While Alive, Michael Jackson Collaborated With Renown Celebrity Artist Kent Twitchell To Have His Memorial Painted… a 100 ft Mural!


See behind the scenes taping of how it came to be… and what happened to it!


Michael Jackson fans all over the world will soon have a new destination–pilgrimage to make somewhere in the world once the 12 story painted mural monument is adhered to the side of a building… somewhere! The Most Famous Man In The World envisioned the mural as a tribute to his legacy and a gift to his fans for generations to come. What makes this incredible work of art amazing is that Michael Jackson himself collaborated with artist Kent Twitchell on this monumental mural masterpiece… BUT, its been in storage for more than 20 Years!!!


The “King of Pop” died June 25, 2009 at his home in Los Angeles after receiving fatal doses of the drugs from his doctor. 2019 is the 10 year anniversary of his passing and world interest in highlighting his genius is alive and well. Jackson, one of 10 siblings in the famous Jackson family from Gary, Indiana, the Most Famous Man in the World, was a mega-global super-star; he was a best-selling music artist the year he died influencing international music and dance, and also the fashion world. Last year, Jackson was the #1 dead celebrity money maker in the work with an income of $85 million. His fan base in 2018 is greater than when he was alive.

The lost Michael Jackson Monument mural, a tribute to an American Cultural Hero, was never adhered to a building after Kent Twitchell, the artist who collaborated with the world famous entertainer, finished the 100 ft tall one-of-a-kind painting.

And what’s this about the Broken Heart Stone?!?! This video is the behind the scenes sneak peak of a documentary being made by director and producer Andrew St. Wilson on these two amazing, yet unknown, portrayals of his genius.




Effervescent movie director and producer Andrew St. Wilson, left, (Michael Jackson’s personal Kung Foo Trainer) author and doc film-maker works through taping, in this video, an interview with world renown monumental mural artist Kent Twitchell (right). Taped on location at Fine Art Conservation Laboratories. The documentary feature film will include the stories and drama behind the 12 story Michael Jackson Monument and Michael Jackson’s Broken Heart Stone.


Andrew St. Wilson is the author of the Broken Heart Stone of Michael Jackson: https://www.amazon.com/Broken-Heart-Stone-Michael-Jackson-ebook/dp/B00ID5KN4W

Scott M. Haskins, renown mural art conservator restorer, as a valuable part of the consulting and installation team for the mural, was also interviewed and will be featured in the film.

The mural is available for installation anywhere in the world. Call Scott M. Haskins 805 564 3438


The eyes of Michael Jackson painted from a live sitting by artist Kent Twitchell

as they collaborated on the mural for a tribute of his legacy.

Andrew St. Wilson interviewing Scott M. Haskins, Art Conservator and consultant for this project.

More about Scott M. Haskins, Mural Conservator and Consultant on this project: http://www.fineartconservationlab.com/media-room/

Conservation questions? Call Scott M. Haskins, Virginia Panizzon, Oriana Montemurro 805 564 3438 faclartdoc@gmail.com

See a short video tour of the lab: http://www.FineArtConservationLab.com

See who our clients are and about our background.

See testimonials: http://www.fineartconservationlab.com/testimonials/

See consultation resume: http://www.fineartconservationlab.com/consultations/

Sign up for our YouTube Channel:


Give this video a THUMBS UP! Share the URL.


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Heritage Preservation Mural Conservation Restoration Planning

WWII mural on Army Base is evaluated for restoration proposal as example of expertise.

WWII Mural in Black Officer’s Club on Army Base needs art restoration evaluation and consultation. Capability Statement https://www.youtube.com/redirect?event=video_description&redir_token=nbIFPFZDMwIdFtZxMb3QYIjP3mh8MTU0MTAzNTkyNEAxNTQwOTQ5NTI0&q=http%3A%2F%2Fwww.FineArtConservationLab.com%2Fmural%2F&v=Vw6UoeHpa-c Click on SHOW MORE

Mural, art, painting restoration and conservation questions? Call Scott M. Haskins, Virginia Panizzon, Oriana Montemurro 805 564 3438 faclartdoc@gmail.com

See a short video tour of the lab: http://www.FineArtConservationLab.com

See who our clients are and about our background.

See testimonials: http://www.fineartconservationlab.com/testimonials/

See consultation resume: http://tipsforfineartcollectors.org/consultationsurveys/

About Scott Haskins: http://www.fineartconservationlab.com/media-room/

Sign up for our YouTube Channel: https://www.youtube.com/user/bestartdoc?feature=mhee

Give this video a THUMBS UP!

Historic Mural Restoration and Consultation Services

Getting the correct information to plan for the preservation and restoration of a historic mural can be a problem… and getting the wrong info can be an expensive and time wasting process.  I recently was called by an Army base in Texas with a cautious request: How much would I charge to come to the base, evaluate and estimate the options for the art conservation treatments of a mural painted by a WWII POW?

The caller was first stupefied that I would charge so little. Then was reticent to tell me they had just finished dealing with an historic preservation firm in Florida that charged them $45K to evaluate and plan the work. They did a battery of scientific tests and analysis and then gave them a bid that was more than triple the reasonable amount AND did not answer their questions or meet their needs. What an administrative mess it created.

I was surprised that they, after having spent the time and money, would still want to move forward with getting the job done right. In the end, we split the project into phases for easier budgeting and they spent less for us to estimate the project AND complete the 1st phase than they paid for just the $45K  1” useless report alone.


Click on this very short video introduction and example of consultation

One of the complications on a project like mural conservation that can arise is the balancing of interests from several different entities that are associated with the project in one way or another. An experienced conservation professional with good communications skills is a major asset that doesn’t reflect in the budget.

Scott M. Haskins has been consulting on mural projects and has been performing the preservation, conservation and restoration work on murals since 1975. The professional expertise that he has acquired is indeed versatile and can be put to work for your project. In fact, much of the reputation of Fine Art Conservation Laboratories (FACL, Inc.) is based on difficult problem solving both on the wall and is based on our ability and determination to work well as a team member on a construction site. However, in order for Scott Haskins to be interested, the potential project does not need to be high profile, have difficult problems and be a logistical nightmare. Small, straightforward projects will also get the due respect and attention.


WPA mural, 1939, saved from demolition in Lamesa, Texas. To see a short testimonial click on the photo

Fine Art Conservation Laboratories is made up of two experienced office managers, 3 experienced art conservators (all over 15 years after training), a conservation technician and other support personnel as needed. On large projects, team organization and working with numerous committees is an important ability. In these cases, an excellent quality team of professional associates comes together to contribute a great depth of experience in craftsmanship and talent, problem solving expertise, analytical capabilities, professionalism and art connoisseurship.

As can be seen on the Mural Capability Statement below (click on the link), mural restoration projects have been performed in Italy, England and in 14 states in the US.  Traveling great distances, even internationally, to inspect, plan and review your project is not a problem.


Here are some remarks from clients, other art conservation professionals, contractors and project administrators:

Mark Garrido, Project Manager for the General Contractor on the project posted the following on linkedin for Fine Art Conservation Laboratories (FACL, Inc.).

“Scott and his FACL staff of highly competent professional art conservators performed the critical salvage and restoration of a very valuable, irreplaceable historic mural in the main lobby of the Burbank, CA Police/Fire headquarters (as a sub to the general contractor for the City of Burbank). This restoration was a major component of a large water damage correction project that included replacement of the curtain wall system, stone flooring, planters and memorial monument in the middle of and surrounding the mural. Project scheduling was very tight and coordination critical and complex. Under Scott’s hands-on leadership, FACL’s restoration of the mural was flawless, their performance timely and seamless and their cooperation and team work exemplary. Without reservation, I give Scott and FACL my highest recommendation.”   Service Category: Art conservation. Year hired: 2009  Top Qualities: Great Results, Expert, High Integrity

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

“The monies spent for your services are the best money we ever spent (consultation, collection survey, project proposals and reporting materials)” Wendy Adair, VP of University Achievement, Texas Southern University, TSU), Houston, Texas http://www.tsumurals.com

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

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

Scott and his staff performed perfectly and did superb quality conservation work on this very delicate painting conservation project. His skills as Conservation Team Leader were superb and much appreciated. Dr. Carl Grim, Chief Conservator, De Young Museum


Scott M. Haskins, Mural Conservator, on a 75 ft. boom lift

to evaluate the condition of Anthony Quinn as the “Pope of Broadway”

Murals that are commonly included in renovation contracts are paintings that were created as part of the Works Projects Administration and are known as “WPA Art.”  The specialized expertise presented in this article and video is of most interest to maintenance department directors, historic preservation architects, construction firms and general contractors that do historic preservation work and government agencies letting contracts that include mural restoration. Whether in the private sector or an organizations in charge of the care of public art collections, those renovating historic homes with decorative painting and murals will find this of interest.

Click Here for Mural Conservation Capabilities Statement: http://www.fineartconservationlab.com/mural/

Click Here for Restoration Consultation Clients: http://www.fineartconservationlab.com/consultations/

Contact info:

Scott M. Haskins

805 564 3438 Office, 805 570 4140 mobile (California)


See short lab tour video:


YouTube Channel for mural restoration/conservation: https://www.youtube.com/playlist?list=PLE1FF71CC598A8E79


Click on the above image to view the video

Mural Art Conservation of The Living New Deal Murals at a Public Library in the Los Angeles Area


A very cute vintage mural entitled, “Scenes From English Literature” which has overseen the Children’s Reading Room of the Long Beach Public Library for decades has been considered by experts to be in need of expert mural restoration services.

The mural was painted in 1937 by Suzanne Miller under the auspices of the Work Project Administration Federal Art Project (Federal Art Project – FAP, Works Progress Administration -WPA) and depicts 15 scenes from English Literature: Hiawatha by Longfellow (panel 1), The Fairie Queene by Spencer (panel 2), Pilgrim’s Progress by John Bunyan (panel 3), L’allego & Il Penseroso by Milton, The Vicar of Wakefield by Goldsmith, and Rip Van Winkle by Irvins (panel 4), The King James Bible (panel 5), Alice in Wonderland by Carroll, Man With the Hoe by Markham, Elegy Written in a Country Churchyard by Gray and The Compleat Angler by Walton (panel 6), The Lady of Shalot by Tennyson (panel 7), The Tempest by Shakespeare (panel 8), The Canterbury Tales by Chaucer (panel 9).


The artist’s signature and inscription

In 1937, the 9 panels of the mural were painted in oil on canvas and then glued to the wall of the library. After a devastating fire in 1972, the 9 mural sections were pulled off the walls, repainted and glued to plywood… not good for long term preservation. After their restoration, the plywood sections were bolted to the walls of the Children’s Reading room at the public library located at 101 Pacific Avenue, Long Beach, CA 90882

As a result of the 1972 restoration, over the recent years the low quality varnish has yellowed badly changing all the colors… and water leaked onto the murals further damaging them.


Water stains, vast areas of fogged or bloomed varnish and crystallization of varnish resin.

One of the 9 sections of mural was badly wrinkled from the previous restoration.


Before and after relaxing and removal of wrinkles in mural section

The Mural Conservation Treatment Performed

So, present day, the City of Long Beach wanted to recuperate the original appearance of the murals and ensure their long term preservation. Fine Art Conservation Laboratories, a professional mural art conservation firm that had a long history of successful city, state and federal government mural restoration projects was contracted.

The cleaning process involved the safe varnish removal without removing the previous restorations. The original colors and details that were obscured were returned closer to their intended values, including better contrast and depth of field in the composition.

The badly wrinkled section was relaxed by warming and then reinforced for future stability.

Stable conservation grade varnish was brush applied to bring out the best appearance of the artwork.

In painting or retouching is never done with oil paint. Conservation grade paint, which always remains removable and color stable, were used to correct or blend some of the previous restorations. New varnish provides for better surface protection against accidents and vandalism.

Here is a short video of the mural’s conservation treatments:


Click on the picture or HERE to watch the video

They are now waiting for installation

into the new public library facilities for the

City of Long Beach, CA.

Questions: Scott M. Haskins, Virginia Panizzon, Oriana Montemurro

Art Conservators 805 564 3438 faclartdoc@gmail.com

Oil Painting Cracking Patterns – What Important Info They Reveal

Art Collector Due Diligence – What does a bulls-eye cracking pattern

in oil and acrylic paintings reveal?

Get valuable coaching from a professional painting conservator

By Scott M. Haskins, Head of Conservation

Fine Art Conservation Laboratories


Understanding condition issues of the artwork and previous art restorations are due diligence requirements just like real estate. All cracking patterns in oil and acrylic paintings on canvas tell a story or form as a result of a condition. The bulls-eye cracking pattern is particularly easy to notice. Below are good art connoisseurship questions that you should ask or be aware of that show you are alert and aware. Understanding the answers are good due diligence on your part and increase your depth of connoisseurship.



What caused it?

Concentraited cracking patterns (shaped like spider-web or bulls-eye cracks) are extremely common on oil and acrylic paintings both young and old. The patterns reflects the pattern of distribution of stress that occurred on the paint layers when there was impact or a puncture (or rip). Think of a pebble dropped in a pond of still water and the ripple effect and pattern that results. The energy of the impact of the pebble onto the surface of the water creates the pattern. In the  case of a work of art, the energy/stress that spreads from the point of impact causes the cracking.

There is only one reason they are visible or there is only one way they are formed: the painting got hit, poked, dented, jabbed, pressed on, dinged… in a specific spot, in the middle of the bulls-eye.

How long does it take to show up after the artwork has been hit?

Once the impact/ding/puncture takes place, each painting is different depending on the painting technique: thick vs thin paint, thick vs thin ground layer, content of heavy metal based pigments vs earth pigments etc. I’ve seen the cracking pattern begin to form immediately, I’ve seen it take a few years to develop… and I’ve seen some very thinly painted paintings never develop a cracking pattern.

Will it get worse? And how will it get worse?

The answer is always “yes.” How severe the cracking will be will depend on the above paragraph plus exposure to heat and humidity with time. The cracking almost always leads to eventual flaking. Part of this equation also depends on how old the artwork is that gets damaged. The older it is the more likely it is that it will crack and flake sooner. Acrylic paint layers seems like they should be more flexible and resistant but 50 years of watching acrylic paintings age tell us this is NOT TRUE, They crack easily but then, after cracking, the paint layers pull apart or seem to shrink and open up a gap. So, they can be more visible and may not go down and disappear when lined.




Bulls-eye cracking pattern that is flaking (in both areas of glare from light).


Will the cracking pattern impact the value?

Well, generally speaking, anything that defaces or changes the original appearance of the painting and the intent of the artist changes the value lower. The severity of the cracking pattern changes has a bigger impact on the value. Obviously, it lowers the value because it becomes less desirable to other collectors who may want to buy it.

“My painting got hit! Can I prevent the cracking pattern from forming?!” Or, you may ask, “Can a painting with old cracking patterns be restored to look good (Can the cracking be removed)?”


You’ll notice that the bulls-eye cracking pattern is also visible on the back of a painting where the paint layers are pulling on the canvas. In fact, on paintings where the stressed paint can not pull up, like on a panel painting, the bulls-eye cracking patterns do not form. This is proof that a punctured painting, for instance, that receives the proper reinforcement after the damage will over-ride the cracking patterns and they will not form. In other words, a properly applied lining will keep a painting from cracking. This also can be the method for removing or restoring an older cracking pattern. The expertise and quality of the lining will make all the difference in the success of the results of the treatment.




In before art restoration photo on left, bulls-eye cracking in lower left.

Photo on right is of after painting restoration with cracks removed and inpainting of fire damage.



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

Filming PBS Program Uncovered in the Archives Painting Restoration Riverside Mission Inn


For more on the importance of the early paintings of the mission of CA click here http://www.fineartconservationlab.com/19th-century-paintings-of-the-santa-barbara-mission-changed-our-history-and-our-communities/ painting restoration Riverside, Click on SHOW MORE
“Uncovered in the Archives” is an educational PBS program by Affiliate KVCR TV program shot on location at the Historic Mission Inn in Riverside, CA.

Brad Pomerance Host/Co-Executive Producer
CJ Eastman

Friends of the Mission Inn
Sharla Wright
6579 Lassen Ct.
Riverside, CA 92506

Mission Inn Foundation
Gina Cavallo Collins, Mission Inn Foundation Executive Director
Karen Raines Collections Manager, Historian
Danielle Trynoski, Media and PR
3696 Main St.
Riverside, CA 92501

Scott M. Haskins, Fine Art Conservation Laboratories, Head of Conservation
Fine Art Conservation Laboratories
805 564 3438

Kimberley Garcia, Make up Artist
All Around Glam
323 365 5196

Restoration of Art Cleaning With Saliva Wins Harvard’s Chemistry Ig Nobel Prize for 2018

Painting conservation and cleaning artifacts with saliva is hard-pressed humor from Harvard. The tongue in cheek award was reported in “Chemistry World” which has been given out since 1991 and is called the Ig® Nobel Prize”, “For achievements that first make people LAUGH then make them THINK”


The award is not for a traffic stopping discovery… its been part of the restoration processes, probably, for millennia. This year’s chemistry Ig Nobel prize has been awarded for showing that human saliva is a good cleaning agent for paintings and historical artifacts.

Paula Romão, Adília Alarcão and César Viana’s, three Portuguese conservation scientists, showed in their 1990 paper how they measured saliva’s effectiveness at removing dirt from antique gilded sculptures. It is also used for many other artifacts including paintings. They acknowledged that saliva is often used as a cleaning solvent when working with delicate materials such as gold leaf and ceramics.

“I know that it seems quite improbable, but human saliva is indeed an effective cleaning agent for surfaces like paintings, sculptures and gilded wood. But don’t try to use it on your kitchen counters,” Romão said in an acceptance video that was played at the awards ceremony at Harvard University.  “The cleaning action is in part due to an enzyme in saliva, α-amylase, which breaks down starch into simple sugars.”


Painting Conservator Oriana Monemurro, in the photos, who has discovered through small sampling tests, that that the gray on the painting is most safely removed with saliva, especially in the areas of the flowers which seem to be the most sensitive to cleaning.

The ancient Roman, Plini the Elder, philosopher, art historian is reported to have declared that more works of art have been damaged by inept over-aggressive cleaning that all the floods, fires, volcanoes and earthquakes in the history of the world. He was well acquainted with disasters; he died in a pyroclastic ocean surge while trying to rescue friends from the erupting of Vesuvius in 79 ad. Saliva would have been a welcomed and acceptable safe method of cleaning to Plini.


More interesting research taking up the time of Harvard research students and perhaps their grant monies, the Ig Nobel Prizes are awarded annually to celebrate improbable scientific research across a variety of disciplines. Among this year’s winners are Marc Mitchell and David Wartinger, who were awarded the medicine prize for using roller coaster rides to hasten the passage of kidney stones, and an international team who won the biology prize for demonstrating that wine experts can smell the presence of a single fly in a glass of wine.

For interesting short painting restoration videos of stories and processes click here for the YouTube channel of Fine Art Conservation Laboratories.

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

An Art Restoration Company with an entrepreneurial spirit” Tom Antion interviews Scott M. Haskins

Screw the Commute podcast episode featuring Tom Antion, one of the most successful Internet marketers in the world interviews Scott M. Haskins, Entrepreneur, Fine Art Conservator (an internationally renowned painting restoration firm that provides a variety of professional services, including disaster response for art and murals) and Author of the Save Your Stuff Series, of which over 10,000 copies have been distributed to help people save their valuable stuff like collectibles, artwork, family keepsakes, etc at home.


“This guy has an art restoration company

with an entrepreneurial spirit”

Tom Antion interviews Scott M. Haskins


Access this episode’s unique page with show notes, transcript and other goodies: https://screwthecommute.com/24

Here is the Content of the podcast

[02:19] Tom’s introduction to Scott M. Haskins

[03:11] What Scott does for art conservation

[04:41] Wannabee and authentic paintings

[08:24] His regular University job

[10:33] A turn in the economy and technology

[14:37] Avoid getting screwed in business

[16:02] Natural disasters and insurance

[18:00] Bizarre and funny stuff in this business

[21:06] Best and worst things about working for yourself

[22:14] What Scott offers today

[25:11] Tom was worth $79!

[26:00] Sponsor message

[26:37] A typical day for Scott

[31:30] Parting thoughts for us Screwballs

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

Between 1978 and 1984 Mr. Haskins established the painting conservation laboratory at Brigham Young University, in Utah, USA which also served the historical collection of the Church of Jesus Christ of Latter-day Saints as they prepared to build two art museums.

In 1986, Mr. Haskins established Fine Art Conservation Laboratories (FACL) in Santa Barbara, CA where they presently provide professional painting conservation services over a wide geographical region. FACL is also recognized and well known nationwide and internationally for art restoration work on murals. They consult on damaged art issues as an expert witness for the Los Angeles court system and for insurance companies, nationwide. FACL has a specialized division of disaster response services for art related items (wildfires, house fires, floods and mud slides, earthquakes etc).

He is the author of the best-selling book series, Save Your Stuff, collection care manuals for collectibles, heirlooms, family history items and is a speaker internationally on the subject. He is also the author of several blogs and has a presence on several social media sites. He often uses these assets to help small museums, foundations and historical sites fundraise.

For media on Scott M. Haskins’ click here: http://www.fineartconservationlab.com/media-room/

The podcasts can be found on ALL of the major podcast directories, such as Apple Podcasts/iTunes, Google Play Music, Stitcher, Blubrry, TuneIn, Spotify and many others. You can also play the latest episode of Screw the Commute with Amazon’s Echo devices (thanks to TuneIn) by saying “Alexa, play the Screw the Commute podcast”.



Entrepreneurial Resources Mentioned in This Podcast


Higher Education Webinar – It’s the second webinar on the page: https://screwthecommute.com/webinars

Screw The Commute – https://screwthecommute.com/

Fine Art Conversation Laboratories – http://www.fineartconservationlab.com/

Collection Care Tips – http://collectioncaretips.com/

Save Your Stuff website – http://saveyourstuff.com/

Phone: 805-564-3438

Save Your Stuff – https://www.amazon.com/Scott-M.-Haskins/e/B001KC8PPY

Scott’s YouTube Channel – https://www.youtube.com/bestartdoc

The Entrepreneurial Podcast and Tom

“Screw the Commute” is a podcast and private Facebook group designed to inspire you to start your own business and/or take the business you have to much higher levels. Tom Antion, our fearless leader, has never had a job. He’s always had his own business. Starting with nothing, he owned five apartment buildings and a hotel BEFORE graduating college.

Tom has actually been entrepreneurial since he was nine or ten years old. Tom’s dad came from Syria through Ellis Island in the early 1900’s, became an entrepreneur, made Tom into an entrepreneur, and Tom has helped thousands of people start, run and improve their own businesses.

A Hollywood documentary is in production about Tom that celebrates entrepreneurs, called “The American Entrepreneur” you can watch the trailer at Facebook and keep in touch because you are invited to the big online premiere party coming soon.

Please share this episode link far and wide: https://screwthecommute.com/24

Renowned Professional Art Restorer from Madrid, Spain Collaborates With California Lab On Smoke and Water Damage On Art Objects And On A Public Art Project Of A WPA Mural

By Flora Arguilla, Guest Blogger


After meeting staff members from Fine Art Conservation Laboratories (FACL) at the national annual conference for the American Institute for Conservation (AIC) in Chicago and a visit in Madrid and Toledo, Spain, renowned art restorer Julia Betancor was invited to come to FACL’s lab in Santa Barbara, CA to collaborate on several projects. She has expressed interest in FACL’s services that include preservation for art objects affected by disaster and the cleaning of these items. She has been previously involved with such conservation projects in Toledo and Madrid.

Here is a quick video about one of her projects: CLICK LINK

Fire and Smoke Damage in a Baroque Church in Toledo, Spain


In this video, Betancor explains the damages to artifacts caused by a fire that has occurred at an important historical site in Madrid. The description of the damage is accompanied by pictures — what was supposed to be a beautifully gilded altar sanctuary had been reduced to a dingy gray, smoke and fire-damaged background to a charred wooden altar. The ceilings, originally a lively red color were stained gray and brown. Images of the Church before and after the restoration process show the dazzling results of Julia’s work. This and projects similar lead to the exciting collaboration between Ms. Betancor and the conservation team at FACL.

Ms. Betancor brought her experience to our facility to “talk shop” and assist us in an interesting mural project we are working on for a community in the Los Angeles area.

The ever-present headaches of the clean up of the artwork and its restoration is of particular interest to the conservators — especially after the art objects previously underwent inept and “generous” restoration effort in the past. The WPA mural panels that Ms. Betancor is working on is a good example of one of these projects that need extra care. The mural was practically repainted thirty years earlier…which makes professional and high quality restoration a much more complicated process. Resolving these types of problems in the best interest of the artwork and the client are engaging problem solving exercises. On a more publicized noteby mainstream news, a similar painting that was marred by previous restorations and then recouped through quality art conservation efforts has been Leonardo Da Vinci’s Salvador Mundi that recently sold for $480million; the restoration issues were also widely discussed.

FACL’s disaster response team is headed by Mr. Andrew Jacobs and he is assisted by art conservators Scott M. Haskins, Oriana Montemurro, and Virginia Panizzon. You may get ahold of any of them with questions at (805) 564-3438 or faclartdoc@gmail.com


Here is a testimonial by Julia Betancor during her 2 month+ “working vacation” in our Santa Barbara location.

Here is our YouTube channel’s playlist of testimonials:  https://www.youtube.com/playlist?list=PL41D80C1C65FF2CE7

Here is our mural capabilities statement: http://www.fineartconservationlab.com/mural/

Here are more short videos on the disaster response services offered for art related items: https://www.youtube.com/watch?v=6Umg_5trfe8&list=PLLxFeD9MHd7Sr3TsXQnCla-XirSkZt46H

Collectibles and Family History Objects Saved and Protected During Disasters – Tips Shared on Art and Antiques Radio Program

1Santa Barbara New Press Radio KZSB 1290 AM interviewed Scott M. Haskins, Author and Expert, this morning with veteran host and art appraiser Elizabeth Stewart on the “Art and Antiques Radio Program”


Given the abundance of very destructive disasters in our area recently (two wildfires and the Montecito mudslide since last December) the focus of the program was preparing for disasters. Not a very sexy subject but it is compelling when you think about the items in a household that tell the family’s history and there are collectibles that could be worth more than the house.

Of course, none of the discussion was canned advice from a website. Personal stories were abundant, and it was a lively and fun interview, not drab or philosophical at all as you might expect with Elizabeth Stewart who is really fun in real life. Great tips were shared in this radio interview of saving collectibles from disasters with author and expert, Scott M. Haskins.

Fine Art Conservation Laboratorieshas a division of its services that focuses on disaster response. Since the Thomas fire last December,they prepared about 60 insurance proposals for clients. Of course, each client has a property full of smoked or muddy items and in all, we estimate that we’re talking about the clean-up of about 7,000 – 8,000 art related objects.They have been working with Service Master and ServPro, mostly in the Santa Barbara area. They’ve also worked with Rainbow International.

The question always arises whether an item is “worth” the money and effort to bring it back into “pre-accident” or “pre-existing” condition. That question is more easily answered when it’s a collectible that you buy in a store, auction or gallery. But what about the items that can’t be scheduled on an insurance policy that tell the family’s story to later generations and the “things” remind us of those memories? In effect, the items we pass down contain our memories to retell the stories and pass on the heritage of our families.

There are ways to be prepared for a disaster with family treasured documents and heirlooms and we discussed and told stories about personal examples.


Elizabeth also interviewedLuke Swetland after my interview. He is the President and CEO of the Santa Barbara Natural History Museum. He came to Santa Barbara after a long and distinguished career at the Japanese American National Museum (for whom we are the painting conservator), the Autry Museum (for who we have done painting conservation), the Getty Conservation Center (for whom we have done special projects and research for).

To hear the radio program, search for August 3 2018 on this webpage:click here

For more media information for Scott M. Haskins, Head of Conservation, at Fine Art Conservation Laboratories, click here

For art conservation/restoration questions call Scott M. Haskins, Oriana Montemurro, Virginia Panizzon Art Conservators 805 564 3438 faclartdoc@gmail.com

Facebook page: http://www.Facebook.com/bestartdoc

YouTube Channel” http://www.YouTube.com/bestartdoc

For a quick video tour of Fine Art Conservation Lab: http://www.FineArtConservationLab.com

Fine Art Conservation Laboratories provides professional art conservation services throughout the Santa Barbara-Ventura areas, Los Angeles area, Orange County and even into San Diego, Monterey-Carmel area, Las Vegas, Salt Lake City area. We provide pick up and delivery in these areas. FACL also provides mural conservation services nationwide and even internationally.