I have been working with wood for over 50 years and have been involved in restoration for more than 40. My activity focuses on the restoration of antique furniture and wooden artworks in general. I am specialized in the restoration and crafting of inlaid works. In addition to restoration, I also create new pieces, often on commission, with marquetry decoration. For nearly 40 years, I have also devoted myself to teaching, in the past at schools and institutions, both public and private, and more recently in my own workshop.
Why this profession? I began as a teenager, spending my summer holidays in a carpentry shop near my home. Later, I continued in other workshops in the province of Bergamo, where custom furniture was made. I became passionate about woodworking and, over time, about antique furniture restoration. After ten years, in 1982, I decided to move to Florence, the capital of craftsmanship and restoration, to deepen my knowledge of restoration.
Who is your main target audience? My clients include private individuals, restorers from other disciplines who come to me for work on the wooden parts, public organizations, and occasionally architects for specific projects. People who attend my courses, both from Italy and abroad, include: – University students in the field of restoration who wish to gain practical work experience; – Foreign students of the Italian language who love Florence and want to experience artistic craftsmanship; – People who already work with wood but want to learn traditional woodworking techniques.
The materials you use most and where you source them The materials I use are generally traditional: wood, animal glues, shellac varnish, and beeswax. They can still be purchased in specialized shops in Florence—though fewer than in the past. Fortunately, many products can now also be bought online from specialized sites.
What techniques and tools you use in my work, for both production and marketing My working techniques are mostly traditional, although it must be acknowledged that there has been great progress in both machinery and materials. Sometimes it is important to know how to use modern tools and products, as they can be very useful depending on the specific restoration needs.
What is your view on the evolution of your profession: innovative or at risk? Compared to when I began my training in the restoration of wooden works, things have changed radically. Learning the trade once meant spending time in the workshop of a skilled master and learning directly from him. Today, the path consists of studying various subjects, important ones, certainly, since knowledge is essential but the hands-on learning experience alongside a master artisan has been lost. In my opinion, it is crucial to combine academic and technical training with the direct involvement of artisans.
How you learned and became a professional I started at 14, working in carpentry workshops that produced custom furniture, and I consider that my first real school. Later, I attended a two-year course in antique furniture restoration in Florence, at the Istituto per l’Arte e il Restauro Palazzo Spinelli, which still exists today, and afterward I joined the workshop of the school’s master. The master and I worked together for ten years, and during that time, I also began collaborating with the institute itself.
Your advice to young people interested in this profession If I had to give advice to a young graduate in restoration and conservation, I would certainly say: complete your training by spending significant time in the workshop of a skilled master
