I’m doing restoration work for public and private collections, mainly with two different workmethods. Pure conservation, wich is above all preserving the instrument from further damage, leaving the instrument even in its modificated state when so. Instead the other method is putting the instrument again in playable condition, but this is not always possible or conveincing depending on how much etical question whe have in our situation. because from a mechanical point of view allmost everything is possible to restore.

However both workmethods have different principles, they are documentated in the same way:

         - Photographic documentation throughtout from before, during and after restoration.

         - A complete report on the instrument and work.

         - When neccesary or desired x- ray analysis, ultra-violet photographs or dendrochronological

                examinations can be made.

         - If this is desired also a technical drawing in scale 1/1 of the instrument can be made.

Why I’m doing restoration work, because its give me the opportunity to see a lot of historical instruments and study them in great detail, wich afterwards reflects itself in my in struments I build.

A few examples of instruments I restored:

         - Calichon of Gregor Ferdinand Wenger, Augsburg, 1714.

         - Guitar of Gennaro Fabricatore, Napoli, 1811.

         - Guitar of Gennaro Fabricatore, Napoli, 183..

         - Guitar of Liugi Filano, Napoli, 18….

         - Guitar of Antonio Monzino, Milano, 1807

         - Mandolin of Liugi Embergher, Roma, 1902.

And many others just to name a few more: Vinnacia, Calace, Guadagnini, Valance, Pecoraro,…