This specificity endows the objects with sheen and conveys a sense of immortality; hence it’s use on sarcophages, churches, temples, statues of divinities etc. In the sixteenth century, gilding craftsmanship started to boom in Europe and Asia and more particularly in France, Italy and Japan.
The gold leaf is approximately 0,1 micron and can be applied on any surface like wood, metal, glass etc. Several techniques are now available, but water gilding remains the sturdiest and most traditional. It consists in covering the support – wood, fabric or paper- with one or more coats of natural glue which is later moistened with water. The gold leaf is then applied and once the support dries the gold is glued. Then it can be polished to brilliance with an Agate stone.
After studying classical drawing, morphology and painting at the City of Paris Fine Arts Workshop, Antoine Letellier learned gilding for antique furniture restoration – working on such pieces as consoles, chairs and frames – in a Parisian workshop for five years. He then completed his training as decorative painter –painted marbles, wood, « trompe l œil » -in a bronze workshop for the following three years.
He takes pride in applying ancient craftsmanship techniques to contemporary works – optical illusions, lights, new supports and new metals such as silver, palladium and aluminium. His specialities include:
- Carved panel, gold leaf
- Sculpted panel
- Realization in collaboration with
- Gilding on glass
- Oxidation on bronze
- Paravent gold and paint
- Seasoned Woodwork