During their training, they found the mixing of varied individual experience and skills so fruitful they decided to continue working as a group to maintain this collaborative energy. This inspiration still holds true today: the CBC brings together the skills of sixteen conservators and two administrative and logistical staff, so for major projects we have the resources to assemble highly specialised work squads, coordinated and led by senior staff with a vast range of expertise and experience.
Our head office and conservation studio in Rome is centrally located with good access. We also have a second office in Perugia, close to the Galleria Nazionale dell’Umbria – our links to this part of Italy date back to training worksites at the ICR and continue through the times of the devastating earthquakes at Assisi and the Valnerina (the Nera River Valley) to the present.
We work all over the Italian peninsula and training, project planning and hands-on work have also taken us to the Republic of Georgia, France, Holland, Libya, Turkey, the United States, Canada, Spain and China.
We treat works on canvas, wood, metal, stone, paper, stucco and glass of every historical period as well as wall paintings and monuments, archaeological sites and modern and contemporary artworks.
We often take on interns both from Italy and abroad, including students from the ISCR, OPD, as well as Academies and University training courses.
We believe a conservation treatment is a unique opportunity to gain a detailed insight into a work of art, and careful study is an essential part of the treatment of major works. But even in the case of minor works, it often turns up useful and even surprising details.
Our treatment of a work is guided by what we know about it and what we know about the materials it is made from. And we are always looking to broaden that knowledge, through partnerships and collaborations with other conservators, historians, scientists and Italian and foreign research institutes and universities
So, at CBC we have always sought to accompany the steady honing of each conservators’ manual skills with regular input on technical developments in the field, from diagnostics to historical studies and materials analysis to innovative treatment methods.
Consequently, the Cooperative has always sought to maintain the highest professional ethical and legal standards, to appraise our business practices and to encourage exchange and collaboration with other professionals and specialists in the sector.
Attestazione di qualificazione n. 29047/17/00, La Soatech S.p.A., per la Categoria OS2A Classifica IV.
Certificato n. 3638/00/S del 04/08/2000, norme UNI EN ISO 9001:2015
She has managed high profile and complex projects for the group thanks to her notable organisational skills and expertise in human resources. Since 2004 she has worked on the Torre di Pisa, Tempio di Adriano in Rome, and the Cappella Gentilizia in Villa Simonetta in Milan. With Sabina Vedovello she conducted the treatment and maintenance programmes on Michelangelo’s Pietà Rondanini. She was worksite manager for the long and complex treatment on the Fontana di Trevi in Rome which concluded in 2015.
Thanks to her organisational abilities she has directed several important commissions for the company, often in cooperation with other companies in temporary consortia. She was worksite manager on the Torre di Pisa from 2003 till work was completed in 2011 and managed the worksites for the decorative fittings and surfaces of the Chiesa dei Cappuccini in Rome, for the Domus of Venere in Conchiglia in Pompeii and the maintenance of excavations at Herculaneum.
She has worked on the treatment of the Roman sculptures in the Braccio Nuovo of the Vatican Museums, on the Torre di Pisa, on the Roman frescos of the Casa di Lorejo Tiburtino at Pompeii and the Veronese paintings in Chiesa di San Sebastiano, Venice. At present, she is managing the remounting and reconstruction of a Republican Roman burial chamber in stucco, from Quadraro near Rome. Since 2014 she is a member of the Council Board for the Italian Association of Conservators (ARI)
President from 1993 to July 2017. Deals with project coordination, planning and documentation. She represents the CBC in promotions and publicity. She has written numerous contributions to specialist journals and catalogues on works treated by the CBC and on the relationship between conservation and scientific analyses and conservation and documentation. In 2013, she published Ehi Maddalena! which describes her professional life in the form of a dialogue. She has taught on conservation at the Faculty of Philosophy and Literature at Roma Tre University.
Maria Grazia has coordinated numerous projects, specialising above all in the stone conservation and the identification of sculptural working techniques. In this area her more important projects include the Bernini sculptures in the Galleria Borghese, the funerary monument in Santa Maria Sopra Minerva and Santa Maria del Popolo, and the Fontana di Trevi, all in Rome. Since 2014 she has taught stone conservation in the degree course in Conservation of Cultural Property at the Università della Tuscia and for 10 years she directed the Training Worksite for the post graduate course in Conservation of Monuments at the University of Rome “La Sapienza”.
Apart from managing worksites she has specialised in the handling of Health and Safety issues and the acquisition and maintenance of the Company’s equipment. She has worked on numerous projects including the Fontana di Trevi and Tempio di Adriano in Rome, the Sala delle Cariatidi in Milan and the Casa dei Vettii in Pompeii, where she co-authored a publication on the stratification of the plasters, while her most significant project was the 8-10th century underground Cripta del Peccato Originale in Matera.
She has worked on numerous projects, principally on wall paintings and canvas and panel paintings. Particularly significant campaigns have involved the frescos of Torriti and Cimabue in the Upper Basilica at Assisi, in the Cappella of San Brizio and in the Cripta del Duomo at Anagni as well as paintings by Simone Martini, Caravaggio, Raffaello, Veronese and Tintoretto. Thanks to this extensive experience, she has become a widely-regarded expert in the field of pictorial reintegration.
She oversees accounting and administrative support for the Commercial sector both for tenders and contracts. She has undertaken the further training courses on Administration, Finance and Management at the Luiss School of Management, Rome and the Masters from the Sole24 ORE “Art and Culture: strategies in marketing, communications and fundraising”.
Apart from secretarial tasks and support for commercial activities, she handles the administration of personnel and organisation of internal activities and provides logistical support to Worksite Managers. Updates costing and checks productivity of each active worksite.
Carla has led treatments on important projects such as the Tomb of Cardinal Gugliemo de Braye and the San Brizio Chapel in the Duomo of Orvieto, the Pesaro Altarpiece by Giovanni Bellini and published widely on the results. She has also managed the treatment and the maintenance of the art collections at Palazzo Braschi, Rome, at the Union CGIL and the Unicredit bank.
She’s editor for the specialist journal Kermes since 1993, from 2000 to 2008 she worked with the Faculty of Cultural Heritage at Università della Tuscia and has also been on the council of the Italian Group of the IIC since its foundation.
He has coordinated numerous projects including the pilot worksite on the Torre di Pisa, the Fontana dei Quattro Fiumi in Rome, the Sala della Volta Dorata at Domus Aurea in Rome and the frescos of Filippo Lippi in the Duomo di Prato. He has conducted training and conservation projects in Georgia, Libya and China. Since 2013 he has been working as consultant on a pilot/research worksite at Herculaneum with the Getty Conservation Institute. Since 2013 he has been teaching first stone then wall paintings conservation in the degree course in Conservation of Cultural Property at the Università della Tuscia. He was on the council of ARI from 1996 to 2000 and has been a member of ICOM since 2015.
Working in Umbria she has carried out treatments on numerous wall paintings, stone reliefs and canvas and panel paintings. More significant projects include the Pisano reliefs on Perugia’s Fontana Maggiore, the conservation and remounting of fragments of the collapsed arch and St Jerome and St Mathew vaults of the Upper Basilica in Assisi after the 1997 earthquake, wall paintings, stucco work and marbles in the right nave of the Duomo, Perugia, the Sapienza Nova Altarpiece by Benozzo Gozzoli and Incoronazione della Vergine by Vasari in Città di Castello.
Working extensively in Umbria she has carried out complete treatments in particular on easel paintings including such significant works as the Croce Perkins, the Annunciazione by Taddeo di Bartolo di Mino, the Crocifissione by Nicolò di Buonaccorso, the Annunciazione, the Adorazione di Gesù, the Pietà and San Sebastiano by Gentile da Fabriano, L’incoronazione della Vergine by Vasari in Città di Castello and 15th Century paintings by Giovanni Boccati in the Galleria Nazionale dell’Umbria.
Her contact with the Cooperative dates to projects undertaken from 1980 to 1986 following the Naples earthquake. She returns whenever possible to her home territory, and over many years has specialised in wall paintings. Amongst projects she has led are the paintings of the apse in S. Giovanni in Vertemarte and the paintings of the Sanctuary of the Madonna di Appari in Paganica. She has also worked on the paintings of Lippi at Prato and the Fontana dei Quattro Fiumi in Rome. Recently she coordinated the treatment of several Republican Era Roman statues from an excavation near Rome and the Casa di Lorejo Tiburtino in Pompei.
After working as an independent contractor in the field since 1979, he joined the Cooperative in 2015. He specialises in the structural conservation and the lining of paintings on canvas, paper and leather and has carried out hundreds of treatments both in Italy and abroad. He has developed and implemented preventative conservation projects for the collections at the Galleria Spada and the Museo di Roma, Palazzo Braschi in Rome, as well as for the collection of carriages of the House of Savoy at the Presidential residence at the Quirinale in Rome. He engages extensively in training and research in Italy and abroad. In 2015, he led the dismantling and transfer of the Italian Memorial at the Museum of Auschwitz-Birkenau. He was a member of Cesmar 7 from 2001-2008.
Apart from coordinating many important projects such as the Raphael’s Fornarina and Metsys’ Portrait of Erasmus and the study and conservation of the Roman sculptures in the Braccio Nuovo of the Vatican Museums, she has specialised in treatments on stucco and gypsum, and modern and contemporary art. In these areas, she has worked on the decorations of the Sala delle Dame at Palazzo Quirinale, the Andersen Collection at Rome and sculptures by Thayaht (Ernesto Michahelles). She has recently worked on the Nanoprotech project with the University of Cosenza aimed at developing new systems for consolidating and protecting stone.
Specialising in easel paintings conservation, many years of work in the field, especially in the Venetian schools, and continuous retraining in the latest technical developments have provided her with notable expertise in the area. She has worked on and coordinated projects involving numerous works from the Museo Correr and the Gallerie dell’Accademia including works by Giovanni Bellini, Vittore Carpaccio, Cosmè Tura, Antonello da Messina, Lorenzo Lotto, Cima da Conegliano, Jacobello del Fiore and the canvas and wall paintings of Veronese in San Sebastiano, Venice.
Sabina has coordinated and taken part in conservation projects on easel paintings – including entire museum collections – wall paintings, and stone. She has worked on cataloguing and project planning both in Italy and abroad and has numerous publications on conservation treatments she has managed. She was a member of the Council for the Italian Association of Conservators (ARI) from its inception in 1990 until 2001 and since 2014 she has been teaching wall paintings conservation in the degree course in Conservation of Cultural Property at the Università della Tuscia.