French Giltwood Overmantel Mirror with Rose Pediment

A small French giltwood overmantel mirror, the pediment of…
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A small French giltwood overmantel mirror, the pediment of roses, the sides decorated with gilded tassels. 50 x 88 cm.

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  • Giltwood - Giltwood is used to describe a gold finish on furniture and other decorative wooden items, whereby a thin sheet of gold metal, called gold leaf, is applied to the surface for decorative purposes.

    Unlike gilding, where the gold leaf is applied over a coating of gesso, with giltwood the gold leaf is applied direct to the surface, or over a coat of linseed oil gold leaf adhesive.

    Most gold-finished mirrors will be gilded, whereas furniture with gold highlights will have the gold applied through the giltwood method.
  • Pediment - The uppermost section of a tall usually double-heightened piece of cabinet furniture, surmounting the cornice. The pediment can take a variety of forms derived from the architecture of classical antiquity. A broken pediment is of triangular shape, however, the two raised sides do not meet at the apex but are 'broken' the gap between them often ornamented with an urn or finial. Swan-neck pediments are of similar form, although the uprights are gracefully arched, resembling a swan's neck. They are often found, for example, on longcase clocks.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.

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