London Glass gilder: Verre églomisé – making antiqued Italian glass gilding, Nick Garrett

superb gilding and finishes in Italy and London.

Venetian-Verre-Eglomise-distressed-mirroring copy

if you are interested in creating a spectacular feature project email me at

Our verre églomisé panels

Unique works of art using the technique of verre églomisé (gilding on glass) combined with a range of effects to create bespoke panels that can perfectly match into your interior space.

for the most beautiful decorative glass

PDF Verre Eglomise Samples – Campioni – Nick Garrett

Above:  Photoshop visual – Below: sample on the bench

See ...Samples on the bench

Antique Verre églomisé  Pre Burnished Nick Garrett

Above: Here the panel is wet pre burnishing – will update shortly.  Top Left corner has been burnished.


Inspiration mum's dining room ceiling

Fresco on mum's wall Parma

Frescos are my constant inspiration.

On decorative panels I think glass gilding usually looks a touch heavy. However, when French or Italian artists handle this process it changes… I value my Italian heritage and training.

The Italian hand

I noticed this in 1991 while standing aghast in the Duomo in Florence … getting close up to the marbling on the facades and pillars and it was all brush strokes, slips and catches… stand back and it hung together in the most glorious fashion.

The Italians have a looseness and delicate sensuality in their work.

I want it to ‘float’, look light, magical and natural in some way… you have to learn to let it go…

What I am really interested here is the combination of filtered gold duo tone and a really natural looking distress.

Most glass gilders get stuck on mechanics and never really loosen up allowing real aged richness to happen.  I always look for something unpredictable… a bit of magic.

History of the art

Verre églomisé, from the French term meaning glass gilded, is a process in which the back side of glass is gilded with gold or metal leaf.

In one method, the metal is adhered using a gelatin adhesive, which results in a mirror-like, reflective finish in which designs are then engraved. The metal leaf may be applied using oil-based adhesives (goldsize varnish) to achieve a matte finish. The gilding may also be combined with reverse painting on glass.

The technique dates back to the pre-Roman eras, but its name is derived from 18th century French decorator and art-dealer Jean-Baptise Glomy (1711–1786) who is responsible for its re-popularization.

One of the key historical periods of the art was in Italy during the 13th to 16th centuries. Small panels of glass with designs formed by engraved gilding were applied to reliquaries and portable altars. The method used is described by Cennino Cennini. It has also been used throughout Europe since the 15th century, appearing in paintings, furniture, drinking glasses and similar vessels and jewelry. It is also often seen in the form of decorative panels of mirrors, clock faces, and in more recent history, as window signs and advertising mirrors.

Well known practitioners include Hans Jakob Sprungli (1559-1637) and Jonas Zeuner (1727-1814).

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Published by nickgarrett

Artist Signman Teacher

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