Removing Paint and Graffiti From Murals – Short Very Interesting Video

Posted on September 17, 2011 by Scott M. Haskins

Fair Park Dallas, Texas by Carlo Ciampaglia and the 1984 Olympic Freeway Murals in Los Angeles by Kent Twitchell, Judy Baca and Alonzo Davis are featured in this super interesting short video on removing paint and graffiti from murals.

At Fair Park, the continual art conservation services of consulting, working with other contractors, providing art conservation services has continued since 1999. Much of this work has been in collaboration with Nancy McCoy, Historic Preservation Architect of Dallas, Texas who has done a fantastic job as being the overseer on many projects at Fair Park for the City of Dallas. Her contact number is 214 977 9118

In Los Angeles, The Mural Conservancy of Los Angeles may still be heading up an Adopt A Mural Program for the 1984 Olympic Freeway Murals. But, even though they named FACL, Inc as the Property Manager for organizing the logistics of cleaning, protecting and maintaining initially 4 heavily tagged murals… they backed out of the agreement and the original artists of the murals remove graffiti as they can with the info and methodologies we have provided. This work is done in cooperation with Caltrans, Public Works and several other entities. They are at an impassion right now hen it comes to establishing and following through with a long range plan to extend the program to other outdoor murals in LA.

Mural conservation questions? Call Scott Haskins at 805 564 3438

Art Appraisal questions? Call Richard Holgate at 805 895 5121

Click on the THUMBS UP on this article/video now, please

Graffiti removal by Scott m. Haskins from mural by Kent Twitchell on Los Angeles freeway

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Art Conservation Consulting Overseas, Out of State, Door to Door

Posted on September 16, 2011 by Scott M. Haskins

I consulted with a client in Hawaii today about doing the conservation work and making several historic paintings of volcanoes and lava look their best.



Julies Tavernier - Kilauea Volcano

Kilauea Volcano by Julies Tavernier


As an aside, while good photos might be helpful in having a better conversation over the phone, it is impossible to give estimates of costs for cleaning, sight unseen. The cleaning process is not a task that is estimated by the sq. in. like linoleum or hardwood floors. Cleaning requires testing the discolored varnish, testing the ease of removability of the nicotine layer, whether previous dirt was varnished over (and how long ago), is the varnish damar, mastic, Urethane or a linseed oil mixture? And most important, does the original paint dissolve with the varnish? Sometimes the clouds in the sky are stable but the leaves in the trees are not. The list of variables goes on and on.


In the last month, I’ve visited with and discussed projects for people in London, England, Salt Lake City, UT, Hawaii and many times for clients and inquiries from San Francisco to Orange County, CA.


Have questions: Call Scott 805 564 3438

Art appraisal questions? Call Richard 805 895 5121

www.fineartconservationlab.com

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Kent Twitchell Partners With Scott Haskins to Finish Art Conservation of Mural at Biola University

Posted on September 12, 2011 by Scott M. Haskins

This video link of the art conservation/restoration of monumental realistic beautiful outdoor mural by Kent Twitchell at Biola University will take you to the dedicated page for this project. Kent teamed up with Scott Haskins to resolve difficult conservation questions and FACL’s Virginia Panizzon helped with the color matching and color development processes. It was a super interesting project. Kent’s work ethic, professionalism and quality of work is a mind blower!  http://bit.ly/iF59qd

Its the 3rd video on the page (largest). If you like the video, please leave a comment and click on the THUMBS UP!



Kent Twitchell is the leading muralist in Los Angeles, known world wide. Put his name into Google and pack a lunch cause there’s a lot of interesting stuff to read. His murals are always huge, gorgeous, realistic and interesting.


He is also the co-founder of the Mural Conservancy of Los Angeles and is a driving force to get outdoor murals protected from graffiti. He’s been doing murals for decades.

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Dutch Old Master Painting Glows After Cleaning

Posted on September 9, 2011 by Scott M. Haskins


Art Conservation just completed on this Dutch Old Master

Art Conservation just completed on this Dutch Old Master and its frame

The art conservation on this beautiful Dutch Old Master, oil on panel, was just completed for an art collector in Las Vegas. Even though it was a pretty painting, I think he bought it for a very good price at auction because it had a lot of retouching on it and was covered with a discolored varnish.
During the cleaning of this painting, we took off all of the previous retouchings and then only put back on a fraction, carefully restricted to damage, which we assume increased the value. We also cleaned the old discolored varnish off to reveal the glow of the original. This was really treat to see completed.
The Victorian frame is not original, although it is beautiful… or used to be before someone “restored” it some time ago with goopy gold paint. While the painting was being worked on, we had the frame restored too. It was stripped of the ugly gold paint and was re-leafed with 23 k. gold and antiqued to a period finish, similar to its original finish. The frame is from the middle of the 1800’s. The painting is from a hundred years earlier.
Art conservation questions? Call Scott at 805 564 3438
Art appraisal questions? Call Richard at 805 895 5121
See other tips for art collectors at www.tipsforartcollectors.org/uv-blacklight



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Double Cleaning a Painting by LeConte Stewart

Posted on September 8, 2011 by Scott M. Haskins



Double cleaning of an oil painting

Sometimes different layers of dirt come off with different solvents and require a double... or even a triple cleaning.


Over the years I have used this photo to show of the stages of cleaning a rural Utah landscape by LeConte Stewart as an example of how, sometimes, a painting can require several cleaning stages to get it completely clean during art conservation treatments. This is really quite a common situation where the solvent that takes off the top layer of crud, doesn’t touch the underlying discolored varnish layer… and sometimes it can be more than two layers! When doing the cleaning tests in order to estimate a budget, this multiple cleaning is usually met with conflicted feelings by the owner: its thrilling to see how big a difference there will be but… the double or triple cleaning process is more expensive. Its part of the price to get the job done right. I can’t tell you how often we have people bring paintings in the art conservation lab that have JUST BEEN CLEANED by someone else… they failed to either know what to do or they didn’t see the additional layer of discoloration left behind after the first cleaning… and the painting still need to be cleaned further.

When I cleaned this landscape by LeConte Stewart years ago, I didn’t really know the artist’s work. I’ve worked on a few more paintings by this artist over the years usually through William Karges Fine Art or George Stern Fine Arts. But then, this week, I was meeting with the LDS Museum of Church History and Art in Salt Lake City, UT and they had up a wonderful exhibition of LOTS of Stewart’s paintings.

Actually, two Salt Lake Museums are exhibiting the works of this Utah painter, which marks the first ever joint collaboration between the LDS Church History Museum and the University of Utah Museum of Fine Arts. I saw the exhibition at the LDS Museum of Church History. See video and KSL article at http://www.ksl.com/?nid=148&sid=16473783

I was really wowed. His artwork, large and small, was of a very nice quality. He was very poetic in interpreting boring rural Utah landscapes into beautiful colors, contrasts, composition and emotions that I would have never thought possible… and was drawn to! His perspectives, draftsmanship and confident execution are consistent throughout the exhibition. It was a real pleasure and inspiration.

If you have the chance to get by the museum for the show, set the time aside. I wish the museum would have published a catalog. But they did produce a DVD that is available in the gift shop.

Do you have art conservation questions? Call 805 564 3438

Art appraisal questions? Call Richard at 805 895 5121

For more important tips for art collectors, go to www.tipsforartcollectors.org/uv-blacklight

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Meeting with Clients in Las Vegas and Utah

Posted on September 5, 2011 by Scott M. Haskins

I’m on the road right now, meeting with private clients in Las Vegas, NV and Murray, and with museum clients in Springville, UT and in SLC.



Paul Lauritz's "Crashing Harmony"

Art conservation treatments done on Crashing Harmony by Paul Lauritz


Springville Art Museum Director, Vern Swanson was thrilled with the cleaning and lining we did of their world class 50″ x 60″ Paul Lauritz of waves crashing on tide pool rocks, “Crashing Harmony.”. He loved the much brighter colors and that way the disturbing cracks disappeared. We also cleaned a John Hafen of hay stacks and took off all kinds of retouchings that had no reason for being there! I mean, when we cleaned them off, there was perfect paint below. So, it was great to return his painting with 95% less retouchings… and much better colors… even though it was a Tonalist piece.

He took the time to talk to me about the recent mural I saved from demolition in London, England. He was very enthusiastic about the efforts to save a cherished work of art, that’s well done and that he grew to love while attending church in that building for several years. So, he knows that image intimately. For more info on this project see http://mormonartconservation.org/murals/mural-removal-hyde-park-chapel-london/

Tomorrow morning, I’ve been invited to attend a committee meeting between the LDS Church History Dept. and the Museum of Church History and Art. Then I get taken out to lunch!

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Mural Removal – Hyde Park Mural Project in London, England

Posted on August 23, 2011 by Scott M. Haskins

Scott M. Haskins is an expert mural restorer/conservator: Just got a call from an organization to save an important mural from demolition in London, England. They’ve asked me to be the trouble shooter for the removal of the mural from a building about to be demolished in Hyde Park. The reason they call me is because not only do they want it removed… they want it removed safely and according to art conservation standards.

I’m not sure if I’m just going just to do some tests and present my findings at a meeting or if I’ll be there for a couple of weeks, to stand in front of the wreaking ball and get the mural off the wall!

Depart tomorrow, Wed. Meeting the afternoon, on Thurs. Stay tuned… I’ll be reporting in. Here’s what the mural looks like:

Lo Scopo Della Vita

The Purpose of Life – World’s Fair 1964 in New York City

 

Continuing story below:

I got the call on Tues. in Santa Barbara, CA to be in London, England for a Thurs morning meeting. I got there on time and they asked me to inspect the mural. After about 30 minutes of looking around I determined that the mural could be removed safely.

“OK, then, get it off!” they said. “When?” I asked… “Now. The wrecking ball comes in on Monday morning”! “Now? I don’t have equipment, supplies, a hotel reservation… I have my return flight this evening!” “Well, if you want it off, this is your chance.”

So, here’s the video of taking it off the wall:

Interesting development!
Because of this blog post and the video, we got a call from a private party in Sacramento California who said that they had been in the vicinity of the renovation of a visitor’s center on Temple Square. They happened upon the debris being thrown away and discovered that there was a painting rolled up in the trash! They unrolled it,partly, and found that it was a version of the above mural, The Purpose of Life by the same artist, but it was an Asian version according to the demographics in that region. They saved the mural and brought it back home from Hawaii where they put it into storage for many many years. The phone call to me was whether we would like to have the mural and preserve and restore it for the same corporation that has the above mural. Long story short, the Asian version ended up going to the same organization and location as the above version. Given the popularity of the subject matter, we assume that the Asian version was painted afterwards but close to, the 1964 date. Here is the image of this wonderful painting. Notice that the sequence of the mural reads from right to left, opposite of the mural mentioned above:

Mural restoration and art conservation questions? Call Scott M, Haskins 805 564 3438

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Antique Oil Painting of Old Time Circus Requires Tricks for Cleaning

Posted on July 27, 2011 by Scott M. Haskins

 

I want to show this picture partly because its a very interesting painting and partly because you might enjoy hearing about kind of a strange way of cleaning a painting. Cleaning is part of the art conservation/restoration process but it is usually not an essential part of the preservation process. In other words, a yellow varnish is usually not the cause of a painting falling a part. But, it can be, or course, the reason the painting doesn’t look anything like what it did originally. A dirty painting surface can have a huge affect on the aesthetics… and art is all about aesthetics, right? Don’t agree? Leave a comment…



Hard varnish results in not the usual cleaning techniques

Cleaning a painting - Hard varnish results in not the usual cleaning techniques



When we estimate a cleaning, we do special tests to see what dissolves the varnish or grime or whatever (the variety of types of layers we find are many!) and make sure that those solvents DON’T dissolve the original paint… at all! We’ll sometimes, we’re suprised to find a varnish that won’t dissolve!

This very cool 19th century painting of a European circus had been cleaned before but, it seemed obvious, that the previous restorer simply wiped the surface and gave it new varnish because he did not try and remove the yellow varnish… which is very hard.

In fact, it took a fairly exotic recipe for a gel to get the varnish to move. But the problem was that the gel was too strong for the removal of the varnish in areas of dark paint; the dark colors were sensitive. Turns out that we had to break or scratch off the hard varnish instead of dissolving it. Turns out too that the dark areas of paint seemed kind of “cloudy.” So the removal of the varnish allowed the dark colors to really saturate and get a deep color when we applied the new varnish. The transformation was gorgeous.

If you are not “into” looking at paintings, this is probably boring stuff. But its really good info for painting collectors and curators who wonder about the in’s and out’s of estimating the cleaning of paintings.

Just to show you that this wasn’t a freak case, here’s another case that’s in the lab right now: A German painting of lovers from which the varnish came off in large scales and flakes as we broke it off the surface.



Hard varnish flakes off. What is it?

This varnish could not be dissolved.



Was this a "permanent varnish?"

Was this varnish meant to be so hard that it would be a "permanent" varnish? "Permanent" anything in art conservation is NOT a good idea.


So, how long does it take to clean an oil painting? How much does it cost to clean an oil painting? Both questions that I hope you can see is not a question to be answered without testing and experience.

Have a question? Call Scott 805 564 3438 or best_artdoc@yahoo.com

Have an appraisal question? Call Richard at 805 895 5121

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Armin Hansen Paintings From The Monterey Museum of Art – Video on Cleaning Armin Hansen’s Paintings

Posted on July 26, 2011 by Scott M. Haskins



Men of the Sea By Armin Hansen

Men of the Sea by Armin Hansen


We had the wonderful opportunity to clean two of Armin Hansen’s masterpieces from the collection of the Monterey Museum of Art because we had the lovely recommendation to the museum by Terry and Paula Trotter of Trotter Galleries in Carmel. Thank you everyone for your confidence and trust!


“Nino” and “Men of the Sea” are two very large canvases (for Armin Hansen) that needed a serious face lift due to discolored varnishes. A very common question that I am asked over the phone is, “How much does it cost to clean a painting?” This video is an interesting example of why that question is impossible to answer without actually seeing and testing the cleaning process on the actual painting. You would think that an educated guess would be possible for me to make after 35 years in this professional art conservation field! But, I’m still testing paintings before I estimate… and here’s why…

One of the paintings in this video has a linseed oil varnish on it which is about 3 times harder than a “regular” varnish to dissolve safely.

The other painting in this video had a Urathane varnish (or boat lacquer) that you CAN’T dissolve! It has to be swollen and then removed.

So, as you can guess, neither was a “run of the mill” cleaning. Each was 3-5 times more expensive than a “regular” cleaning.

When cleaning a painting, our guiding light is the safe removal of grime, varnishes etc. In other words, what solvent combined with special technique removes the top stuff without dissolving the original paint. We NEVER dissolve original paint. But you can believe some of the horror stories we see come into the lab!

Anyway, enjoy the video!

Art conservation and restoration questions? Call Scott at 805 564 3438 or email at best_artdoc@yahoo.com

Art appraisal questions? Call Richard at 806 895 5121

Please give our video a THUMBS UP and leave a comment!

See the Monterey Museum of Art Website at: http://www.montereyart.org

See Trotter Galleries Website at: http://www.trottergalleries.com


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UV Black light Tips for Revealing Secrets of Inpainting (Retouchings) on Paintings

Posted on July 19, 2011 by Scott M. Haskins

Here’s a very useful tip for art collectors who use a black light. Using a blacklight is part of your investing survival techniques and technology! Everyone should use a black light when inspecting and evaluating art and antiques.

This painting is leaving the lab today, after we repaired a rip in the center of the painting. It poses an interesting uv light inspection problem though… its a night scene.


Retouching shoing up with a blacklight

New inpainting/retouchings show up bright with a UV black light



As you can see in the photo, even though its been cleaned, it still glows green. That’s because night scenes have lots of varnish usually in the paint. So, if you see a night scene glowing green when you shine your black light on it, it MAY not be because of old varnish!

One good thing about this though; the green glow makes it easier to pick out inpainting or retouchings. And this photo is a great example:

Note the purple nature of the composition of the painting. How do you tell the difference between a purple glowing original detail and the same purpleness of a retouching? Look to see if the purple color pattern follows the painting’s compositional details. If it cuts through details of the painting, its surely a repair… as in this painting.

Also note the careful exact way this inpainting was done. It was done with a small brush. That’s a hint that the conservation work/restoration work was conscientiously done.

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For more info on black lights, tips and fun videos, go to www.tipsforartcollectors.org/blacklight-package

Conservation questions? Call Scott at 805 564 3438

Appraisal questions? Call Richard at 805 895 5121

See YouTube Channel “bestartdoc”

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