COURSES

Courses open to all levels

The majority of individuals interested in restoration are convinced of their incapacity to properly repair an object of art. However with proper advice and guidance by a professional, restorating gilded objects of art in wood is attainable.

The results that one can expect to obtain will surprise you and those close to you.

 

OBJECTIVES

Technical training for beginers and intermediate level in the restoration and conservation of wooden gilded objects.

PROGRAM

  • History of the profession
  • Analysis and comparison of ancient and contemporary techniques
  • History of art
  • Gilding restoration in the grande 18th century french tradition (techniques, tools, proper movements, vocabulary…) of frames, mirrors, student's personal items
  • Original design in gilded wood
  • Manufacturing usable products (benches, plates…)
  • The student will begin by following the gamut of instructions in the traditional techiniques of whitening (bleeching) as well as the bases of "reparure" (wooden engraving) before them restoration of period objects of art (we are the guardians of a heritage that must be respected)
  • In addition the course is given in an environment equiped with access to a variety of supporting information, i.e. library (Watin, Dorure et polychromie sur bois de Gilles Perrrault, l'Encyclopédie Roret…), Period objects gilded in wood, Boiseries (Wainscoting) elements in plaster.

MATERIALS

The studio will furnish an ensemble of products and tools necessary to complete your work.
However the student is responsible for the items to be restored as well as the the gold leaf.

SECURITY

The studio is fully secure and permits the student to leave their objects as long as necessary throughout its restoration.

The courses are given in a studio whose environs offer daily exposure to professional restoration in all fields, the student will share in the artisans life of the "faubourg St. Antoine" that continues to be the center for fabrication and restoration of furniture. In this exceptional enviornment, the student will benefit by the professiontal tools of the trade (gilding cushion, fers à reparer which are special tools for wooden engraving, finishing products, pigments, solvants, brushes…)

The courses are limited to a maximum of 5 students which insures quality instruction and conserves the interaction within an intimate group.

A letter stating the goals of the applicant is required before enrollment.

COURSE RATES

Enrollment for one year: 1, 980 euros - consisting of 3O classes, each for 3 hours.

COURSE SCHEDULE


Wednesdays 10:00 a.m. to 1.00 p.m. - 2:00 p.m. to 5:00 p.m.
Tursdays 10:00 a.m. to 1:00 p.m - 2:00 p.m. to 5:00 p.m. and 6:00 p.m. to 9:00 p.m.
Saturdays 9:00 a.m. to Noon

 

LECTURES

A variety of themes will be offered throughout the year to the public by reservation only. There is a set minimum of 5 individuals with a maximum of 12.

The 10 th of June: Discover the Faubourg Sainte Antoine (1:30 p.m. to 6: p.m.)
A visit is scheduled through the "faubourg" and its court yards of yesterday and today with some of its traditional artisians. In addition a day at the St. Ouen flea market is planned. Date to be announced. Other lectures can be offered by demand.


STUDENTS TESTIMONIAL

 

It was by sheer luck that I discovered Bruno Toupry’s Gilding Atelier. I have found someone that is not only warm and kind but most importantly an artisan in love with his work, an impassioned soul that is a perfectionist and enthusiastic about transmitting his culture and knowledge in the vast domain of Wood Gilding. His course has given me a better understanding of what is true restoration; what techniques are applicable, discerning the different periods, identifying the spectrum of styles and improving my knowledge of the art form of gilding.
 
M.DUHEN.

 

It is extremely rare to find a gifted artisan that can also be an effective instructor. My experiences with Bruno Toupry of the Atelier du nombre d’or fulfilled all of my requirements and my expectations.

I am a professional American Cabinetmaker who came to Paris to study at the Ecole Boulle. Gold Leafing was the one profession not offered that I needed desperately in the course of restoration. My goal in coming to Paris was to acquire as much instruction as possible in the art of restoring valuable works of art. It became quite clear when I arrived in Paris that the art of Gold Leafing is an art form with few true experts...I was very fortunate to have discovered Bruno and extremely grateful for his understanding of my particular needs.

In many ways Bruno’s talent both as a gilder and an instructor is visible by his atelier. In a rather modest space he has organized a great deal of material and tools in an impressive manner. He is able to instruct several students as the same time with impressive results. I believe that in many ways his atelier reflects the way his mind works. Bruno was able to ascertain my capabilities and weaknesses quickly. He also knew I was on a restricted time schedule. His ability to work with my schedule and capacities was paramount, adding to the fact that I speak rather limited French. His talent for explaining things physically and to then allow me to practice the procedures breeched the linguistic gap rather successfully.

What I also appreciated was his ability to teach his craft within an historic context. It complimented quite well all of the instruction I was receiving at the Ecole Boulle and filled in a great deal of information I hadn’t quite grasped.

I fully intend to continue training with Bruno in 2006 and would recommend him to anyone who wants to acquire the methods of gilding. His judgement on quality materials, tools and assessment of properly restored furniture and objects of art makes him invaluable to a professional. His demeanour is also extremely important. I found him to be extremely patient with a very good sense of humour and sensitive to my goals. Therefore he would be just as effective with an individual who would consider gilding for non-professional reasons.

I would enjoy speaking to or writing to anyone who might have addition questions, hopefully in English. I can be contacted at the following:

Gregg  Perry
7 N.  Home Avenue
Topton, PA   19562       USA
001 610 682 4224
001 610 682 4204 fax

Dans un petit coin de Paris, j’ai découvert loin de l’agitation, des hommes et des femmes, artisans, artistes, créateurs, peut importe, des hommes à la fois simples et hors du commun.
Ils sont épris du beau, de l’esthétique du travail bien fait.
Ils sont porteurs d’un savoir qui leur a été transmis et auquel ils ont ajouté leurs propres qualités,
Leur expérience et leur ingéniosité.

Oui cette espèce existe encore, j’en connais blottis auprès d’autres compères.
Ils ont des mains créatrices, ils sont respectueux de la matière qu’ils transforment avec le plus grand art. Ils aiment leurs outils et les bichonnent comme leurs meilleurs amis.

Non, non, ce ne sont pas des dinosaures, je les ai rencontrés fidèles à eux-mêmes et à ceux qui leur ont transmis savoir et technique pour fabriquer tous les objets d’art qui fleurissent sur cette terre.

Mon bonheur a été de passer le pas de cet atelier, invitée à prépare des recettes étranges.

Gélules de peau de lapin dans l’eau, une pincée de blanc de Meudon, d’ail ou d’absinthe fraîche, sans parler de la gélatine. Un vrai repas, les pinceaux remplacent les cuillères, les odeurs flottent, on goutte ou on malaxe comme pour préparer de la pâte à gâteau ;
La sauce s’applique vigoureusement. Il faut de la force et de la constance, de la précision.
Pas de croûte ni de craquelure sur la préparation.
Après ce dur labeur, le somptueux, le merveilleux ce qui fait étinceler les yeux, c’est l’or avec son éclat et son mystère, sa richesse et sa rareté, précieux métal convoité et inaltérable.
Ici il est plus léger qu’une feuille d’automne et nous échappe au moindre souffle d’air qui passe, celui de notre respiration qui se fait discrète en sa présence comme un enfant intimidé.

Il y a de la magie dans ce lieu, dans les gestes, du calme et de la sérénité lorsque la main s’applique à ne faire qu’un avec l’outil; de la gaieté lorsque l’effort aboutit.
Dans cet alambique, l’énergie créatrice bouillonne.

Joëlle JACQ 2007