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

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

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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

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

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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

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

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”


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.

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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-

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

Please give this article a THUMBS up and leave a comment!


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

“Restored” Painting of Christ in Spain – “Behold, the Monkey!”

Isn’t there a movie or skit of Mr. Bean cleaning and then retouching a painting?! I never thought we’d see the real deal. Last week as this story leaked out onto the international news networks, I began having people mention this “news item” to me. When the number inquiring what I thought grew to 9, I began keeping a tally. The number of people that have now contacted me regarding my thoughts on this story is 31!

This seems like a funny news item to “go international.” I mean, the image of the “art restoration” is an attention getter but… you should know that this type of thing happens ALL THE TIME!

Actually there are two parts of the discussion I’ve been privy to: the international layman’s discussion in the news and a private discussion among other professional art conservators on the net. My point of view is that I can’t believe this merits anyone’s time or attention.

In case you’ve missed what we’re talking about, here’s the before and after photo of a painting restoration job in Spain of an Old Master painting of Christ where an old woman “restored” the flaking picture belonging to a church.

Behold the monkey

Some people have re-titled the restored painting

“Behold, the Monkey!”

As I said before, this isn’t such an uncommon thing and something horrific usually happens when do-it-your-selfers start restoring historical items (there are standards, guidelines, ethics to follow). For example, I was conducting a tour of my lab and was demonstrating how I use the stereobinocular microscope to get a very close/accurate look when I test the dissolving power of solvents for cleaning a painting. One of the attendees looked at the bottle of solvent I was utilizing, and asked if that was what I would use to clean the picture. I said no because it would damage the original paint I was testing. A couple of days later, this man comes back to the lab with a gorgeous $35,000 picture he had tried to clean with the solvent I was testing in the lab. He had ruined the painting by dissolving off the original paint. I irritatingly told him what he had done to this wonderful work of art and its monetary value. He got mad at me and said it was MY FAULT cause I had not taught him how to properly do it! He never lets anybody fix his stuff cause he does everything himself. I kicked him out of my lab… the only person in my life that has ever been “escorted out” of my lab.

Here’s another example of an inept “restoration” that is in my lab right now.  The face on the right is original and the face on the left has been previously repainted for the purpose of “restoration.” While its better than a monkey face, it still is a laugh:

Restoration is not repainting original artwork

There is a funny side to the story of “Behold the Monkey”: the church is getting more visitors than ever and they may consider it has more value in its present repainted “look.”  Here’s the video link. I’ve never seen so much attention given to conservation before in such an amusing way…

http://video.msnbc.msn.com/nbcnews.com/48803079


So, this item is becoming valuable as what??  A sideshow attraction??  The professional art conservation field has gone hyper-sensitive at this thought!  If the public starts looking at bad restoration as an art form, it could begin a shock wave of reckless vandalism… the end of civilization as we know it!!!!!!

“Can this ruined work of art be recouped?” Fair question. Well, yes but the price for proper, safe art conservation treatments has just sky rocketed; The sad fact we see often is that about 80% of the items that come into our lab have been goofed with in the not too distant past… and some of them come directly from the “restorer” to be fixed by our lab... on the same day! In this case we charge, of course, for the time and effort to take off any previous bungled restorations. You pay for other’s sins (in keeping with the message of this bugled restoration of the painting of Christ).

Leave a comment?!!!!!

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Posted in In Lab | Tagged , | 31 Comments

Mural Cleaning in Historic Building Construction – Project Changes – Being nimble, versatile, flexible… and “on it”!

We thought we were on a superficial mural cleaning and varnishing project! But its a bit more adventurous than that. In the jungle of scaffolding and working among an army of 1,500 demolition and construction workers and equipment we realize that we are the final “face” that the client will see. Everybody else’s work will be hidden behind walls but our work will be the outward final “look” of the project. So, when I came up with an unexpected cleaning spot on the murals this week, it prompted a gathering of all the chiefs to have a pow wow… since it was going to potentially throw this huge project off schedule IF they wanted to do the in-depth varnish removal cleaning and have major changes (for the better) in the appearance of the murals (brighter, original colors).Mural Restoration Scaffolding

Scaffolding to reach 3,800 sq. ft of murals

“Unexpected” is a funny word, you might say? Am I not the art conservation expert? Did I not do tests ahead of time as the mural restoration consultant? There shouldn’t be anything unexpected!

Well, as it often happens, the client asks for an estimate as they begin to plan the project and get bids. Its WAY ahead of the start date so the building is still in use. When you do the “walk through” with the client there’s no scaffolding, no in-depth tests, no opportunity to figure out all the possible problems and options. I did do a couple of very small tests, during that initial walk-through that showed that the varnish couldn’t be dissolved. But these walls needed exploratory surgery in order to figure out all the details, which I didn’t get a chance to do… until the scaffolding was set up and the location was closed to the public. But by then, the construction schedule and budget were set.

As I said, the varnish couldn’t be dissolved with solvents. This 50 year old varnish was grayish yellow and hard. But once we were given the time to figure it out, we discovered the varnish could be safely swelled, without etching into or dissolving the original paint of the murals. Once the client saw the cleaning tests and the wonderful bright colors of the historic original murals, they flipped with enthusiasm!

Shortly thereafter, the client changed the project’s scope from grime removal and superficial cleaning and varnish to the overall removal of the discolored varnish. Here is a short time lapse video of the cleaning test which reflects the process we ended up having to go through, which I think you will find interesting:

When a mural conservation project is part of a historic preservation and construction project there are timelines to consider and keeping in step with other subcontractors and their responsibilities. If one subcontractor is late, it affects everyone. In the case of this project, FACL, Inc. worked closely with the client’s representative and agent to:

* accomplish the highest quality art restoration treatments of the historic murals

* we are hired to also act as consultant to two artists who painted a new murals that blended with the historic murals

*We responded in a timely effort to abate water damage when a main water line in the ceiling of one of the murals rooms

Basically, FACL oversaw the quality control of all tasks having to do with the historic murals.




Mural paint water damage

Peeling paint from water damage



FACL and Scott M. Haskins is your expert for mural conservation, painting restoration, historic preservation, art conservation expert, mural restoration consultant. Let’s chat about your proposed project!

Scott M. Haskins 805 564 3438 faclartdoc@gmail.com

See videos produced specifically for historic preservation experts, architects and contractors at YouTube Channel Bestartdoc (subscribe to the channel!):

Detaching and Removing murals – http://www.youtube.com/watch?v=9iOiL2urctM

Mural conservation/restoration services – http://www.youtube.com/watch?v=ld4l6EG8T-I

Varnishing murals – http://www.youtube.com/watch?v=IUQpTlQxGV8

Posted in Historic Buildings - Construction Sites, Murals | Tagged , , , | 13 Comments

Smoke Damage on Art, Collectibles, Heirlooms and Antiques – Tips For Making An Insurance Claim – Smoke Damaged Oil Painting

This article is by guest blogger Charles out of Orange, CA who is an “Expert Broker” or “Independant Adjuster” for insurance companies who need to find the right people for the right job. I asked Charles to write about this subject given the “journey” he just sent me on to look in on a widow out in St. George, Utah who had a fire and lots of smoke damage. You will benefit greatly by following his advice. His tips are “gold.”

Scott M. Haskins

Utah fires

Canyon fires in Utah Valley filled the valley with smoke and ash

Smoke Damage on Collectibles, Heirlooms and Antiques – Tips For Making An Insurance Claim

This article will help you discover a few valuable tips for making a successful insurance claim for damaged artwork, antiques, memorabilia, heirlooms and collectibles etc. which are exposed to smoke. I am a professional fine art insurance claims expert and I broker the expert services needed by the insurance companies to settle their claims. I’m going to share with you some insights from working on a couple of cases that will give you the inside info.

I work with art conservators all the time who work on smoke damaged items in their art conservation labs (Click Here for a quick video tour). I am often hired by insurance companies which deal with fine art claims. My job is to assess smoke damage to heirlooms, collectibles, antiques, keepsakes and memorabilia etc. when the owners of these articles file a claim. I’ve traveled as far as 1000 miles to loom over damage and help settle the claim on smoke damage.

Below are two smoke damage fine arts policy cases I handled. I hope this throws some light on ways to protect your collectibles and to look ahead at how you can be prepared in order to make appropriate claims if needs be. Those who collect and love their antiques, delicate furnishing, collectibles, family history and heirlooms etc. will for sure benefit from this article.

Chartis Asks: Is Smoke Damage Possible From 40 miles Away?

A short time ago I was asked to evaluate the fine finishes (gilding) and the artwork in an important estate in Los Angeles which claimed over $1/2 million damage. The prestigious property had a policy with Chartis (previously known as Chubb Insurance Company) and filed a claim for smoke damage to their frames, sculptures, fine arts, murals and gilt surfaces etc. due to the smoke from a fire that took place 40 miles away and 2 years previously! Chartis assigned me to assess whether the articles were actually damaged by smoke or not.

In this case it was obvious that over the past two years lots of dust particles had settled on these articles as compared to possible smoke deposits from 2 years back thereby contaminating the possible evidence. (one important tip, don’t wait but file the claim while the event is recent for the best considerations and handling of your claim, Another tip: document the irrefutable damage as soon as it happens.. it will be your proof!). With the help of expensive scientific analysis, the amount of dust deposits and smoke could have been estimated separately. But, they asked me to drop the test as it would have cost them more than a $1000. And if many multiples of test sampled had been required the analysis could have been many $1,000s. In any case, I had an art conservator to come in an give me back up for a thorough inspection.

Smoke damage?

In the entry, there were 5 vaulted ceilings similar to this one, except the crown moldings were in gold leaf.

I read the fine art insurance claim documentation very carefully which included 10 pages of detailed descriptions about the different items and finishes which were claimed to have been subjected to smoke deposits and corrosion. As I walked through the house inspecting the items, the claimant gave me the red carpet tour of the entire estate and explained to me the damages which he had noticed. According to him the gilt finishes had suffered a change in color due to smoke but, I didn’t agree with his argument. Besides the gilt items being coated with a protected lacquer, the finish’s surfaces appeared to simply vary in their types of finishes and I did not consider them as alterations.

Perhaps the owner had forgotten the appearances of the various finishes in the house and now was noticing details for the first time with the closer inspections? This kind of confusion is pretty common in claims for damage. This becomes a topic for debate between the claimant and the insurance company.

In the end, I was not in favor of the claimant’s point of view. After careful inspection of all articles and their finishes I completed my report stating clearly that there were no alterations in the colors and finishes. Therefore Chubb Insurance Company didn’t pay out on this fine arts damage claim.

In another case, however, Chubb faced another claim worth $500K for a painting damaged in storage. After checking the painting thoroughly I recommended Chubb not allow the claim. But still, the company immediately paid the claim to the claimant. Later I realized that the claimant was a major customer to the company and had plenty of collections, properties, toys and boats etc. insured with them. This incident showed that as per their business interests and not merely on their principles, the insurance companies may disallow or settle the claims. (Tip: Having all your insurance needs handled by the same company may give you leverage when it comes to a settlement)

However, such business decisions are not really my problem. My duty is to report back on the actual conditions of the claims accurately and I do this as an advocate of the artwork. I do not alter my opinion based on who is paying me (the insurance company, or the claimant). This gives me credibility as an expert witness on art related matters and when I have to appear as a legal testimony in court.

Next Example: Allstate Insurance Company

In this incident of smoke damage, the insurance company did everything possible, voluntarily to help their customer with this claim.

As you may be aware, huge fast moving fires can be very fickle and sometimes consume one house while leaving the house next to it. Such was the case with this family’s house. While the fire burned everything all around the house, it “only” filled the house with heavy smoke.

In this case, the Allstate Insurance set an example for all the other insurance companies as to how they should act with the intention of protecting the client’s interests. As the victims were under mental stress and trauma, these policy holders were unable to file the smoke damage claim for their collectibles, family history items and keepsakes, heirlooms, etc. Even after a whole year passed they had not yet filed a claim. Still, the insurance company kept all options open and was waiting for them to address the issues of family keepsakes.

As an expert in the preservation and saving of treasured family items from smoke damage I brought in Scott M. Haskins, author of “How To Save Your Stuff From A Disaster” and owner of  Fine Art Conservation Laboratories (FACL, Inc.).  His company acted as the coordinator between the claimants and the insurance company. They gave all the possible help to the affected people in preparing their claims. They helped the client prepare a complete list of keepsakes and collectibles together with photographs and helped them to complete the claim making procedure. They also recommended special treatments for articles such as drawings, sculpture, photo albums, rare books and artworks etc. which must never be cleaned with industrial products. They made a list of around 550 various items including photos, paintings, antiques, books, furniture and statues etc. All these objects were damaged by smoke.

FACL Inc. performed the evaluation and gave the report and assessment to help file the claim. Once the formalities were completed between the insured and the insurance company, they helped the claimants in the conservation of articles by getting rid of the smoke smell & deposits.

FACL Appraisals also provided the contents valuations & fine art appraisals of the items when these were required by the insurance company (http://www.personalpropertyappraisal.com)

To conclude, here are 5 important tips to file a fine art policy claim of smoke damages:

1. All the important documentation of the collectible’s records must be copied and kept in another location away from the collection. Online storage is a good option but remember to inquire about personal information security. To make this point, here is the short video of an interview with a woman that suffered a house fire: http://www.youtube.com/watch?v=7lCx-xg4BMY

2. Since items made of metal corrodes very quickly by ash and smoke, immediate action must be taken.

3. Insurance agents should be informed right away and with the proper documentation.

4. Always hire a true professional when it comes to cleaning the artworks and antiques etc. Don’t allow general house cleaners and disaster response clean up companies to clean them.

5. To avoid errors while filing the claim, ask the experts for help in order to determine the degree of damages.

For other examples of insurance claims, go to: http://www.insurancepersonalpropertyassessments.com/

Do you have any questions?

Give Scott Haskins a call for a free chat: 805 564 3438 office, 805 570 4140 mobile

Andrew Jacobs, Disaster Response Coordinator 812 629 3681 mobile

For art appraisal questions? Call Richard Holgate 805 895 5121 mobile

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

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Daughters of Utah Pioneers’ Annual National Director’s Meeting Features Scott M. Haskins



Annual Meeting of the Daughters of Utah Pioneers

2012 Annual Meeting of the Daughters of Utah Pioneers


It was a wonderful and unusual opportunity for Scott M. Haskins, world renown painting and art conservator, to be the featured speaker to 450 attendees at the main session of the Annual Director’s Meeting of the Daughters of Utah Pioneers in Ogden, Utah on June 9, 2012.

What made it so wonderful is the connection Mr. Haskins feels with the DUP having been working on the paintings in the collection of the International Museum of Pioneers in Salt Lake City since 1980.

The museum collection has many important paintings many of which are from the Nauvoo Period (1840’s) and were brought across the plains by the pioneers. Many were made by the new immigrants in their new land. In all, it’s a wonderful collection of Early Americana. Besides there being wonderful works of art, the documentary value of the Expansionist Period of the United States is priceless. Of course, the museum collection is not made up of only paintings. In fact the thrill of seeing this museum is that of entering a time capsule of life from the 1800’s as you are surrounded by all that they used with the walls lined of photos with facial expressions from those days.


Brigham Young in Nauvoo  portrait detail

Detail of Portrait of Brigham Young in Nauvoo c. 1843


Therefore, the slides, photos and stories that Mr. Haskins showed the group and told were not High Society – high brow narratives for art world conoscenti. The exact opposite! The slides were of DUP paintings and the stories brought laughter and taught home spun lessons of preserving family memorabilia, heirlooms, collectibles… and stuff!


CCA Christiansen painting of Pioneer Children

Pioneer Children by CCA Christiansen


Scott M. Haskins is also the author of the best sold home preservation manual entitled, “How To Save Your Stuff From A Disaster.” Once again, this down home connection has endeared him and helped him to target his message to the attendees of the DUP conference, assisting them with tips and stories on how to protect and save the collectibles, and heirlooms in their care. Mr. Haskins spoke for about 25 minutes and no one was seen to have fallen asleep… which is quite something give the median age of this group!


Save Your Stuff Booth

Save Your Stuff Book Sales Table


After the main session of the conference, about 50 lucky workshop attendees had the fun and educational experience of sitting together with Mr. Haskins as they looked at examples, saw more slides, asked all the questions they could think of and had a fun sweepstakes drawing for over $2,000.00 in prizes including free video recorders for taping the contents of homes for insurance purposes (that’s a tip for you!) and a year’s membership to Ancestry.com. The workshop ended with a very useful panel discussion to bring together all the preservation experts at the conference for discussion and questions.

Mr. Haskins sold his book, “How To Save Your Stuff From A Disaster”, at the conference along with an instructional CD and an anchoring product (in case of hurricanes, earthquakes, tornados and grandkids) called Museum Wax. From the profits of the items sold, Mr. Haskins’ company Save Your Stuff LLC donated $326 to the DUP.


Save Your Stuff Book Cover 1st Edition

Save Your Stuff Book


As an ongoing effort to raise money for the Daughters of Utah Pioneers and to educate its members on preservation techniques for the home and small museum, an educational website showing art restoration- painting conservation projects has been set up at (click on this name to go to the website-blog) Pioneer Art Restoration. This interesting and entertaining website is updated often with new stories, videos and photos. You can sign up for automatic updates in the side bar without being put on a mailing list.

Mr. Haskins was very pleased with the 2012 DUP National Meeting event for its directors and DUP President, Maureen Smith expressed high praises for the message of the speech and the workshop. The membership seemed entertained and was hungry for the education on preserving important treasured items at home and in the local chapter DUP Museums.

If you would like to see Mr. Scott Haskins speak at your upcoming event, put on a workshop, contribute to your newsletter or website with tips, stories, video and photos call Fine Art Conservation Laboratories and discuss your needs with Mr. Haskins’ Assistant Francesca Ruggeri at 805 564 3438 or email at francescafacl@yahoo.com

To read a recent newspaper article about Scott M. Haskins and his company, Fine Art Conservation Laboratories, click on this link: FACL Newspaper Article (leave a comment if you like the article!)

If you would like to see a short video tour of Mr. Haskins art conservation laboratory click on this link: Lab Tour (leave a comment after your tour!)

Once again, if you would like to see the website set up for Early Americana art, Pioneer Art click here: Pioneer Art Restoration

Art appraisal questions? Call Richard Holgate at 805 895 5121 or click here for the website: Appraisals of fine art, antiques and more

See various YouTube videos on practical lessons on protecting your collectibles and other treasured items at this link (click on this name) Preservation Coach. (leave a comments on the videos you like!)


Dan Weggeland painting of Pioneers Crossing the Platte River

Most recent restoration project: Dan Weggeland painting of Pioneers Crossing the Platte River 1869


Orson Pratt Family



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