Scot t M.

Haskins

FACL, Inc.
Fine Art Co nservat io n Laborat ories
P.O. Bo x 235 57
Sant a Barbara, CA 93121
t el (805 ) 56 4 343 8 fax (805 ) 568 1 178
best _art do c@yahoo.com

Mural Capabilities Statement

Scott M. Haskins

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

Past Mural Projects

2009 – 2012 City of Los Angeles, Community Redevelopment Agency, Cultural Arts. Open ended
project of various smaller mural projects and consultation projects in partnership with fine art
handlers 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 of
outdoor period murals (see mural project 1999), 6 monumental concrete sculptures, 3 monumental
painted base reliefs in cement, 5 monumental pylons with painted base reliefs and various painted
bas relief panels and friezes in other locations. Historical reproduction decorative painting was
performed on bas reliefs at Parry Gate and on ticket booths.

2008 – 2009 Firemen and Policemen at work by Terry Schoonhoven, 1998, acrylic on fabric
mounted, Interior lobby of Police and Fire Dept. building, Burbank, CA. Construction defects
resulted in infiltrations of rain water and in mold growth within wall structures. Murals were
removed in preparations for demolition, cleaned front and reverse sides, consolidated and
processed on hot table for future potential weaknesses in paint layers, reinstalled, inpainted,
varnish.

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

2008 Tropical Birds by Jessie Arms Botke, 1950, 7’ x 13’ Oil on fabric mounted, Oxnard Public
Library, 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. Stabilized
condition: 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 cinderblock
outdoor wall, Los Angeles, CA. U.S. Department of Labor and Schwartz and Jansen LLP. Mural
located on outside of building owned by US Dept. of Labor was painted out. In the resulting lawsuit
by the artist, FACL met with and collaborated with the artist, government reps., lawyers and other
conservator to plan the removal of the overpaint and also to propose, separately the removal of

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

2006 Hopi murals by Fred Kabotie, Painted Desert Inn, 1947, Petrified Forest National Park, US
Gov’t, Holbrook, Arizona. 7 murals in tempera on plaster. Settling of the building caused plaster
detachments (both arriccio and intonacchino) and cracks, infiltrations from roof caused water
stains, general flaking of paint, surface grime, residual wax from 1977 conservation treatments.
Plaster layers were stabilized with injections of consolidants, flaking paint was consolidated with
topical applications of adhesives with heat solvents and local pressure, cleaning (including stain
removal), 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 New
Asian 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) in
1999. Mr. Haskins was the Team Leader for the conservation team (made up of professionals from
several areas of the US). Removed paintings were cleaned, special mounting to aluminum
honeycomb panels, inpaint and prepared them for reinstallation, working with new De Young
Museum planners for exhibit construction and installation design.

2001 – 2002 Portrait of Mexico Today by David Alfaro Siqueiros, 1932. Mixed media on Portland
cement on lathe and plaster construction. The mural was moved, along with its walls, foundation
and 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 prepare
the mural for the move, and perform the conservation work once installed on it’s new site in front
of the Santa Barbara Museum of Art. The mural was moved with no visible damage resulting from
the move. Innovative techniques were used in the processes. Extensive public review was
performed, 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 by
sand 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 and
Recreation Department. Mr. Haskins provided consultation services to assist in the planning of the
project and was head of conservation. The project included the conservation and preservation of
the Carlo Ciampaglia murals on the Centennial Building and the Food and Fiber Building in Fair
Park. The treatments included the removal of four to six layers of overpaint, consolidation of
flaking, fill, inpaint, coating. Educational presentations and materials also resulted from the project.
Mr. Haskins was the chief Conservator, Project Manager. The conservation team consisted of
approximately 24 professionals and technicians. www.fairparkmurals.com

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

1999 - Murals in the Crocker Estate, Pebble Beach, CA., 1921. 2500 sq. ft. Technique: casein on
plaster on the ceilings and oil on fabric with raised gesso, gold leaf and jeweled inclusions on
murals for vertical surfaces. The Gothic Castle underwent historical restoration; treatments on the
murals included removal of 4 layers of overpaint from the ceiling murals, stabilization of flaking,
fills, inpainting and surface coatings. The paintings on canvas (previous removed from the site in
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1982) were cleaned of paste, mold and dirt on the reverse, cleaned on the front, consolidated, the
many pieces were reconstructed, rips and deformations repaired, lined, fills, inpaint, coated,
reinstallation on site.

1998 - 2000 Mural Project for the New Asian Art Museum Project, San Francisco, CA. Contract with
the Asian Art Museum/ City of San Francisco. 14 mural panels by Gottardo Piazzoni (1931 and
1945), two murals by Frank DuMond (1914). Technique: oil on fabric glued to wall with paste, vinyl
adhesives and plaster milk. 2000 sq. ft. Provided consultation services to assist in the planning of
the project. Mr. Haskins was the Team Leader for the conservation team (made up of professionals
from several areas of the US) whose mandate it was to remove the murals safely from their present
location, 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. FACL
reconstructed the 12 pieces of the painting, performed the conservation treatments and
marouflaged the painting to the ceiling of the Federal Courthouse, 312 N. Spring St. Los Angeles
CA.

1997 - 2000 General Services Administration (GSA), United States Government, Indefinite Quantity
Contract for conservation services for paintings in federal buildings in 20 Western States. This
contract was awarded after competitive bids based on price, competency, professionalism were
compared with conservators from all over the US. FACL participates as a team member with two
other 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 reports,
budget 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 poor
installation/restoration techniques caused stains, flaking of paint and delamination of paper.
Superficial 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 the
building. The murals, mounted with lead white adhesive, were removed, cleaned, rips
repaired(during building repairs), flaking consolidated, inpainting, varnish and reinstalled.
Conservation 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 painting
to detach from the wall and numerous stains down the front of the murals. The murals were
cleaned, consolidated, reattached, inpainted, varnished. Conservation completed on time and on
budget.

1995 and 1996 Aspects of Education by Hugo Ballin, 1934, approx. 1500 sq. ft. technique: oil on
plaster, El Rodeo Middle School, Beverly Hills, CA. Preparation of mural’s surface and protection
against injection epoxy grouting process. Subsequent removal of protection layers, consolidation
of 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 deposits
and dry cleaning, consolidation, stabilize damaged areas, flatten deformations, reattach detached
fabric 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 work
included installation, cleaning, inpainting, varnish.

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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) were
damaged or missing. The mural was dry cleaned because of the solubility of the paint. After
consolidation, missing tiles were replaced and painted to match original design. Damaged tiles
were filled and inpainted. A final protective varnish layer was then applied to saturate all colors
evenly while still maintaining the unvarnished look. Conservation completed on time and on
budget.

1994 St. Monica’s Church, Santa Monica, California, 1920’s, technique: oil on plaster, approx. 300
sq. ft. . This church was extensively damaged during the Northridge earthquake. The consultation
work 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 on
plaster, Giovanni B. Smeraldi, approx. 450 sq. ft. A large portion of the Galleria ceiling fell due to
water infiltrations. A reproduction of the plaster relief was cast off original portions of the ceiling
and installed. FACL painted, gilt and toned the new plaster to match the 1923 original (which had
been 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: oil
on fabric marouflaged to plaster. The wall behind the mural was in the process of collapsing. The
13’ 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, metal
lathe and new plaster (work performed by contractor), remounting of mural on wall in exactly
same position (so as to fit within decorative borders). The conservation treatments of the mural
included facings, removal, consolidation of flaking, readhesion to wall, fills, inpainting, varnish.
Scaffolding handled by general contractor. Project required 1 1/2 months (including drying time
for plaster). Project was completed on time and on budget. Conservation completed on time and
on 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 was
extensive) had to meet rigorous quality control and pass approval by numerous entities.
Scaffolding provided by general contractor. Project required 4 weeks. Project was completed on
time and on budget. Conservation completed on time and on budget.

1993 “Labors of Hercules” by Michael Spafford, Washington State Capitol Building. 2 murals 16’ x
45’ each, technique: acrylic on fabric and plywood adhered to plaster. These murals were adhered
with a tenacious “permanent” adhesive (like lead white adhesive though not as toxic). The murals
were removed by detaching the plaster layer behind them from the building’s wall then removing
the 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. No
scaffolding 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 Library,
c. 1926, technique: oil on fabric marouflaged to plaster, 2400 sq ft., . Earthquake damage on a
section of the East wall murals had detached a large section (60 ft high x 40 ft wide) of plaster from
the concrete structure and was at risk of falling off. Treatments performed included readhesion of
plaster layers to original wall structure by injection of adhesives into plaster voids, use of bracing
systems and humidity to flatten distortions, fill injection holes, inpaint. Scaffolding handled by
general 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”, R.
G. Stephens Federal Building, Athens, GA for the General Services Administration. This painting was
improperly removed from a wall which set into motion a number of problems including flaking. The
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flaking had been (unsuccessfully) treated twice previously. Our previous (1991) successful work on
a similar project lead us to this work. Conservation treatments included cleaning, proper
consolidation, vapor treatment, lining, new stretcher bars, fill, texture, inpaint, glaze, varnish. No
scaffolding 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 wall,
7’ 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 humidity
and vacuum to remove distortions), lining, new stretcher bars, fills, inpaint, glaze, gilding, varnish.
No 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 plywood,
63” x 132”, Richard B. Russell Federal Building Courthouse, Atlanta, GA for the General Services
Administration. This painting was improperly removed from a wall which set into motion a number
of problems including flaking. The flaking had been (unsuccessfully) treated previously. Treatments
included cleaning, proper consolidation of air pockets between fabric and wall, consolidate flaking
paint, fill, inpaint, varnish. No scaffolding required. Project required 4 weeks. Completed on time
and on budget.

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

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

1988 "America Tropical" by David Alfaro Siqueiros, 1700 sq. ft. technique: synthetic, automotive
paint on Portland Cement, El Pueblo de Los Angeles Historical Park, Los Angeles, CA. Analytical
investigations into the artist's technique, causes of deterioration and budget preparation for the
conservation project. Work performed for Friends of Mexico Foundation with collaboration from the
Getty 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 and
directly on plaster, 10,000 sq. ft. Manti, UT. Three rooms entirely painted. Most of the work required
removal of discolored varnish layers. Extensive structural consolidation of plaster to masonry walls
in the largest room was required. Filling of cracks, inpainting, varnishing. Scaffolding handled by
general contractor. Project was completed on time and on budget.

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

1978 St. Erasmus, 1465, technique: affresco, 10’ X 6’, San Giovanni, Lumezzane, Italy
Extensive cleaning, consolidation of abrasions and water damage, structural repairs to building,
filling of lost areas, inpainting. Research involved the rediscovery of the layout of the original
Romanesque 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 by
Foppa, Brescia, Italy. Removal of overpainting, cleaning of dirt, smoke, etc., filling, inpainting.
Provided scaffolding. No time or budget requirements.

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1976 The Gospel, 1402, technique: affresco, 1500 sq. ft., Dominican Library ceiling, Calvisano, Italy.
Cleaning removed 9 layers of repainting from 5 centuries. Consolidation of structural cracks, water
damage, 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, San
Gallo, Italy. Treatment on three layers of affresco work spanning three centuries. Work included
consolidation, extensive and sensitive cleaning, fills, inpainting. Provided scaffolding. No time or
budget 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 Light

Ronald P. Treants, R.A. Project Specialist John Cassidy, Manager
Denver Service Center - National Park Service City of Burbank
12795 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 Goodliffe
Santa Barbara Museum of Art Missionary Exhibits Department
1130 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, Architect

Louise Elam, Park and Rec. Dept. Nancy T. McCoy Preservation Architecture
1500 Murilla 1207 Tranquilla Dr.
Dallas,,TX 75201 Dallas, TX 75218
(214) 670 5275 (214) 321 1885

Professional references:
Mr. James Druzik Perry Huston, Conservation
Getty 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, Conservator

De Young Museum RD 1 Box 99
50 Tea Garden Dr. Woodbury, PA 16695
South San Francisco, CA 94118 (814) 793 4020
(415) 750 3645

William B. Adair Albert Albano, Conservator

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

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

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FACL, Inc. provides services for private clients (collectors) throughout the United States including
the 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 includes
participation in the Paintings Specialty subgroup and in the Conservators in Private Practice
subgroup 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 Code
of Ethics and Standards of Practice.

International Institute for Conservation (IIC), Associate member since 1978. Attendance at several
meetings 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 President
Organized the annual meeting in 1983 in Oakland, CA and 1984 in Santa Barbara, CA. Participation
has 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 present
ENAIP 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.

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