INTRODUCTION TO GILDING MATERIALS

Since early Biblical times gold, silver, and other precious metals have been beaten to very thin leaves, then attached to furniture or picture frames using either an oil type mordant (adhesive) or water gilding method over a well applied gesso surface.  This art probably reached its peak around the 14^th century.  Other adhesives were used such as garlic juice, egg white beaten with water, or any other organic material that was sticky, such as blood.  The process of application and further treatment developed very quickly when it was discovered (Edison style)  that the tooth of an old hound dog, worn and polished, could be used over the water/gesso gilding method to increase its surface reflecting ability in what we now call a burnished finish.  The Russians in their deep religious faith (Orthodox Church) often used metal tools to punch designs into the gilded surface of their Icons. 

In this catalog we will use water gilding as a term referring to gold application over gesso and bole onto water wetted surface.  We will further use oil adhesive to designate what has been often called mordant gilding.  Perhaps more important than this introduction is the glossary in which we will try to establish a common phraseology so that we might understand one another’s terms.  In our library of books containing gildings instructions (some 10 volumes), we have found it very difficult through the years to ascertain exactly what the writer was trying to convey.  We spent many years trying to condense it to simple terms such as “oil adhesive” rather than oil size, as size is always a mixture of water and animal glue and never the polymers that are now sold as size.  It is not important that we argue over terms, but it is important that we speak with one tongue with a Renaissance of understanding so that we are better able to communicate in the instructions and materials used in the beautiful and exciting field of gilding.  From very early writings like Cinnini through Vassari and Eastlake’s ramblings there is enough confusion to turn a person off to the art of gilding.

Several excellent books have been written on the art of water gilding on glass, but they have no application to the Picture Framers problems with regilding old picture frames. 

As you have guessed by now, gilding covers not only the application of leaves of silver, gold, palladium, etc., but also encompasses a fine field of imitation gold (copper and zinc) whether by leaf or powder.  We have tried in this catalog to offer all those material that might be used in the redecoration of a destitute old frame that was not cherished but is now extremely valuable not only in an historical manner but in dollars and cents.  There are so few that understand the craft of old picture frame restoration that indeed this catalog might be called the beginning of a dictionary for picture frame restorers.