Gold Leaves

Introduction

Gold leaves: were applied onto a layer of gesso (plaster with an adhesive gum) on wood as a base.
Unlike a real collar, this is inflexible, emphasizing its character as a funerary model.
Has a thickness of 10 – 100 μm

Decorated with a band of scrolling gold motifs around a white inscription divided by three roundels containing turquoise lions
The upper shoulder with alternating fleur-de-lys and roundels issuing gold scrolls, the mouth with a band of similar turquoise calligraphy.
Gold leaves gilded on blue glass.

The ornate gold-leaf altar inside the Golden Church, San Pedro Apostol de Andahuaylillas
This 16th-century church dubbed the "Sistine Chapel of the Andes" offers ornate gold-gilded decor.

One of two formal portraits that Gustav Klimt made of Adele Bloch-Bauer, an important patron of the artist.
Adele was the wife of a wealthy industrialist in Vienna where Klimt lived and worked.
The portrait was commissioned by her husband, Ferdinand Bloch-Bauer, a Jewish banker and sugar producer.
Klimt is famous for his use of gold-leaf in painting

Throne Baldachin, designed by Hans Knieper, woven under the directorship of Hans Knieper, Helsingør (Denmark), 1585–86.
Nationalmuseum, Stockholm, on long-term loan from the Livrustkammaren, Stockholm.
Wool, silk, and gold-metal thread (diameter 0.2 - 1 mm).
Depicting the coats of arms of Frederick II of Denmark (1559-1588) and his wife, Sofia, in a richly decorative ground that combines allegorical figures, heraldic emblems, and medallions with scenes from classical history.
This canopy was commissioned in the early 1580s as the centerpiece of a sequence of forty tapestries depicting life-size figures of the genealogy of the Danish kings.
The design was made by the Antwerp artist, Hans Knieper (1577-1587), and the work was done by a team of Flemish weavers. \n