Every reconstruction begins in an archive — not in software.
Material accuracy is not aesthetic — it is ethical.
Digital ownership carries the same weight as physical provenance.
Before a single vertex is placed, we consult period inventories, workshop photographs, technical drawings, and the published findings of scholars who have spent careers on these objects. The 3D model is the last step — and because of everything that precedes it, the most faithful one.
Each reconstruction we issue is a singular object: documented, registered, and unrepeatable. Its value lies not only in what it depicts, but in the rigour of the process that brought it into existence. Provenance does not begin at auction. It begins in the archive.
Guilloché patterns derived from dated workshop records. Enamel opacity calibrated against surviving period examples. Gemstone faceting mapped to the cutting conventions of the era. These are not stylistic decisions. They are obligations to the original makers — and to the collectors and institutions who will hold these objects after us.