Military Memorabilia of WW II – Artwork from the Coast Guard

Posted on November 12, 2013 by Scott M. Haskins

By Scott M. Haskins, Art Conservator

World War II MemorabiliaRecently we received a contract from the United States Coast Guard to first consult with them about the needs of a collection of 29 works of art on paper then to do the art conservation treatments that are so badly needed.

Besides the very interesting images done in different types of pencils, watercolor, inks and pencil, there are some great lessons to be learned by collectors about what NOT to use when sticking, gluing, framing and storing. The suggestions and tips I’ll make have an affect on value and long term preservation of these types of historical collectibles.

I’ve put together a quick video blow by of the collection of 29 items…

The conservation problems that afflict the entire collection mostly center around the use of Scotch Tape, masking tape, contact cement and acidic materials used for storage. Of course, as you might imagine, the artists were using what they had handy and archival materials where unknown at the time. Still, there is a list of never-to-be-used materials that collectors should be aware of today. See the illustration below.

Here is a photo of the back of an artwork that is the framing job from hell: 4 types of destructive tape; masking, packing, scotch and electrical. The adhesives from these tapes are soaked into the paper fibers so you can’t get the stain out and causes yellowing. There are historic labels on the backs of all of the work of art and as a collector, you can imagine the horror of tying to preserve a historic label covered in scotch tape. Adding to the dilemma is the yellowing and embrittlement of the papers due to acids.

bad tape on Coast Guard memorabilia

So, the lesson to be learned here is to use archival, tested true materials for storage of and treatment of your treasured memorabilia. If your desire to fix up or restore your collectibles yourself gets into anything dicey or tricky, call a professional for some coaching. At least find out what you might do to impact negatively the value.

Sign up in the upper side bar for updates on this blog and for tips to help you as a collector. We’re here to help. In fact, we’ll be posting more articles with examples of the work we are doing on this military artwork memorabilia collection so you can benefit from our efforts.

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Scott M. Haskins 805 564 3438 Art conservation questions

Richard Holgate 805 895 5121 Art appraisal questions

Hit List of things not to use

Illustration from How To Save Your Stuff From A Disaster on Amazon and as an e-book (50% off)

Posted in Art on Paper | Tagged , , | 2 Comments

Rembrandt’s “Night Watch” is NOT the correct name!!!

Posted on November 5, 2013 by Scott M. Haskins

Rembrant's Night Watch

Some of you may remember that Rembrandt’s Night Watch was damaged by a vandal with a knife a number of years ago. The art conservation of the damaged masterpiece made for a very interesting documentary (if you understand Dutch!) in which it was surprising to see that with the cleaning/removal of the very discolored varnish, the painting transformed from the “Night Watch” into the changing of the guards at noon day!!! And did you know that the painting is HUGE?!

For an interesting review of how it changed during the painting restoration click here.

Here’s an interesting twist on the famous painting: http://www.huffingtonpost.co.uk/2013/04/03/rembrandt-the-night-watch-flashmob-video_n_3005034.html?utm_hp_ref=uk-culture

I hope you found this as interesting as I did.  Hey! “Like” our website, would you please?

Scott M. Haskins

805 564 3438

Posted in Research and Authentication | Tagged | 1 Comment

California Impressionist Guy Rose Hidden Signature Found with IR on Newly Discovered Painting

Posted on October 1, 2013 by Scott M. Haskins

A serene painting by the California Impressionist master painter Guy Rose of French Haystacks done about 1910 walked into my lab today for an examination. The painting was in a private collection that, a couple of months ago, has passed to heirs… who admit they don’t know anything about art and are not collectors. Their parents had bought the painting in about 1935. As part of their due diligence in settling the estate they called me to give the painting a thorough look over. I pulled it out of its frame for the first time since its been framed (presumably in the 1930s) to make sure that a signature wasn’t hid by the rabbet… but no signature.

The painting has a bit of grime but is otherwise in very good original condition. UV inspection showed no previous restorations. This technique for inspecting a painting is required due diligence art analysis that anyone can learn to do. It is a basic investigative examination performed in art conservation laboratories. For more about utilizing a UV black light click on this link.

For the sake of not leaving any stone unturned, we decided to look at it with the infrared reflectometer. For more on this technique click on this link. I believe that this is the only infrared reflectometer available to the public (not in institutional labs) this side of Chicago? We were surprised and pleased to find that there WAS a signature in the lower right corner! Evidently, Rose had painted the picture and signed it… then later reworked the painting canceling out the signature. I’ve seen it happen many times. The last painting in my lab that had this situation was an Edgar Payne. Its hard to see but here are the two photos of the IR screen.

The photo on the right has the signature reinforced so you can see it. The “G” and the top of the “R” are missing because of the thickness of the paint. The “s” is also not very well defined but, of course, you can see that it says “Guy Rose.” Sometimes a signature shows up very clearly under IR, but usually the style of the signature is often distorted with IR viewing.

The painting you see with your natural eyes is unsigned but on the back is a label written by Orrin White outlining a bio of Guy Rose and there is the estate stamp with Earl Stendahl and the written authentication by Ethel that this painting was by her husband. Because of the extensive documentation on the back of the painting, I don’t think there is any doubt that Guy Rose painted this picture so the revealed hidden signature may not add any value but it certainly adds a detail of interest and of confirmation of the art authentication.
So, that’s about it.

Reporting to you from Fine Art Conservation Laboratories (FACL)… its all in a day’s work

Scott M. Haskins

805 564 3438

Posted in Research and Authentication | Tagged | 1 Comment

“Monuments Men” and “Saving Italy” How did Europe’s great works of art survive the destruction of World War II?

Posted on August 17, 2013 by Scott M. Haskins

Robert Edsel, author of “Monuments Men” and “Saving Italy” gives you the details and incredible story.

I just download “Saving Italy” in audio format and can’t wait to get into it. But right now, I’m listening to the precursor to this book which is “Monuments Men” which is due to come out in a movie with George Cloonie and Matt Damon this Sept. When the author was gathering info for his book, it became too massive and he couldn’t whiddle it down… so he published the very interesting details of saving Europe’s art during WWII in these two separate books.

The books and audio are available on Amazon. Click on the book’s name for the link.

Posted in Research and Authentication | Tagged | 4 Comments

William Sargent Kendall’s “The Artist’s Wife and Daughters” in the lab for Art Conservation Treatments

Posted on February 4, 2013 by Scott M. Haskins

by Oriana Montemurro, Art Conservator



Artist's Wife with Daughters by William Sargent Kendall



In Stones of Venice John Ruskin wrote, “what we want art to do for us is to stay what is fleeting. Immortalize the things that have no duration.” In large part, that is what has led Americans to rediscover the art of the late nineteenth and early twentieth centuries, when artists believed that legitimate art could be created from the descriptive portrayal of families and neighborhoods.

William Sergeant Kendall was one such talented, well thought of artist and specialized in painting his daughters and wife. He was aware of the growing dominance of Impressionism and modern art, but he continued painting his family utilizing the classic influence of the 19th century. Kendall’s adoption of a nonspecific light source that eliminated most shadows removed him from the impressionist influences that so many of his American contemporaries embraced. It is probable that he arrived at this technique by observing the diffused light in canvases of Jules Bastien-Lepage, whose work he admitted he liked.

In this photograph is the oil painting by Kendall titled, “The Artist’s Wife and Daughters” (60” x 40” without the frame) which was consigned to FACL by the Springville Museum of Art in Springville, Utah for art conservation – restoration treatments.

When we received this very lovely large painting in our facility the grime, the discolored varnish and the extensive craquelure were distracting the viewer’s eye from the composition and beauty of the painting.

Grime and discolored varnish make a painting look dull and flat. In addition, the yellowed varnish causes an optical shift in the colors: pinks disappear, purples turn to brown, blues morph into greens and reds look more orange. With these kinds of color shifts, you can imagine how far from the original intent of the artist a yellowed varnish can alter a painting! In the case of this painting, the delicate skin tone colors were drastically shifted. The gray grime combined with the yellowed varnish causes the painting to lose depth of field and contrast making the composition look more like a two dimensional poster.

The severe cracking patterns disturbed the harmonic reading of the composition. In this case, the painting had not begun to flake yet, but cracking on paintings, in general, eventually leads to this condition. This painting was, however, in an advanced stage of cracking and the deformations made it very hard to enjoy Kendall’s genius.

A careful cleaning of the gray film and the removal of the old varnish revealed the original colors of the artist and gave the painting back its classic look. The cracking patterns and distortions (cupping) were treated with a lining, an extra support on the back of the painting, giving more strength to the original canvas to hold down flat the cracks.

The art conservation work done on this painting was guided by a respect for the artist’s intent with colors and painting techniques. No color was removed during cleaning and no original brush strokes were flattened or damaged in any way. The surface of the painting, after the art conservation treatments, was as the artist intended.

To see a short time lapse video of cleaning a painting, click on this link to go to http://www.youtube.com/watch?v=IyjI3rgCcF0 Leave a comment and click on the THUMBS UP!

“The Artist’s Wife and Daughters” is part of the permanent collection at the Springville Museum of Art, Utah’s first museum for the visual fine arts. Dedicated as a “Sanctuary of Beauty and a Temple of Contemplation” by David O. McKay, the museum houses nearly 3,000 works; 2,000 of which are Utah art.  Twentieth Century Russian-Soviet Socialist Realism, an impressive collection of 150 years of Utah fine art, and American Realist art comprise the permanent collection. The museum is a key promoter and contributor to the arts in Utah, with over 15 exhibitions annually. For more information on this painting go to the Springville Museum of Art website at http://springvilleartmuseum.org/collections/browse.html?x=artist&artist_id=75

We at FACL are going to miss having this painting in the lab when we return it to the museum. Every detail of this painting is done with wonderful quality and the expressions on the faces of the wife and daughters were good company. You can sit and look at this painting for a long time.



The Oldest Daughter - detail



Rita Wright, Springville Museum of Art Director

made this short testimonial after the delivery:


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/

For art conservation and painting restoration questions call Scott M. Haskins 805 564 3438 or faclartdoc@gmail.com

For art appraisal questions call Richard Holgate at 805 895 5121 or jrholgate@yahoo.com

See short videos by Scott M. Haskins on art conservation related subjects at YouTube channel “Bestartdoc” http://www.youtube.com/user/bestartdoc?feature=mhee

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Youngest Daughter - detail





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Posted in In Lab | Tagged , , , | 33 Comments

Lost Leonardo Searched for with Infrared – Its also used to help art collectors find lost signatures – A short video

Posted on January 19, 2013 by Scott M. Haskins

By Kelly Rose Almeida, Guest Blogger

From Leonardo Da Vinci to your own paintings, this instrument is used to search for hidden treasures within art across the globe.

Every art history class that learns about the beauty of the Renaissance has heard of “The Lost Leonard.”  The story begins like so.  In 1504 Leonardo da Vinci was given the commission by Piero Soderinito to honor the Hall of Five Hundred of the Palazzo Vecchio in Florence, Italy.  His adversary, Michelangelo di Lodovico Buonarroti Simoni, who had just finished his masterpiece David, was designated the opposite wall. Michelangelo chose to depict The Battle of Cascin and had finished a preparatory cartoon but other complications kept him from attempting his fresco. Leonardo chose to portray The Battle of Anghiari. Leonardo not only finished the planning drawings but also began painting his mural. Sadly, he never completed this vision.  Decades later, the chamber was reconstructed, and it was believed that this unfinished mural was lost to the ages.

There are many tragedies in art history; stories of art lost in wars, burned in protest, or destroyed by dictators.  It is rare that these stories have a happy ending. But this anecdote may not be over. In recent years, Maurizio Seracini, an Italian expert in high-technology art analysis, believes that behind one of the murals painted by the architect and artist Giorgio Vasari, lies Leonardo’s Anghiari fresco.  This conclusion was formed because in the upper part of Vasari’s fresco, a Florentine The Battle of Angiari.

Right: The “Battle of Marciano in Val di Chiana” (1563) by Vasari. Left: A copy by Peter Paul Rueben of Leonardo Da Vinci’s “ The Battle of Anghiari”, which may be hidden beneath Vasari’s mural that now adorns the Hall of Five Hundred in Italy.

It is almost impossible to see whether or not Leonardo’s famous mural exists beneath Vasari’s fresco, almost being the operative word. Equipped with an infrared reflectometer, Maurizio Seracini and his team can use infrared light to penetrate the thinner layers of paint to reveal whether or not he has discovered the “Lost Leonardo” without damaging the existing fresco, which could help change the course of Western art.

Although this tale takes place thousands of miles away, this technology is available to us here in California. Fine Art Conservation Laboratories in Santa Barbara has an IR reflectometer that can help find similar treasures hidden beneath paintings that are brought into the lab. FACL may be the only private lab that has this instrument on the western seaboard. Using an IR reflectometer, head conservator Scott Haskins is able to find hidden or fraudulent signatures, drawings/sketches beneath layers of paint created by the artist, obscured restorations, and inscriptions underneath linings. These details are essential for art collectors that could alter the history, authenticity, and value of your paintings.

A short 2 minute video that was just posted on Youtube was also picked up by CNBC who is planning to feature Mr. Haskins in a episode of treasure hunter collectors who are searching for hidden details and clues in their artwork. See the video by clicking on this link: http://www.youtube.com/watch?v=rWNshrFvl98 (Be sure to give it a THUMBS UP and leave a comment!) It features a painting sold by Christies Auction House in 1899 as attributed to Sir Joshua Reynolds. Here’s the photo below.

An IR reflectometer is a remarkable tool that has many capabilities. Its use is worldwide, and its impact is astonishing. With this technology, art conservators, art historians, and art collectors are able to uncover the mysteries and histories of their beloved works of art.

If you have questions about an art item of yours, feel free to call and discuss it with Scott M. Haskins 805 564 3438 or faclartdoc@gmail.com

For more information about art appraisals contact Richard Holgate at 805 895 5121

Follow Mr. Haskins on Facebook at “Tips for Art Collectors”  “Fine Art Conservation” and “Scott M. Haskins”

Posted in Research and Authentication | Tagged | 25 Comments

Vintage oil painting’s old labels can provide valuable information for art collectors! 3 tips to save them

Posted on December 19, 2012 by Scott M. Haskins

By Chelsea Padgett, Guest Blogger

Last week a beautiful painting of a lady came into the lab. The back of the painting had fragments of an old ripped apart label. Labels are apart of the painting’s history and can increase the value by providing an interesting insight to the past. This particular label told the story of an exhibition at the Brooklyn Museum in the 1930’s. However, not every story is as obvious.

Below is a label that was brought to us with what looked like just an old hopelessly blank piece of paper. No writing on it… or was there? With infrared technology you can sometimes read old obscured writing… and we at Fine Art Conservation Laboratories happen to have two types of infrared reflectometers. Under the lights and with the aid of the infrared we were able to see that it was an exhibition label from the World’s Fair of 1861. It clearly read, “Richmond, Yorkshire England, James Peale, 1858″





Amazing what technology can see that the eye can not! This old label had given up its secret information that has meant everything to the history and value of this wonderful painting. Because of this label, the value went up considerably. And therein lies the lesson to be learned, especially on old paintings: Protect old labels and the historical information they contain.

Here’s an example of what we do to protect old labels: Deacidify the paper and protect them with Mylar. Protect important info from the past! It can increase the value of the artwork. Flaking of labels when moving the painting can happen when you do not even realize it. Preventing the loss of valuable information can be simple and easily avoided.

Here are some tips to help save your significant piece of history! 1. De-acidify the paper to neutralize the acids, this will stop any further deterioration. 2. Encapsulate all pieces (even ones you think do not have any information on them!) This step can be done with something as simple as a sandwich bag (it is a stable archival plastic). 3. Staple the bag to a part of the stretcher bar (as shown above). Remember to NEVER staple, tape or glue directly any part of the label or historic info written on the artwork.

NOTICE on the back of the painting and frame new mounting hardware (nails are never hammered into a painting) new wire (coated with plastic to retard rust) and Foamcor to keep out dust and provide protection against poor handing and storage.

These are just a few tips to help save historical information or even your personal memorabilia! There are many other tips and info available in the book, How To Save Your Stuff that you can find at http://www.saveyourstuffblog.com/products-supplies. Download a copy of the e-book now at 50% discount!

Art conservation questions? Call Scott M. Haskins, Art Conservator at 805 564 3438

Art appraisal questions? Call Richard Holgate, Art Appraiser, at 805 895 5121

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Keywords: Old labels on paintings, authentication of artwork, provenance of paintings, Fine Art Conservation Laboratories

Posted in Research and Authentication | Tagged | 13 Comments

ShakeOut in California is a Reminder for Art Collectors! 5 Tips and Earthquake Supplies

Posted on October 15, 2012 by Scott M. Haskins

By Guest Blogger Chelsea Padgett

Are you an art collector? Or even just have antique and collectible valuables. Here’s major help for you!

If you live on the West Coast, chances are you have experienced at least a tremor or a small earthquake and you are fearful of losing or having damaged your cherished collection.  If you have your paintings or mirrors held onto the wall with just a nail that will not suffice in a bigger earthquake… like the one they are expecting in the Great California ShakeOut Take this mirror, which just came into the lab, for example…

The corner has been broken clean off. Not only items such as this can fall of the wall, antiques can fall of shelves, out of cabinets, or anywhere they have not been properly secured to. Most people who live in California do not think of earthquakes on a day to day basis but when they do they think of extreme cases in which complete cities will be devastated and ruined. Normally that is not the case but your collectibles can be destroyed.

This article will prepare you for the unexpected moods of Mother Nature, things you won’t find anywhere else. We do not write about health and safety issues, building structural problems, economic matters etc.

However we are addressing your safety, last thing you need is for your child’s cement hand imprint flying towards your head or falling from above.

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.

Why worry about these items while an earthquake is happening 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


Repairing a rip




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


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Keywords: collectibles, memorabilia, antiques, save your stuff, Scott Haskins, Museum Wax, earthquake preparedness, hurricane preparedness, ShakeOut, family history, artwork, earthquake supplies

Posted in Disaster/Emergency Response | Tagged , , | 14 Comments

Cleaning a Painting – A discovery process and the “unknown factor”

Posted on September 25, 2012 by Scott M. Haskins


G.A. Cuomo Fruit Vendors with baby

Fruit Vendors with Baby C. 1880

When I got this Victorian 1880’s oil painting from a friend/client (Thom Gianetto at Edenhurst Gallery) I thought the yellowed varnish would be an easy/quick, safe (for the painting) removal. After 40 years of cleaning paintings, you would think that I could just “eye ball” it… but its better to be humble and ere on the side of caution.

Some people think that cleaning a painting is a per square inch type of estimating and that I should be able to do it over the phone. But to clean an old oil painting safely, we need to do solubility tests with each of the solvents we might use to make sure they dissolve the varnish without dissolving the original paint! Sometimes we use a head-mounted magnifier to get a closer look and sometimes we use a stereobinocular microscope! Varnish qualities vary widely and just when you think it looks “normal” you find that the varnish in question won’t come off with the usual stand bys.

I thought this painting would take about $300 in time and materials to clean but instead, it resisted and took about $1,200.00 in time and materials to clean completely (no yellowed varnish left behind) and safely (no adverse affects on the original paint). So, as you can see, the cleaning process (as are some of the other art conservation treatments) requires, sometimes, a “discovery process.” Most of the time, however, we nail the estimate up front but some of you may be happy to know that the “unknown factor” happens to me too when I work on my artwork.

The “take away” for you from this article is a better knowledge of the estimating and discovery process when cleaning a painting. That may help you to have a better conversation when you talk to an art conservator.

Would you please give this blog post a THUMBS UP? Thanks!

To see the article on lining and framing this painting, CLICK HERE


Art conservation questions? Call Scott M. Haskins 805 564 3438

Art and antiques appraisal questions? Call Richard Holgate, FACL Appraisals 805 895 5121

Call Thom Gianetto, Edenhurst Gallery 949 376 9222 or go to the gallery website at http://www.edenhurstgallery.com for Early California Impressionist and Modernist Paintings

Scott M. Haskins was recognized recently as the Number 1 Art Expert to follow on Twitter for Insurance Adjusters (Follow best_artdoc): http://www.evancarmichael.com/Business-Coach/4492/July-2012-Top-100-Insurance-Experts-to-Follow-on-Twitter.html

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Posted in In Lab | 24 Comments

Ripped Painting’s Damage Evaluation and Repair Proposal -Good info for art collectors and fine art insurance adjusters-

Posted on September 8, 2012 by Scott M. Haskins

You will find it interesting… and USEFUL… to read over an evaluation I wrote for a claim on a damaged painting. Some details and names have been eliminated of course.

The other day, I inspected a painting to evaluate the impact damage that occurred when movers weren’t watching a tight turn in a stairwell. The impact shattered the surface layer of paint, went through underlying layers of paint, causing sever cracking, paint loss and a puncture which also caused the fabric (cotton) to fray slightly. This damage is about 10 inches long.


Careless handling damaged this valuable painting - detail of damage

Front


back of rip in painting

Reverse side of ripThe repair of the damage, with professional art conservation methods and ethics, will require the introduction of penetrating adhesives into the fractured layers in methods that are compatible with the technique of the painting so as not to effect any visible changes in the appearance of the surrounding areas. This consolidation will be of paramount importance for long term stability.


Once consolidated, the frayed/punctured/ripped artwork will be first consolidated. Then the fibers of the rip will be realigned and rejoined under magnification. Heat, humidity and local pressure will remove the distortion. However, if this type of local treatment ONLY is performed on the impact damage, this will not be a long term resolution. If a minimal treatment is desired then a slight pucker may have to be acceptable long term. It should also be said that the long term aging of this local area of impact may suffer continued deterioration of condition even IF the suggested repairs look perfect when completed. Patching a painting should NOT be an option as patching normally leads to a larger distortion/deformation in the future (sometime short term) and does not return the artwork to “pre-existing” or pre-damaged condition, a condition of performance for resolving fine art policy insurance claims. For a short YouTube video on the effects of patching, click here:

http://www.youtube.com/watch?v=xOk0vk3w5zs

Another very important condition to consider is the stress the impact has had on the paint layers. The layers of paint around the point of impact will surely age differently than the other surrounding areas thereby resulting in unsightly cracking patterns. There will be a very familiar bulls-eye-cracking pattern (or concentraited cracking) appear and continually get more aggravated and visible with time. Here are two examples:


Cracking from getting hit/

Bulls-eye cracking patterns from impact


Bullseye cracking patterns

Impact cracking patterns

The only way to avoid this type of development of the cracking patterns is to provide the substantial backing support of a properly designed lining. This overall backing process would provide the rigidity to inhibit the development of the otherwise inevitable cracking.

The stretcher bars are very poor quality for this size of painting, especially if lined. The stretcher bars do not expand and are too thin with inadequate cross bar support for a painting this size and with this much paint. We can try and make due with the original stretcher bars but the painting may not be optimally taut or the stretcher bars may warp when the lined painting is remounted.

Bad stretcher bars

On the reverse of the painting is the inscription by the artist which is very important to remain visible if a lining is applied. We normally trace/transfer these types of inscriptions, in the exact calligraphy of the artist and transcribe it in the same location as the original on the reverse of the new lining.

The proposed cost of the local repair would be 1/3 the price of the overall lining. One detail contributing to this factor is that the painting is oversized (over 48” in both directions) and the lining materials must be modified and be adapted.

If the lining art conservation treatment is chosen, the expected result would be a repair that will be not visible to the naked eye and will be stable for long term.

Scott M. Haskins, Art Conservator

Pres. FACL, Inc.

805 564 3438

faclartdoc@gmail.com

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Keywords for this article: Ripped painting, damaged artwork, rip repair on painting, Scott M. Haskins, FACL, Inc., fine art policy insurance claim, pre-existing condition, art conservation, painting restoration, Fine Art Conservation Laboratories, patching a painting, bulls-eye-cracking pattern, concentraited cracking


Posted in In Lab | Tagged , , | 36 Comments