A bronze figure of Shou Lao, the Daoist immortal for longevity…
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A bronze figure of Shou Lao, the Daoist immortal for longevity depicted in the traditional manner, as an elderly man with protruding forehead in the flowing robes of a monk, with billowing sleeves, accompanied by a deer, traces of gilding, six character mark to verso, 24.5 cm high. Provenance: Private Collection, Melbourne, purchased by Robert Francis (1826-1895), general agent for the china Navigation Co in Kiukiang, proprietor of his own shipping Company, also reputedly owner of several tea plantations. Francis relocated from London to Shanghai in 1855, where he resided for the next 40 years till his death in 1895, after his death the items were passed onto Francis' nephew and hence by descent passed on the current owner

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  • Verso - Verso is the "back" side of a sheet of paper, art work, coin or medal. The front side is "recto".
  • Bronze - An alloy of copper and tin, traditionally in the proportions of about 9 parts of copper to 1 part of tin.

    The discovery of bronze in Western Asia in the 4th century enabled people to create metal objects which were superior to those previoulsy possible because of its strength and hardness, and it has been used throughout the world for weapons, coins, tools, statuary and other decorative items.

    It is very fluid in a molten state, and its hardness, strength when set, and non-corrosive properties makes it most suitable for casting sculpture.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.

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