I am familiar with most gilding techniques, although I do not have a classical professional training as a gilder. In conservation and restoration, metalised surfaces are often attached or included in the objects to be restored, so it is advisable to know the structure and problems of the different types of gilding. I’m experienced in leaf gilding (poliment), also oil gilding and lustre techniques.
2018 FA Kleinsasser Staatsoper Wien, Conservation treatment in situ – paintings and wooden frames:
2008-2011 Conservator at MareschKristall Leuchten Researching new products, methods and developments in conservation field, Main conservator for private and governmental conservation projects:
Bundesministerium für Inneres
Hofburg – Kaiserliche Schatzkammer und Sissi Museum
Schloss Schönbrunn
Österreichisches Parlament
Hofmobiliendepot
Hofburg – Innsbruck, Kaiserappartements
Stadtpalais Lichtenstein
Palais Schwarzenberg
Theater in der Josefstadt
Wiener Staatsoper
Volkstheater Wien
Grosses Haus, Theater Gera, Deutschland
Grand Elysee Hotel, Hamburg, Deutschland
Athens, private customers
2003-2007 Conservator at Atelier Piffl, Graz, Responsible for trainees, Art handling and transport of massive objects (inventory of churches, wooden facades…), Co-responsible for planning and carrying out conservation treatments:
Fürstenzimmer Seggau, wooden wall panelling, historic gates and doors doors
Schloß Snežnik, conservation of historic furniture, 450 pieces
Wooden gates Steinfeld, Graz
Wooden gates Wipplinger Straße, Vienna
Church Frauenberg bei Admont, four sempiternals
Diverse Christus sculptures
Hans Schell Collection