Early Utah Artist Masterpiece Painting Restored

Posted on June 2, 2019 by Scott M. Haskins

Usually visitors slid into and out of the Cache County Courthouse unaware that there was an incredibly valuable painting by renown early Utah artist Minerva Teichert hanging on the back wall. Or maybe they took note or were even alarmed by the blank wall in the rear of the County Council chambers after it was hauled away one morning and brought to Prince Gallery in North Logan where world-renowned art conservator Scott Haskins inspected the masterpiece, then picked it up and transported it carefully and personally to his art conservation laboratory in Californiato repair a 2-inch tear and much more.

“In my opinion from my research and who I’ve used over the years, this Scott Haskins from Santa Barbara is the best,” said Frank Prince, owner of Prince Gallery in Logan.

The painting is owned by Cache County School District. But it is undoubtedly safer on display in the County Council chambers especially when you consider that according to a 2014 appraisal, the 1935 masterpiece of Indians and Trappers, an oil painting by Minerva Teichert is valued at $300,000. The appraiser noted in the report, “very valuable and has sustained fairly significant damage, which should be professionally repaired as soon as possible.To allow it to remain suggests indifference to the painting, much the same as allowing graffiti to remain on a public wall invites more disrespect.”

“A good point…” Art Conservator Scott Haskins said “I’ve seen the issue that appraiser brought up happen time and time again.”

Two vertical cracks, before art conservation treatments, mar the composition and eventually lead to flaking.

Cache County School District Superintendent Steve Norton said that for the past few years there have been attempts to get help for the painting. “There’s been an issue with that piece for a while, and our superintendent has been searching for an art conservation expert to repair that,” said Tim Smith, the school district’s chief information officer. It was decided to solicit the help of Fine Art Conservation Laboratories and painting conservation expert Scott M. Haskins after his information was found on the internet.

Haskins has been providing professional art restoration services in the Salt Lake City area (and throughout Utah along the corridor) since 1978 and continues to work with the History Dept of the LDS Church, The State of Utah, Daughters of Utah Pioneers and many art galleries and collectors. His firm, FACL, routinely preserves and restores paintings by Minerva Teichert.

Contact with Haskins was made through Frank Prince from Price Gallery in Logan. Prince has guided the school district with several other matters regarding the art collection they own.

Prince said the damage to the painting is not limited to the tear on the knee of a standing Indian. He said the 83-year-old painting has a fine network of cracks, has a little bit of flaking and sagging so the painting restorers will replace the stretcher bar to make it taut once again and add stability long into the future. The experts will also give the painting a deep clean, put a new lining, or reinforcement backing, on the back and apply new varnish that won’t yellow and will help the valuable painting look its best… and, of course, they will fix that tear. “We’ll make it so you won’t even know it was there before… even if you are looking for it!,” said Prince.

He said the $300,000 appraisal value from 2014 is quite low and he said he thinks it’s worth “way more” than that. Once Haskins is done, Prince said it will be worth even more.

There’s been a discussion with all concerned about the safety and protection of the painting by Teichert for the future.  One thing is for sure: Cache County School District does not have any plans to sell the Teichert painting. “This valuable masterpiece of Trappers and Native Americans by renown artist Minerva Teichert going to stay in their permanent collection,” Prince said.

On budget and on time, the famous painting was returned to the County by Fine Art Conservation Laboratories, mounted back into its newly carved and gilt frame by the Wallis Brothers Framing Co. It looks visibly brighter and makes its caretakers feel good that this valuable, historically noteworthy, gorgeous Impressionist painting will be stable and look it best for generations to come.

The famous artist’s signature and the date of the painting.

More information:

Frank Prince

Price Gallery

2600 N. Main St, Logan, UT 84341

435 757 9296mobile

435 750 6089work

jfprince@yahoo.com

 

Scott M. Haskins, Oriana Montemurro, Virginia Panizzon

Fine Art Conservators

FACL (Fine Art Conservation Laboratories)
faclartdoc@gmail.com

805 564 3438

 

#ScottMHaskins  #MinervaTeichert  #muralconservation  #muralrestoration  #artconservation  #muralconservation  #historicpreservation  #MormonArt #LDSArt #FineArtConservationLaboratories #MontpelierIdaho  #LDSChurch  #OrchidandOnionPreservationAward  #IdahoPreservationAward  @IdahoPreservationAward  @OrchidandOnionPreservationAward  @LDSChurch @MontpelierIdaho @FineArtConservationLaboratories @PrinceGallery

 

Posted in FACL in the media, In Lab, Painting on canvas | Tagged | Comments Off on Early Utah Artist Masterpiece Painting Restored

Hollywood Mural Monument To Successful AIDS Research Saved and Restored – Updated

Posted on May 4, 2019 by Scott M. Haskins

A 3rd of the top part of the mural “Blue Moon Trilogy” by Russell Carlton 1987  Before Mural Restoration.See full image of mural After Mural Restoration and video further along in the blog post (scroll down about 1/2 way).

This public mural memorial monument located by the Hollywood Bowl was originally funded by AIDS Project of LA. The bronze plaque, from the dedication in 1988 on the mural will outlive us all. It reads:

Blue Moon Trilogy

Eve of Conception, Dawning of a New Age, A Glorious Revelation

A mural dedicated on April 30, 1988 to persons who have so courgeously given us hope in living and finding the answers in overcoming this disease.

By artist Russell Carlton for the AIDS Project of Los Angeles

With special thanks to the following benefactors

American Protection Industries

California Community Foundation

Frederisk W. Field

James F. Foley

Hollywood Bowl

Kaleidoscope Films

Tom Fontana and Susan J. Lewis

Richard MacNaughton

MTV Networks, Inc.

Mr. and Mrs. Stewart A. Resnick

Samuel Jared Kushnick Foundation

Samuel P. Mandell Foundation

Lewis D. Seagler

And the many other contributors to this work of compassion

Edward D. Edelman, Supervisor 3rdDistrict, County of Los Angeles

Tom Bradley, Mayor, City of Los Angeles

Michael woo, Councilman 13thDistrict, City of Los Angeles

Honorary Chairs, Hal and Fran Linden

To join these people in the battle against Acquired Immune Deficiency Syndrome Please contact AIDS Project Los Angeles

Russell Carlton, 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.

The three panels of the mural represent a journey of self-empowerment and health, which was a vital message to a community fighting a deadly disease.  The first panel (section) is called “Eve of Conception,” the second, “Dawning of a New Age,” and third, “A Glorious Revelation.” The artwork is beautiful and worthy of preservation, as has been expressed by the neighborhood in which the mural is located, but it is the mural’s meaning that makes this undertaking of its preservation and restoration so important.

Here is the YouTube link that includes several historic interviews with Russell Carlton, the artist:

https://www.youtube.com/attribution_link?a=PfJlphhW-kg&u=/watch%3Fv%3DTuTY-CFy-3w%26feature%3Dem-upload_owner

Russell Carlton being interviewed by local TV on AIDS Project fundraiser painting of the Blue Moon Trilogy.

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. Russell Carlton passed away in 1998, reportedly unafraid and outwardly courageous and encouraging to others.

Since its last restoration by the artist and friends in 1993 (presumably to address graffiti), the mural has gone unmaintained until now… but never unappreciated by the neighborhood.

Phase 1 of the Art Restoration

Having languished in it’s sorry state, recently the stars aligned (the City of Los Angeles recently reorganized its public art maintenance services through Department of Cultural Affairs and hired energetic and impassioned public art expert Yami Duarte) and the mural became a priority and was slated for restoration.

Russell 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. But, knowing that the original painting materials were inferior in quality, they approved its repainting under the above conditions. This decision was consistent with other contemporary murals by living artists on very damaged color field areas.

In meetings with the DCA and the Hollywood Hills West Neighborhood Council (http://www.hhwnc.org), the general  feeling was optimistic and excited that Russell’s artwork and inspirational vision was finally getting the care and attention it deserved.

Fine Art Conservation Laboratories worked hand in hand with the Department of Cultural Affairs, CalTrans, The Hollywood Bowl, the 4th District Councilman’s office
 and the neighborhood organizations to undertake the sensitive issues surrounding the restoration of the 20 ft x 186 ft mural located in the underpass used by semi trucks as the onramp for the 101 freeway.

Scott M. Haskins, Head of Painting Conservation brought the “A” Team together with Luisa Pari and Anna Frassine with technician Denver Dillon to undertake the challenge of cleaning the 3,600 sq. ft painting, repainting damaged details and applying a heavy duty protective coating to facilitate future maintenance. The work was done in two phases. See the short summary video next paragraph below.

See full image of mural After Restoration at end of blog post.

BUT WAIT!! THERE”S MORE!!! In a meeting in City Hall after the restoration work of the top 2/3rds of the mural was contracted, friends and neighborhood brought out historic photos that showed that the 7 ft gray painted section below the mural was actually part of the mural’s composition!!! It was decided to go ahead with the contracted restoration on the top 2/3rds and then address the fundraising and work on the bottom 1/3rd afterwards as Phase 2.

 

Here’s a short video of the mural restoration process

 

Phase 2 of the Mural Conservation Project

After the Covid downtime, Yami Duarte of the Department of Cultural Affairs of the City of Los Angeles was good made good the DCA’s promise to finish the restoration of the mural with the Phase 2 restoration by the same “A” Team of Fine Art Conservation Laboratories.

Of course all the same collaborative efforts were required as with the first part of the project: Coordination and cooperation took place, under the guiding light of  Yami Duarte of the Department of Cultural Affairs who choreographed Fine Art Conservation Laboratories, CalTrans, The Hollywood Bowl, the 4th District Councilman’s office
 and the neighborhood organizations. It took serious skills to consider and satisfy the  sensitive issues surrounding the restoration of the 20 ft x 186 ft mural located in the underpass used by semi trucks as the onramp for the 101 freeway.

For instance, the set up of the security fences for the project and the power washing of the extensive layer of truck exhaust that had accumulated on the mural over the last years was calendared, by mistake, on the opening night of the Hollywood Bowl… a problem as the underpass where the mural is located is a major thoroughfare for traffic for the Bowl’s events! Scott Haskins, Head of Art Conservation, was up with the power washers at 2 am the next morning to fit the work into the schedule and avoid the traffic!!!

This public art restoration project was undertaken the last two weeks of April 2022

Mural restoration and public art maintenance. Working behind the security fence

Restoring the monument to aids research, the 1988 mural by Russell Charlton, Blue Moon Trilogy

The iconic, historic, monumental, 186 ft mural, Blue Moon Trilogy by Russell Charlton, located in the 101 freeway underpass on Odin St. in front of the Hollywood Bowl. Restored by Fine Art Conservation Laboratories under contract with the City of Los Angeles Department of Cultural Affairs.

For mural restoration and conservation questions

contact Scott M. Haskins, Head of Conservation,

805 564 3438 faclartdoc@gmail.com

 

“The City of Los Angeles, State of California’s Certificate of Recognition is hereby presented to Fine Art Conservation Laboratories.  On behalf of there City of Los Angeles and the Fourth District, we are proud to recognize your contributions and dedication to restoring this beautiful art piece (public art mural, Blue Moon Trilogy). Your commitment to cultural creativity and public displays of art in Hollywood is an inspiration to us all. We commend you for restoring this art piece to commemorate the people who have lost their lives to AIDS (and to the researchers that found the means to stop the spread of the disease). Thank you for beautifying our community and we wish you success in the future.”

We at FACL, applaud the great service, professionalism and capabilities of Depart of Cultural Affairs, Yami Duarte for her leadership on this project. 

Also recognized are the exceptional talents of art conservators Scott M. Haskins, Luisa Pari and Ann Frassine along with art conservation technician Denver Dillon. Essential and capable administrative home office assistance was provided by Genevieve Dillon.

 

Regarding the results of the restoration of the graffitied mural, the response from the neighborhood has been enthusiastic: This is from Carl Peter Ripaldi, VP of the WHCA https://www.whitleyheights.org

Dear Scott:

It was great meeting you yesterday.

I just want to let you know how much WHCA is thrilled with the restoration of “Blue Moon Trilogy”

It is a wonderful boost for our community and serves as a great gateway greeting into Hollywood.

It sounds like you folks are on a fast track with the proper connections and interest to get the bottom third of the mural restored.

Let me know if I or the WHCA can assist in any way to facilitate this.

As you had mentioned, the maintenance of the mural will be an ongoing challenge.

It will be important to determine what agencies(y) will spear head that responsibility.

As I had mentioned I would be happy to serve as a community watchdog for its preservation.

We are hopeful that it will be protected from graffiti which is a constant threat in Hollywood around the freeway exits and sound walls.

Lighting improvements would be helpful in the display of the mural especially in the evening hours.

Hopefully a lighting improvement project can be fit into the overall restoration effort.

Maybe a camera too could be installed to help with the protection of the mural.

Please keep me up to date on the progress in the complete restoration process.

Very sincerely yours,

Carl Peter Ripaldi, VP/WHCA

From David Ryu’s Cahuenga District Office

Hi All,

Figured it would be best to connect all the people on our teams that are now going to work on showing off Scott’s incredible work on the Trilogy Mural. It looks fabulous.

I am including in this email our Comms Director. I know he is equally jazzed about highlighting this project.

Thanks, Cahuenga District Office

From the Artist’s Partner

Please let us know if there is anything else we can do to help realize this restoration. Thanks again for your dedication to the project. We could not have dreamed of a better result. Thank you Scott and FACL.

Best,

David Hubbard

From one of the neighborhood organizers

The upper portion of Russell Carleton’s Blue Moon Trilogy in the Odin Underpass near the Hollywood Bowl has been restored with CD4’s funds and the Department of Cultural Affairs contractor(s)……..magnificiently by Fine Art Conservation Laboratories – Scott M. Haskins, Mural Conservator.

Unfortunately, we’ll still need to raise the funds to restore the bottom 1/3rd of the mural, which seemingly was covered up by Caltrans or a City agency long ago. When the City’s Department of Cultural Affairs and CD4 staff allocated funds for the mural’s restoration, they didn’t allocate enough to do the whole mural. They hadn’t realized that there was an additional part of the mural which had been covered up —–seemingly for decades.

Now that you’ve seen 2/3rds of the mural, wouldn’t you want to be able to see the entire mural?

Orrin Feldman, also First VP, Hollywood Hill Neighborhood Council  http://www.hhwnc.org

Hollywood Hills West Neighborhood Council http://www.hhwnc.org  Mission: Create a more livable community and city by establishing an open line of communication between the Hollywood Hills West Neighborhood Council (HHWNC), the government, neighboring councils, and the Hollywood Neighborhood Council (HNC). Develop in the Stakeholders a sense of personal pride and responsibility for their neighborhood and their city. Assist the City and other neighborhoods in finding solutions to common problems. Provide an open process by which all Stakeholders of the HHWNC may involve themselves in the affairs of the community. Educate stakeholders so they can make informed decisions about the quality and condition of their communities. Promote the well-being of each and every neighborhood within its boundaries. A “Stakeholder” is anyone that lives, works or owns property in a designated neighborhood.Types of stakeholders are: Resident, Business, Educational, Religious, Non-Profit and Non-Resident Property Owner.

Whitley Heights Civic Association – https://www.whitleyheights.org  Hollywood’s first and foremost National Historic District, Whitley Heights was home to stars such as Rudolph Valentino, Charlie Chaplin, Bette Davis, WC Fields, and Gloria Swanson, Rosalind Russell, and Bozo to name but a few. Nestled in the lush Hollywood Hills and basking in the glow of the famous Hollywood sign, this distinctive neighborhood remains much as it did in the early 1900’s.

The Protective Coating to Facilitate Future Maintenance

https://www.fineartconservationlab.com/murals/varnishing-a-mural-antigraffiti-measures-protecting-public-art/https://www.fineartconservationlab.com/murals/public-art-protection-varnishing-murals-and-oil-paintings-for-future-maintenance/

The Protective Coating Is Put To The Test

Last weekend, Feb 26, 2023, a well planned out group of vandals in a Mercedes stopped, took out their ladders and calmly (it appeared that way on the video) did their deed. Cudoes to the neighborhood organizations, the Department of Cultural Affairs of the City of LA and the District Office for getting on the removal right away. Only 4 days old, this graffiti was removed with great success, largely made possible by the multiple layers of protective coating, #muralguardand the care of the removers. A big applause for everyone… this is the kind of maintenance that is required to keep this wall clean. Its a “high impact” zone and will require quick action again in the future.

#AIDSProjectLos Angeles  #AIDSProjectLA  #ArtConservation  #ArtRestoration  #MuralRestoration  #MuralConservation  #HollywoodBowl  @FineArtConservationLaboratories  @FACL  @ScottHaskins  @ScottMHaskins  #FineArtConservationLaboratories #ScottMHaskins #PublicArt  #RestorationOfArt #GraffitiRemoval  #AmericanProtectionIndustries #CaliforniaCommunityFoundation #KaleidoscopeFilms  #MTV  #MTVNetworks  #KushnickFoundation,  #SamuelPMandellFoundation  #Supervisor3rdDistrict  #Councilman13thDistrict #LosAngeles   #CityofLosAngeles #APLAHealth @APLAHealth

Posted in Consultations, FACL in the media, Murals, Professional activities, Research and Authentication | Tagged | 19 Comments

Art Nouveau Rediscovered at the San Pellegrino, Italy Grand Hotel Art and Decoration Restoration Project

Posted on April 13, 2019 by Scott M. Haskins

Art Nouveau mural restoration and over-paint removal project rediscovers acres of original 1904 decorations and art! This amazing work is part of the complete restoration of this Grand Hotel in San Pellegrino (BG), Italy which has stood abandoned since the early 1970s. A behind the scenes look where tourists can not go – A 1904 Art Nouveau Jewel

Beginning in about 1890, Art Nouveau was an international style of art, architecture and especially the decorative arts, that was most popular at the time the Grand Hotel was built. It’s graphic designs of natural forms particularly the curved lines of plants and flowers were thoroughly embraced by the upper society of the Gilded Age. English uses the French name Art Nouveau (new art) but the Italians used the term Liberty Style.

Art Nouveau embraces the decorating of a wide range of fine and decorative arts, including architecture, painting, graphic art, interior design, jewelry, furniture, textiles, ceramics, glass art, and metal work.

By 1910, Art Nouveau morphed into the dominant international European architectural and decorative style, Art Deco… but in the town of San Pellegrino Italy, the entire town embraced this gorgeous Italian version of design they call “Liberty.”

 

Special Thanks to Project Art Conservator, once an FACL Art Conservator and my good friend, Giancarla Zanardi. Contact her in Italy at 39 335 822 5147 giancarlazanardi@libero.it

To discuss your mural conservation questions call art conservators Scott M. Haskins, Oriana Montemurro, Virginia Panizzon 805 564 3438 faclofficemanager@gmail.com

The elaborate, gorgeous Art Nouveau Casino in San Pellegrino, Italy

Keywords:

faclinc, Giancarla Zanardi, Fine Art Conservation Laboratories, Scott M. Haskins, Grand Hotel, San Pellegrino, Art Nouveau, Art Deco, Gilded Age, mural restoration, mural conservation, abandoned mansions, art conservation, art restoration, heritage preservation, architectural conservation, architectural restoration, vintage decorative painting, mural expert

 

 

 

Posted in Historic Buildings - Construction Sites, Murals, Professional activities, Travel | Tagged | 11 Comments

The importance of getting quality, professional, expert mural conservation consultation services

Posted on March 27, 2019 by Scott M. Haskins

The importance of getting quality, professional,

expert mural conservation consultation services

Using examples of scagliola decorations in Italy

and mural restoration projects

Last week I was in the Cannaregio neighborhood of Venice, Italy in a residential area and turning a corner was surprised by an out of place, very Baroque, ornate, important looking, expensive. marble-carved façed church. I’ve been to Venice dozens of times in the last 40 years and I’d never heard of it or seen it before.

Perhaps that’s why I was not only blown away by the extremely high workmanship of the construction but there was a wall treatment I had never seen before! Since my profession is the restoration of historic wall murals and treatments, I was in disbelief both by what I saw and by the quality of the work.

The written description by the church said the wall decorations were created by inlaying marble into the plaster. That didn’t seem right based on what I saw so I asked the resident guide and church’s caretaker. He confirmed: inlayed marble into the plaster! So, I set off and toured the church to discover for myself what technique produced such magical interesting wall decorations… that look just like inlaid marble… but were not.

It became quickly apparent inspecting areas of damage due to infiltrations of water that it was a painted surface treatment done while the surface was damp followed by a high luster burnishing as the plaster dried. The decoration had been applied with the help of stencils and the decoration was put up in 18” x 36” sections to allow control over the drying process.

Knowing exactly how they were created is foundational in knowing how to figure out how to protect and preserve them, especially now as many areas of the church have been damaged by water infiltrations.

The church and its caretaker were obviously completely misinformed which will complicate extremely the communication and planning of restoring these quality historic wall decorations which are accompanied by paintings by Titian and Tintoretto!

The week before being in Venice, I was in Rome and visited with an esteemed professional art conservation colleague. He was offering his decades of experience on a project where his information made all the difference in the accurate assessment of the problems so the best results were possible. The normally straightforward rules of affresco mural painting technique, on this project, had been so poorly followed by the artists of the 1600s that it had become a multi-media painting technique.

Scaffolding inside the dome… a 140 ft bucket lift ride to the top!!

This has meant that the mural’s extensive preservation problems required specialized treatments for the conservation efforts to be a long term success. Thank heavens the architects in charge went looking for a real professional expert. The final results are much better and the timetable for the work and budget are more dependable.

Such was the case for a project I just finished up a month or so ago in Houston Texas, mitigating Hurricane Harvey damage to an iconic 1953 mural on civil rights. Our analysis of the problems and proposal for the best quality treatment solutions were scrutinized at the highest levels, even in Washington DC. We found out later our estimate to do the mural conservation work was 1/3 the initial estimate, and we got paid well for our services.

Similarly, at the San Juan Capistrano Mission, during the creation of our assessment and proposal, we were careful to consider the specialized needs of the historical organization. The result was a 1stclass job that was 5 times lower than the other most professional service provider.

The important matter, here presented, is NOT the reduction in price. It’s the accurate and quality assessment of problems and conditions by a professional expert in mural restoration and conservation to help you avoid the unexpected… and to get the quality long term results you want.

I hope I’ve given you the confidence to call us to discuss your project’s questions.  Call Scott M. Haskins, Oriana Montemurro, Virginia Panizzon Art Conservators 805 564 3438 faclofficemanager@gmail.com

 

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Same Analytical Methods Used On Famous Painting By Peter Bruegel the Elder Displayed in Exhibition, “Traces: Revealing Secrets in Art and History” at Cal Lutheran University”

Posted on March 23, 2019 by Scott M. Haskins

Infrared and x-radiography were utilized to unravel the changes in the Old Master painting of the video below, revealing also interesting historical details and perhaps insights into the political views of the renown artist. This article demonstrates methods of interesting analysis with both scientific and intellectual value.

It wasn’t really brought up in this article, but this type of pre-art-conservation-treatment analysis also allows for much more informed, accurate preservation and restoration treatments. This artist was one of the most important artists in northern Europe in the middle 1500s. Here is the NY Times article:

https://www.nytimes.com/2018/11/23/arts/design/bruegel-kunsthistorisches-museum-technology-layers.html

The methods of analysis that are mentioned in this article for studying this world-famous painting are standard methods for “non-destructive” analysis (the sample does not require being removed from the artwork and destroying the sample) that can be used on any artwork. These methods are not cutting edge or the latest tech and have been used, in one form or another, for 50 years in the art conservation profession.

However, even though the same diagnostic methods are still used, the advancement of technology, of course, provides upgrades and enhances these “old” methods of analysis to allow them to be more capable of revealing hidden details.

Cal Lutheran University exhibition

Cal Lutheran University’s “Traces: Revealing Secrets in Art and History”exhibition displays a variety of interesting examples, where works of art are examined to uncover what might be hiding just below the surface. Evaluating, analyzing and authenticating works of art often combines the talents of both science and the connoisseurship of scholars and many works are displayed from various collections that have been altered or are outright fakes.

Before a testing method is chosen, however, the questions is, obviously, “What do you want to know?”  Today’s, scientific methods allow us to uncover forgeries, predict aging, attribute work to a specific artist, preserve ailing pieces and restore works closer to their original state. This exhibit offers a behind-the-scenes look at the procedures and techniques art “detectives” use to investigate what secrets artworks hold, using x-rays to infrared and solvents that remove varnish. See side-by-side comparisons of before and after images or try your hand at connoisseurship to see if you can identify what has been altered. Note: This exhibition features the optional use of UV light.

Changes from the original composition (c. 1550 with hood/mantle) can easily be seen. The mantle was removed in the “reworked” or restored painting probably done about 1750.

Some of the interesting examples in this exhibition include a positive photograph of an x-raynegative that was taken of a Renaissance panel with a man in a mantel. Later, in the middle 1600’s, the painting appears to have been “updated” to meet the artistic tastes of fashion. So, the photo in regular light shows the man with the mantel but the x-ray (on the right) allows us to see the original painting from 200 years earlier. The curator of the collection that owns the painting was not willing to “open up the can of worms” of old condition and damage by removing the repainting so, the repainted version is the one still visible.

X-rays penetrate the entire structure of the artwork just as they do the human body. Infrared reflectography is another technique of using invisible light to penetrate superficial layers of varnish and paints mixed with varnish (glazing layers). IR Can also reveal details through fabrics. This diagnostic tool helps to look through restorations that obscure original details.  Here’s a great story…

Sir Joshua Reynolds was one of the most famous English artists of all time and was recognized as a master by his society when he was living at the end of the 1700s. A painting of a nude by Reynolds was sold at Christies in 1899 and again in the 1920s. But fast forward to our day, the new owner in 2015 has reason to doubt that maybe it had been altered or… Infrared revealed very clearly, in the lower left corner, the signature of adoring-Reynolds-student James Heath Millington who wasn’t born till 7 years after the master’s death.

Ultraviolet visible fluorescenceis most often used for revealing retouchings on the surface of the artwork. Especially in vintage art, the new retouchings glows dark purple in contrast to the old paint layers. The exhibition’s self portrait of a woman artist that was damaged during a heist has very interesting things to show with the UV hand lights made available.

Another interesting fight in the world of fraud is the Old Master painting of the windmill which was attributed to Jacque Ruisdale, then debunked. Then it was attributed to John Constable, then debunked before it was agreed upon by scholars to be a lesser known but very capable artist from the same period, Georges Michelle (obviously worth A LOT less money!).

“Misattributed” Jacque Ruisdale is really a Georges Michelle

The original painting technique on this painting caused the foreground dark paints to pull apart while drying. Huge cracks needed to be retouched in order to restore an even appearance. But, the trouble was that the retouchings showed up under the UV light and collectors were not interested in owning a painting in such bad condition. So, an unscrupulous dealer and art restorer applied a varnish that has a UV absorber in it so that the underlying new retouching cannot be seen with the UV, fraudulently convincing a buyer that it was in optimum condition. An example that viewing artwork with this diagnostic tool is not so straight forward, as with all the other diagnostic tools.

Visitors had several hands-on opportunities to see analysis in action.

The methods used by art detectives to reveal the secrets of artworks are presented in the exhibition, “Traces.” Visitors will get an inside look at the spy-like techniques ranging from X-rays and infrared light to ultraviolet light which is used to detect changes.

The idea for “Traces” came out of a collaboration with Curator, Rachel Schmid and Dr. Katherine Hoffmann, Professor of Analytical who brainstormed on how to organize an exhibit tied to a course. The class will cover conservation, restoration, detecting fraud and the instruments that enable people to explore the layers of chemical information in paintings, mosaics, sculptures and other artworks.

While these analytical techniques (and MUCH more) are routinely used at the Getty Research Institute, they are also standards of practice at private professional facilities like Fine Art Conservation Laboratories  (FACL) in Santa Barbara, CA. Scott M. Haskins at FACL has been an art analysis consultant for many Hollywood productions including CSI Miami and Los Angeles, CNBC Treasure Detectives, Keeping Up With The Kardashians and others.

For more information contact FACL at 805 564 3438 faclofficemanager@gmail.com

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

Posted in Consulation, Professional activities, Research and Authentication | Tagged | Comments Off on Same Analytical Methods Used On Famous Painting By Peter Bruegel the Elder Displayed in Exhibition, “Traces: Revealing Secrets in Art and History” at Cal Lutheran University”

Painted Out New Deal WPA Murals- Can they be restored?

Posted on March 4, 2019 by Scott M. Haskins

They’ve been painting out murals for centuries… in fact, one of my first mural conservation projects was uncovering Renaissance murals in a church in Northern Italy that were drop dead gorgeous, but over the centuries were painted out!! Here’s a photo of the church after the overpaint was removed.

Removing overpaint from Renaissance murals in Northern Italy.

And… it still happens. Every once in awhile a historic WPA mural is thoughtlessly painted out. I’ve been quoted as a national expert on mural conservation in both CNN’s and The New Jersey Herald’s articles reporting on the debacle of a recent covering over of murals in a school: https://edition.cnn.com/…/new-deal-mural-painted…/index.html

As professional art conservators, over the years, FACL has removed 10,000s of sq ft of overpaint to recover these valuable historical and artistic murals all over the country.

Recognized as a national expert in mural conservation, CNN and the New Jersey Herald call Scott M. Haskins to review details (fact check) of the article and quote him…National News   http://www.njherald.com/article/20180616/AP/306169936

“One art restorer said it would be possible, though expensive, to remove the blue paint from “Constellations.”

“I would think that it could be done not only safely, it could look perfect,” said Scott Haskins of Santa Barbara, California-based Fine Art Conservation Laboratories. Haskins said “Constellations” is not the first historic school mural to be painted over. “Every once in a while you get a dingbat principal that gets a roller out and tells maintenance to give it a fresh coat of paint,” he said. “I’ve seen it happen all over the country.”

“There have been several cases of WPA murals that were painted over and later restored. Seven murals at New Mexico Highlands University depicting different fields of knowledge were covered with white paint sometime in the 1960s. They were restored in 2011 after the New Mexico New Deal Preservation Association hired an art conservator to uncover them.”

“Cedar Rapids murals were painted over in the 1950s amid controversy over images depicting justice in what was then a federal courthouse. The murals were restored, then covered up again in the 1960s, then restored again between 2011 and 2013.”

One of our Facebook fans asked me with despiration…

“Who would do that?????”Someone who is not thinking… and not interested. But you would think that school administration would be more in tune and aware!

Another follow up comment: “And they are not the only ones. Murals in theaters, post offices, government buildings have been covered or destroyed.”   Yes, that’s true… and that’s why I have a job.

A question from a nationally known artist: “Do you think there is a renewed interest in uncovering and restoring murals these days, Scott?”I think there is heightened interest in historic preservation as the population gets older. Also, 50 years ago, the WPA art was just old styled art. Now books have been written, high prices have resulted in auctions… so now they are stylish and there’s context for saving them. Also, the buildings they are in have become historic, so… but its always an effort to get together a budget. Its never a slam dunk to get all the community support you need to get the project approved. No one is going to GIVE the principle the money next week to clean off the murals, restore them and make them look great. Maybe with public outcry there will be some extra pressure…. who knows.

We consult and answer questions enthusiastically. Give us a call: Scott M. Haskins 805 564 3438 faclartdoc@gmail.com

This Aug. 5, 2015 photo provided by Frank da Cruz shows a mural painted in the 1930s by Alfred Floegel on the walls and ceiling of the third-floor hallway at DeWitt Clinton High School in the Bronx borough of New York. New York City education officials aren’t saying who decided to paint over the ceiling murals depicting the constellations in the night sky, but advocates for the preservation of New Deal art say whoever covered them with bright blue paint should have known better. The mural was one of thousands of artworks around the country funded by President Franklin Delano Roosevelt’s Works Progress Administration (WPA). (Frank da Cruz via AP)The Associated Press

 

Posted in Consultations, Historic Buildings - Construction Sites, Murals | Tagged | 22 Comments

Historic Mission Inn Foundation Save Your Stuff Fundraiser with Scott M. Haskins and Bonhams Auction house

Posted on February 8, 2019 by Scott M. Haskins

Event Weekend Feb 15,16,17, 2019 

By Danielle Trynoski, Guest Blogger, Director Marketing Mission Inn Foundation

 

Without the knowledge of renowned fine art conservator Scott Haskins, a significant portion of the Mission Inn’s artwork would not be here today. His expertise saved the Henry Chapman Ford Mission Paintings from years of water damage and neglect, and over the last 30 years his team has cleaned, conserved, and rescued numerous other works now displayed in the building.

Come join Scott for an exclusive art tour of the Mission Inn, only available during the Save Your Stuff! Appraisal Weekend. This will be a fun, great event! Kick off a celebration of fine art, antiques, and preservation! Join us on Friday evening for our kick-off reception where the Museum will unveil a recent conservation project completed by Fine Art Conservation Laboratories under Scott’s direction, plus delectable eats and one of the best views of the city from the gorgeous home of Chuck and Sally Beaty. VIP reception at private home, address revealed after ticket purchase. Unveiling of recent conservation projects, one-on-one time with conservator Scott Haskins, dinner & open bar included. One of the *best* views of the downtown core! 5:30-9:00 p.m.

APPRAISAL CLINIC AND ART EVALUATION DAY ON SATURDAY

Connect one-on-one with professional appraisers from Bonhams Auction House for an appraisal of the estimated value of your art, antiques, heirlooms, or collectibles! All proceeds will support the Mission Inn Museum’s conservation efforts and collections care. Please select a time block from the ticket options below.

Items accepted for appraisal: Fine Art (19th Century, 20th Century and Contemporary Paintings and Sculpture), Fine Art prints, Fine Art photographs, Asian works of art, furniture, ceramics, jewelry including precious gems, glassware, metalware, folk art, or clocks. Call Rocco Rich at Bonhams for specific questions (323)  850 7500 www.bonhams.com

Excluded from this event: all weapons, including swords and knives, traps (like leg-hold); Nazi memorabilia, coins and paper money, toys, costume jewelry, sports memorabilia, musical instruments, or Beanie Babies. Please call 951-788-9556 with any questions.

All appraisals will happen at The Box, 3635 Market Street, Riverside, CA 92501. Please park in Garage 7 on Level 2 (Prices and map available here) then walk across courtyard to the Box Theater entrance. Parking is not included in event ticket.

SOME OF THE MONEY RAISED DURING THE WEEKEND WILL BE TARGETED FOR THE PRESERVATION AND ART RESTORATION OF AN HISTORIC WOODEN CHINESE PAGODA – YOUR SUPPORT IS THE KEY!

Your support is crucial to achieve our goal of conserving and restoring the Museum’s Chinese Pagoda (above, in undated archival photograph), a Landmark Object in the collection. This delicate wooden sculpture represents the long history of goodwill between the Mission Inn, Riverside, and Asian nations. Help us restore this national treasure by allowing us to help you Save Your Stuff!

Specialty Tours with Scott Haskins of the Mission Inn’s Rescued Art, Sunday, February 17 – DETAILS HERE

ABOUT THE MISSION INN FOUNDATION

MISSION STATEMENT

Adopted by the Mission Inn Foundation Board of Trustees, June 28, 2008.

The Mission Inn Foundation preserves, interprets, and promotes the cultural heritage of the Mission Inn, Riverside, and the surrounding southern California communities through its museum services, educational programs, and outreach activities.

HISTORY

The Mission Inn Foundation was incorporated in 1976 to assist in the preservation and restoration of the Mission Inn, and originally, to manage the hotel during ownership by the City of Riverside’s Redevelopment Agency. The Mission Inn Hotel & Spa is now privately owned by Duane and Kelly Roberts, and the Foundation has a unique role of operating a non-profit museum within a for-profit hotel. The Mission Inn Museum, operated by the Mission Inn Foundation, was opened in 1993, simultaneous with the reopening of the Mission Inn after seven years of extensive renovations. In addition to the museum, the Mission Inn Foundation interprets the history and significance of the Mission Inn through daily hotel tours, monthly public programs and special events, the Hands On History educational initiative, and the continued stewardship of the hotel’s expansive art, artifact, and archival collections.

ABOUT THE MUSEUM

Located at the corner of Main Street and Mission Inn Avenue, the Mission Inn Museum features exhibitions examining the hotel’s history and lasting impacts on the Riverside community and beyond. The museum’s collection is significant in demonstrating the periods of Mission Inn development from its beginning as an adobe boarding house in 1876 to the present. Frank Miller, the original owner and developer of the Inn, was an early proponent of the Mission Revival movement, an avid collector of art from around the world, an aviation enthusiast, an original thinker, a marketing genius, and a strong community booster. Miller and his family’s vital role in the development of Riverside as well as the Mission Inn’s place as a center of Riverside civic life for over a century gives the museum a broad range of topics to explore in their revolving exhibitions. The Mission Inn Museum is also the starting point for all docent-led Mission Inn tours and features an extensive museum store with one of a kind products from local artists, unique Mission Inn souvenirs, in addition to a wide selection of books on Mission Inn and local history.

Before and After Conservation Santa Cruz Mission

ABOUT THE INN

The story of the Mission Inn stretches over more than a century and began with the Miller family, migrants to California from Tomah, Wisconsin. In 1874, civil engineer Christopher Columbus Miller arrived in Riverside, began work on a water system, and with his family, began a small boarding house in the center of town. In 1880, his son Frank Augustus Miller, bought the property and gradually improved and enlarged it. Working with prominent architect Arthur Benton, financed by railroad baron Henry Huntington, and inspired by the growing popularity of California Mission tourism and Mission Revival architecture, Miller opened the first wing of the current Mission Inn building in 1903. The building grew in several stages, each new wing demonstrating regional architectural trends and Miller’s own travels throughout Europe and Asia. By 1931, the Mission Inn comprised four wings in a labyrinth of gardens, towers, arches, and winding stairways that encompassed an entire city block. The interior was filled with art and artifacts purchased by Miller from across the nation and around the world, displayed throughout the hotel to enchant and delight guests.

Following his death in 1935, Miller’s family continued operating the Inn for the next two decades until 1956 when it was sold to San Francisco hotelman Benjamin Swig. In an attempt to revitalize the failing Inn, which was losing business to growing tourist hotspots like nearby Palm Springs, Swig sold nearly 1,000 artworks and artifacts from the hotel’s collection and redecorated the Inn in the latest midcentury styles. This effort did little to restore the Inn’s popularity and the hotel struggled through multiple owners and unending financial crises. It was even transformed from a hotel into dorm rooms and private apartments.

Fearful that the hotel would be permanently shuttered and its interior collections destroyed, in 1969 a group of concerned citizens formed the Friends of the Mission Inn, a volunteer organization dedicated to promoting hotel business and safeguarding the historic collections. As the hotel’s financial woes persisted, the City of Riverside’s Redevelopment Agency purchased the Mission Inn in 1976. In 1977, thanks to the efforts of local advocates and government officials, the Mission Inn was designated a National Historic Landmark by the federal government, officially marking the Inn as a site of national historic importance.

After keeping the hotel afloat for nearly nine years, the city sold the hotel to a Wisconsin-based private development firm, which closed the Inn in June 1985 to begin what would become a seven-year $50 million renovation project. With restorations nearly complete in December 1988, the hotel was once again plagued by bankruptcy and languished for three years without a buyer. In late 1992, local Riverside entrepreneur Duane Roberts purchased the Mission Inn and successfully reopened the landmark hotel for business. It was Mr. Roberts that contracted with Scott M. Haskins and Fine Art Conservation Laboratories to undertake the preservation and art restoration of the 100s of items in the Mission Inn historic art collection.

Save Your Stuff! brings celebrated fine art conservator Scott Haskins to the Mission Inn Museum and his expertise will be available just for YOU during this special weekend.

Be aware also of the opportunity to donate artwork to the Mission Inn Foundation (which may be sold at auction for the benefit of the MIF) in April. For more information please call Scott M. Haskins at 805 570 4140

For the opportunity to support this very active enthusiastic historic foundation with its grass roots Friends of the Mission Inn, click here to make a donation.

Posted in Consulation, FACL in the media, Professional activities | Tagged | 1 Comment

International Business Club (GIN) Meeting in the Dominican Republic

Posted on January 30, 2019 by Scott M. Haskins
Inpainting damage on WPA mural in City Hall Cedar Rapids

Luisa Pari and Anna Frassine have been our professional associates for 35 years. Here they collaborate inpainting the damage on WPA mural in City Hall, Cedar Rapids

In-house, I have always valued the team effort that has come together in our private painting conservation practice. And I have always preached that professional service companies, like ours, require collaboration with other professionals (many in parallel specialties that can compliment your own work). One of the strategies to “up my game” is to associate with other successful business people and let their smarts “rub off” onto me.

At another professional business conference in Porto, Portugal on street art conservation issues.

That means I try to be alert and think differently. For this reason we joined an international business club, the Global Information Network (GIN) and, besides the daily/weekly sequential curriculum to absorb, we attend the meetings twice a year. We are in the Dominican Republic for this conference and loving it!!!

Years ago, I knew I had to associate with people who thought at a higher level than I did and… I had to think differently. The random, piece meal, shot gun approach of positive information from various gurus can offer a lot  of good info and self-insights but a this point in my life wasn’t organized well enough and did not move me forward consistently. I wanted change and results now.

So, now its been two years since we joined and I have enjoyed, implemented and felt the benefit of the insights of the program, including the great chance to get away to conferences. But as I study and connect with other members, finding new tools of personal control and development, like Tapping EFT for example, add richly to my evolution as a professional, as a partner and as a head of household. I’m short on time to study it all!!!lol…

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Mural Conservation of The Contribution of Negro Women in American Life and Education – A National Treasure in Houston, TX

Posted on January 16, 2019 by Scott M. Haskins

Before Conservation, The Contribution of Negro Women in American Life and Education

This amazing public art, 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. “The Contribution of Negro Women in American Life and Education” was, of course, honoring and remembering the sacrifices of those known African American women in this struggle on behalf of their communities and families. This heartfelt recognition and plea sends a message about human rights equally applicable for all women of all races in all countries.

Our set up for the mural preservation and restoration work

Post World War II was a man’s society which obviously placed woman in a minority role. It wouldn’t be for 10 more years that Civil Rights would be an issue that could be improved upon. It was foresight and inspiration that the time was right to prepare for these improvements. The mural was painted in 1953 as a requirement for John Bigger’s doctoral degree from the University of Pennsylvania. In 1949 Dr. Biggers founded the art department at Texas Southern University, Houston, Texas – where more of his works are displayed. This mural was ahead of its time.

Given also that Dr. John Biggers has become one of the most important African American artists in our US history, this mural has become iconic, even an American National Treasure. It truly touches on the fight for freedom and the American way, liberty and justice for all.

Expression of human rights

Its easy to imagine, therefore, the emotional outcry when, in the aftermath of Hurricane Harvey in 2017, the building of the Blue Triangle Multi-Cultural Community Center in Houston, Texas (where the mural is housed) was discovered to have been hit hard. The beloved mural suffered extensive exposure to water and was suffering from the predictable onset of mold growth and flaking paint.

Marie de Jesus, Houston Chronicle Photographer

To the credit of the building’s caretakers and administrators, instead of hitting the mural with a mop in a DIY frenzy, professional mural conservation help was sought. Steve Pine, Head of Conservation from the MFA Houston became a valued consultant and angel guiding the inspections, analysis, proposal processes and ultimately he assisted the board of directors of the Blue Triangle Multi-Cultural Community Center in getting professional bids to preserve and restore the mural.

With so many needed repairs at the community center, some might question placing the  “fixing the art” as a high priority… but this speaks well to the love of this mural by the community, the importance of the mural from an art history and public art point of view and the importance the federal funding agencies placed on the artwork as a high priority.

Professional art conservation treatments began in January 2019. The wall had dried out by then and had returned to its previously solid condition, a veritable miracle. Fine Art Conservation Laboratories was represented on site in Houston, Texas by Scott M. Haskins, Head of Conservation with mural conservator from Santa Fe New Mexico, Julie Stephenson to assist. The quality of these conservation treatments and the collaborative team efforts of saving of this important work of art received the prestigious Preservation Houston’s Good Brick Award.

Injecting archival adhesives to stop flaking.

The preservation tasks focused on stopping and setting the flaking, killing the mold and  its abatement, then a cleaning helped and the mural was varnished for future protection. Minimal restorative retouching (called “inpainting”) was required. See the short video at the end of this article for a quick visual of the work.

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.

In the history of our country, no more heroic work has been done than that performed by woman. She not only organized the family but has had to lead the struggles to build a society in which that family could grow. She has been the leader in public, rural and informal education… and nothing builds society more than the education of children.

In depicting the contribution of Negro women, it was historically imperative to remember the sacrifices of those known in the struggle of personal and civic rights. The mural symbolizes the sociological, historical and educational contributions of brave women.

The right side of the mural represents the slavery out of which Harriet Tubmanleads people, symbolized by the Torch of Freedom pushing over the column, tree of life, also supported by man’s labor, embraces the balance of the mural, depicting progress in education, science, music and healthful living with Sojourner Truth as the pioneer teacher. The search for knowledge in a free society becomes available to the old and young, men and women; Phyllis Wheatley appears in the book being read by the mother with the child. All of that embraced by The Tree of Life is in contrast to the hopelessness expressed in the figures at the far right. The church on each side symbolizes the spiritual background of our society. One is also aware of the matriarchal influence of the family as well as the Madonna theme apparent on both sides.

Ileana Najarro Houston Chronicle Reporter

The artist, Dr. John T. Biggers was born in Gastonia, North Carolina in 1924. He studied at Hampton University, Pennsylvania state college and University of Southern California. The mural: “The Contribution of Negro Women in American Life and Education” is located; room 15 – at The Blue Triangle Community Center – 3005 McGowan, Houston Texas, 77004 – appraised: $1.3 million.  Dr. John T Biggers departed life April 2002.

Mural conservator, Julie Stephenson, setting down flaking with heat.

Would you like to contribute

to this wonderful community center and their heartfelt efforts?

Online: http://www.the-bluetriangle.org/donate

Facebook: Blue Triangle Community Center

See the article from the Houston Chronicle. Click on the link

 A quick video of the mural preservation and restoration processes

Special thanks to Head of Conservation, Mr. Steve Pine of the Houston Museum of Fine Arts, for his valuable professional oversight and consultation on the project. This project was done as part of Hurricane Recovery efforts and funded by The Houston Endowment, National Endowment for the Humanities, Texas Historical Commission and the Kinder Foundation.

Mural and art preservation and restoration questions:

Call Scott M. Haskins, Virginia Panizzon, Oriana Montemurro

805 564 3438 faclartdoc@gmail.com

Posted in Murals | Tagged | 24 Comments

Historic Murals With American (Human) Values… Restoring art with a social conscience.

Posted on January 9, 2019 by Scott M. Haskins

I’ve been doing mural conservation since 1975 and got my start in Italy. Since then, I have enjoyed working on wonderful historic and artistic murals in historic buildings and public places all over the United States and internationally. I love a good road trip and legislation about the transportation of toxic materials over the years has turned many of my travels into road trips in my car in order to transport all the supplies for these public art restoration projects.

My current road trip across the southern part of the western United States from the Pacific coast to Houston have brought to mind a couple of historic murals that I know intimately with wonderful, patriotic and humanistic themes:

Last night I stayed in El Paso, Texas where you can see Juarez, Mexico on the other side of the freeway. We recently worked on a mural painted by an Austrian prisoner of war (held on the military base) who loved the United States and painted at Ft. Bliss a mural of “One Nation Indivisible With Liberty and Justice For All.”An ideal to be held in the heart of every generation. He obviously had compelling examples as a past conscript in the Nazi military and obviously did not take for granted personal freedom.

This was the artwork with the worst flaking paint I have ever seen in my career.

 

The mural preservation and art restoration project that has me traversing the US on Interstate 10 on this trip is public art painted by, perhaps, America’s most noteworthy black artist and it too has a wonderful and compelling message. It is located and I’ll be working in Houston, Texas.

The message of the mural proclaims the importance of the “Contribution of Negro Women to American Life and Education.”It honors mothers in society and the foundational importance of values and love they provide. The mural is located at the Blue Trianagle Community Center in the 3rd Ward and was painted by John Biggers in 1953.

“Contribution of Negro Women to American Life and Education.”

These are two wonderful messages celebrated uniquely in our country. Though not perfect, God bless America. God bless our citizens and our government to fight for liberty and justice for all. God bless the negro mothers, and mothers of all races, to be the foundation of our society in teaching values and love and making for strong families. God bless these artists who had the inspiration to document and promote our heritage and to give us a legacy to hold onto to and a hopeful future to aspire to.

If you felt this article was interesting please click on the thumbs up at the beginning of the page and subscribe for updates to this blog.

Stay tuned for the blog post on the very interesting preservation processes of rescuing this iconic National Treasure mural by John Biggers after it was eaten alive by a forest of mold as a result of a hurricane.

Questions: Scott M. Haskins, Virginia Panizzon, Oriana Montemurro Art Conservators. 805 564 3438 faclartdoc@gmail.com

Thank you to art conservator Julie Stephenson who collaborated on this project in Houston.

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Posted in Murals, Travel | Tagged | 14 Comments