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Past Mural Projects


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

America Tropical by David Alfaro Siqueiros in Los Angeles

America Tropical by David Alfaro Siqueiros. Consultation, analysis and proposals were done for the Getty Conservation Institute and the Friends of Mexico Foundation. This mural was painted out shortly after it was finished in 1932.

Past Mural Projects

2011 Los Angeles Wholesale Produce Market Murals by Thomas Suriya, 1986. Mixed media on plaster, heavily varnished, outdoor murals with no protection. 6,600 sq. ft. Bloomed (fogged) varnish made colors appear faded. Extensive water damage streaking, numerous scrapes, splattered food etc. Cleaned off surface grime, smog deposits, surface deposits etc. Varnish layers regenerated (not removed), consolidation, inpainting (as per instructions of living artist). See www.fineartconservationlab.com/la-produce-market-murals

2010- 2011 Ramos Contreras Murals (3 – 8’ x 8’ each), 1936,  survey and conservation treatments. Oil on fabric mounted to wall, removed and remounted on removable supports. Cleaning, rip repair, inserts, fills, inpaint, varnish.

2009 – 2012 City of Los Angeles, Community Redevelopment Agency, Cultural Arts. Open ended project of various mural projects and consultation projects in partnership with fine art handlers Cooke’s Crating.

2010 Don Quijote Mural Study by Channing Peake, Westmont College, Santa Barbara, CA. Oil on fabric mounted. Extensive flaking, dirty paint surface, holes.

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 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. See www.fairparkmurals.com

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. See 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 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.

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 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. http://www.lincoln-highway-museum.org/BRMFP/200-JM/RR-01-SLC-Index.html

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.

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, CO   80228                                                                    Burbank, CA 91510

(303) 969 2326                                                                                    (818) 238 3656

Siqueiros Mural                                                                                 North Visitor’s Center in SLC, UT

Diana Du Pont, Curator                                                                  Ken Carlson

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                                                                                    (801) 240 0204

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.

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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1 comment. Leave a Reply

  1. Brandy Adolfo

    Thank you for the helpful information in your work on Mural
    Art Conservation/Restoration. Very cool. I’ve been studying art history and its interesting to see some actual uses of a degree.

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