Mural Capability Statement

8/14/2019 Mural Capability Statement

http://slidepdf.com/reader/full/mural-capability-statement 1/7

FACL, Inc.Scot t M. Haskins

Fine Art Conservat ion Laboratories

P.O. Box 23557

Sant a Barbara, CA 93121

tel (805) 564 3438 fax (805) 568 1178

[email protected]

Mural Capabilities StatementScott M. Haskins

FACL, Inc. (Fine Art Conservation Laboratories) under the direction of Conservator Scott M. Haskinshas provided, over the years, extensive mural conservation services over a wide geographical baseOn large projects, team organization and working with numerous committees is an importanability. In these cases, an excellent team of professionals comes together to create a company thathas great depth of experience in craftsmanship and talent, problem solving expertise, analyticacapabilities, professionalism and art connoisseurship. www.fineartconservationlab.com

Past Mural Projects

2009 – 2012 City of Los Angeles, Community Redevelopment Agency, Cultural Arts. Open endedproject of various smaller mural projects and consultation projects in partnership with fine arthandlers Cookes Crating.

2009 Fair Park Esplanade and Parry Gate Conservation Project, 1936, Fair Park, City of Dallas, Texas. Project required the protection (during demolition and reconstruction) of 7,500 sq. ft ofoutdoor period murals (see mural project 1999), 6 monumental concrete sculptures, 3 monumentapainted base reliefs in cement, 5 monumental pylons with painted base reliefs and various paintedbas relief panels and friezes in other locations. Historical reproduction decorative painting wasperformed on bas reliefs at Parry Gate and on ticket booths.

2008 – 2009 Firemen and Policemen at work by Terry Schoonhoven, 1998, acrylic on fabricmounted, Interior lobby of Police and Fire Dept. building, Burbank, CA. Construction defectsresulted in infiltrations of rain water and in mold growth within wall structures. Murals wereremoved in preparations for demolition, cleaned front and reverse sides, consolidated andprocessed on hot table for future potential weaknesses in paint layers, reinstalled, inpaintedvarnish.

2008 Landing of Cabrillo by Arthur Beaumont, 1956, oil on fabric mounted, Jonathan Club, LosAngeles, CA. Stabilized extensive flaking, cleaning, fills, inpaint, varnish.

2008 Tropical Birds by Jessie Arms Botke, 1950, 7’ x 13’ Oil on fabric mounted, Oxnard PublicLibrary, Oxnard CA. Stabilized extensive pinpoint flaking, cleaning, inpaint, varnish.

2007 Sports figures by attributed to Marion Simpson, 1936 WPA, Darius Anderson. Removed murals(2) painted in tempera on thin cotton fabric. Water stains, rips, flaking, toxic materials. Stabilizedcondition: consolidation, repaired rips, removed and inpainted stains, toxic materials abatement,prepared for remounting. Work referred by Oakland museum of Art, Oakland, CA.

2007- 2008 Monument to Ed Ruscha by Kent Twitchell 60’ x 90’, 1987, acrylic on cinderblockoutdoor wall, Los Angeles, CA. U.S. Department of Labor and Schwartz and Jansen LLP. Murallocated on outside of building owned by US Dept. of Labor was painted out. In the resulting lawsuitby the artist, FACL met with and collaborated with the artist, government reps., lawyers and otherconservator to plan the removal of the overpaint and also to propose, separately the removal of

Page 1 of 7



the original paint from the cinderblock wall. Tests were made, proposals outlined, interacted withmedia etc.

2006 Hopi murals by Fred Kabotie, Painted Desert Inn, 1947, Petrified Forest National Park, USGov’t, Holbrook, Arizona. 7 murals in tempera on plaster. Settling of the building caused plasterdetachments (both arriccio and intonacchino) and cracks, infiltrations from roof caused waterstains, general flaking of paint, surface grime, residual wax from 1977 conservation treatments.Plaster layers were stabilized with injections of consolidants, flaking paint was consolidated withtopical applications of adhesives with heat solvents and local pressure, cleaning (including stainremoval), fill, inpaint, varnish.

2005 “Water and Light” by Hugo Ballin 1943, 13’ x 30’, oil on fabric marouflaged. City of Burbank,CA, Dept. of Water and Power. Very sensitive cleaning of thinly glazed execution, fills of original

joins in fabric, injection consolidation of detached fabric, inpaint, varnish.

2003 - 2005 “The Sea” by Gottardo Piazzoni Mural Project for the De Young Museum and the NewAsian Art Museum, San Francisco, CA. 5 mural panels by Gottardo Piazzoni (1931 and 1945)

Technique: oil on fabric marouflaged removed from Old Main Library (New Asian Art Museum) in1999. Mr. Haskins was the Team Leader for the conservation team (made up of professionals fromseveral areas of the US). Removed paintings were cleaned, special mounting to aluminumhoneycomb panels, inpaint and prepared them for reinstallation, working with new De YoungMuseum planners for exhibit construction and installation design.

2001 – 2002 Portrait of Mexico Today by David Alfaro Siqueiros, 1932. Mixed media on Portlandcement on lathe and plaster construction. The mural was moved, along with its walls, foundationand ceiling structure, from Pacific Palisades (Los Angeles) to Santa Barbara, CA (about 100 miles).

The process required working with a team of conservators, technicians and specialists to preparethe mural for the move, and perform the conservation work once installed on it’s new site in frontof the Santa Barbara Museum of Art. The mural was moved with no visible damage resulting fromthe move. Innovative techniques were used in the processes. Extensive public review wasperformed, a documentary was made, and many presentations were given.

2001 Carlo Ciampaglia Murals located in Fair Park, Dallas, Texas on the Sheep and Goat Building.Original murals painted in house paint on Portland Cement. Murals were damaged beyond repair bysand blasting and power washing. FACL recreated the murals from historical photographs in Kiem

paint as specified. Contract with the City of Dallas at Fair Park, Parks and Recreation Department.

1999 - 2001 Carlo Ciampaglia Murals located in Fair Park, Texas 1930’s. 7500 sq. ft. Technique:(house) paint on Portland cement. Contract with the City of Dallas at Fair Park, Parks andRecreation Department. Mr. Haskins provided consultation services to assist in the planning of theproject and was head of conservation. The project included the conservation and preservation ofthe Carlo Ciampaglia murals on the Centennial Building and the Food and Fiber Building in FairPark. The treatments included the removal of four to six layers of overpaint, consolidation oflaking, fill, inpaint, coating. Educational presentations and materials also resulted from the projectMr. Haskins was the chief Conservator, Project Manager. The conservation team consisted ofapproximately 24 professionals and technicians. www.fairparkmurals.com

2000 – 24 paintings/scenes from the Old and New Testament by Harry Anderson, Grant Andersonand John Frost, ranging from 8’ 12’ to 8’ x 18’ each, located in The North Visitor’s Center, TempleSquare, Salt Lake City, UT. Oil on fabric marouflaged to wall. The paintings were removed from thewalls in preparation for demolition and seismic retrofitting. They murals were cleaned, stabilizedvarnished and mounted onto auxiliary supports for remounting onto the walls of the same buildingSpecial considerations were made for seismic precautions.

1999 - Murals in the Crocker Estate, Pebble Beach, CA., 1921. 2500 sq. ft. Technique: casein onplaster on the ceilings and oil on fabric with raised gesso, gold leaf and jeweled inclusions onmurals for vertical surfaces. The Gothic Castle underwent historical restoration; treatments on themurals included removal of 4 layers of overpaint from the ceiling murals, stabilization of flakingfills, inpainting and surface coatings. The paintings on canvas (previous removed from the site in

Page 2 of 7

http://www.fairparkmurals.com/

http://www.fairparkmurals.com/



1982) were cleaned of paste, mold and dirt on the reverse, cleaned on the front, consolidated, themany pieces were reconstructed, rips and deformations repaired, lined, fills, inpaint, coatedreinstallation on site.

1998 - 2000 Mural Project for the New Asian Art Museum Project, San Francisco, CA. Contract withthe Asian Art Museum/ City of San Francisco. 14 mural panels by Gottardo Piazzoni (1931 and1945), two murals by Frank DuMond (1914). Technique: oil on fabric glued to wall with paste, vinyladhesives and plaster milk. 2000 sq. ft. Provided consultation services to assist in the planning ofthe project. Mr. Haskins was the Team Leader for the conservation team (made up of professionalsfrom several areas of the US) whose mandate it was to remove the murals safely from their presentlocation, effect their conservation, prepare them for reinstallation, oversee installation.

1998 Aerodynamics by Lucien Adolph Labaudt, 1934 (WPA), Technique: oil on fabric marouflaged(white lead). 256 sq. ft. Contract with GSA. This painting was removed previously. FACLreconstructed the 12 pieces of the painting, performed the conservation treatments andmarouflaged the painting to the ceiling of the Federal Courthouse, 312 N. Spring St. Los AngelesCA.

1997 - 2000 General Services Administration (GSA), United States Government, Indefinite QuantityContract for conservation services for paintings in federal buildings in 20 Western States. Thiscontract was awarded after competitive bids based on price, competency, professionalism werecompared with conservators from all over the US. FACL participates as a team member with twoother labs who are responsible for artwork in the Midwest and East Coast.

1997 WPA murals in four post offices in rural Pennsylvania under contract with the Department of Transportation. U.S. Government. Conservation services included evaluations, condition reportsbudget proposals, on site conservation treatments.

1997 Chinese fantasy murals, c. 1850 (installed in the 30’s), 800 sq. ft. Johnny Weismiller Estate,Bel Air California. Technique: tempera on paper glued to plaster. Water infiltrations and poorinstallation/restoration techniques caused stains, flaking of paint and delamination of paperSuperficial treatments included consolidation, inpainting.

1996 The Stations of the Cross, 1930, technique: oil on fabric marouflaged (lead white adhesive),

St. Andrew’s Cathedral, Pasadena, CA. The 1994 Northridge Earthquake had caused damage to thebuilding. The murals, mounted with lead white adhesive, were removed, cleaned, ripsrepaired(during building repairs), flaking consolidated, inpainting, varnish and reinstalledConservation completed on time and on budget.

1996 The Landing of Cabrillo, 1934, technique: oil on fabric marouflaged(lead white adhesive),Dana Middle School, San Pedro, CA. Water infiltrations had caused a massive section of the paintingto detach from the wall and numerous stains down the front of the murals. The murals werecleaned, consolidated, reattached, inpainted, varnished. Conservation completed on time and onbudget.

1995 and 1996 Aspects of Education by Hugo Ballin, 1934, approx. 1500 sq. ft. technique: oil onplaster, El Rodeo Middle School, Beverly Hills, CA. Preparation of mural’s surface and protection

against injection epoxy grouting process. Subsequent removal of protection layers, consolidationof paint layers, fills, inpaint. Conservation completed on time and on budget.

1995 Frieze, La Casa Grande Vestibule, Hearst Castle, San Simeon, CA, 16th Century, Italian,technique: affresco, strappato, approx. 303 sq. ft.. Work included removal of organic depositsand dry cleaning, consolidation, stabilize damaged areas, flatten deformations, reattach detachedfabric seams, tone and inpaint, varnish. Conservation completed on time and on budget.

1995 Fiesta, Mission Inn Hotel, Riverside CA, WPA oil on fabric marouflaged. Conservation workincluded installation, cleaning, inpainting, varnish.

Page 3 of 7



1994 Seabee Mural by Duffy Lewis, Port Hueneme Naval Base, Oxnard, CA, 1947, technique:tempera on acoustic tiles, approx. 1800 sq. ft. . Mural was very dirty, and many tiles (101) weredamaged or missing. The mural was dry cleaned because of the solubility of the paint. Afterconsolidation, missing tiles were replaced and painted to match original design. Damaged tileswere filled and inpainted. A final protective varnish layer was then applied to saturate all colorsevenly while still maintaining the unvarnished look. Conservation completed on time and onbudget.

1994 St. Monica’s Church, Santa Monica, California, 1920’s, technique: oil on plaster, approx. 300sq. ft. . This church was extensively damaged during the Northridge earthquake. The consultationwork included proposals and specs for saving the historic murals and decorative friezes.

1994 Galleria Ceiling, Biltmore Hotel, Los Angeles, CA, 1923,technique: oil, acrylic and gilding onplaster, Giovanni B. Smeraldi, approx. 450 sq. ft. A large portion of the Galleria ceiling fell due towater infiltrations. A reproduction of the plaster relief was cast off original portions of the ceilingand installed. FACL painted, gilt and toned the new plaster to match the 1923 original (which hadbeen previously restored in 1987). Conservation completed on time and on budget.

1993 “Fiesta at a Mission” by Albert Herter, Los Angeles Central Library 1928, 1930, technique: oilon fabric marouflaged to plaster. The wall behind the mural was in the process of collapsing. The13’ x 35’ painting was removed by rolling it onto a turntable/ cylinder (built by FACL, Inc.),demolishing the weak section of the wall, reinforcing the original wall with new metal studs, metallathe and new plaster (work performed by contractor), remounting of mural on wall in exactlysame position (so as to fit within decorative borders). The conservation treatments of the muralincluded facings, removal, consolidation of flaking, readhesion to wall, fills, inpainting, varnish.Scaffolding handled by general contractor. Project required 1 1/2 months (including drying timefor plaster). Project was completed on time and on budget. Conservation completed on time andon budget.

1993 Historic Ceiling, Room 100 Moore Hall, University of California at Los Angeles, 3800 sq. ft.technique: oil on plaster. Surfaces cleaned and varnished. Losses filled and inpainted. Lost design

work reconstructed (repainted) with the use of templates. All reproduction work (which wasextensive) had to meet rigorous quality control and pass approval by numerous entitiesScaffolding provided by general contractor. Project required 4 weeks. Project was completed ontime and on budget. Conservation completed on time and on budget.

1993 “Labors of Hercules” by Michael Spafford, Washington State Capitol Building. 2 murals 16’ x45’ each, technique: acrylic on fabric and plywood adhered to plaster. These murals were adheredwith a tenacious “permanent” adhesive (like lead white adhesive though not as toxic). The muralswere removed by detaching the plaster layer behind them from the building’s wall then removingthe plaster once the murals were down. Light cleaning and facing were required. Special handling,detaching, removal from building, crating and shipping performed by Cooke’s Crating. Noscaffolding required. Project required 7 days. Project was completed on time and on budget.

1993 Murals by Dean Cornwall, South and East Walls of the Rotunda, Los Angeles Central Libraryc. 1926, technique: oil on fabric marouflaged to plaster, 2400 sq ft., . Earthquake damage on asection of the East wall murals had detached a large section (60 ft high x 40 ft wide) of plaster fromthe concrete structure and was at risk of falling off. Treatments performed included readhesion oplaster layers to original wall structure by injection of adhesives into plaster voids, use of bracingsystems and humidity to flatten distortions, fill injection holes, inpaint. Scaffolding handled bygeneral contractor. Project required 3 weeks. Project was completed on time and on budget.

1992 “Spring In Georgia” by Andre Ruellan, c. 1920, technique: oil on fabric, 51 3/4” x 134 3/8”, RG. Stephens Federal Building, Athens, GA for the General Services Administration. This painting wasimproperly removed from a wall which set into motion a number of problems including flaking. The

Page 4 of 7



flaking had been (unsuccessfully) treated twice previously. Our previous (1991) successful work ona similar project lead us to this work. Conservation treatments included cleaning, properconsolidation, vapor treatment, lining, new stretcher bars, fill, texture, inpaint, glaze, varnish. Noscaffolding required. Project required 4 weeks. Project was completed on time and on budget.

1992 ‘Tropical Scene’ by Jessie Arms Botke, c. 1920, technique: oil on fabric marouflaged to wall7’ x 27’. Irvine Museum, Irvine CA. Remove mural from wall which was about to be demolished(after facing and prep.) onto a large cylinder, clean, consolidate, vapor treatment (heat humidityand vacuum to remove distortions), lining, new stretcher bars, fills, inpaint, glaze, gilding, varnishNo scaffolding required. No time requirement. Project was completed on time and on budget.

1991 Landscape with Flowers by Paul Rohland, 1938, technique: oil on fabric adhered to plywood63” x 132”, Richard B. Russell Federal Building Courthouse, Atlanta, GA for the General ServicesAdministration. This painting was improperly removed from a wall which set into motion a numbeof problems including flaking. The flaking had been (unsuccessfully) treated previously. Treatmentsincluded cleaning, proper consolidation of air pockets between fabric and wall, consolidate flakingpaint, fill, inpaint, varnish. No scaffolding required. Project required 4 weeks. Completed on timeand on budget.

1990 Four Murals by Hugo Ballin, 1934, technique: oil on fabric marouflaged to plaster, 1800 sq. ftLos Angeles Times Building, Los Angeles, CA. Clean, fill holes (which were drilled into surfacetwenty eight years ago for aluminum paneling which covered these murals), inpaint, varnishreplacement of a missing corner of the mural. Gilding and painting was required on decorativeborders and panels. Provided scaffolding. Project required 3 weeks. Project was completed on timeand on budget.

1989 Ritz Carlton Mural by Cuneo van den Steene, 20' x 65', technique: oil on wood, ss Rotterdamfor Holland America Lines. Consolidate entire surface, set flaking, fill, inpaint, varnish. Projectrequired 2 weeks on site in dry dock in Portland, OR

1988 "America Tropical" by David Alfaro Siqueiros, 1700 sq. ft. technique: synthetic, automotivepaint on Portland Cement, El Pueblo de Los Angeles Historical Park, Los Angeles, CA. Analyticainvestigations into the artist's technique, causes of deterioration and budget preparation for theconservation project. Work performed for Friends of Mexico Foundation with collaboration from theGetty Conservation Institute. No scaffolding required. Project required 1 week. Project was

completed on time and on budget.

1981 The Manti Temple Project, murals dating 1884, 1935, 1945, technique: oil on canvas anddirectly on plaster, 10,000 sq. ft. Manti, UT. Three rooms entirely painted. Most of the work requiredremoval of discolored varnish layers. Extensive structural consolidation of plaster to masonry wallsin the largest room was required. Filling of cracks, inpainting, varnishing. Scaffolding handled bygeneral contractor. Project was completed on time and on budget.

1979 Historical Murals, 1909, 1500 sq. ft. technique: oil on fabric marouflaged to plaster. UnionPacific Railroad Station, Salt Lake City, UT. Cleaning of thick layers of discolored varnish andremoval of repainting from bad restorations. Consolidation of voids between canvas and wall. Fillsat joins, inpainting and varnish. Scaffolding handled by general contractor. Project required 4weeks. Project was completed on time and on budget.

1978 St. Erasmus, 1465, technique: affresco, 10’ X 6’, San Giovanni, Lumezzane, ItalyExtensive cleaning, consolidation of abrasions and water damage, structural repairs to buildingfilling of lost areas, inpainting. Research involved the rediscovery of the layout of the originaRomanesque Church on the site. Provided scaffolding. No time or budget requirements.

1977 Santo Corpo di Cristo, 1525, technique: affresco, 20,000 sq. ft. (entire church), painted byFoppa, Brescia, Italy. Removal of overpainting, cleaning of dirt, smoke, etc., filling, inpaintingProvided scaffolding. No time or budget requirements.

Page 5 of 7



1976 The Gospel, 1402, technique: affresco, 1500 sq. ft., Dominican Library ceiling, Calvisano, ItalyCleaning removed 9 layers of repainting from 5 centuries. Consolidation of structural cracks, waterdamage, filling and inpainting were needed. Provided scaffolding. No time or budget requirements.

1975 Procession of Saints, 1395, technique: affresco, 2000 sq. ft., Ex-Monastero of the Trinity, SanGallo, Italy. Treatment on three layers of affresco work spanning three centuries. Work includedconsolidation, extensive and sensitive cleaning, fills, inpainting. Provided scaffolding. No time orbudget requirements.

References and Previous Clients This section lists contacts for some of the murals projects recently completed:

Hopi Murals at Painted Desert Inn Water and LightRonald P. Treants, R.A. Project Specialist John Cassidy, ManagerDenver Service Center - National Park Service City of Burbank12795 W. Alameda Pkwy 275 East Olive Ave.Lakewood, CO80228 Burbank, CA 91510(303) 969 2326 (818) 238 3656

Siqueiros Mural North Visitor’s Center in SLC, UT

Diana Du Pont, Curator Stacy GoodliffeSanta Barbara Museum of Art Missionary Exhibits Department1130 State St. 430 W. 400 N.Santa Barbara, CA 93101 Salt Lake City, UT 84103(805) 884 6419 (800) 453 3860 ext 20203

Fair Park, Dallas, Texas Nancy T. McCoy, ArchitectLouise Elam, Park and Rec. Dept. Nancy T. McCoy Preservation Architecture1500 Murilla 1207 Tranquilla Dr.Dallas,,TX 75201 Dallas, TX 75218(214) 670 5275 (214) 321 1885

Professional references:

Mr. James Druzik Perry Huston, ConservationGetty Conservation Institute Perry C. Huston and Assoc.1200 Getty Center Dr, #700. 2626 Lombardy Ln.Los Angeles, CA 90049-1684 Dallas, TX 75220

Tel. (310) 440 6824 (214) 366 4740 mobile

Carl Grimm, Director of Conservation William Minter, ConservatorDe Young Museum RD 1 Box 9950 Tea Garden Dr. Woodbury, PA 16695South San Francisco, CA 94118 (814) 793 4020(415) 750 3645

William B. Adair Albert Albano, ConservatorGold Leaf Studios 2995 Montgomery Rd.443 “I” St. N.W. Shaker Heights, Ohio, 44122Washington DC 20001 (216) 658 8709(202) 638 4660

FACL, Inc. does conservation work for art galleries in Carmel and Monterey, San Francisco, BeverlyHills, Los Angeles, Laguna Beach, Santa Monica, Santa Barbara, and Hawaii. We also do work forBonham and Butterfield Auction House (L.A. and S.F), Moran Auctioneers in Alta Dena, CA.

Page 6 of 7



FACL, Inc. provides services for private clients (collectors) throughout the United States includingthe San Francisco Bay area, the Carmel/ Monterey area, Phoenix AZ, the Los Angeles area, Chicago,

Texas, New York.

Professional Affiliations

American Institute for Conservation (AIC), Professional Associate member (member since 1978)Participation has included talks and presentations at annual meetings. Activity also includesparticipation in the Paintings Specialty subgroup and in the Conservators in Private Practicesubgroup for which I was Vice Chair from 1990 to 1993. I was Chairperson for the 1993-1994 year.During my three years as Vice Chair, I organized the annual meetings in Albuquerque, N.M.Buffalo, N.Y. and Denver, CO. As a professional member of AIC, I have pledged to uphold the Codeof Ethics and Standards of Practice.

International Institute for Conservation (IIC), Associate member since 1978. Attendance at severameetings at international locations over the years and have participated with talks.

Western Association for Art Conservation (WAAC), member

1984 - 85 Board of Directors, 1982 - 83 Vice President, 1983 - 84 PresidentOrganized the annual meeting in 1983 in Oakland, CA and 1984 in Santa Barbara, CA. Participationhas included talks and presentations at annual meetings.

Shroud of Turin Research Project: Consultant and Participant.

Institute of Museum Services (U.S. Gov't): grant proposal reviewer.

Santa Barbara City College, teacher since 1988 - 1998.Class entitled, “Preserving Your Treasured Family History Possessions.”

Teacher/Presenter/Lecturer – Professional Exchange with Italian Conservation Centers in Venice, Brescia - 1990 to presentENAIP Conservation Center, Lombardy Province, Botticino Italy

Centro di Restauro per I Beni Culturali, Veneto Province, Venice, Italy

Publications, papers given and seminars presented have been many. See separate sheet.

Page 7 of 7

Documents

Mural Capability Statement