I have specialized in the restoration of paintings, mono- and polychrom painted sculptures, surfaces and furnishings from different eras, of both holy and secular origins. The substrate material may be composed of wood, canvas, metal or ivory. I am particularly fond of objects with a combination of different substrate materials, so-called `mixed materials´.
Strong educational foundations together with my professional competence for more than 20 years form the basis of my professional approach for the preservation of the value of artworks.
For excellent results, I particularly emphasize close cooperation with you as the client, throughout the process.
Please feel free to ask for advice…
According to my principles, respect for the objects and keen attention to details are prerequisites for professional work. I strongly regard for using traditional materials in combination with modern restoration methods and processes. Since 2014, as an independent restorer, I have been a member of the Association of Restorers (VDR) and work according to the ethical principles that were laid down in writing in the 1984 Code of Honor for Restorers (CODE OF ETHICS 1986 IIC - CG and CAPC pdf)
Even though we live in a fast-paced age, it is part of my workshop philosophy to take ample time to fully understand your wishes as a client and to take the necessary measures for the preservation of your items. The more complex an object, or the more complex its damages are, the more thought-process it takes to formulate a consistent concept before starting the actual restoration.
Each Artwork is Unique!
The steps of the restoration process are to be tailored according to each individual object.
After graduating from high school in Passau, I completed a two-year prestudy internship at Rainer Macht´s Restoration Workshop in Auerbach / Loh near Deggendorf. Following the internship, I started to study restoration at the Erfurt University of Applied Sciences, specializing in conservation and restoration of painted surfaces and painted furnishing. During my studies, I gained a lot of practical experience in restoration and conservation by working at a leading institution, named as the Restoration Workshops of the Museums of the City of Erfurt and at the Germanisches National Museum at the Institute for Art Technology and Conservation in Nuremberg. In addition, I participated in the restoration of both secular and sacred buildings such as the Goethe Pavilion in Weimar and the Bach Church in Arnstadt. After completing my studies with a diploma on the subject of Conservation and Restoration of a 15th Century Nuremberg Death Shield, I ventured out to do restoration work in Northern India and in Cyprus. In Ladakh, India, I worked for the `Tibet Heritage Fund´ in the restoration works in the Maitrea Temple in Leh. In Cyprus, I participated in the restoration of artifacts at the laboratory of the Museum of Cyprus (Republic of Cyprus). Furthermore, I am responsible for the conservation for the `Private Ethnographic Museum of Cyprus´ (Northern Cyprus).
Since January 2014 I have been working as a freelance graduate restorer in Passau and the surrounding area with a focus on paintings, painted sculpture as well as painted surfaces and furnishings.
- Advice and tentative quotations (cost estimate oder cost quotation
- Classification of artwork in Art History
- Examination of samples (microscopy, absolute and relative stratigraphy, mapping)
- Material analysis (in collaboration with laboratories)
- Damage analysis and damage mapping
- Damage assessment
- Development of a restoration concept in consultation with the client
- Restoration and conservation of items
- Gilding in gold and silver (on bole or oil) poliment
- Record keeping and documenting the work in writing and images
- Aftercare – upon request
- Preventive conservation
- Collection maintenance for collections of museums and institutes.
- Creation of inventory of artwork collections.
is carried out directly on the item with the aim of slowing down its decay. In contradiction to that, preventive conservation methods affect the items site of location and serve to regulate the temperature, humidity, dust and light conditions of its surroundings as optimally as possible.
- Facing (emergency measure)
- Stabilisation of the support
- Consolidation of the grounding, painting
layers and their backing removal
- Secure the rims of the missing paint layer
- Protection of the backside of the support
Restoration process and Reconstruction:
Aim, considering the background of the age and the historisity of the item, for a better legibility and esthetical appearance.
- Removal of overpainting, old retouchings and damaged varnishes
- Completion of missing parts
- Reconstruction after historical predecessors
- Gilding as well as silvering
- Exposure (in exceptional cases)