• Books restoration : pop up, children's books antique and modern, publisher's cloth, Comics, artist's books, paperbacks, leather books antique and contemporary...

  • Print restoration : etching, woodcut, lithography,...


  • Restoration of original artwork on paper: drawings, watercolor, gouache, pencil, charcoal,...


  • Antique games and toys: puzzles, board games, wooden blocks,...all types of paper and cardboard based toys

  • Restoration of collectible advertising and graphics: displays, fans, posters, ephemera, disk jackets,...

  • Manuscripts : diplomas, letters, archives,...

After fifteen years in the field of graphic design creation and applied arts education, I followed a programme of four years study with a professionnal book restorator. This allowed me to orientate to this profession that is today an endless source of joy. I work today between Paris and Avignon and I can offer overseas services (with an extra-fee insurance for the transport)

The restorator of books and paper intervenes on all types of documents on paper or cardboard support, in the respect of its historical identity. He also takes care of the perennity of the work to ensure a good conservation.

A prioir study of the document will allow to estimate its historical value and the level of damage. The choice of intervention will be based on these criterias.

For private costumers, I make a free estimate.

English spoken. Don't hesitate to contact me




Different types of damage

Knowledge and skill

Conservation or restoration ?


Private and institutions


Different types of damage


Through years, graphic documents may suffer from different physical and chemical degradations. Bad storage (excess of humidity, UV exposure, contact with acid materials, insect damages), human intervention (tears, home-made repairs) and sometimes the inner constitution of the paper and the inks have consequences on the protection of our patrimony.


Knowledge and skill


Before any intervention, the restorer will make a scientific analysis and a historical study of the work. His technical abilities, knowledge in chemistry, history and history of art will enable him to choose the best intervention to make in the deep historical respect of the work of art.


Conservation or restoration?


In certain cases of extreme fragility or deep deterioration, we will reduce the intervention to conservation: it will improve the general condition of the work and will make possible the best storage for the conservation of the document.

As far as possible, a restoration will be considered. In this case, we will add to the previous operations a reinforcement of the paper in both esthetical and conservation matters.

Whatever the intervention, the restorer will give you an advice on how to preserve your document after restoration.




After being restored, the work of art might keep all of his historical fact, as if it had crossed the time in the best conditions of conservation.


I follow the recommendations of the BNF (National French Library) that defines the rules of the profession.

As a summary, I respect the following principles:


Products and materials

- All the products used can be reversed without any deterioration for the original document

- Harmlessness of the products: they must be chemically stable and without danger for the original document

- The ancient and new materials must be compatible: for chemical and historical considerations, we will use materials of same nature or identical.


Preservation of 100% of the ancient materials

- Even if they are damaged, they will be reused.

- Any later addition considered with historical interest will be also conserved.


- As an exception, the materials that are chemically spoiled (paper with acidity, ancient glue). We will also remove any addition that does not respect the integrity of the document or pervert its historical interpretation such as %u201Chome-made%u201D repairs.


- The identifiable missing parts will be replaced. Non-identifiable elements will be replaced if they are useful to the comprehension of the document or its preservation.


-The spoiled elements will be stabilised in the historical respect of the work and never freely replaced by others.


- Depending on the work to restore, the level of aesthetic considerations can slightly differ but it will always be without any degradation of the document and with reversibility.



Private and institutions


For the private public, I make a free estimate including:

-a study of the document and of its degradations

-a valuation of the intervention and its price


 For the institutions, I make a complete record (liable to a fee) including:

-an iconographic study of the artwork

-a study of the support (history, fabrication and degradations of this type of paper)

-a study of the engraving/technics (history, process, identification)

-an analysis of the document before restoration (including a precise photographic statement)

-the restoration project (with a detailed reasoning for each procedure)

-a detailed estimate 

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