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Clean and restore painted or varnished wood objects and determine the structure and components of the applied layers with Leica's stereo and research microscope solutions. These flexible solutions are combined with table or floor stands, digital cameras and easy-to-use analysis software to support your wood conservation work.

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Please contact us if you would like to have personal expert advice on our microscopy solutions for Wood Art Conservation.

Top Stereo Solution

Leica M60 stereomicroscope for Wood Conservation

The Leica M60 stereomicroscope for wooden art conservation provides a wide range of stand options for maximum flexibility to meet your specific needs.  Whether you are cleaning and restoring or determining wood composition or structure, this solution provides large depth of focus and large field of view to see and analyze more. This modular system includes energy-saving LED illumination, Leica MC170 HD digital camera and intuitive LAS Annotation and LAS Report software for a complete package for wood art curation and restoration.

Top Digital Solution

Leica DVM2500 digital microscope for Metals Conservation

Analyze, restore and preserve metal artwork in 3D with the Leica DVM2500 digital microscope for Art Conservation. This complete package comes with a fast FireWire camera and easy-to-use Leica Application Suite software for detailed analysis and documentation. Metal objects with vertical or inclined surfaces are viewed easily with the revolving x/y stage and flexible tilting stand.

Late 17th century Dutch cabinet decorated with Japanese lacquer panels and inlaid with a motif known as seaweed marquetry. A stereomicroscope was used to analyze and clean the surface, to identify damage, and to take and analyze samples. © Rijksmuseum Amsterdam

With the help of a floor stand even areas that are difficult to access can be investigated. Damages to the cabinet were analyzed under the microscope and documented with a digital camera. This area of damage was covered with a painting of a flower. This was done in Europe, probably with oil paint. Since they form part of the history of the object, it was decided not to remove these overpaintings. © Rijksmuseum Amsterdam