I am aware that one is reluctant to part with a cherished piece of furniture at its customary location. I always strive to complete conservation and/or restoration as quickly as possible. Nevertheless, expect several weeks as the time unit for completing the commission. If the furniture must or should be treated outside ZRW Berlin, it may take somewhat longer.

Depending on the measure, drying time is required, parts may need to be newly produced, some of which are handcrafted, etc. One can only guarantee for oneself, but not for partners and suppliers.

With every restoration, “surprises” may become visible that were not recognizable beforehand. However, I always maintain contact with my clients and regularly inform them of the current status of commission processing.

The activity of the restorer consists in the material preservation of cultural and artistic assets in public, ecclesiastical, and private ownership. This includes in detail the examination, recording, documentation, concept development, and execution of measures in all areas of conservation and restoration. As well as advising owners, art-technological and scientific research, and in exceptional cases the scientifically founded reconstruction of cultural and artistic assets. The goal of this service is to preserve the historical, aesthetic, and material integrity of a cultural asset for future generations.

The commission for restoration is divided into preventive and practical restoration.

Preventive Conservation:

Preventive restoration refers to the transport, storage, and also exhibition of an object under optimal conditions.

Practical Restoration:

Practical restoration includes the maintenance or complete or partial reconstruction of a cultural asset to protect it from further deterioration.

The fields of activity of the restorer initially include the creation of a tailored restoration concept on which subsequent conservation and restoration work is based. Particular challenges of restoration lie in the use of suitable materials and methodologies to carry them out in the restoration project. Since restoration often includes the conservation or reconstruction of historic material, particular importance is attached to the use of original materials and their processing. Predominantly used materials are wood, color substances from various oils (e.g., linseed oil), resins, and waxes. Analysis of the original production of the object is almost indispensable in the context of restoration.

Consequently, high-quality restoration of a cultural asset requires comprehensive knowledge by the contractor of historical and modern processing methods. A clear and detailed description of the restoration to be performed on the object facilitates cooperation between client and contractor, as the restorer can clearly identify his suitability for the service to be performed based on this.

The Commission:

After I have determined the restoration needs, created a restoration or conservation concept, and determined the material requirements, I can inform you of an estimated commission value. If you wish to commission me, we conclude a contract with each other, and the commission is considered awarded.

The costs of a restoration are purely labor and material costs, whereby the degree of difficulty for a rarity is also a decisive factor. A rarity refers to an objectively perceived scarcity.

Most historical pieces of furniture are truly unique, even if they are not necessarily unique in terms of historical evaluation. Furniture produced by craftsmen from the time of industrialization onwards, i.e., from the Wilhelminian era (Gründerzeit), are generally no longer rarities, as they were already produced in large quantities. If only very rare individual pieces of such furniture remain on the market, these can also be considered a rarity.

If the furniture in question is a rarity, special measures must be taken. This usually leads to a higher time requirement, which in turn leads to higher costs. Normally, the hourly rate is up to 50% higher than for a standard restoration. Should I calculate a restoration based on the rarity factor, this will be discussed in advance. Especially with rarities, there is often a higher material cost, as custom-made parts become necessary or partners must be consulted.

Generally yes. The necessary measures depend on the scope of restoration needs or damage. Working on-site is often even advantageous. Most conservation, protective, care, and cleaning activities can often be carried out directly at the object’s location. Likewise, simple interventions such as: securing loose veneers, repairing defective locks, surface regeneration, etc.

For more complex measures, however, transport to my ZRW Berlin is essential.