Restoration and concervation Heritage, gilding with gold leaf on frames, mirrors, statues

The gilding techniques have been used since antiquity to cover the cult objects, precious objects of art with a thin layer of gold. The metal was then the only one not oxidize and symbolizes the value that we attach the term to see the subject of immortality. Here is a craftsman using techniques gilder gilding, tempera or admixture for executives, art and furniture.

In his workshop in Archingeay, Jean-Pierre Gicquel holder CAP ornamentist leaf and after several years of professional experience in several crafts, restores and sells mercury mirrors and gilt wood antique frames that await your visit. This artisan crafts enthusiast combines two complementary activities and advice to service customers in search of authenticity.

The scarcity of gold, its incomparable splendor and unaltered and have made a material mythical symbol of perfection, divine illumination, power and wealth.

Already practiced, it seems, by the Egyptians from 2250 BC, the gilding on wood but will not know until its peak in the seventeenth century and eighteenth century.
Heirs of this tradition, most of the spin doctors today have their art in accordance with ancient techniques. Among these techniques, water gilding occupies a special place: it was she who gave the gold to trade in wood and gilder's acclaim.

Long and delicate, it is the only return in their sharpness and vividness of details in an ornate carved wood and create volume effects with alternating brown (gloss) and matte.
In complete contradiction with the sacrosanct imperatives of our time, speed and profitability, it is the flagship of those who do not deal with quality.

From the seventeenth century, the gilded triumph in churches, but also in the palaces and castles: picture frames and mirrors, consoles, seats, barometers, lamps, woodwork and coaches shine with incomparable brilliance.
Thick 0.1-0, 3 micron, gold leaf can be applied directly on the wood it would show the porous structure and the cracks. Wood is also subject to dimensional variations, it must be isolated from the gold leaf by materials buffer, called aqueous coated finishes.

In many of these primers (from 6 to 10), the gilder practice reparure: it emerges through curved irons (irons repair) sculptures imbedded before reciseler carefully.

The final primer coat is covered with a clay composition that gilder Gorge water before placing its gold leaf. This plate allows the polishing of the gold leaf agate stone in order to get "brown", brightness typical water gilding or distemper, and play with scale effects.

In short, it will be readily understood, water gilding preparations are numerous and difficult. They also influence the beauty of the final result. Let us now a little more in detail.

Before beginning the restoration work themselves, the gilder is often required to clean the foil, thereby highlighting gaps in the preparations and support to address them. Often, the gilding are just dirty. But it also happens very frequently, having suffered over the centuries clumsy interventions, they are disfigured by additions which moreover empâtent sculpture of origin: this is the case with bronze overpaint, disastrous substitutes of gilding which darkens over time! These overpaints eliminated most often by using suitable solvents.

Again, it's all about tact.
When the support has separate elements must reassemble the cabinet. They fill critical gaps by masses of wood, gasoline and texture are identical to those of the support.

At this point, the wood is ready to be primed and glued. The sizing is designed to provide the first primer anchored deep and flexible. This is done using a mixture of glue and basic calcium carbonate (chalk), hot-applied using a brush with long hair and hard. It is interesting to note that in France, rabbit skin glue is the "material feature" of the gilding on wood because it occurs at all stages of work!