Conference Class/Lecture List 2017

Society of Gilders Conference, June 5-10, 2017

At the University of Texas, Arlington,  with generous support from the Department of Art and Art History

This is a summary of events and prices; for details of materials and tools, and to access the shopping cart, you must go to the Conference Registration Page.   Registration opens for members Feb 10, 2017, and  then for non-members on Feb 25.  Members must log in to get their discounts.


Sylvana Barrett

A Workshop on the Historical Techniques of Estofado or Sgraffito Gilding

(2 days: Thu-Fri)  

Elaborate patterns and motifs may be created on a frame, panel painting or gilded surface through the historical technique of estofado, or sgraffito,  gilding. A layer of egg tempera paint is applied to a gilded and burnished surface. By selectively removing the paint layer, following a predetermined pattern, the gold beneath is revealed creating sumptuous surface embellishments. The effect may be further enhanced through punching of the gold and application of painted details.

Course will include complete demonstrations of all techniques.

Course topics: Making egg tempera paint from dry pigments; application of paint layer onto the gilded surface; preparation of patterns; transfer and application of patterns; lifting out the overall design; estofado techniques; punching, detailing; related technique of painting in oil on to the gilded surface   $335 members/$385 non-members

Micki Cavanah

Basic Oil Gilding (Mordant Gilding)

(2 days: M-Tue)

Beginner to intermediate. This will be a busy two days! In this class we will work on several gilding projects. We will gild at least one small frame, and work on several sample boards applying a variety of different leaf as well as mica powder gilding. These gilding processes can be used in a variety of applications such as frame gilding, art projects, architectural elements, and more.  We will experiment with different types of size and learn the proper application of each one. We will cover surface preparations for your gilding projects as well as the final sealants for the gilded surface and their application.  We will also cover simple toning as time permits.  $415 members/$465 non-members; optional tool kit $90


Lauren Dillon and Diane Killeen

Plastering and the Decorative Arts

Learning the complexities of interior fine finishing applications and understanding the materials science that drives the use of these more historic applications in the realm of new design build projects

(3 days: Mon-Wed)

Overview: a three-day course that joins the expertise of 2 interior fine finishers – one whose focus lies in the realm of plaster and one whose focus lies in the realm of decorative paint and gilding. This class will teach participants the materials science behind one of the original building materials – lime plaster – and will focus on proper application techniques and installations. Touching upon ornamental plaster as well, this class will cover both flat wall installations along with ornamental creations. Historical decorative painting techniques, including wood graining and the gilding of decorative plaster elements, will be focused on within the 3 day span in a format that brings together two artistic applications of very different materials – those of plaster and those of paint – highlighting how the two can be used in similar but also in very different formats.   $565 members/$615 non-members, optional tools - $58

Samuel Feinstein

Introduction to Gold Tooling on Leather

(2 days: M-Tue)

In this the fundamental course, students will learn tooling on leather both in blind and in gold, focusing on line-work and decorative tools.  No previous experience necessary.

This class is an introduction to gold tooling on leather, an age old practice with both traditional and modern applications in bookbinding. The sumptuous nature of these two materials is inherently alluring. This workshop is both a brief introduction to newcomers and an opportunity for further practice. No previous experience necessary.
$420 members/ $470 non-members

Samuel Feinstein

Book Edge-Gilding

(2 days: Thu-F)

In this hands on workshop students will learn a “solid gilt edge", that is, gilding the page edges of a book edge after all of the pages are bound together.  Students will have the chance to do gauffering on their edges, which is impressing brass tools into the edge.  Other types of edge gilding will be discussed, including gilding before sewing as well as hiding a watercolor painting underneath a gilt edge which is revealed when the pages are fanned out.  No previous experience necessary.  $420 members/ $470 non-members

Michael Gilbert

Toning and patinas on precious metal leaf

(3 days: Wed-Fri)

Gilders create patinas for several reasons, to give the appearance of age, or to harmonize a frame with a work of art, or simply to get the look that you want in your gilded works of art. Many different toning techniques will be taught, for instance a chemical patina to silver leaf with a vermeil finish, a French rub etc. This class will give you the knowledge and skills to create almost any finish.      $660 members/ $710 non-members

Peter Miller

Traditional Water Gilding

(3 days: M-Wed)

Traditional Water Gilding is only achieved when the methods, types of materials and proper tools used by master gilders during the Italian Renaissance are used in water gilding today. This class provides each student with that foundation which will result in beautiful water gilded surfaces. This workshop teaches students how to make rabbit skin glue gesso, make bole (gilders clay with rabbit skin glue), prepare the wood surface for gilding, and how to use specific gilders tools. Once the frames are prepared each student will learn how to apply gold leaf onto the frames and then learn how to burnish the water gilding, rendering highly reflective surfaces.

This class is suitable for the beginner as well as for those gilders that are interested in improving techniques. Each student will be provided with a frame to work on and then take with them. Students should bring work clothes or aprons. If a student already has proper gilding tools they are encouraged to bring them.
$620 members/ $670 non-members, optional tool kit $185


Peter Miller

Restoration and repair of gilded surfaces

(1 day: Thu)

This one-day workshop will introduce the student to materials and techniques relating to the repair and restoration of gilded surfaces, through discussion, demonstration and hands-on work.  Discussions will include initial analysis of the surface which will include identifying not only the obvious problem but also looking for the more subtle underlying issues as well as identifying water gilding vs. mordant gilding.  Developing condition reports and offering treatment recommendations for an object will be considered, as well as the importance of photographing before, during, and after. Also, pricing restoration and conservation of gilded surfaces will be considered.

The workshop will include topics such as cleaning gilded surfaces, paint removal, mold making, casting, removing damaged gesso, structural repairs and utilizing barrier coats as time allows.  We will also talk about gilding and toning to match existing surfaces, through demonstration and discussion.

Students are invited to bring an object or photo images to discuss as a group.
$345 members/ $395 non-members


L and R: well designed acanthus. At R: drawing for French Regency (1715-1723) panel at Hôtel de Lassay

Aline Putot-Toupry

Studying and drawing the acanthus leaf as a means to understand classical ornamentation

(2 days: M-Tue)

Purpose of the class: The acanthus leaf has been a ubiquitous ornament since the days of classical Greece, but the rules that must be observed when drawing one are about to be lost and I know of no books that teach them.  I am offering this class to share with you the results of years of research and analysis, as part of my mission to prevent the disappearance of the very old art of drawing a correct acanthus leaf.  The relationship of leaves and flowers will also be discussed.

An overview of the changes in the designs of the acanthus leaf from the Renaissance through the 18th-century will be presented using plaster replicas of ornamented panels.  However, the focus will be on the aspects of the leaf that have never changed because they are key to the harmony and dynamics of empty and filled spaces that have been the very purpose of ornamentation.  Poorly designed acanthus leaves will be described and compared with well-designed counterparts.  Because of the teaching techniques I developed over the years, by the second day you will be able to make error-free copies of moldings of correctly designed acanthus leaves even if you do not know how to draw, with core shadow and cast shadow.  You will also be able to design your own acanthus leaves without errors.  

If you have ever drawn acanthus leaves and would like them to be critiqued, please bring them to the class.  $335 members/ $385 non-members

Sandra Spannan

Verre églomisé

(3 days: W-Fri)

Students will learn the basic techniques and history of glass gilding (verre églomisé) through an introductory slideshow of instructor Sandra Spannan’s body of work and lecture of reverse glass gilding used in commercial and residential signage, artwork, and interior design. Students will learn from beginning to end how to prepare glass, apply stencils, fold leaf, hand paint, and protect their artwork with professional gilders’ tools/materials. Two final projects will be produced through this class using pre-cut stencils and freehand painting methods: a custom gilded letter of their first initial with decorative elements (using a provided vinyl stencil) and a project of their own creation. $485 members/ $535 non-members; optional tool kit $75

Bruno Toupry

Learning classical French réparure (gesso engraving and carving): The motifs favored at various periods and how to execute them using them using the proper tools

(3 days: Wed-Fri)

Teaching program: Presentation on the origins of réparure (from the 2015 Chicago lecture), the different carving irons used, how to fit the iron part of the tool into its handle and how to sharpen the tool, how to hold an iron while working, and a presentation of old carving irons.

Traditional French réparure. You will be working on a stucco ornament cast in a mold taken from the body of a harpsicord from the Louis xv period (1723-1774) that I am presently restoring.

You will learn: How to engrave the traditional background motifs: Barclay, LOUIS XIII; Simple fool’s play, LOUIS XIV  (a diamond pattern evoking the pattern of Harlequin’s costume); Double fools’ play, LOUIS XIV; Barley seeds (« Grains d’orge »)   LOUIS XIII – XIV – Régence – LOUIS XV; Curve pattern, LOUIS XIII, LOUIS XIV, Régence, LOUIS XV, LOUIS XVI; Straw pattern; Amaties; Damier pattern (a pattern evoking a checker board). You will also learn How to carve gesso : the curves and the “refends” (spaces within—and part of—the ornaments).

A set of ten traditional, high-quality, French carving irons, provided by Larverdure et Fils, Paris, is available for purchase by SOG members at near cost, with irons fitted in their handles at no charge, by Bruno Toupry. Purchase of this set is included in the class fee. Interested parties not taking the class may inquire about this rare opportunity. All orders must be submitted by May 1. 

$745 members/$795 non-members

Lectures: Admission included with registration or guest registration

17th century sculpture by Luisa Roldán with extensive estofado gilding by Tomás de los Arcos, J. Paul Getty Museum Collection

Sylvana Barrett

‘Over the Top’

Tuesday, June 6, 9AM

As if burnished water gilding were not enough to create a sumptuous surface, the process of estofado, or sgraffito, “gilds the lily”. Elaborate patterns and motifs created by selective removal of a paint layer applied over the leaf itself create elaborate, often intricate, embellishments. This talk and discussion by practicing artist and independent scholar Sylvana Barrett explores the technique as well as the development of gilded embellishment and embellished gilding from the first century of the Common Era to the age of the Baroque.

Urban Billmeier

A History of Gold Leaf Production in the United States

Thursday, June 8, 9AM

Urban J Billmeier is the fourth generation in his family to work in the Gold Leaf business. Growing up, he spent time in the Wehrung & Billmeier Co. shops, and around the business doing various tasks. His education is in Aeronautical Engineering. He spent 21 years working for major airlines. During this period he continued to do work for the family business. In 2005 he retired from the airlines and began working full time for W&B. He currently manages Products and Production.

Billmeier will talk about the history of Gold Leaf production in the United States and what it was like growing up in the business. He will share a few stories from that history and provide a general overview of world leaf production. Billmeier will discuss the different sizes, types, alloys, and qualities of leaf produced today, and he will talk about the terms used with leaf and what they mean.

Francis Lestingi

The Fascination and Physics of the Element Gold

Wednesday, June 7, 7PM

Why has gold captured the veneration of humankind for eons? What is gold, exactly? How have artists and scientists employed this astonishing element in countless human endeavors? Calligrapher, fontographer, sign artist and professor emeritus of physics and history of science with SUNY College at Buffalo, Francis S Lestingi, will lecture on this topic, revised since its first presentation at the opening ceremony of the Museum of the Gilding Arts, in Pontiac, IL, spring 2015.

David Rosenblum

Traditional Tooling & Gilding Finishes in the Industry of Leather-sheathed (Leather-covered) Articles

Wednesday, June 7, 9AM

Since 1895, Atelier Bettenfeld-Rosenblum has applied its knowledge, skills and creativity toward two goals: on the one hand, to restoring fine, time-damaged leather articles – regilding lettering and ornamentation where needed – and producing new ones in a traditional way; on the other hand, to innovating and, when possible, to leading the trend.

In this lecture, David Rosenblum, of Atelier Bettenfelf-Rosenblum, will outline the history of leatherwork since the days of ancient Egypt, pinpoint the appearance of leather tooling and gilding in France (in 1323), and then retrace the development of leather tooling and gilding in the sheathing industry. He will describe the techniques that have been used in engraving and gilding on leather destined to the production of elegant household goods in Europe and in the United States, and will present the most important tools of the trade as well as fine household or office products traditionally made of leather.

‘Open mic’ or roundtable discussion about gilding and related topics

Friday, June 9, 9AM

Please bring questions, successes, business conundrums, and more to this discussion.

Community project:

A community gilding project will run Monday through Friday, in Arlington, led by Michael Kramer and Jill London of the Gilders’ Studio. All are welcome. Details to follow.

Social events and Field trip:

On Monday, there will be an evening reception at the home of Linda and Dan Dipert.  Transportation will be provided. Admission included with registration or guest registration

On Saturday, June 10, there will be a trip to the Kimbell Art Museum in Fort Worth. All are welcome. Details to follow. May be a small charge for chartered bus.

There may also be an opportunity to visit the George W. Bush Presidential Library and Museum during the week. The library houses commissioned frames gilded by SOG teacher and longtime board member, Peter Miller.


Teachers and lecturers:

Sylvana Barrett

Sylvana Barrett is a practicing artist and independent scholar on the topic of historical artists materials and techniques with particular interest in Medieval and Renaissance panel painting, manuscript illumination and gilding. She regularly produces related didactics for museum exhibitions.

A frequent museum lecturer and studio arts workshop leader she has been featured in numerous films and videos. Included among these are The Making Of A Spanish Polychrome Sculpture demonstrating the techniques of 17th century Polychrome Sculpture and the elaborate gilding technique known as “Estofado” and Almost Invisible: The Cartoon Transfer Process demonstrating the under-drawing techniques of Italian Renaissance master Andrea del Sarto, J. Paul Getty Museum productions. She has also been featured in the National Geographic’s Television production How It Was: Secrets of Mona Lisa demonstrating Leonardo da Vinci’s painting techniques and explaining his use of materials.

Her many presentations include a Ted X talk entitled “Putting the “art” back into “ART”. In April of 2016 she presented studio research findings at the British Museum as a participant in the Ancient Panel Painting, Examination, Analysis and Research Meeting.  This presentation was made in conjunction with her capacity as artist consultant to the APPEAR Project, a collaborative international research project between 20 museums including the J. Paul Getty Villa and the British Museum investigating the materials and techniques of the Greco-Roman encaustic paintings know as the Fayum Portraits.

Her original artworks incorporate historical materials and techniques into contemporary gilded panel paintings. Her work in renaissance silverpoint was recently exhibited at the Morris Graves Museum of Art: Lustrous Lines: Contemporary Metalpoint Drawings.


Urban J. Billmeier

Urban J Billmeier is the fourth generation in his family to work in the Gold Leaf business. Growing up, he spent time in the Wehrung & Billmeier Co. shops, and around the business doing various tasks. His education is in Aeronautical Engineering. He spent 21 years working for major airlines. During this period he continued to do work for the family business. In 2005 he retired from the airlines and began working full time for W&B. He currently manages Products and Production.


Micki Cavanah

Micki Cavanah is the owner of Reed's Gold Leaf Studios in Nashville TN. The company was founded by her mother Lou Reed in 1972 at a time when there was very limited sharing of information in the field. She passed along her knowledge and expertise to many students along the way as well as to Micki and her husband Mitchell who now continue to provide the gilding and restoration services to their clients all around the southeast.  Micki teaches one-on-one classes by appointment only. Reed's Gold Leaf Studios offers gilding and restoration services, hand-made gilded frames as well as offering products for gilding and restoration. Their work can be seen all around the Southeastern United States in various galleries, museums, historic homes, universities and private collections. Included in their work are Athena Parthenos and The Schermerhorn Symphony Center, both in Nashville TN.


Lauren Dillon

After graduating from Virginia Tech’s College of Architecture in 2008, Lauren went on to pursue her master’s in Urban Design with a focus in Historic Preservation from University College, Dublin. Living and studying in Dublin, she became enamored with the ornate plasterwork that characterizes the Georgian architecture of Ireland. Upon her return to the United States she has served as the Executive Designer of Master of Plaster Finishing Systems, a boutique firm that is one of the remaining companies to handcraft historically authentic hydrated lime plasters without adding acrylics or synthetics. Lauren’s expertise lies in both ornamental and flat wall plaster creations and restorations. She has presented extensively on the nature and on the importance of these materials and their proper application techniques including the USGBC’s National Convention, the IPTW International conference, and the UK plasterer’s convention in Lincolnshire. Her passion lies in reviving this dying art and she places high emphasis on education, outreach, and exposure to bring a greater awareness and understanding of these materials and their processes. Included in Lauren’s project list are – Smithsonian’s Museum of Modern Art, Orton Plantation, McLeod Plantation, Bloomingdales, Murdoch Estate, Bacon Estate, FD Gallery, and Villa Margherita.


Samuel Feinstein

Samuel Feinstein trained formally at the North Bennet Street School program under Jeff Altepeter and Martha Kearsley.  Since graduating in 2012 he has been in private practice specializing in fine bindings, luxury clamshell boxes, new bindings in period style, and gold finishing for other binders.  His work can be seen on his website:


Michael Gilbert

Michael Gilbert has a forty year background as an artist and gilder, and has been a teacher for the Society of Gilders for seventeen years. From 1981 to 1996 Michael was a teacher of calligraphy and manuscript gilding at the Maryland Institute College of Art in Baltimore.


Diane Killeen

New Orleans, Louisiana, native Diane Killeen, through her company Diane Killeen Painting Studios, provides artistic finishes and decorative restoration in both historic and contemporary settings. For the past 15 years, Diane has worked on projects in the greater New Orleans Area and the Southeast, painting for her own private clientele.

Local restorations include: the ceiling murals at Latter Library, the decorative plaster at the Roosevelt Hotel, gilded frames for The Historic New Orleans Collection and all of the decorative restoration at the Robinson-Jordan House. As a project manager for International Fine Arts Conservation Studios, she has traveled extensively restoring sites on the National Registrar of Historic Places.  

Diane’s specialties include: decorative faux finishes, traditional water gilding, Venetian plaster, custom stenciling, murals, decorative plaster restoration, sculpture and historic color analysis. Killeen works collaboratively and is involved in a wide range of artistic work. 

After graduating from Hollins College in Roanoke, Virginia, with degrees in both Studio Art and Psychology, Diane pursued a graduate certification in Decorative Painting and Restoration through the City and Guilds of London’s North America Program. This was a fellowship program with the historic Biltmore Estate in Asheville, North Carolina. 

Diane currently serves on the Board of Trustees of the Society of Gilders.


Francis Lestingi

While in elementary school in Queens, NY, Francis taught himself pen calligraphy and brush lettering. By the time he attended high school in Brooklyn, he had learned how to gild with genuine gold leaf and was hand lettering paper signs for storefronts and shops. After high school, Francis entered the religious teaching order of the Brothers of the Christian Schools (The De La Salle Christian Brothers) where he received degrees in physics from The Catholic University of America and under a National Science Foundation Fellowship from Rensselaer Polytechnic Institute. Later, he taught physics, chemistry, mathematics, and theology at high schools in Rhode Island, Brooklyn, Long Island, and Queens where he developed physics graphics and demonstrations for use on overhead projectors. Harvard University noted this work and invited Francis to design transparency graphics for a high school physics course, Harvard Project Physics, it was developing for the National Science Foundation. Eventually, he designed six volumes of physics graphics that were used in classrooms throughout the country. After Francis left the Order, he earned a PhD on a US Office of Education Fellowship at the University of Wisconsin-Madison. He then taught physics and history of science at the State University College at Buffalo where he continued designing graphics, now in relativity and astronomy, and branched out into computer animation and filmmaking. Several of his short films on the Periodic Table and on Hiroshima received national and international awards. The State University of New York honored Francis with the President’s and the SUNY Chancellor’s Award for Excellence in Teaching. In 1994, Francis started Signs of Gold, Inc. with his master woodworker son Stephen. As a “recovering college professor,” Francis has garnered ten First Place Awards from the USSC Sign Design Competition and the International Sign Association. He has published over 23 articles on carving, gilding, and his hand crafted techniques in five North American sign industry journals. Francis's lifelong intrigue with calligraphy and lettering as art form has led him to design six original digital typeface fonts which are commercially available on the Web.


Peter Miller

With strong familial ties to woodworking and several employment positions in architectural woodworking, furniture production, log home construction and picture framing, Peter opened his framing business in CT in 1983. While most of the business offerings in the early days centered around the world of commercial moldings, the Peter’s passion for woodworking and eventually the gilding arts set the transition from frame shop to frame maker’s atelier into motion. By 1990, Peter’s interest in the gilding arts continued to be a driving force and through the exposure and membership of the Society of Gilders (SOG), Peter spent the next several years studying with Marty Horowitz, Lou Tilmont, Grace Baggot, Giovanni Bucchi, Ina Brosseau and Allen Marx, Jill London, Jeff Solomon, Sue Jackson, Carol Halle, Frances Binnington Federer and Patricia Miranda. Always focused on mastering the skills of water gilding but interested in many of other the disciplines of the gilding arts, Peter developed his skills in water gilding, wood carving and frame making, restoration/conservation and the techniques needed to tone and age the gilded surface. Over those years, Peter also studied the history of art and frames, which has been instrumental in designing and creating period appropriate frames.  

P.H. Miller Studio frames are around noted paintings and drawings by 19th and 20th century artists including, John Folinsbee, Daniel Garber, Childe Hassam, Wilson Irvine, Arthur Meltzer, George Sotter, George Newell, Henry Rankine Poore, William Trost Richards, Percival Rousseau, Dwight Tryon, Frederick Judd Waugh, Marsden Hartley, William Bradford, E. Irving Couse, Edward Potthast and N. C. Wyeth. Amongst the many paintings by contemporary artists that the P. H. Miller Studio frames have been designed and made frames for include artists Roger Blum, John Michael Challen, Mary White, Pete Bergeron, David Brega, Sassona Norton and Tom Yost.  The Studio has recreated frames for the G. W. Bush Presidential Library re-creation of the Oval Office and the Two Red Roses Foundation as well as designing and creating frames for the Honolulu Academy of Art and the Brandywine River Museum.

Peter has been a member of the Society of Gilders since 1995, serving as President from 2000 - 2006 and as a trustee from 1998 - 2015, an industry partner of ASID and local and community business organizations. Peter teaches several subjects pertaining to the gilding arts both in his studio and through the Society of Gilders.  He is on the member of the Artisan Center of Virginia’s Top of Virginia Artisan Trail and has been acknowledged as a Trail Site with the ACV.


Aline Putot-Toupry

Ornamental artist, wood carver, and engraver Aline Putot studied drawing, modeling, and ornamental wood sculpture in the style of the 17th and 18th centuries for 15 years, first in Belgium, then at École Boulle in Paris.  She also studied artistic anatomy for 2 years with Mr. Debord at École des Beaux-Arts in Paris. These years were spent understanding the use of the golden proportion in French ornamentation, and therefore the harmonies produced by filled and empty spaces. After working for the most prestigious studios of ornamental sculpture, including Ateliers Fancelli and Etienne Rayssac in Paris, Putot began to use her knowledge and skills to create her own style. Professional experience includes: sculpted wood panels (at Féau boiseries); furniture (of Putot’s design as well as copies of the 18th-century “Heurtaut” style); frames (at Galerie Georges Bac), and ronde-bosse sculptures. Since 2000, she has been charged with the restoration or the reproduction of numerous woodcarvings at public and private venues, including the château of Countess du Barry at Louveciennes and the Hôtel de Luynes at the Louvre. She has taught her trade continually for many years, living in Paris for the last ten. Putot has participated in nine group exhibitions and five solo exhibitions, at different venues and repeated times at Galerie Nicolet 24 Rue de Bourgogne Paris 75017. Along with executing the work she contracts for, Putot has been modeling busts of French poets Charles Baudelaire and Victor Hugo in preparation for two sculptures. Member of the Taylor foundation since 2013; Member of Ateliers d’art de Franc ; Wood carver expert  for Jury National, No. 2011-2013-2015-2016 ;  Participating in Avenir métiers d’art, an Institut national des métiers d’art program supporting young talent and funded, in part, by the Michelle et Antoine Riboud foundation.

Web site :

Presentation of studio:   password : cour


David Rosenblum

Since 1895, Atelier Bettenfeld-Rosenblum has applied its knowledge, skills and creativity toward two goals: on the one hand, to restoring fine, time-damaged leather articles – regilding lettering and ornamentation where needed – and producing new ones in a traditional way; on the other hand, to innovating and, when possible, to leading the trend.


Sandra Spannan

Sandra Spannan, a native of Germany who has lived in New York City since 1993, is a painter, gilder, and founder of the decorative painting company see. Painting, Inc. and gilding company see. Gold, Inc. As an artist specializing in verre églomisé (glass gilding) as well as restoration and decorative finishes, Sandra has worked on private interiors, set designs, landmark restorations, and large-scale commercial projects throughout the world. She has won the Lucy G. Moses award for Excellence in Historic Preservation, the New York Preservation League’s Excellence in Preservation Award, and the National Trust for Historic Preservation Award for her gilding and restoration work at the historic Williamsburgh Savings Bank in Brooklyn, NY. She has done gilding work for Victoria's Secret, Balthazar, the Paramount Hotel NYC, and Tiffany & Co., to name a few. Sandra has given gilding workshops and tutorials at the Museum of Arts and Design in NYC, at the Society of Gilders Conference in Chicago and on multiple high end job sites and art projects, and in afterschool programs in the New York public school system. She has been featured in a gilding documentary directed by the accomplished filmmaker Craig Teper, with music by Emmy award winning composer Blake Leyh.


Bruno Toupry

Bruno Toupry is a restorer-gilder of art objects; designer of gilded, lacquered or polychrome furniture; master craftsman by the Chamber of Trades; and service provider for Mobilier National (an agency responsible for preserving fine and antique  furniture in state-owned buildings). He is also manager of Atelier du nombre d’Or, Paris. Toupry trained and worked with Paris master craftsmen in restoration and gilding. He studied ornamental drawing at École Boulle (2000). He created his own atelier at Cours de L'Industrie (a large, historic complex of artisan and artist workshops in Paris) and began to train a new generation of restorer-gilders while building his own customer base (2005). In 2010, he moved to a much larger Cours de L'Industrie studio.

Recent awards include: listed by the Paris City Hall among the 100 Paris Designers and Artisans-artists contributing the most to preserving their trade in the City of Paris, 2015; Exceptional award from Rotary International, 2012; Grande médaille d’argent (Great Silver Medal) from the City of Paris, 2007. Ongoing and most recent work: complete restoration and re-gilding of an 18th-century harpsichord and a large, ornate Empire armchair (pictures unavailable owing to owner’s preference); restoration and regilding of an 18th-century console; gilding new curtain rod finials for a museum mansion (carved by Aline Putot-Toupry).

Web site :

Presentation of studio:   password : cour