Detail, Louis XV Ormolu Candlestick
After a design by Juste-Aurèle Meissonnier (French, 1695-1750)
ca. 1745
Gilt bronze
Portland Art Museum: the John Yeon collection.
Ormolu: The manufacture of true ormolu employs a process known as mercury-gilding or fire-gilding, in which a solution of mercuric nitrate is applied to a piece of copper, brass, or bronze; followed by the application of an amalgam of gold and mercury.
The item is then exposed to extreme heat until the mercury vaporises and the gold remains, adhering to the metal object.
Health risk
Due to exposure to the harmful mercury fumes, most gilders did not survive beyond 40 years of age.
After around 1830 the legislation in France had outlawed the use of mercury, although it continued to be commonly employed until circa 1900 and even was still in use around 1960 in very few workshops.
To replace ormolu, other gilding techniques (like electroplating from the mid-19th century on) were utilized instead, but nothing surpasses the original mercury-firing method for durability, sheer beauty and richness of colour.
Juste Aurèle Meissonier (1695 – 31 July 1750) was a French goldsmith, sculptor, painter, architect, and furniture designer.
He was born in Turin, but became known as a worker in Paris, where he died. His Italian origin and training were probably responsible for the extravagance of his decorative style. He shared, and perhaps distanced, the meretricious triumphs of Oppenord and Germain, since he dealt with the Rococo in its most daring and flamboyant developments.
Rarely does he leave a foot or two of undecorated space; Meissonier carried the style of his day to its extreme and thus achieved great popularity. Like the Scottish brothers Adam at a later day he not only as architect built houses, but as painter and decorator covered their internal walls; he designed the furniture and the candlesticks, the silver and the decanters for the table; he was as ready to produce a snuff-box as a watch case or a sword hilt.
Not only in France, but for the nobility of Poland, Portugal and other countries who took their fashions and their taste from Paris, he made designs. His work in gold and silver-plate was often graceful and sometimes bold and original. He was least successful in furniture, where his twirls and convolutions, his floral and rocaille motives were conspicuous. He was appointed by Louis XV Dessinateur de la chambre et du cabinet du roi; the post of designer pour les pompes funèbres et galantes was also held along with that of Orfèvre du roi.
For our knowledge of his work we are considerably indebted to his own books of design: Livres d'ornements en trente pièces and Ornements de la carte chronologique. His works are held in the collection of the Cooper-Hewitt, National Design Museum.
Source: Wikipedia
Detail, Louis XV Ormolu Candlestick
After a design by Juste-Aurèle Meissonnier (French, 1695-1750)
ca. 1745
Gilt bronze
Portland Art Museum: the John Yeon collection.
Ormolu: The manufacture of true ormolu employs a process known as mercury-gilding or fire-gilding, in which a solution of mercuric nitrate is applied to a piece of copper, brass, or bronze; followed by the application of an amalgam of gold and mercury.
The item is then exposed to extreme heat until the mercury vaporises and the gold remains, adhering to the metal object.
Health risk
Due to exposure to the harmful mercury fumes, most gilders did not survive beyond 40 years of age.
After around 1830 the legislation in France had outlawed the use of mercury, although it continued to be commonly employed until circa 1900 and even was still in use around 1960 in very few workshops.
To replace ormolu, other gilding techniques (like electroplating from the mid-19th century on) were utilized instead, but nothing surpasses the original mercury-firing method for durability, sheer beauty and richness of colour.
Juste Aurèle Meissonier (1695 – 31 July 1750) was a French goldsmith, sculptor, painter, architect, and furniture designer.
He was born in Turin, but became known as a worker in Paris, where he died. His Italian origin and training were probably responsible for the extravagance of his decorative style. He shared, and perhaps distanced, the meretricious triumphs of Oppenord and Germain, since he dealt with the Rococo in its most daring and flamboyant developments.
Rarely does he leave a foot or two of undecorated space; Meissonier carried the style of his day to its extreme and thus achieved great popularity. Like the Scottish brothers Adam at a later day he not only as architect built houses, but as painter and decorator covered their internal walls; he designed the furniture and the candlesticks, the silver and the decanters for the table; he was as ready to produce a snuff-box as a watch case or a sword hilt.
Not only in France, but for the nobility of Poland, Portugal and other countries who took their fashions and their taste from Paris, he made designs. His work in gold and silver-plate was often graceful and sometimes bold and original. He was least successful in furniture, where his twirls and convolutions, his floral and rocaille motives were conspicuous. He was appointed by Louis XV Dessinateur de la chambre et du cabinet du roi; the post of designer pour les pompes funèbres et galantes was also held along with that of Orfèvre du roi.
For our knowledge of his work we are considerably indebted to his own books of design: Livres d'ornements en trente pièces and Ornements de la carte chronologique. His works are held in the collection of the Cooper-Hewitt, National Design Museum.
Source: Wikipedia