Our
mission

The materials, techniques and strategies we use to preserve are as diverse as art itself. As conservators, we search for clues: for the original material, the artist's original intention and the cultural context - recognizing both the genuine character of each work and their changes that occur over time.
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With innovative techniques and a deep understanding of modern and contemporary materials and concepts, as well as of their inherent changes and damage processes, we create a bridge between past and future. We practice a progressive, minimally invasive approach that ensures the artwork's original media preserved in the best possible way, maintaining the integrity and authenticity of each piece.
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Guided by this philosophy and building on thirty years of experience, we at Atelier Siebenstern restore paintings from the turn of the century, with a focus on works from the 1950s onward, as well as contemporary sculptures, objects and installations. Our clients include museums, galleries, foundations, auction houses, private collectors and artists. Based in Vienna, we work throughout Austria and internationally, cooperating closely with experts from related fields.

Projects

In addition to classic paintings, objects and sculptures, we expertly restore artworks with challenging conditions and materials such as plastic, wax, wool, acrylic glass, dried flowers, or even chocolate.
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After a careful analysis of condition and significance, we address age-related damage, defects caused by poor storage or handling, craquelure, material fatigue, surface contamination, fingerprints, cracks, and dents. Our methods include surface cleaning, tear mending, paint layer consolidation, tightening and flattening, humidification treatments, adhesive bonding, retouching and many other steps.

Our aim is to retain an age-appropriate condition that reflects the artwork in its historical development and distinctive character.
We work in direct communication with artists, collection managers and estate administrators - developing innovative conservation concepts, identifying viable solutions, and examining what is both necessary and possible. We minimize interventions and document them transparently to ensure the preservation of art for future generations. Below is a selection of restoration and conservation projects from recent years.

Scratches and Abrasions on Matt Monochrome Paint Layer

Soli Kiani

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UV Light Examination of a Painting

Hans Bischoffshausen

Tear Bonding under Tension

Jiny Lan

Surface Cover Adhered to Packaging

Oliver Ressler

Loose Paint Layer of a Wax Painting

Hermann Nitsch

Testing the Aging of Plasticine

Gelatin

Assembly of a Textile Piece

Basil Kincaid

Consolidation of the Lifting Paint Layer

Andy Warhol

Filling a Crack in an Acrylic Support, Optimizing Assembly, Devising a Maintenance Concept for Acrylic Glass Works

Helga Philipp

Bonding Loose Antlers and Re-Adhering Tape

Brad Kahlhamer

Dark Abrasion on Monochrome Paint Layer

Sarah Morris

Restoration of a Reverse Glass Painting

Hans Bischoffshausen

Children's Chalk Marks on a Painting

Markus Prachensky

Examination and Surface Cleaning

Franz Grabmayr

Optimization of Packaging

Renate Bertlmann

Mounting a Print on Mylar Film

Adam Pendleton

Creating a Restoration Concept for Aging Industrial Rubber Sheets

Yoshishige Furukawa

Damage in Iridescent Surface

Pae White

Losses in a Mosaic Piece

Zsofia Keresztes

Restoring of a Tangka

Artist unknown

Edge Mounting for Future Display

Aplerh-Doku Borlabi

Closing Holes and Securing Running Stitches

Erwin Wurm

Challenges with Large-Scale Works

Faivovich and Goldberg

Tear Bonding in a Wax Painting

Hermann Nitsch

Surface Cleaning, Consolidation of Paint Layer

Gustav Klimt

Examination and Surface Cleaning

Martin Kippenberger

Delamination

Alexandre Diop

Tear Bonding

Maria Lassnig

Losses and Lifting Paint Layer on Mylar Film

Kerstin Brätsch

Surface Cleaning and Retouching

Kennedy Yanko

Consolidation of Cardboard Support and Paint Layer, Filling, Retouching

Maria Lassnig und Arnulf Rainer

Surface Cleaning

Hans Bischoffshausen

Optimizing the Storage of Throwing Knives

Renate Bertlmann

Adhesion Problems between a Glass Fiber-Reinforced Polyester Surface and Soil-Sand Layers Bound with Methylcellulose

Margot Pilz

Consolidation of Loose and Lifting Paint Layers

Robert Zeppel-Sperl

Adhesion Issues between Gouache and Oil Pastel

Arnulf Rainer

Condition Monitoring and Conservation Support for Exhibitions

Albertina Klosterneuburg / Chen Zhen

Strengthening the Edge of a Hardboard with a Water-Sensitive Paint Layer

Maria Biljan-Bilger

Conservation Support and Estate Inventory

Helga Philipp

projects

Alexandra Grausam

A certified restorer, Alexandra Grausam founded the Siebenstern studio for the conservation and restoration of paintings and contemporary art in 2006. She has worked independently, focusing especially on paintings from the turn of the century onward.

Alexandra studied art history at the University of Vienna and conservation/restoration at the Academy of Fine Arts Vienna and at the Technical University of Munich. Her diploma, Conservation - Restoration of a wax painting by Hermann Nitsch, 1960 and 1960 sowie A digression into the material wax and its conservation problems was completed in collaboration with the Städtische Galerie im Lenbachhaus, Munich. During her studies, she interned at the Lenbachhaus, Atelier Schoeller and the Museum Five Continents in Munich as well as at the Siems Studio and in the conservation department of the Belvedere in Vienna. From 2002 to 2004, she was employed at Stichting Kollektiv Restaurativ Atelier (SKRA) in Amsterdam.

In 2007, she co-founded the Kunstverein das weisse haus in Vienna and directed the institution - including its residence and studio program - until the end of 2023. In 2016, she developed AWAY Art Residencies for the BMKÖS and advises BUWOG on art in architecture projects. She is part of various juries & advisory boards and has served on the supervisory board of the Stadt Wien Kunst GmbH since 2017.

Christina Robens

A certified restorer, Christina Robens studied the conservation and restoration of modern and contemporary art at the Academy of Fine Arts, Vienna. Her diploma thesis, Like a Second Skin. Wrapping Sculptures with a Delicate Matte Surface, involved simulating, investigating, and preventing damage to matte, monochrome surfaces. She used case studies by the artist Katharina Fritsch.

Christina has been practicing conservation of contemporary art and paintings since 2008, beginning with an internship at the Düsseldorf Restoration Center. Since then, she has worked for museums and private studios in Europe and the USA, such as Atelier Roeck in Berlin or Contemporary Conservation Ltd. in New York. With a specialization in plastics, she manages the Kiki Kogelnik Foundation's PVC works and has been part of the Atelier Siebenstern since 2018.

Philipp Krummel

An exhibition architect trained in Vienna and Stuttgart, Philipp Krummel specialized early on in art exhibitions. His more than 20 years of experience include planning and supervising countless projects and exhibitions for institutions in Austria and abroad, as well as direct collaboration with numerous artists in a variety of media. His background enables him to provide comprehensive guidance for complex conservation projects that require specially designed structures and engineering.
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As a founding member of the AKT architecture collective, Philipp represented Austria at the 2023 Biennale Architettura die Venezia (Partecipazione by AKT & Hermann Czech). Since 2020, he also lectured at Technical University of Vienna's Institute of Building Theory and Design, as well as at the New Design University in St. Pölten.

Anton Hägebarth

A restorer-in-training, Anton Hägebarth is studying the conservation and restoration of modern and contemporary art at the Academy of Fine Arts Vienna. His diploma thesis addresses Comparing light-kinetic works - technological development and conservation strategies using the example of Gianni Colombo and Sebastian Hempel.

Anton began his conservation practice in 2014 with an internship at the Center for Book Conservation in Leipzig; he subsequently completed a preparatory year in the painting department of the Staatsgalerie Stuttgart and an internship at Roeck Restaurierung in Berlin. Since 2018, he has repeatedly participated in the conservation of historic religious artworks. Anton has contributed to the Atelier Siebenstern team on a project basis since 2022.

Ourmission

Projects

Scratches and Abrasions on Matt Monochrome Paint Layer

Soli Kiani

UV Light Examination of a Painting

Hans Bischoffshausen

Tear Bonding under Tension

Jiny Lan

Surface Cover Adhered to Packaging

Oliver Ressler

Loose Paint Layer of a Wax Painting

Hermann Nitsch

Testing the Aging of Plasticine

Gelatin

Assembly of a Textile Piece

Basil Kincaid

Consolidation of the Lifting Paint Layer

Andy Warhol

Filling a Crack in an Acrylic Support, Optimizing Assembly, Devising a Maintenance Concept for Acrylic Glass Works

Helga Philipp

Bonding Loose Antlers and Re-Adhering Tape

Brad Kahlhamer

Dark Abrasion on Monochrome Paint Layer

Sarah Morris

Restoration of a Reverse Glass Painting

Hans Bischoffshausen

Children's Chalk Marks on a Painting

Markus Prachensky

Examination and Surface Cleaning

Franz Grabmayr

Optimization of Packaging

Renate Bertlmann

Mounting a Print on Mylar Film

Adam Pendleton

Creating a Restoration Concept for Aging Industrial Rubber Sheets

Yoshishige Furukawa

Damage in Iridescent Surface

Pae White

Losses in a Mosaic Piece

Zsofia Keresztes

Restoring of a Tangka

Artist unknown

Edge Mounting for Future Display

Aplerh-Doku Borlabi

Closing Holes and Securing Running Stitches

Erwin Wurm

Challenges with Large-Scale Works

Faivovich and Goldberg

Tear Bonding in a Wax Painting

Hermann Nitsch

Surface Cleaning, Consolidation of Paint Layer

Gustav Klimt

Examination and Surface Cleaning

Martin Kippenberger

Delamination

Alexandre Diop

Tear Bonding

Maria Lassnig

Losses and Lifting Paint Layer on Mylar Film

Kerstin Brätsch

Surface Cleaning and Retouching

Kennedy Yanko

Consolidation of Cardboard Support and Paint Layer, Filling, Retouching

Maria Lassnig und Arnulf Rainer

Surface Cleaning

Hans Bischoffshausen

Optimizing the Storage of Throwing Knives

Renate Bertlmann

Adhesion Problems between a Glass Fiber-Reinforced Polyester Surface and Soil-Sand Layers Bound with Methylcellulose

Margot Pilz

Consolidation of Loose and Lifting Paint Layers

Robert Zeppel-Sperl

Adhesion Issues between Gouache and Oil Pastel

Arnulf Rainer

Condition Monitoring and Conservation Support for Exhibitions

Albertina Klosterneuburg / Chen Zhen

Strengthening the Edge of a Hardboard with a Water-Sensitive Paint Layer

Maria Biljan-Bilger

Conservation Support and Estate Inventory

Helga Philipp

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