokeDamagedArt #DeathStar #ArtRestoration #ArtConservation #PaintingRestoration #PaintingConservation #DisasterResponse #EmergencyResponse #Collectibles #memorabilia #CollectibleRestoration #HeirloomRestoration #Heirlooms #MemorabiliaRestoration #ScottMHaskins  #FineArtConservationLaboratories #SmokeDamagedContents #SaveYourStuff #ServiceMaster #ServPro #Belfore #AIGFineArtClaim #ChubbFineArtClaim #FarmersFineArtClaim #StateFarmFineArtClaim #

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Recent Visits To Mural Restoration and Preservation Projects

Join Art Conservator, Scott M. Haskins as he visits several special mural conservation consultation public art projects that he worked on over the last few weeks. 

Here are some other walk through visits of interesting artsy historical preservation and restoration projects: https://www.fineartconservationlab.com/mural-restoration-consultation-services-historic-preservation-fine-art-expertise-art-conservation/

And, I’d bet good money that you would like to be walking beside me as look over these super interesting behind the scene’s examples of historic preservation mural restoration projects. “Getting the Right Info for Mural Restoration Projects – The importance of quality expert consultation” https://www.youtube.com/watch?v=WvqtryJLR28

Questions? Call Scott M. Haskins, Virginia Panizzon, Oriana Montemurro Art Conservators 805 564 3438 faclofficemanager@gmail.com

Our website home page is at https://www.FineArtConservationLab.com

#SavingBanksy #MuralRestoration #MuralConservation #GraffitRemovalFromAMural #PublicArtMaintenance #ExpertWitness #ArtRestoration #ScottMHaskins

If you would like to know more about our background in mural restoration:

For our mural capability statement:

https://www.fineartconservationlab.com/mural/ 

For our mural consultation statement:

https://www.fineartconservationlab.com/consultations/ 

Our mural conservation videos on YouTube at

https://www.youtube.com/playlist?list=PLE1FF71CC598A8E79 

For general mural conservation capabilities videos:

So, that should give you plenty to go through. Feel free to call me or write back if you have more questions:

Scott M. Haskins   faclartdoc@gmail.com

 805 570 4140 mobile   805 564 3438 office 

Mural Conservation Restoration Projects

Art Restoration and Conservation Consultation Services

https://www.collectioncaretips.com

https://www.youtube.com/user/bestartdoc?feature=mhee

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The Great California ShakeOut Risk Management for Business Art Collections

 

5 Tips to Protect and Save

Art, Antiques, Collectibles and Memorabilia

from

Fine Art Conservation Laboratories

Does your office have paintings hanging on the wall? Or maybe sports memorabilia near your desk? They could be in danger of being damaged in the next earthquake… or even worse, they could come flying off the wall and hit someone!

Important risk management note: BTW, if you implement measures to protect furnishings, collectibles, artwork from damage in an earthquake, your insurance company MAY decrease your insurance premium. Inquire, of course, with your insurer.

If you live in an earthquake zone, chances are you have experienced at least a tremor or a small earthquake. When it turns into a serious shaker, you will be in danger if the pieces around the office are not completely secured on the wall.  If you have your paintings or sports memorabilia held onto the wall with just a nail it will not suffice in a bigger earthquake… like the one “they” are practicing for in The Great California Shake Out this week on Oct. 17th. 

The painting in this interesting 57 second educational video for collectors, for example, fell off the wall when the house began to shake in Santa Barbara (the screw holding the wire pulled out of the frame). Besides putting huge holes in the painting and causing original paint loss (and frame damage) it completely shattered the heads of the Chinese statues worth $10,000’s.

While this accident caused $50,000.00 of damage and loss of value (insurance covered it), a cherished irreplaceable heirloom would have been a heart breaker… BUT TOTALLY AVOIDABLE!!!

Here is an earthquake fact: Notice in the photos of the earthquake damage that you see on the news and/or the Internet that not all homes, building etc are completely destroyed. Yes, there is an epicenter that gets hit hard. But not even all the buildings in the critical area get hit hard… and there are millions of people in the surrounding areas that are “just” rattled. Not only could something flying around the room be dangerous, losing treasure family/personal items and be heartbreaking. IT ALWAYS PAYS TO PREPARE in order to:

  1. Keep things from flying around in the air during the earthquake for personal safety
  2. Protect important historical items
  3. Save financially valuable items
  4. Protect and save emotionally valuable items
  5. Know ahead of time what will impact your home of business if you lose it.

If you take these easy steps, you can worry about your safety during a disaster instead of grandma’s favorite floral vase.

Surprisingly, an easy, fast, do-it-yourself anchoring technique can save you in all of these five needs of being protected mentioned above… in all of these problem areas… this will help you BIG TIME! Here’s 1:30 sec quick fun interesting video: CLICK HERE FOR VIDEO

 

Do you have art collection care questions? Call Scott Haskins 805 564 3438

Art and antiques appraisal questions? Call Richard Holgate at 805 895 5121

Follow us on Facebook at Scott M. Haskins and at Save Your Stuff

Here is a real life testimonial…

Scott,

Thanks for writing such a good article on the Italian earthquake. I was glad to read it and send it on to friends—some of them in Italy!

We do take many of the precautions you mentioned in your article and book including having earthquake insurance in Indiana. The New Madrid fault rumbles here every once in a while and after living in CA we would never take a chance. Just last year we had a small quake that rattled all my antiques and would have broken quite a few items in a pottery collection.  But we bought some Museum Wax when we visited my sister in San Diego in December. David had installed Plexiglas in the front of the open case. Plus we have wires on many bookshelves. Thanks for your tips and coaching. It pays to be prepared! All my best, Lynda

http://www.youtube.com/watch?v=kxOkdN-IR_o
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Restoring Street Murals Back to Life Interview by Julie Rose on BYURadio Top of Mind

Top of Mind
by Julie Rose
BYURadio
National Internet Radio

Interviewer, Julie Rose at BYURadio

Interview: Restoring Street Murals Back to Life
Guest: Scott Haskins, Director and Chief Conservator,
Fine Art Conservation Laboratories

Colorful street art seems to have taken on new life thanks to Instagram. Tourists will make a special pilgrimage to an out-of-the-way spot just to get that perfect photo in front of an artsy mural. Scott Haskins is the guy cities call when graffiti, pollution or weather damage an iconic street mural. Recently his team has been restoring famous art along Los Angeles free ways that have all but disappeared beneath graffiti.

Julie Rose is a seasoned broadcast journalist and interviewer. Over the course of her broadcast career in both Utah and North Carolina, Rose produced spots and feature news stories for NPR’s Morning Edition and All Things Considered. Leading up to her time at BYU Radio, she worked as a regional reporter for political, social and economic stories in North and South Carolina at WFAE Public Radio, Charlotte. She’s a recipient of two National Edward R. Murrow Awards for Radio Writing and also the winner of multiple regional Edward R. Murrow Awards for continuing coverage, hard news reporting, writing, use of sound, features and other categories. Rose originally received her BA from BYU in Communications.

Julie Rose interviews Scott M. Haskins – Audio Only – (the program says, “Hong Kong, Carnival Safety, Vaccine Hesitancy” but click on the play button and it will be the correct program)
(20 minutes)
http://www.byuradio.org/episode/2e3f0088-e9d7-4fc2-9231-db1d63e33373/top-of-mind-with-julie-rose-hong-kong-carnival-safety-vaccinators?playhead=3042&autoplay=true_U

Interview as voice over slide show video (20 minutes)

Scott M. Haskins graduated in 1978 from the Italian government (Lombardy Region – ENAIP) 3 year master’s degree level painting conservation program run in conjunction with the Istituto Centrale del Restauro (ICR) in Rome.

Between 1978 and 1984 Mr. Haskins established the painting conservation laboratory at Brigham Young University, in Utah, which also served the historical collection of the Church of Jesus Christ of Latter-day Saints. During the time period, other institutions served were the International Museum of Pioneers – Daughters of Utah Pioneers, Son’s of Utah Pioneers, The Springville Art Museum and many private collectors.

In 1984, Mr. Haskins began private practice in Santa Barbara, CA where he provides painting conservation services over a wide geographical region. He is recognized and well known nationwide and internationally for his art conservation work on murals. He also consults on damaged art issues as an expert witness for the courts and for insurance companies, nationwide.

He is the author of the best selling book, How To Save Your Stuff From A Disaster, a home collection care manual for collectibles, memorabilia and family history. His new book, Save Your Stuff in the Workplace addresses similar issues in the corporate and government office environment as it relates to business continuity and HR outreach. He is also the author of several blogs.

Contact

Scott M. Haskins, Virginia Panizzon  Art Conservators

faclofficemanager@gmail.com

805 564 3438

For a news article featuring Scott M. Haskins,

Click here:

https://www.fineartconservationlab.com/media-room/art-restorerconservator-scott-m-haskins-featured-in-life-section-of-newspaper/

Past clients and work in Utah
https://www.fineartconservationlab.com/salt-lake-city-painting-restoration-art-restoration-art-conservation-painting-conservation-repair-art-slc-utah/

What People Are Saying About FACL’s Services
(see video testimonials at end of list)

“I am working primarily on mural projects these days. You are truly an inspiration in our field! Thanks Scott for your videos! (YouTube.com “bestartdoc”) Deborah Uhl, Mural Conservator, Colorado

“The monies spent for your (art conservation assessment) services are the best money we ever spent.” Wendy Adair, VP of University Achievement, Texas Southern University, TSU), Houston, Texas http://www.tsumurals.com

“Scott, you may be the best conservator I know in the country. I have enjoyed working with you more than I can express.” Perry Huston, Past AIC President, Dallas, Texas http://www.fairparkmurals.com and http://www.youtube.com/watch?v=ACRmeSkgCaA

“This was a very politically charged project in the City of San Francisco for over 10 years. We needed someone beyond reproach that we could count on to “knock the ball out of the park.” That’s why we chose Scott Haskins and FACL. Mr. Al Albano, Consultant, Piazzoni Mural Project, Asian Art Museum, San Francisco.

“Dear Scott & FACL, Inc. Staff, YOU ARE ALL THE BEST!!!! The painting looked GREAT and I’m happy. I look forward to working more with you! My very best,” Dennis Marchesi, Marchesi & Co., Las Vegas, NV

“Scott, you provided the exact services we needed and did a wonderful job. We look forward to a good working relationship with FACL into the future.” Brent G. Thompson, Preservation Director History Department, Church of Jesus Christ of Latter-day Saints, SLC, UT. http://www.mormonartconservation.org

“Thank you for the excellent service and over the top quality workmanship for the conservation of our damaged items. I appreciate your timely response and I am 100% pleased with the results and services provided by FACL.” Insurance claim by Lucinda Bliss, Insured with Chartis Insurance Co.(aka AIG)

“We would have been in big trouble and you made our navigation through the City (Dallas) and with the project’s architects streamlined and professional. Your quality services and reputation were cemented in our minds when we heard the inspector say they didn’t need to inspect your work for final quality – un heard of in our industry!” Tim Storms , Roberts-Obrien Construction, General Contractor, Dallas, TX http://www.fairparkmurals.com

“Scott enabled our settlement to be acceptable to both the Dept. of Labor and the artist, Kent Twitchell. His expertise and professionalism proved invaluable.” Steven Schwartz, attorney for Dept. of Labor, Public art suit. Los Angeles, CA http://usip.com/pdf/Recent_Articles/Intellectual-Property-Today.pdf

“Scott, you (FACL) met my expectations, which was a perfect job. My absolute confidence in your work was absolutely confirmed. Thanks so much.” Jay Friedman, Santa Barbara, CA

“I am speechless! Its magic the work that you perform. You took my much abused painting and brought her back to the original glory. The cracks are gone, the missing pieces are invisible, the inpainting is perfect, the varnish exactly right. You’re the best!” Kurt Meisenbach, Los Angeles, CA

“Scott and FACL, Inc. team: We, at MCLA are extremely grateful about the restoration of Jim Morphesis Monument! I am happy beyond words. You have done an amazing job! Thank you!” Isabel Rojas-Williams, Executive Director, Mural Conservancy of Los Angeles (MCLA) http://www.savefreewaymurals.com

Scott, I am blown away by the expertise and abilities of your lab! We searched very carefully for just the right person whose reputation was professionally excellent before we decided on your services. But, we could have never hoped for such an amazing and wonderful outcome on our previously abused Grandville Redmond poppy painting. I could go on and on… Thank you SO MUCH for this wonderful gift!
Marla Roberts, Oakland, CA

Video testimonials on YouTube
“Bestartdoc” channel

Fred Page, Appraiser, Insurance Claims Expert http://www.youtube.com/watch?v=fXXlDB0M9qw
Charles Bonner, Attorney, San Francisco http://www.youtube.com/watch?v=oWZSBzZ-a2Y
George Stern, Art Dealer, West Hollywood, CA http://www.youtube.com/watch?v=sdgnATVV1Lc
Katherine Francis, Framer, Venice Beach, CA http://www.youtube.com/watch?v=tRWwqsApgf0
Greg Colley, Collector, Art Dealer in Glendale, CA: http://www.youtube.com/watch?v=BEjiO_EIhwk
Jerry Solomon, Framer in Los Angeles, CA: http://www.youtube.com/watch?v=L37YUcskJk4

Posted in Consultations, FACL in the media, Murals, Professional activities | Tagged | Comments Off on Restoring Street Murals Back to Life Interview by Julie Rose on BYURadio Top of Mind

Can The Restoration of Contemporary Public Art Murals Ethically Include Repainting?

Is the repainting of a contemporary mural

in the name of restoration ever acceptable?” 

The case of the Blue Moon Trilogy

The International Institute for Conservation (London, England) asked Scott M. Haskins, professional art conservator, to address this question in a thought provoking article in the August 2019 News in Conservation. Here is the article link… considered widely as “a good read,” if public art conservation issues are of interest: https://www.iiconservation.org/system/files/publications/journal/2019/b2019_4.pdf

Here is an image of the #BlueMoonTrilogy mural after restoration 

 

Another practical example of the IIC article is with a recent mural restoration project that involved repainting by the original artist in the historic town of Woodland, CA. Scott M. Haskins, mural conservator, was asked to consult and help apply a final varnish. How does the restoration work done on Gazing into Infinity differ from that of Blue Moon Trilogy?

Gazing into Infinity After Restoration 2019

By Larry Le Brane, Guest Blogger

🌻🐝🌻🐝 Fans, check out Colleen Gnos‘ current exhibit of sea-life gems. LOVE that 7’ tall #honeybee. Very cool final result, Colleen! You & your art conservation Pal, Scott M. Haskins must be happy to finish your 2012 mural “Gazing Into Infinity’s” enhancements. Wow, Colleen! Jim Smith of the Woodland Daily Democrat wrote a great story about the enhancement you’ve just finished for your 2012 #mural “Gazing Into Infinity,” with Scott M. Haskins offering an expert hand with art conservation help!  🌻🐝🌻🐝 Nice description here… Gnos said her paintings tend to be narrative, especially her murals. “‘Gazing Into Infinity’ shows the story of a hardworking man connected to his farm. That industrious lifestyle reflects families who live and farm in Woodland, Dixon, and other California regions, working their own land,” she stated. Big Thanks to Jim Smith & Grow West for sharing this artful story… .  The 3D bee is sooooo cool looking. As well as the bright coloring. And the picture frame bings it all together. NICE JOB.👏👏👏 

7′ Bee on Huge Sunflower

And for your CA Friends & Family, here’s today’s 6:30am Good Day Sacramento TV interview with Ashley Williams getting final Colleen Gnos Art mural updates — a big deal if you live in Woodland, Winters, Dixon & surrounding areas. Enjoy! 🐝🎨🐝 https://gooddaysacramento.cbslocal.com/…/4131690…/…  🐝🎨🐝 Terrific to see Colleen Gnos & acclaimed art conservationist, Scott M. Haskins talking about what they’re doing in Woodland, CA’s high temps today, with final touches on mural enhancements to 2012’s ‘Gazing Into Infinity!’ BIG THANKS to Jim Smith of The Woodland Daily Democrat for the interview! 🐝🎨

Wouldn’t it be cool to have Colleen making #murals up in the air in San Luis Obispo County? Thanks for supporting all our muralists & public art, 

Team Larry 😎

Colleen Testimonial for Scott

https://www.linkedin.com/feed/update/urn:li:activity:6561047332895490048/

Contemporary Mural Restoration

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Orange County Art Conservation Pick Ups and Deliveries Interesting Art Stuff

Pratically, every week or so, I wind my way past downtown LA to Orange County where our lab enjoys a wide variety of professional art conservation activities. I started out my schedule today in South Laguna Beach at The Redfern Gallery where I delivered two completed art restoration projects and picked up a Swiss Alpine scene by Edgar Payne, done about 1920 that hasn’t seen the light of day for about 75 years. Click here for an interesting time-lapse video cleaning of a very similar Edgar Payne. Also, while at Redfern’s, unframing and examining a sweet portrait of a young girl gave us a couple of surprises… see the short video below:

Then, I made my way through the heavily infested area of downtown Laguna Beach where hordes of tourists on foot bring never ending automobile traffic to a standstill. I finally made it up the coast through to the next beach towns of Corona Del Mar, Costa Mesa and Newport Beach where I picked up a respectable pizza to go at Settebello Pizzeria Napoletana (una quattro stagione) while on my way to meet a private collector in Huntington Beach.

That was a fun visit! A house full of Pop Art and I picked up the famous image of Liz Taylor by Andy Warhol. We’re going to take care of a blemish on the red background and make sure its framed archivally.

An offset print on paper of Liz Taylor by Andy Warhol 1965

The next stop was a delivery of completed work to the home of a grateful private collector by LAX and then on to West Hollywood where I picked up a very nice large desert scene by renown early California artist Conrad Buff (1886-1975) that needs cleaning coming from George Stern Fine Arts. We are the art conservators of the Conrad Buff Estate of art and in the past we’ve worked on 100s of his paintings… and we own a couple in our personal collection. We also have a very large painting in the lab of desert mountains brought in by the artist’s family.

After about 12 hours, I completed my tour of consulting, picking up and delivering and I was back at Fine Art Conservation Laboratories in the Santa Barbara Area where I dropped off the items that I had picked up. Today, I met interesting people and many friends, saw lots of great art, was entertained with good audio in traffic and made money. It was a good day and a standard operation of the business model of our lab.

Here is some contact info:

The Redfern Gallery: https://www.redferngallery.com Toll Free (888) 628-9278

George Stern Fine Arts: http://www.sternfinearts.com Phone: 310.276.2600

Art conservation questions? Call Virginia Panizzon, Oriana Montemurro, Scott m. Haskins 805 564 3438

 

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Santa Barbara Art Expert Restores Historic Mammoth Mural AIDS Painting Near Hollywood Bowl In Los Angeles

The challenges Scott M. Haskins, Head of Art Conservation, faced when he was asked to restore the graffiti-covered “Blue Moon Trilogy” mural across from the Hollywood Bowl in Los Angeles seemed overwhelming to outsiders. But that didn’t stop him from taking on the project in his role as director and painting conservator of Fine Art Conservation Laboratories in Goleta, Santa Barbara.

The company, founded by Mr. Haskins in 1986, specializes in conservation of easel paintings, murals, works of art on paper and period frames. Clients in the Santa Barbara area, throughout the country and the world seek his services. When asked why he set up his company in a small town like Santa Barbara he said, “Almost all of our work comes from the cement jungles of big cities, but we like living in Santa Barbara.”


The line up for work at the moment in the lab.

The renown painting conservation lab receives their routine lab work from Los Angeles, Orange County, the Inland Empire, Las Vegas, Salt Lake City, Carmel/Monterey. We routinely work on murals all over the country and we even have two mural consulting jobs in Italy at the moment.

For the mammoth mural in Hollywood, “Dimension and location were the two biggest problems. The 186-foot mural is located in the underpass used by semi trucks as the on-ramp for the 101 freeway,” he said. “The mural is from 15 feet to 30 feet high because the road slopes down, and since it’s right on the way for trucks entering the 101, we had to keep dodging semis as we worked from 9 to 5 Monday through Saturday for three weeks to finish the job.”

Mr. Haskins became involved with the “Blue Moon Trilogy” mural because FACL has a three-year contract with the Department of Cultural Affairs in Los Angeles for restoration of murals in the city.”There are about 100, and whenever they have a question or need advice, they call me,” he said during a phone interview while driving back from San Juan Capistrano.

Although many of his projects have fascinating back stories, Mr. Haskins was particularly interested in the “Blue Moon Trilogy,” which was painted by the late artist Russell Carlton for the AIDS Project of Los Angelesand dedicated on April 30, 1988.”The artist had hundreds of volunteers attend his ‘Love for Life’ fundraiser in 1987. This community interest and participation gives historical significance alone and merits recognition,” Mr. Haskins said.

“The three panels of the mural represent a journey of self-empowerment and health, which was a vital message to the community fighting a deadly disease. The first panel is called ‘Eve of Conception,’ the second, ‘Dawning of a New Age,’ and the third, ‘A Glorious Revelation. Russell conceived the ‘Blue Moon Trilogy’ design after struggling with the life-threatening illness as well as seeing so many of his friends suffer and die from AIDS. He passed away in 1988.”

Over the years, the mural became covered with graffiti and was extremely dirty because of the heavy truck traffic.But those weren’t the only problems. There were legal and bureaucratic issues, too, according to Mr. Haskins.”Since the mural is on a California highway, Caltrans is required by law to remove the graffiti within 10 days and if there is objectionable language, within two days, so some of the mural was covered with gray paint. We also found that the original paint was softer than the graffiti paint. Any solvent or technique we used to lift the graffiti would destroy the mural,” he said. “We needed to reconstruct the entire mural.”Before that could happen, he had to comply with a United States law granting certain rights to artists.”It’s called the Visual Artists Rights Act of 1990, VARA for short.

Under VARA, works of art that meet certain requirements afford their authors additional rights in the works, regardless of any subsequent physical ownership of the work itself, or regardless of who holds the copyright to the work. For instance, a painter may insist on proper attribution of his painting, and in some instances may sue the owner of the physical painting for destroying the painting even if the owner of the painting lawfully owned it,” explained Mr. Haskins. “Since the ‘Blue Moon’ artist had died, we had to get permission from his family.”

Mr. Carlton’s parents signed an artist’s rights agreement in 2017 and enthusiastically supported a restoration that rigorously respected the artist’s original composition, design and colors.

After Restoration Composite Blue Moon Trilogy by Russell Carlton 1987

“The paint we used is much more stable and harder than the original paint, which was badly faded, and the city of Los Angeles required us to apply a heavy-duty protective coating to facilitate future maintenance,” Mr. Haskins said.

Working with him to restore the 3,600-square-foot painting were Luisa Pari, Anna Frassine and Denver Dillon.”I’ve been working with Luisa for 40 years,” said Mr. Haskins, whose passion for art conservation began in 1975 while studying for a master’s degree at the Ente Nationale A.C.L.I. Istruzione Professionale in Botticino, Italy.

The 1000 year old abbey where I worked on my first mural

“The first week of my Master Degree Art Conservation training, I was on a scaffolding working on a mural dated 1365. It was located in a monastery that was built in 900. I was 23 years old and thought I was the luckiest guy in the world,” said Mr. Haskins in a News-Press profile written about him in 2012.

He was finishing up his bachelor of arts degree at Brigham Young University in Provo, Utah, when an art history professor suggested he consider art conservation as a career.”I had no idea what it was, but it turned out to be the application of two interests I had as a child — art and science. I have to use my knowledge of science to preserve and restore art,” said Mr. Haskins, who did eight months of post-graduate work in northern Italy after earning his master’s degree in 1978.

The same year, he was offered a faculty position at BYU to start a laboratory that would provide conservation services for the university’s art collection and the historical collection of the Church of Jesus Christ of Latter-day Saints, according to the profile.”Although it was an exciting job, I left BYU in 1984 to come to Santa Barbara when a group of private investors asked me to set up a conservation lab that would attract business nationwide,” said Mr. Haskins.

When one of the investors went bankrupt in 1986, that lab closed down. He established his private practice, FACL, Inc., that for 34 years was located by the McConnell’s ice cream factory. Recently moved to Old Town Goleta when the old factory was bulldozed the 6,000 sq ft lab is worth a visit! “Moveable artwork” is sent from all over the world when they are not working on regional and international projects.

Mr. Haskins worked as the team leader for conservators, technicians and specialists who moved ” Portrait of Mexico Today ” by David Alfaro Siqueiros from Los Angeles to the Santa Barbara Museum of Art in 2002. He also helped perform the conservation work once it was installed at its new site to the right of the museum entrance on State Street. For other high end media reports click here.

With the help of his staff and professional associates, FACL works on 400 to 500 projects — here and away — in a year.”If it’s a large project, I bring in professionals from other parts of the country, or even the world — Italy, Germany, France, etc.,” said Mr. Haskins, who, at the age of 66, has no intention of retiring.”Retirement? I don’t know the meaning of the word,” he said with a laugh.

For more information about Fine Art Conservation Laboratories, call 564-3438 or visit www.fineartconservationlab.com

SB News Press Writer of the Lifestyle Section, Marilyn McMahon

Marilyn McMahon SB News Press Writer of the Lifestyle Section

Email Marilyn McMahon:   mmcmahon@newspress.com

Email Scott M. Haskins: faclartdoc@gmail.com

 

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Treasured Collectibles in a Pile of Stuff… Las Vegas, Art Restoration Testimonial

Busted up Early American Art Busted up Early American Art

I couldn’t believe the valuable collectibles I found in a pile of stuff a couple of weeks ago! I was amazed!! Besides the unexpected treasures, I also found neglect and bad judgment of packers and shippers had damaged some really valuable works of art… obviously completely avoidable. All it takes to avoid this heartbreak is being careful and doing “it” right… something to watch out for if you are hiring, moving, storing collectibles etc. Check out the short art restoration testimonial from Las Vegas collector at the end if you are thinking you need help with something.

So, when I saw this, I just shook my head in disbelief. I was amazed and jazzed to paw through the pile…

18 photos of the Woodstock Music Festival in 1969 that the photographer, Barry Wolman shot from on stage!! It was so cool to happen upon the photos of Santana on stage and a close up profile of Grace Slick! These were printed by the photographer, signed and authenticated by him.

All 18 photos look like they are in great condition… the thin frames have been banged around and need replacing. BUT Wow!! If you were young and alive back then, “what a trip, man.” Even if you weren’t, what a great piece of 1960s cultural history.  If you would like to give these items a good home, call me and I’ll put you directly in touch with the owner.

Besides the unexpected treasure there was damage to stuff everywhere. I mean, the other art items and collectibles were so banged up it was almost comical. How can anyone be so careless?!?! Stretchers bars broken and the painting mangled; what a way to treat a $15K post World War II Abstract Expressionist Painting.

There was also a $30K French Barbizon painting by one of the best sheep painters, Charles Ferdinand Ceramano… wow, incredible damage… all a result of poor handling, packing and shipping. Add to this the dumb idea of hiding the damaged item and throwing it in a storage unit that heats up in the Las Vegas sun!!

Talk to us about the care of your treasured family heirlooms!

We’ll come and see you at your location and discuss the options.

http://www.FineArtConservationLab.com  Art Conservators Oriana Montemurro, Virginia Panizzon, Scott M. Haskins 805 564 3438 faclofficemanager@gmail.com

#ArtRestoration #Artconservation #PaintingConservation #PaintingRestoration  #BarbizonArt  #ScottMHaskins  #Woodstock

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2 Super Interesting Preservation and Restoration Mural Projects Stopping Flaking Paint

I blogged in January about two murals that we worked on that had a special social message to tell. One is on the Army base in El Paso, Texas and the other is in Houston. The only thing that really connected them to me was their problem of flaking.

The worst flaking I’ve ever seen on a work of art.

In El Paso, Texas you can clearly see Juarez, Mexico on the other side of the freeway… besides the drama of the wall, Juarez’s reputation for lack of law and order are famous and its very interesting to imagine all that goes on over and around that border. Adding to that “vibe” we were feeling was the purpose of our work in El Paso; our mural on the Army Base, Fort Bliss, by World War II prisoner of war, Austrian Crpl Rudolph von Ripper in 1943 entitled “One Nation Indivisible With Liberty and Justice For All” an ideal to be held in the heart of every generation. His perspective was, in part, a product of his hate for the Nazis who had forced him into military service (and his gratitude to be a POW).

Interestingly, the cause of the flaking was magnified significantly by the fact that the mural, at some point about 50 years ago, had a wall built in front of it sealing it in, in order to preserve it against being painted out or…?

Then, un heated/un airconditioned the encasing of the mural resulted in extreme elevated microclimate swings in temperature and humidity when the building was not in use by the military.

The main problem with flaking on murals is that there is always many many more detachments than you can see, called in our industry “blind cleavage.” This mural required out of the box problem solving to preserve the WPA period paint.

The solution was a combination of things; the use of a combination of both low molecular weight and standard use solvent based conservation quality acrylic resins for penetrating consolidation, water based conservation quality acrylic gels in different consistencies, various types of very thin tissues, small brushes, spray equipment, hand irons for setting the flakes once we got the adhesives to penetrate… all these efforts from the hands and minds of 3 experienced art conservators and technicians. It was involved, but successful.

#RudolphVonRipper

A Very Moving Social Message

Persistent mold growth from Hurricane Harvey

This amazing public art, “The Contribution of Negro Women in American Life and Education”By John Biggers, painted in the South in 1953, addresses the several, then, unpopular themes of women’s rights, equality of rights for all races including access to public education, freedom of speech, land ownership. This mural is, of course, a heartfelt plea for African American women but was equally applicable for all women of all races.

More than just a decoration, this mural represents the community’s heritage, a legacy and teaching tool for future generations. It’s a memory trigger, to retell history and personal experiences. Its importance to the community in which it was places is huge, but it’s a visual anchor for the State of Texas and the entire nation. Indeed, this artwork is a National Treasure.

While the most apparent problem of preservation was the mold, the detachment of the adulterated oil paint from the “plaster” wall was very worrisome given the spongy consistency after the exposure to water.

Once again, like the mural in El Paso, the blind cleavage gave the art conservators reasons to go back over the surface of the mural again and again and again. The technique to setting the original paint layers was, with some variations, the same as Von Ripper’s mural. #JohnBiggers @BlueTriangleCommunityCenter

Question?

Scott M. Haskins, Oriana Montemurro, Virginia montemurro Art Conservators

805 564 3438

faclofficemanager@gmail.com

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