http://www.fineartconservationlab.com/ :- Painting Restoration Testimonial Tustin Orange County
http://www.fineartconservationlab.com/ :- Painting Restoration Testimonial Tustin Orange County
The Irish Museum in Albany NY is celebrating the 100 year anniversary of the freedom for the Irish with a permanent display of classi-sized memorial portraits of the patriots that began the 1916 Uprising in Ireland. The portraits were painted by renown artist Maureen Gaffney Wolfson.
On tour in Ireland, the paintings were displayed and heralded in the city of Roscommon, at the legislature building organized by Counsillor Orla Leyden and Terry Leyden Trade Minister of Ireland at the time.
Here in the US, the memorial project and the quality art were applauded internationally by the Honorary Consulate General Finbar Hill and Consulate General of Ireland, The Honorable Daniel Mulhall
From left to right : Honorary Consulate General Finbar Hill
Middle is artist Maureen Gaffney Wolfson and on the right is:
Honorable Daniel Mulhall Consulate General of Ireland.
And the icons commemorate the 100 Anniversary of the 1916 Easter Uprising
The artist, Maureen Wolfson’s fame began within the modeling world which opened the door to a reoccurring role on the Red Skelton Show, which she kept for four years. Leaving in 1968 while being a regular on the show, Maureen’s movie career began to blossom. She landed roles in “Swinging Summer” with Raquel Welch, “Harlow” with Carol Lindley, and “Guide for a Married Man” directed by Gene Kelley and staring Sid Caesar and Wally Cox. In between movies, she returned to television, making appearances on the Perry Mason, Raymond Burr and Danny Kay shows.
In 1978, Maureen moved from Los Angeles to New York and enrolled at the Art Students League under Thomas Fogerty and David Laffell where she learned the basic techniques of lighting and working with live models that laid the foundation for a lifelong career in painting. In 1983, Maureen received the Woman Artist of the Year Award from the International Beaux Arts Inc. Her artwork is praised and in the collections of high government officials in the US and Ireland, of the Hollywood elite and numerous public collections.
The prospect of and energy for the creation of this monumental tribute to Irish Independence was a natural passion the artist lives for her ancestral homeland and the expression of gratitude for her history. Every aspect of the creation of her paintings is carefully detailed in composition and construction. It is the quality of her passionate efforts that have defined her very well deserved public image and career.
For example, Ms. Wolfson sought out the services of one of the most well known art conservation labs in the country, Fine Art Conservation Laboratories to assist her in the varnishing and final touches of her artwork to make sure they looked perfect and would last generations. Here is an example of the decision making process and testing she undertook for quality control:
The Easter Rising was the most significant uprising in Ireland against the British since the rebellion of 1798. Also known as the Easter Rebellion, the 1916 armed insurrection in Ireland was launched by Irish republicans to end British rule in Ireland and establish an independent Irish Republic while the United Kingdom was heavily engaged in the First World War.
This series of commemorative paintings celebrates the martyrs of independence.
The Irish American Heritage Museum has an educational mission that preserving one’s heritage is vital to providing a cultural and historical foundation to future generations of Americans. It was organized in 1986 by the New York State American-Irish Legislators Society and was initially financed by the State Natural Heritage Trust, the State Council on the Arts, and numerous private donations. In 1992, the museum was permanently chartered by the Board of Regents of the State of New York as a non-profit. The museum was relocated to downtown Albany in 2012 where the 3,250 square foot space includes the Paul O’Dwyer Library and the Ancient Order of Hibernians’ archives. The museum is currently a member of The North American Reciprocal Museum (NARM) Association.
For more about Fine Art Conservation Laboratories: http://www.FineArtConservationLab.com
805 564 3438
Click here for more information about the artwork of Maureen Gaffney Wolfson
By Marissa Condie, UC Santa Barbara, Conservation Scientist Intern
Montecito, California was recently the center of two major natural disasters over the course of a few weeks. The Thomas Fire covered Santa Barbara and Ventura Counties in ash and smoke. Close on the fire’s heels, a mudslide filled commercial and residential buildings with boulders, mud, and debris. 1,000’s of home were impacted and 100’s damaged badly or obliterated by the boulders being pushed by the mudslides. Without minimizing the apocalyptic conditions that resulted and the impact on personal lives and the community, this article deals with professional services response for saving, protecting and restoring collectibles, artwork and family history items.
Fine Art Conservation Laboratories (FACL), is located only a mile or so from the site of the mudslides. Calls came in almost immediately… “I currently do not have access to my home, but I know there is damaged artwork…..my family and I escaped, and we brought one painting with us…..my home is four feet deep in mud, can my artwork be saved?” At FACL the art conservators are not only equipped to answer these questions, but immediately began to respond to Montecito’s crisis by doing what they do best, saving art.See the short video at the end of this article.
One homeowner that contacted FACL to assist with their disaster response had received a double hit. First, smoke from the Thomas Fire heavily damaged their home. Then, the mudslide left a three-foot mudline throughout the first floor of their home. Smoke, generally, heavily acidifies all paper and fabric materials in the house including framed prints (that appear sealed) hanging on the wall. This chemical process, that if not treated, can begin to yellow the paper perceptively within the year. The ever-present odor of a wildfire also seeps into the canvas works of art and the wooden frames.
In the “mud zone,” many of these pieces were splattered with mud. Luckily, some of the artwork hanging on the walls was physically untouched by mud, but, as the mud below it started to dry, the drastic swing in humidity began wrinkling the paper and growing mold. In their overwhelming situation, these homeowners took the best step they could have taken and called the conservators at FACL. In the hands of these experts, all of these issues, paper acidity, odor, and wrinkling, are completely treatable. When the rebuilding process is complete, this family’s artwork will be ready to return to the walls of their home.
Another home that contacted the conservators at FACL were also affected by fire and water, but in a peculiar way. The family evacuated for an extended period of time due to the Thomas fire. While they were away, a breeze through a kitchen window knocked over a cutting board, which knocked a potted plant over plugging the drain in the sink, which caused the kitchen water faucet to turn on. It blasted water, at full pressure, for the rest of the evacuation. Besides finding extensive smoke damage upon their return, the family found that their house had experienced a massive flood. The artwork in the home needed special attention, which the conservators at FACL were able to provide including interfacing with the insurance claims adjuster, packing up and storing the artwork during renovation, clean-up of the artwork and redelivery with the care these types of items require.
In the photo on the right: the fire created a pyroclastic cloud over the areas of Ventura and Santa Barbara. Ash fell on residents for 3-4 weeks
Art conservators are able to use their expertise to guide and aid a community’s disaster response. The timing and nature of a natural disaster can never be predicted, as the Montecito community experienced. Even within this sobering fact, here are 3 tip precautions that can be taken to ease the extent of damage to artwork during a natural disaster:
Questions? Call Fine Art Conservation Laboratories at 805 564 3438 email@example.comScott M. Haskins, Virginia Panizzon, Oriana Montemurro – Art Conservators. Andrew Jacobs, Disaster Response Services Coordinator
by Flora Arguilla, UC Santa Barbara, Art History Dept, Art Conservation Intern
The destruction of Hubbell Reed McBride’s mural, Animal Circus, would have meant the tragic loss of a whimsical, colorful, and beautifully detailed historical painting that everyone from children to adults has enjoyed for decades. People who care about artistic and historical heritage, professional art conservation technology and extensive mural restoration expertise made the preservation of this masterpiece possible.
It was created in 1940, with oil paint on canvas adhered to a wall using a technique called marouflaged and is 6 ft high and 27 ft long!
Some of the first things that come to mind while looking at this marvelous work of art are the words “cute” and “fun!” The artistic quality of this piece
and the enjoyable subject matter is unparalleled — if you don’t believe me, do a Google search for “animal circus murals”. No other mural of the same quality even comes close. The fact that it was made specifically for the enjoyment of children makes it even more endearing.
When the building that the mural was original located was demolished decades later, the technique of gluing the canvas the wall with starch paste turned out to be a life saver for the mural. Fortunately, the mural on canvas was able to be taken off and saved it. Though badly damaged with the inept removal technique, it survived until it could get professional mural conservation treatments.
Although the mural was in storage in Denver, the owner’s searched nationally for a mural restoration expert who was experienced in treating such large paintings. A knowledgeable contact in Santa Fe, NM referred them to Fine Art Conservation Laboratories (FACL) in Santa Barbara, CA who was, at the time, just finishing up on the lining (backing) and conservation of three 30 foot paintings for the State of Texas.
The mural’s cracking and flaking was stabilized and the painting was backed with a stiff support to prevent distortions in the mural and prepared it for reinstallation. Once treated Animal Circus was preserved for generations to come.
A Short Biography on HR McBride (1892-1960)
As a boy, Hubbell grew up in Mansfield, Ohio and developed a talent for drawing animals that made people smile. He came to understand that art has the ability to touch the lives of millions of people. After high school, he found a job in Cleveland, making illustrations for a newspaper syndicate, but they eventually let him go. After a year there, he had gained enough confidence to try the big market in New York.
Fortunately, this led to him become friends with the founder of Editor and Publisher magazine. He had established connections in the industry, and for the next 25 years he distinguished himself as cover artist and illustrator for several top Hearst publications
like Cosmopolitan and Good Housekeeping, as well as the Saturday Evening Post and Liberty & Collier’s Weekly Magazine.
Although he had a taste of the fast-paced life of a professional artist in New York, something that some people could only dream of, he walked away from his successful illustrator’s career to spend his life in rural America in order to put smiles into the lives of everyone who encountered his playful images in that region.
His work is easily recognizable for its warm humor, and for animals with memorable personalities. With a wealth of experience in graphic arts, McBride was a gift to the community in the 40s and 50s, painting a wide canvas of all sorts: from sacred scenes in the First Congregational Church in Lexington, to background drops for the Mansfield Players and Children’s Theater. Cartoon farm animals were undoubtedly a fan favorite, even from his very earliest works. In his drawings, McBride showcased the whimsical personalities and characteristics of the animals he was familiar with in his drawings, while also adding a touch of fun by drawing the animals with funny faces.
In the 1940s Reed McBride painted several murals in Richland County that became well-known landmarks in stores, churches and the Municipal Building. Below is a mural he created for the Ven-Mar market on Marion Avenue.
Questions? Call Scott M. Haskins, Oriana Montemurro, Virginia Panizzon Art Conservators 805 564 3438 firstname.lastname@example.org
For more information, check out these links!
Buck Winn Murals for the State of Texas
FACL’s mural capability statement:
FACL’s mural consultation statement:
FACL videos of mural conservation capabilities:
Saving collectibles, art and family history items damaged in floods and mud. https://www.youtube.com/watch?v=XmoT4cSOVFs Click on SHOW MORE
Call Andrew Jacobs, Disaster Response Services Coordinator on his mobile at 812 639 3681 or art conservators Virginia Panizzon and Oriana Montemurro at 805 564 3438
Disaster response companies have procedures and techniques for dealing with the damage caused by water. But heirlooms, collectibles, art and antiques are a special category that requires special considerations and handling. The added problems these types of items have are many:
Fine Art Conservation Laboratories has many many years of experience in working on these types of items. We are offering to be your expert and help you with these types of valuable items. Here are the services that we often provide:
1 evaluations and estimates of damaged items.
2 preparations of reports for the claims adjuster.
3 pick up and redelivery of the items being treated.
Here is a testimonial from a client in Las Vegas who was told by his disaster response company that they did not handle fine artwork. He was left to find an expert on his own: https://www.youtube.com/watch?v=r_YupoIRRcs
Water Damage of artwork – Testimonial: https://www.youtube.com/watch?v=r_YupoIRRcs
Our Reputation in the LA Area: https://www.youtube.com/watch?v=b5K5CIUWVp8
Determining pre-existing conditions: https://www.youtube.com/watch?v=kumg1gxQHFo
Problems on paintings: https://www.youtube.com/watch?v=_0Um7qeh9MY
Testimonial from Appraiser: https://www.youtube.com/watch?v=fXXlDB0M9qw
Save Your Stuff Author: https://www.youtube.com/watch?v=Yhf1U8Utxms
Call Andrew Jacobs, Disaster Response Services Coordinator on his mobile at 812 639 3681 or art conservators Virginia Panizzon and Oriana Montemurro at 805 564 3438
Website: – http://www.FineArtConservationLab.com
Email :; email@example.com
By Scott M. Haskins, Art Conservator
The situation was horrific and lasted for more than a month. Now that the danger is past, the entire area is recouping. After family members and pets are accounted for, the next items of concern are the family’s valuables and family history heritage items that make up the family’s memories. If insurance is going to meet the demands of the damage, then these items, sometimes of little financial value and cannot be replaced, become of great concern.
Fine Art Conservation Laboratories (FACL) experts haveprofessional methods, knowledge and a special division of services to offer families, business’, insurance claim adjusters and disaster response contractors to help respond professionally to the care, restoration and conservation of artwork, collectibles, keepsakes and antiques: Here’s a quick video (click on this link):
There are family heirlooms, art, antiques, family history items and treasures that can still be saved and preserved in very good condition in a house that is in this situation! Use care in the removal process. Their preservation can make all the difference for the owners in emotionally recouping from this disaster for years/decades to come. Wow, what a photo above!
Don’t know what to do, need help with questions about insurance claims?
ProBono, expert art conservation advice.
Call Andrew Jacobs on his mobile. 812 639 3681
Over 1000 structures were lost in the firestorm driven by 40-70 mph winds in the backcountry of Ventura and Santa Barbara, CA at the end of 2017. The Thomas Fire was classified as the largest wildfire (acreage) in the history of California. which threatened densely populated areas prompting the mandatory evacuation of more than 16,000 residents with many more voluntarily leaving for more than a couple of weeks. Even though the fire was not driven into the cities, the wind blew smoke and ash onto 100,000s of local residents and polluted skies northward past San Francisco, 600 miles away where I was visiting and saw first hand.
After a few days of the most aggressive advancement of the fire, 6″ of rain fell in a few hours in the mountains causing a catastrophic mudslide which pushed before it 10’ diameter boulders, autos, trees through houses in the Montecito suburb all the way to the beaches and closed the main artery 101 freeway for weeks. The final toll was 23 dead and billions of dollars of damage.
This mudslide in Montecito, CA was the result of extensive fires in the mountains above the city. When the rains came soon after, all of this came down onto the residential area.
Dozens of insurance claims to reclaim these types of items have been settled with the help of evaluations and inspections by FACL of smoked artwork, sculptures, family photos, model train sets, ceramics and collectibles… all of the cherished items that make up a family’s heritage and history.
Once such family has been in the railroad business for 4 generations and you can image that connection they feel with their family’s memorabilia! What a heartbreak to see the damage but what a wonderful moment to share with them how everything can be cleaned up to good and new.
We are prepared to handle the logistics and treatments of many items at once. We help compile inventories and reports for insurance reporting. We can re-hang the artwork and secure art objects for seismic safety.We are easy to communicate with and we can provide door to door service even over long distances.
Let’s Talk! Contact us:
Andrew Jacobs, Disaster Response Services Coordinator
812 639 3681 mobile
This painting required a double cleaning in order to remove the smoke and debris “safely.” No original paint was removed and the full value was returned.
Here are some testimonials and examples
of our work with other disaster response companies:
Smoke Damage (Testimonial): https://www.youtube.com/watch?v=pMPlQ90iJtc
Smoke Damage – Elite Restoration – Blog Post:
Water Damage (Testimonial Mrs. Dau): https://www.youtube.com/watch?v=6Umg_5trfe8
Water Damage (Testimonial Las Vegas): https://www.youtube.com/watch?v=r_YupoIRRcs
Damage in Storage – Rip Repair: https://www.youtube.com/watch?v=g2Jxozdtl0w
Expert Author – Tom Antion Hurricane Testimonial:
Andrew Jacobs, Disaster Response Services Coordinator
812 639 3681 mobile
We got our first call from a resident in the mudslide area today; 3 ft of mud… in the house! Unbelievably, they got out with the bare minimum… and their favorite painting… but there is a house of family memories to save as soon as they (and we) are let back in.
The mud on this painting smells like sewage. Its always a good precaution to protect your health when handling items from a mudslide in inhabited areas.
The mud etc can be removed safely from this artwork and is completely recoverable. Another day has passed and I’ve inspected about 25 works of art, all cleanable and can be returned to pre-disaster condition.
Scott M. Haskins, Virginia Panizzon, Oriana Montemurro
805 564 3438 office
This is a PuroClean testimonial of working with Fine Art Conservation Laboratories: http://www.fineartconservationlab.com/testimonials/ Click on SHOW MORE
PuroClean works with art restoration specialist Scott M. Haskins to properly handle and treat sensitive collectibles and art.
Questions about restoring your art? Call Scott M. Haskins, Virginia Panizzon, Oriana Montemurro Art Conservators at 805 564 3438 firstname.lastname@example.org
Contact PuroClean Paramedics for disaster response/clean up all over SoCal done right: Phone: (909) 360-5300
See our channel for more educational videos: http://www.YouTube.com/bestartdoc
Lots of well-intentioned people think that restoring artwork is like “fixing” anything else. Chief culprits are artists who think that because they can paint a painting, they can restore any painting. We’ll, for #1, they have no idea why works of art fall apart. And, of course, they have no idea as to the aging problems of the materials/supplies they use for restoring. But most importantly, they don’t honor or respect the original creation, historical value or aesthetics, even if they are flawed (in their opinion).
These photos got viral international fame when the painting on the left was restored – the final result is on the right. Yes, this is THE ACTUAL APPEARANCE OF THE artwork AFTER RESTORATION!! You might say, “You’ve GOT to be kidding me!!!” This got a lot of outrage…. and then hilarious parody responses from the public…
Artists put there own vibe on other artist’s artwork they restore
Before and After Restoration of Warhol’s iconic Marilyn
Wonder Woman has been busy lately saving the world and now she’s doing art restoration on ancient statues at the Met and saving the world’s heritage too. I’m glad that she sees saving our heritage as an important work worthy of her time and she’s amazing at beating up the bad guys but would you want her “delicate touch” and “trained eye” to restore your artwork?! I don’t recall that education or experience being part of her training on the hidden lost island of Amazon Warrior Women.
What people fear if the Mona Lisa were restored
Did you like the last restoration of Leonardo’s Last Supper?
On a more serious, real note…. In the news recently: the past restoration work on the painting Salvador Mundi by Leonardo da Vinci was so extensive and poorly done that it was no longer attributed to him. The only way to recoup the value? Remove all the restorations and see what was left by the Master. Photo on left is the painting after the past restorations were removed; photo on right is after the careful and excellent quality recent painting conservation treatments that allowed for the artwork to sell at Christies in Nov. 2017 for $430 million.
Salvador Mundi by Leonardo da Vinci
You may think this is funny! But the sad thing is
that it happens all the time!
We just returned this completed portrait to her family a short time ago…
On the left is the photo of how the painting looked AFTER restoration when it came back from a “professional” Russian restorer in the Los Angeles area not long ago! IT DIDN’T LOOK ANYTHING LIKE THEIR GRANDMOTHER! As you might imagine, the family was crushed, as they thought the original, cherished oil painting of their dear grandmother was damaged beyond repair and lost forever. On the right is our after-restoration photo of the ancestral portrait, AFTER all the previous “restoration” was removed and the original portrait was recuperated. You should have seen the owner’s/family’s faces!
This exquisite Madonna and Child Spanish Colonial painting in the Franciscan archives of California is another sad story of botched over-restored valuable art. Look closely, especially at the details of the child Jesus… it looks as bad as “Behold the Monkey!!!”
The photo on the left is the “restored”- repainted old master.
After we cleaned off all the repainting to re-reveal the original, we then properly stabilized deterioration, cleaned the underlying “gunk,” carefully and discretely inpainted only the paint losses, being careful to not slop over onto the original. Conservation grade varnish layers allowed the painting to glow and look its best. The photo on the right of the face shows the final results after conservation. Look how many wonderful details reappeared!!! Repainting a work of art as an excuse for “restoration” is, of course something that kills the value of the original: Its no longer by the artist, its no longer from the period or age of the original.
Several different kinds of analysis can help reveal the original details of over-restored art, helping in authentication.
Through analysis, the Charles Dickens Museum in London found out that they own an original portrait by an important Victorian artist. The bad news is that it is almost entirely hidden under layers of overpainting across most of the surface, which covers up to 70% of the original vintage, historic, valuable artwork including most of the face. The repainting is believed to be an attempt to mask the damage caused by an equally disastrous attempt to clean the picture, long before it came to the museum.
Extensive tests at the Hamilton Kerr Institute, the conservation department of the Fitzwilliam Museum in Cambridge included X-radiography, ultraviolet visible fluorescence and infrared reflectography (which we do in our lab) which were used to see the underlying details better.
Cindy Sughrue, director of the museum, hopes to raise the money for full restoration of the painting. “This has been an interesting process to say the least, and one that has seen us swinging from despair to elation.”
“Anyone could see looking at it that it wasn’t quite right – one conservator commented that she looks more like a southern belle – but until we got the scans back it was hard to say exactly what had happened to it,” Price said. “It’s a great relief to know that most of the original painting is still there and we should be able to recover it.”
Thomas Rebok, Art Conservator in S. Africa: https://www.fine-art-restoration.co.za
photographed the removal of one portrait from off of another portrait.
For more on IR, click here: http://www.fineartconservationlab.com/research-and-authentication/lost-leonardo-searched-for-with-infrared-its-also-used-to-help-art-collectors-find-lost-signatures-–-a-short-video/
To discuss the value of your painting, call my friend Scot Levitt at Bonhams Auction House in Los Angeles. Tell him Scott Haskins sent you. I promise, he’ll be nice to you! 323 436 5425 email@example.com
Art conservation – restoration questions?
Call Scott M. Haskins, Oriana Montemurro, Virginia Panizzon – Art Conservators
Tel 805 564 3438 firstname.lastname@example.org
Art appraisal questions?
Call Richard Holgate, Certified Appraiser 805 895 5121
See a tour of Fine Art Conservation Laboratories (CLICK HERE)
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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). While its better than a monkey face, it still is a laugh:
A short video, a new app and some good advice
When treasured family history documents, photos, heirlooms, memorabilia etc are wet, in some way or another, priorities need to kick in. But what makes an item valuable enough to rescue?
Remember that value is more than just financial. “Don’t save that stupid thing of your mother’s” may indeed be the most important thing you have to pass down to children, has extreme value emotionally and for story-telling value. Add to your story of saving it from the flood and you will really make it an important item for future generations!
“The affection people feel for the art objects they own can be intense, and seeing those objects hurt or destroyed can be intensely traumatic. Take a step back, breathe, and assess yourself,” said Kala Harinarayanan, Director of Environmental Health and Safety at the American Museum of Natural History, speaking at the Consortium on Recovery of Works of Art Damaged by Flooding. It wasn’t too surprising that a conference held at the Museum of Modern Art on how to deal with damaged artwork in the wake of hurricanes and winter storms, at times, felt like a group-therapy session.
At the same conference, renown industrial hygienist Monona Russol reminded people, “Among the most common and pernicious effects of flooding is mold. She pulled up a slide of a wooden sculpture covered in white mold—a victim of Hurricane Katrina. “One problem with mold, she said, is that it can take months to manifest itself. You might think you’ve dodged a bullet,” she said, “but you’ll have problems later on, especially in summer.”
Jim Coddington, a MoMA conservator, had been orbiting the scene like a priest at a church shelter.
“It’s true, some things may be lost,” he said. “But don’t make that assumption until you’ve been able to step back and get some expert eyes on it.”
There’s two (or maybe 3) parts to protecting and saving water damaged keepsakes: 1. Emergency actions and 2. Longer term preservation… and if you want, you can add a third step – restoration. Getting professional help may be your salvation.
For emergency response and saving of “valuable” items that make up your family’s heritage, this app may be useful:
Emergency Response and Salvage Mobile App, is a handy mobile tool (which doesn’t work on a MAC) created by the National Center for Preservation Technology and Training. Although designed for museum professionals, the free app offers useful information for anyone dealing with water damage.
To help keep precious items safe from the storm, here are some tips from experts:
Scott M. Haskins, Virginia Panizzon, Oriana Montemurro, Painting Conservators
805 564 3438
September’s Facebook cover image of the American Institute for the Conservation of Historic and Artistic Works (AIC) features, Professional Associate Scott Haskins (left in the photo) of Fine Art Conservation Laboratories, Inc., who is also a former chair (for 6 years) of the Conservators In Private Practice (CIPP) specialty group. In the image, conservation professionals are lining three sections of the previously detached 280′ long mural by Buck Winn, “The History of Ranching in Texas”. The murals are in the collection of the Texas State University in San Marcos, Texas. An action photo of the lining process (art restoration treatment) of three 30′ paintings is this month’s header.
Mr. Haskins works with painting veteran conservators Julie Stephenson, Oriana Montemurro, Virginia Panizzon and conservation technicians Diane Stevenett and Danielle Masters (who are also featured in the photo). More information on the project and a short video can be found here: http://www.fineartconservationlab.com/murals/the-art-restoration-of-texass-most-famous-lost-public-art-by-the-most-famous-texan-artist-you-never-heard-of/
The process of lining or backing a large canvas is a specialization that few art restorers have in the world. Mr. Haskins familiarity with the quality techniques and process were evident also from the recommendations David Coleman, Director of the Alkek Library Collection, received from other art conservators in Mr. Haskins’ favor when they were choosing an expert to undertake the work.
Dr. Coleman expressed confidently, “We couldn’t be happier with the work, FACL’s expertise, their customer service and communications throughout the process, the complete range of services to assist… it has been a completely positive experience and we would recommend Scott Haskins and FACL to everyone for art and mural restoration services no matter where you are located in the USA.”
The three 30′ sections of the mural required lead abatement, paint consolidation, distortion removal, rip repairs, lining, cleaning, fills and inpainting, and varnishing. FACL, Inc. is certified for toxic materials abatement such as lead and asbestos. There are several videos on YouTube that show the detaching process of murals and their reinstallation options. Here is the YouTube channel for mural restoration
Oriana Montemurro inpainting murals by historic Texas artist, Buck Winn.
Art conservators that work in a private practices have businesses ranging from sole proprietorships to large companies, they provide support for clients such as artists, private collectors, galleries, corporations, museums, universities, and governmental agencies.
The importance of the History of Ranching is being rediscovered and recovered. The Texas State University chose Fine Art Conservation Laboratories after an exhaustive nationwide search for the expertise to deal with the serious preservation problems and in the hopes of ending up with a quality work of art to re-exhibit in the new Alkek Library on campus. The university owns 3 of the 11 sections that make up the 280 mural. As of the date of this article, the art conservation treatments on these 3 sections of mural are just completed. Plans to re-reveal the mural are in effect, but sadly the different parts of it have been separated… and are not likely to be reunited… so the full effect is lost. There is, however, very quiet discussions taking place regarding the other 8 sections of mural.
Buck Winn completed more than fifty projects in his life mostly between 1940 and his death in 1979, all on relatively large scales apart from his award winning postage stamp design for a three cent stamp in 1946. Some of his larger works are still available to view by the public in government and public buildings, however as new development has taken place an equal number have been sadly lost forever due to bulldozing and no care taken to recover the works before hand. There are funds and awareness groups urging for protection of these art pieces such as the Texas State Historical Association, stating that they are important works to preserve for the sake of art history and Texan history. Some of the murals no longer even exist in photograph form which is a real shame for future generations as well as all that appreciate his art work today. It is unclear why more care was not taken during reconstruction.
This story demonstrates the necessity for the preservation of architectural art (like murals) and also that loss of something precious can still happen in an “enlightened society” as ours if no one takes action to “make it happen.”. Losses and gaps such as the one in Buck Winn’s repertoire demonstrate a modern example of the problems we experience in looking at history. It is a difficult task to interpret the past as is, and the further you get from it and the more gaps that present the more difficult it gets. Especially in an age of technology and knowledge, as we are now, there is no real excuse for the loss or forgetfulness of anything like this.
Luckily, there are several societies and organizations fighting to save and promote Buck Winn’s legacy. These include the Texas Historical Commission and the Texas State Historical Association, which is one of the only bodies to have a decent biography about the man in question. Hopefully he will continue to be recognized for the artist and innovator that he was, that no further works of his will be forgotten or destroyed and thanks to experts like Fine Art Conservation Laboratories for their expert consultation service, nationwide on such projects and for their heroic efforts to do the actual mural protection, preservation and art restoration.
Mural Conservation Contact info:
Scott M. Haskins, Oriana Montemurro, Virginia Panizzon Art Conservators
805 564 3438 email@example.com
Videos showing the work of Fine Art Conservation Laboratories
If you live in Los Angeles: https://www.youtube.com/watch?v=b5K5CIUWVp8
If you live in Orange County: https://www.youtube.com/watch?v=YHo5A9L_rVA
If you live in Los Vegas: https://www.youtube.com/watch?v=h6h-cU3TWD8
If you live in Salt Lake City: https://www.youtube.com/watch?v=COuMshFt9ek
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