See hypnotic Hydra in our new Charcoal-Black patina

Weaving with light: The art of gilding

Set in the Oxfordshire countryside, our workshop and design studio is a living monument to British artistry and gilding our sculptures with 24-carat gold leaf is one of the many time-honoured techniques that reflect our commitment to craftsmanship.

Gilding is an endangered trade, as the number of artisans who still practice it are in rapid decline. Lost to an age enthralled by speed and efficiency, the brilliance of gilding as a vocation has been sidelined, but in the workshop this skill shines like a diamond in the rough world of manufacturing and watching a gilder in action is a beautiful thing.

Each delicate leaf of gold is placed by hand, its brilliance emerging through a ritual of patience, intuition, and inherited technique. The result is a unique finish interlaced with the authenticity of human touch – the essence of craftsmanship.

As the world’s gilders become fewer in number, their work grows ever more precious.

At David Harber, we are proud to work Shawn, a highly skilled, third-generation gilder who, through years of dedication, has perfected this artisanal craft to keep this traditional technique and his family’s rich heritage alive. Each brushstroke of gold foil is applied by hand with care and precision, transforming our sculptural forms into objects that radiate warmth, richness, and timeless sophistication.

The tradition started with his grandfather who discovered gilding while running his carpentry business. He passed the skill to Shawn’s father who made a living as a signwriter. When we asked Shawn to tell us how he took up the craft he said, ‘I became fascinated with the way gold could elevate an object, making it something of true value. I had the privilege of learning on the job with my father and went on to work with him for thirty years, honing a tradition that feels as much inherited as it is learned.’

Talking about the process itself, Shawn explains the power gilding has in reshaping how we might experience an object, ‘by highlighting its contours and textures, gilding serves as a finishing touch that enhances both form and material.’ He goes on to say, ‘despite its fragility, it carries an unmistakeable elegance.’

When we asked Shawn what he loves most about gilding, he describes the moment gold leaf glows in the sun, ‘it’s a light that feels almost alive.’

Abstract close-up of curved, yellowish shapes evokes a gilding process with soft shadows and a warm orange background.

Adding gold as a decorative accent transcends creative disciplines. In England in the 12th century, the Opus Anglicanum weavers incorporated goldwork into precious fabrics and embroidery, teeming with elaborate imagery, for emperors, royalty and religious leaders to make sure the fabric had visual impact from afar. Cloth of gold is a luxury textile of woven gold thread and silk, famously reserved for medieval and Tudor kings. As well as a symbol of status and power, these fine threads of gold and silver wire stitched into place would catch the light in a such a way to create the impression that the wearer was touched with some divine light.

But it wasn’t only English craftsmen who had a fascination with metallic threads and embellishment, fabrics such as damask and brocade that originated in China are still used today for occasion wear and bridalwear. Not to mention the much-loved golden threads and sequins in modern festive designs.

In the David Harber Design Studio, gold makes its way into so many David Harber artworks because of its versatility and its unique ability to reveal and enhance.

Mantle II, Geminus and Quill, have core of gold. An internal glow. ‘Mantle II was the first piece I worked on when I started at David Harber’ says Shawn, ’I love the way the gold creates a magical effect both in the daytime when it catches the sunlight, and when it is illuminated at night.’

Close-up of a contemporary sculpture with turquoise, leaf-shaped metal pieces and gaps between them, set against a warm yellow background. Bronze and gold leaf mantel accents add richness as light creates dynamic shadows and highlights.

For a sculpture like Flo or Hydra, it’s about accentuating the form. Just the edge and the centre of the piece are gilded to add a subtle highlight that elevates the patination, and the contrast against the patinated surface brings the work to life.

Whichever piece this incredible technique is applied to the result is a radiant, custom piece that exudes refinement and opulence.

A Florio copper garden contemporary sculpture, this sculptural fountain features three irregular, bowl-like forms stacked vertically, each with mottled green and rust-colored patina, illuminated at night against dense green foliage.
Tall, narrow teal and yellow ribbons evoke a hydra bronze and gold leaf contemporary abstract sculpture, rising vertically among blurred green foliage in soft natural light against a lush, leafy garden backdrop.

Get in touch

Whether you’ve decided on a piece or you just want to sound out an aspect of our work, please get in touch with our team to discuss your needs.

A book cover with a dark teal textured background features faint concentric circles. At the top, large white text reads DAVID HARBER. At the bottom, smaller white text says AS IF BY MAGIC. The cover casts a subtle shadow to the right.
A book spread shows the left page with the title A MIRROR TO YOUR WORLD and text, while the right page features a photo of a shiny stainless steel torus contemporary sculpture on a manicured lawn, reflecting trees and greenery in a garden setting.
An open book displays a large RAF Brize Norton bespoke globe sculpture with three model aeroplanes mounted on it, set outdoors against a twilight sky. The left page has text about the Royal Air Force; the right shows the sculpture amid greenery and lights.
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The Classic Collection
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The Commercial Collection
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