Restoration of Ceramic Arts

Glass paste,
Multilayer glass,
Sandstone / Stoneware,
Earthenware / faience,
Bisquit / Porcelaine bisque,
Enamelled metal…

11 rue des Vosges

☏ (from France): 06 81 10 54 37
☏ (International): 00 33 681 105 437

✉ contact@atelierdeseclats.fr

My job

❖ Linking Me to the precepts of restoration, I intend, through my interventions, to give back to the piece its original beauty while remaining the most minimalist and natural possible in the respect of the work. I therefore attach great importance to the respect of the Restoration Charter in terms of ethics, and never improvise on the missing parts of a piece when it is an illusionist restoration for which I then rely on Photographic documents or identical parts. In practice, I use only reversible products of high quality and adapted to the different natures of pasta.

❖ My field of competence covers porcelains, sandstones, biscuits and terracottas, earthenware, Majolicas, glazes, glass pasta, multilayer glasses and enamelled metal.

❖ I bring a lot of attention and care to propose a quality work, both for illusionists restorations and for conservation restorations.

❖ Each object possessing its own peculiarities, I will study with you the most suitable restoration possibilities-always in accordance with the Charter-(cleaning, treatment, simple gluing, closure of the gaps or even restoration to The invisible) while leaving you the choice according to your desires and your budget.

❖ The elaboration of the estimates takes into account only the cost of materials and the time spent independently of the value of the object.

The Charter

Respect for the work

❖ The restorer’s intervention must not distort the original work in its form, motifs and decorations.
❖ His job is not to interpret, not to add any elements or colors in order to change the original appearance of the object.
❖ Any missing element must be reconstituted in the same pattern by drawing on photographic documents, drawings, castings, or identical objects.


❖ Techniques and mentalities that have evolved over the centuries, we currently believe that it is necessary to have the possibility of modifying or erasing a restoration.
❖ The use of reversible, stable, non-yellowing products is essential so that the material and the appearance of the work do not degrade after the restorer’s intervention.

The workshop

The premises.

Two separate poles form the basis of the workshop’s layout.
❖ The first is dedicated to cleaning work, to various parts treatments, to fingerprinting, to moulding and shaping, and to sanding.

❖ the second, called ‘ White Room ‘, is reserved for varnishing and resin-shaping work.
Generously illuminated by numerous ‘ daylight ‘ sources, the workshop features a paint booth connected to a powerful hood, thus avoiding accidental dust deposits on varnishes guaranteeing a flawless result.

The materials.

A large part of the profits is reinvested in the search for high-performance materials. The main criteria for selecting my products prioritize resistance and stability over time, while keeping in mind their reversibility.

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