What we mean by hand-gilded, in plain language.
A short answer to the question we get most often. What gilding actually is, what it does to a wood panel, and why the finish matters more than the photo on a screen.
Read the articleNotes from the workshop.
Short pieces on the craft, the saints we paint, the questions families ask, and what we are working on next.
A short history of the Good Shepherd icon.
From the catacombs of Rome to a small workshop in Burgundy, six minutes on one of our most asked-for pieces.
Choosing an icon for a baptism.
A practical note, with the four pieces we suggest most often, and why.
Why we use enamelled varnish.
It is the slowest finish we know, and we have no plan to change it. A short note on why.
A new icon in progress, the Annunciation.
A year of work, in three photographs and a hundred words.
Where to put an icon at home.
Light, level, wall, shelf. A few simple ideas from the families who have written to us.
The Holy Family, three figures and a thousand details.
A look at the small choices iconographers make when painting Joseph, Mary and the Child together.
A morning of gilding, in photographs.
Twelve frames from a quiet morning in our Burgundy workshop.