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After around 1830, legislation in France had outlawed the use of mercury, although it continued to be commonly employed until around 1900 and was still in use around 1960 in very few workshops. Other gilding techniques, like electroplating from the mid-19th century on, were utilized. Ormolu
651:
587:
635:
421:(1728–1809) of Birmingham produced English ormolu vases and perfume-burners in the latest Neoclassical style. Though the venture never became a financial success, it produced the finest English ormolu. In the early 19th century fine English ormolu came from the workshops of
399:
Chinese and
European porcelains mounted in gilt-bronze were luxury wares that heightened the impact of often-costly and ornamental ceramic pieces sometimes used for display. Chinese ceramics with gilt-bronze mounts were produced under the guidance of the Parisian
623:
467:
451:
498:
361:
Similarly fine results could be achieved for lighting devices, such as chandeliers and candelabras, as well as for the ornamental metal mounts applied to clock cases and to ceramic pieces. In the hands of the
Parisian
556:
mantel clock (pendule de cheminée); 1757–1760; gilded (ormolu) and patinated bronze, oak veneered with ebony, white enamel with black numerals, and other materials; 48.3 × 69.9 × 27.9 cm; Metropolitan Museum of
366:, the precursors of decorators, ormolu or gilt-bronze sculptures were used for bright, non-oxidizing fireplace accessories or for Rococo or Neoclassical mantel-clocks or wall-mounted clock-cases – a specialty of
569:
Pair of
Chinese vases with French Rococo mounts; the vases: early 18th century, the mounts: 1760–70; hard-paste porcelain with gilt-bronze mounts; 32.4 × 16.5 × 12.4 cm; Metropolitan Museum of Art
513:
581:
Neoclassical mantel clock ("Pendule Uranie"); 1764–1770; case: patinated bronze and ormolu, Dial: white enamel, movement: brass and steel; 71.1 × 52.1 × 26.7 cm; Metropolitan Museum of Art
688:; early 19th century; Russian malachite, composite filling material, gilt-bronze mounts and bronze pedestal; height with pedestal: 277.5 cm; Metropolitan Museum of Art
358:(1678–1755), whose finished gilt-bronze pieces were almost as fine as jewelers' work. Ormolu mountings attained their highest artistic and technical development in France.
694:
338:
Craftsmen principally used ormolu for the decorative mountings of furniture, clocks, lighting devices, and porcelain. The great French furniture designers and
436:. Beurdeley & Cie. produced excellent ormolu in Rococo and Neoclassical styles in Paris, and rococo gilt-bronze is characteristic of the furniture of
190:; bowl: 1730–1740, fishes: early 18th century, mounts: 1745–1749; porcelain with glaze monochrome turquoise/light blue and French ormolu mounts; 18.7 cm;
629:"Triumph of Love over Time" mantel clock; circa 1780–1790; gilt-bronze, marble and enamel; overall: 94 × 104.1 × 31.8 cm; Metropolitan Museum of Art
541:; circa 1750; gilt-bronze; dimensions of the first: 52.7 × 48.3 × 26.7 cm, of the second: 45.1 × 49.1 × 24.8 cm; Metropolitan Museum of Art
245:
of gold and mercury. The item is then exposed to extreme heat until the mercury vaporizes and the gold remains, adhering to the metal object.
593:
Pair of mounted vases (vase à monter); 1765–1770; soft-paste porcelain and gilt-bronze mounts; 28.9 × 17.1 cm; Metropolitan Museum of Art
901:
829:
408:
restrictions. A few surviving pieces of 16th-century
Chinese porcelain subsequently mounted in contemporary European silver-gilt, or
888:
855:
319:, is technically a type of brass. From the 19th century the term has been popularized to refer to gilt metal or imitation gold.
183:
389:
gilt-bronze is often entirely chiseled and chased with extraordinary skill and delicacy to create finely varied surfaces.
127:". Around 1830, legislation in France outlawed the use of mercury for health reasons, though use continued to the 1900s.
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404:, for only they had access to the ceramics (often purchased in the Netherlands) and the ability to overleap the
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507:-like clock ornament; 18th century; gilt-bronze; overall: 5.4 × 15.6 × 1 cm; Metropolitan Museum of Art
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Craftsmen principally used ormolu for the decorative mountings of furniture, clocks, lighting devices, and
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commode; 1730–1745; spruce, oak, violet, rosewood, coniferous, gilt-bronze ornaments, copper, and
348:, of the 18th and 19th centuries made maximum use of the exquisite gilt-bronze mounts produced by
955:
206:
Patinated and ormolu Empire timepiece representing Mars and Venus, an allegory of the wedding of
191:
307:
A later substitute of a mixture of metals resembling ormolu was developed in France and called
272:
Hang him; a gilder that hath his brains perished with quicksilver is not more cold in the liver
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370:(1685–1768) – complemented by rock-crystal drops on gilt-bronze chandeliers and wall-lights.
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that warm themselves at a flame; 1780–1790; gilt-bronze; height: 34.5 cm; Rijksmuseum
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323:
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Artist and
Patrons: Court Art and Revolution in Brussels at the end of the Ancien Regime
664:; 1780–1790; oak, mahogany, marble, and gilt-bronze mounts; 94.3 × 81.3 × 55.9 cm;
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525:; 18th century; gilt bronze; 35.2 × 8.9 × 4.5 cm; Metropolitan Museum of Art
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Clock ornament; 18th century; gilt-bronze; overall: 9.2 × 8.9 × 1.9 cm;
225:
The manufacture of true ormolu employs a process known as mercury-gilding or
89:
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330:, where it was always more common than silver-gilt, the opposite of Europe.
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gilt bronze tends to be finely cast, lightly chiseled, and part-burnished.
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dancer figure; circa 1900; ormolu; height: 40 cm; Rijksmuseum
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Chinese porcelains mounted with French gilt-bronze (ormolu) in
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National
Pollutant Inventory – Copper and compounds fact sheet
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218:; circa 1810; gilded bronze and patina; height: 90 cm;
58:
64:
720:« Aux feuilles de chou » (with cabbage leaves),
722:
gilded (ormolu) and patinated bronze. The clock case by
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substrate, which is more economical and less dangerous.
414:, show where the foundations of the later fashion lay.
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techniques are essentially the same as those used on
67:
70:
795:
Empire mantel clocks: A golden dream in timekeepers
61:
55:
248:This process has generally been supplanted by the
797:(2003): in the Museum of the Dutch Clock website"
609:; 1768; gilt-bronze; 30.5 x 43.5 x 24.5 cm;
428:In France, the tradition of neoclassic ormolu to
392:The ormolu technique was extensively used in the
98:technique of applying finely ground, high-carat
270:
241:, or bronze; followed by the application of an
354:(founders and finishers) such as the renowned
264:In literature there is a 1612 reference from
8:
911:, Dutch Crossing, Taylor and Francis ( 2017)
118:
726:, the clockwork by Claude Hémon (1770–1820)
718:French mantel clock (pendule de cheminée),
326:onwards across Eurasia, and especially in
38:of an ormolu clock and candelabra at the
396:, reaching its peak during this period.
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447:
7:
883:. Swantje-Köhler-Verlag, Bonn 2007.
94: 'ground/pounded gold') is the
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858:from the original on 2020-10-01
803:from the original on 2009-04-18
373:The bronze mounts were cast by
311:, though the mix of copper and
123:"; in English, it is known as "
763:Ormolu, definition and origins
605:Architectural centrepiece; by
1:
432:(1751–1843) was continued by
881:Ormolu Dollhouse Accessories
394:French Empire mantel clocks
173:tastes; late 18th century;
972:
459:Metropolitan Museum of Art
322:Gilt-bronze is found from
188:Bowl Mounted with Two Fish
175:Metropolitan Museum of Art
233:is applied to a piece of
229:, in which a solution of
770:August 11, 2011, at the
666:Art Institute of Chicago
611:Art Institute of Chicago
434:Lucien-François Feuchère
377:, and then chiseled and
782:Encyclopédie méthodique
765:: in Antiqueinstruments
686:Pierre-Philippe Thomire
430:Pierre-Philippe Thomire
423:Benjamin Lewis Vulliamy
216:Pierre-Philippe Thomire
212:Marie Louise of Austria
744:References and sources
480:; height: 82 cm;
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607:Denis René Gastecloux
417:From the late 1760s,
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724:Pierre-Victor Ledure
40:Palace of Versailles
931:Artistic techniques
822:"Table Centerpiece"
793:"Pier Van Leeuwen,
662:Jean Henri Riesener
660:corner cabinet; by
539:firedogs (chenets)
402:marchands-merciers
364:marchands-merciers
351:fondeurs-ciseleurs
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192:Walters Art Museum
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946:Artworks in metal
879:Swantje Koehler:
27:Gilding technique
16:(Redirected from
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368:Charles Cressent
356:Jacques Caffieri
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381:to add detail.
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227:fire-gilding
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171:neoclassical
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701:Art Nouveau
680:Monumental
490:Netherlands
482:Rijksmuseum
328:Chinese art
293:silver-gilt
260:Health risk
125:gilt bronze
120:bronze doré
81:; from
18:Gilt bronze
920:Categories
862:2020-09-20
807:2010-03-15
749:References
208:Napoleon I
956:Porcelain
826:artic.edu
684:vase; by
658:Louis XVI
486:Amsterdam
345:ébénistes
324:antiquity
196:Baltimore
132:porcelain
42:in France
36:garniture
856:Archived
836:28 April
830:Archived
828:. 1768.
801:Archived
768:Archived
732:See also
520:Caryatid
309:pomponne
275:—
926:Gilding
874:Sources
615:Chicago
505:Festoon
444:Gallery
411:vermeil
297:vermeil
243:amalgam
138:Process
107:amalgam
104:mercury
96:gilding
887:
617:, USA)
488:, the
478:marble
474:Rococo
383:Rococo
379:chased
289:silver
254:nickel
235:copper
220:Louvre
167:rococo
111:bronze
83:French
47:Ormolu
643:putti
523:putto
406:guild
342:, or
239:brass
198:, US)
90:moulu
85:
936:Gold
885:ISBN
838:2022
668:(US)
313:zinc
169:and
115:kiln
100:gold
557:Art
317:tin
299:).
87:or
59:ɔːr
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74:uː
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