No.10 Reflecting On Beauty, Art and the World of Eglomise with Miriam Ellner

Who: Miriam Ellner

What: Miriam Ellner Design - Verre Eglomise

When: Since 1990

Where: Based In New York City

Servicing Projects Internationally

If somehow, among your travels, when the stewardess stopped serving and the plane's cabin slept, you stayed awake to stare out the window at the eerie quiet of the ever-delicate clouds, and caught the rarest of moments between time and space, where the restless angels had abandoned their posts, and saw a glimpse of the pearly white gates rumored to be the entry-way to heaven; well, we're fairly certain, after the shock and awe of witnessing the perfect ether, looking closely enough, it's altogether likely we'd find the gates themselves were a Verre Eglomise masterpiece made by the hands of Miriam Ellner. 

22 karat gold-leaf polychromes make up this set of 3 Neoclassical wall panels by Miriam Ellner Design.

We assure you, if it sounds far fetched- it isn't. Even upon entering Miriam Ellner's Chelsea-based studio in New York City there is an ambiance of celestial bliss - especially for those with a deep appreciation of design and fine arts. In modest size the all-white room is illuminated with large, open windows and clad with stunning pieces of hand- crafted verre eglomise gems. From small square tiles to full scale entryway panels waiting for shipment, every piece of work has been meticulously tended to and contains an astonishing array of depth, emotion and beauty. 

What, you may ask, is verre eglomise? It is an ancient craft of custom glass gilding, wherein gold, metal or a myriad of other materials are applied to the back of a glass panel which show through to the front of the glass with the seamless quality of a

painting. After any variation of basic gilding application, the delicate leafing can be manipulated further with the simplest of tools to create imagery as rich as that of a drawing or painting. As a matter of fact, that's how many of these pieces begin.  

"I've always been something of a 'visual collector'." Miriam reflects on her career, a montage of eglomise samples floating like pictorial thought bubbles behind her. "I love doing research. I think books were one of my first loves."

Miriam Ellner has had a rich journey in the arts. Evolving all the way from her childhood affinity for the library (beginning her own collection of visual references even then) into the world of modern dance and even whirling through the realm of costume and set design, Miriam doesn't ever seem to cease learning. When she

A remarkable sample of a 4-layer laminate piece Miriam Ellner Design
is currently working on for a European Residence. It is part of what
will be 2 large panels for a set of doors- talk about inspiring.

 happened to stumble upon the Van Der Kelen School for artisnal crafts in Brussels she was mesmerized by the old world ambiance of the buildings and ateliers, so she followed her fancy and applied to be accepted the following year. (1985)  It was here that she got grounded in her new studies and received the formal training in decorative arts that would set the ball rolling to her current career today. It was at Van Der Kelen she learned gold leaf and eglomise. And she loved it so much, when she returned to the US, she returned a decorative painter. 

"I'm a risk taker." Says Miriam shyly of making her start in a new field and craft, "I made a list of the best [design] talent I wanted to work with and went after them. I only wanted to work with the best."

But often a new career or talent needs a push, and Ellner found herself at the hands of a high-end builder who was enamored with her work and made a point of helping introduce her around. 

An example of eglomise detailed furniture/ plated inlays
Miriam Ellner Design did with designer Michael Simon

"I used to go around to meetings with these little 2x3" samples of my work;" she laughs, insisting on bringing one out to show a small eglomise sample the size of a business card, "just to show something to designers I met." 

Which seems funny, upon looking at the vast array of samples and completed projects she's now surrounded by in her studio on a daily basis. But it was upon one fated meeting with renowned interior designer Robert Metzger that officially set her new path ablaze. Miriam still recalls showing Mr. Metzger her small samples and seeing the wheels turn in his head.

 "He just got it." she smiles, "[He] commissioned two tables with me and that was the start."

A favorite precedent image, Miriam finds herself inspired by the art of eglomise
being found as far back as 200BC, as with these bowls from Canosa, Italy

Since then Miriam Ellner seems to've taken the industry by storm, even earning herself one of the Institute of Classical Architecture & Art's prestegious Arthur Ross Award's for Artisanship this past May. Either quietly or quite boldly, her work can be found among the projects of some of the design industry's top talent. After many years of sharing her vision of eglomise being brought back to the settings of projects everywhere, Miriam has also contributed to the age-old art by infusing some of her own style and expertise into her work. Her refined skills, well rounded viewpoint and inherent humility come through in her work with grace and confidence- but also some gusto; almost delicately saying 'that's lovely, but I'm going to push the envelope now'. 

A series of 7 eglomise glass panels in Jean Dunand style, composed of 22 karat gold leaf, palladium leaf, mica flakes, abalone and polychromes.

Miriam's long time business partner and development director, Wiley Kidd, notes 

"What makes Miriam such a master of design in her own right is that few people have pushed eglomise as far as she has." he admires, "She knows when to be restrained and when to push boundaries; instead of doing a small door inlay, she'll say, 'let's try the whole room'. People don't do that enough."

Turns out design risk takers and grand talents are indeed a perfect fit for Miriam's interest in bold style, here she pairs
with the grand talent at Kemble Interiors for Kips Bay Decorator Show House 2011, doing a whole ceiling in eglomise

Forget looking around the rest of the Show House, this ceiling for Kemble Interior's room is worth parking on
the couch to look up and admire.

And it's worth pushing boundaries. A craft like this that can be so masterfully honed can be utilized endlessly in design. Why not enrich more spaces by having artwork like this built into it? 

Color and depth stun in eglomise in these panels of 22 karat gold, mica
powders and polychromes for a private residence's powder room.

 As Miriam continues nourishing and growing her work and technique as well as her studies in the arts, it seems the only natural her next step is to learn through teaching- which she'll be having a hand at this Fall. Over the years she has also attended Dale Chihuly's exquisite Pilchuck Glass School on scholarship, as well as the Corning Glass Studio, just to expand her knowledge on materials and craft further. So after having years of putting her knowledge and talent to use, this fall is just as excited to be giving back, teaching a class on verra eglomise at the Society of Gilders Conference in New Orleans, Louisiana during the week long program of round tables, classes, lectures and exhibitions by experts in the field; an endeavor her schedule won't usually permit, but which she's made priority. 

Miriam starts a new piece by applying gold leaf to the back of a panel

As Miriam reflects with gratitude on the rare career she's created and has the pleasure of continuing on a daily basis, she reflects on the importance of eglomise to design, or perhaps just of art to the world:

"The idea of creating beauty is profound. I recall being at a Matisse show once and just being completely taken aback by how much beauty he contributed to the world." Miriam bats a glassy eye, "Forgive me," she smiles warmly, moved even by the memory, "Not to say that I'm Matisse!" she laughs. "But the thought of being able to contribute any kind of beauty to the world is one of the most fulfilling things I can do- and this for me is my form."

Well, we're glad it is. The world can certainly always use more of the thoughtful, intricate and distinguished details art brings to it. And if design is continuing to be enhanced by details like that of Miriam Ellner, we'll certainly be staying tuned in. 

"A series of verra eglomise glass panels in the style of Dunand, designed to line the walls of a dinning room above the
dado. Made up of 22 karat gold leaf, palladium leaf, various precious metals and polychromes."

Eglomise enriches a kitchen backsplash with this vignette. Made up of 22 karat gold leaf, mica powders & polychromes.

"A series of verra eglomise glass panels designed in neoclassical style, to line the walls of a dinning room.
All panels executed on full restoration glass and assembled like a Chinese puzzle. Made up of 22 karat
gold leaf, palladium leaf, tarnished silvers and polychromes."

Miriam Ellner Design has been featured in neumerous design publications, including Architectural Digest, Elle Decor and even on the Martha Stewart Living Show. She is a member of the Institute for Classical Architecture & Art, and was the 2013 Arthur Ross Award recipient for Artisanship. To contact her New York based studio or learn more about what she does please visit miriamellner.com. 

No.3 Written In Stone- Richard Carbino Talks Classical Stone Carving Today with Traditional Cut Stone

Who: Richard Carbino

What: Traditional Cut Stone, Ltd.

When: Since the Earth was created, and Man first carved stone

Where: Toronto, Canada 
+ services projects all over North America

Richard Carbino is vivacious, fun-loving, always enjoys a good laugh- at first glance you might not guess he was deeply passionate about stone and one of the leading forces behind what is today, home to the largest existing studio of classically trained stone carvers in North America. 

Inspired and moved by art and architecture all over Europe and the work of Gian Lorenzo Bernini, Richard pursued his own training as a Journeyman Mason under Danish Master Mason Knud Norgaard in Kingston, Canada.

"It's funny though, aside from my love of the craft, I had a foreman on a job once tell me I talked too much and maybe I should work in sales," Richard laughs, "well..."

On November 11, 1999, their hearts aflutter with hope and optimism, three men gathered and set out on a mission to preserve the history and beauty of an irreplaceable art. Richard Carbino was one of these three, along with David Tyrrell and Lawrence Voaides, who officially founded Traditional Cut Stone, Ltd. Their utter love for stone, art and architecture would not be in vein, they would preserve it's place in architecture and design for as long as they possibly could. 

"It was a day to remember, indeed." Says Richard.

TCS rendering for a stone fountain.

Traditional Cut Stone, Ltd. specializes in upholding the classical elements of 

stone carving in architecture, preserving a certain integrity, honesty and high caliber element in building that isn't as easily found as one might think- they preserve and protect the art in architecture. Not just the final outcome, but the process of its creation.

As we've learned here once before, with Foster Reeve, another advocate of the classical design and creation process, there are numerous components that go into expressing a superlative design correctly. Richard and his team take this no less seriously. For them, however, the preservation of this historically heroic process is necessary as they are in the business of creating history-

TCS custom Corinthian Capitals made of Indiana Stone adorn these columns.

"Think about it, stone is the oldest, most widely used building material on the planet. To conquer natural stone- to shape, carve and build with it- it makes you feel like anything is possible. And its inherently organic quality and sense of permanence are both awe- inspiring and humbling at the same time."

Michelangelo Bust in Carrara Marble

It's one thing to make sculptural  art work out of stone to stand alone, but Richard notes that the combined effectiveness of stones durability and aesthetic enhancement of adorning a building that makes its use in architecture and design so breathtaking. So when I ask him quite simply why, aside from the challenge it provides, stone matters; why is it important to have classically trained artisans and stone carvers participate in architecture and design in 2012, Richard doesn't have to think for a moment-

"For the same reason that opera, classical music and ballet matter. Without the arts there is no culture. Without culture there is no love. Without love, there is no life."

TCS 20,000 sq ft atelier in Toronto, Canada.

Customized, hand crafted creations that come out of Traditional Cut Stone's 20,000 square foot atelier in Toronto, Canada are indeed pieces of art. The process each project undergoes is thorough, and fuses the articulation of old methods with a few the newer technologies to help expedite the process. 

TCS phase one of a tympanum.

When a client and/or designer comes to Traditional Cut Stone with a project, they bring a vision. This vision is one that is shared with Traditional Cut Stone's team and artists to begin. After an in-depth round of research and sketches (to assist in creating the most historically and artistically correct image possible), the artist will develop sketches into more lush renderings which are then submitted for approval. These drafts may begin on a small scale, but they do also get printed out to their full scale for initial design development to begin. 

The above rendering of a building's tympanum with an eagle sculpture is taken to the next phase, with the image printed to it's actual scale, and the beginnings of it's sculptural actualization.

The tympanum's ornamentation and sculpture continues to take shape at it's intended scale.

A close up on some of the near complete detailing of the tympanum's eagle and bay leaves sculpture- you can watch a seriously awesome slideshow of the process here as well.

Also similar to Mr. Reeve's process, when a rendering is approved, a sculptor begins to work out a mock-up of the piece at hand with clay, and later is also molded in plaster. While some of these elements of preparation are being addressed and perfected, Traditional Cut Stone will also work with the design team and artisans to select the right natural stone for the piece. Sometimes, this can be challenging as there is such a wide variety of stones out there to choose from, and depending on the project- be it a balustrade, a specially commissioned bust, a full range of facade ornamentation or a fireplace- selecting this material is crucial. After all, once it's done in stone, it really is there forever.

An occulus window surround carved in Minnesota Limestone

"I'd have to say that Stone's are really just like people- some of good character and some of bad character... The trick is knowing which ones to invite to your dinner party." Richard jests. 

"It all comes down to fitness for use; it depends on the stone type. Some sandstone's and limestone's are good for exterior use, and some aren't. [Although] my favorites would include: Carrara marble  for figurative statuary; and limestone or sandstone for architectural ornamentation."

TCS artisans hand carve + chisel stone ornamentation.

 When a stone is selected and all of the details of the 3 dimensional clay mock-up have been approved, a plaster cast of the clay sculpture is taken. This plaster cast provides as a fully accurate model for the artisan to work from as they begin stone cutting and carving.

Traditional Cut Stone, is in fact, extremely loyal to the tradition of stone carving as it's been passed down through history. The entire process up until this point remains relatively the same as it was in he 14th Century, with the exception of using AutoCAD to electronically compute dimensions to scale of the final product. 

An air hammer is utilized to smooth out carved details.

They may also use a CNC (Computer Numerical Control) machine to assist with cutting down extremely large pieces of stone to a geometrically (and proportionally) manageable size to begin the work by hand; or an air hammer to assist with smoothing out  sections of a piece of stone. Utilizing today's technology to assist with the ancient process of stone carving with a chisel, mallet and hammer, helps cut down on time once spent on labor intensive activities (like cutting down a massive chunk of stone to the size you need), and leaves that time to be spent focusing on the artistry.

Traditional Cut Stone has actually shown that technology has helped to maintain an age old process that requires no technology at all. While creating architectural details with stone can seem a lengthy process, it seems it should be, for it is the process itself that is preparation for something that will last for generations to come.(If you look up synonyms for 'permanent', you're likely to find phrases such as 'set in stone' for a reason- stone lives on past us). 

The eagle, tympanum and architectural ornamentation are settled into their new home.

It makes one wonder just how much more time we should be devoting to so many aspects of our lives. Richard, David and Lawrence didn't care about the trends of the times when they gathered together to create Traditional Cut Stone (the use of numerous alternate materials in the 1970's nearly wiped stone off the menu in building) they were devoted to preserving the craft, integrity and process that goes into creating spaces of meaning which we inhabit. These men have created a space for the love of art, materials and architecture can foster one another and grow.  It nearly seems overwhelming to think of just how much goes into creating pieces of history now. Alas, Richard reassures me it is not impossible to participate and appreciate art, architecture and stone everywhere:

"Look up! Look around you! Study the architectural stone where you live and wherever you may travel. By doing so you will be paying homage to the men and women that have literally carved mankind's  history in stone."

Now this is the sort of underlying philosophy and ethos that actually should be set in stone. Thanks, Richard.