Marbleizing

Marbleizing or faux marbling is the preparation and finishing of a surface to imitate the appearance of polished marble. It is typically used in buildings where the cost or weight of genuine marble would be prohibitive. Faux marbling is a special case of faux painting used to create the distinctive and varied patterns of marble - the most imitated stone by far.

Faux stone painting was widely used in Pompeii, but it really took off in Europe during the Renaissance with two schools of faux painting developing. The Italian school was loose and artistic, the French school was formal and realistic. It typically took an apprentice 10 years or more to fully master the art.

The sophistication of the techniques are such that visitors are frequently unable to distinguish between false and real marble in many churches, palaces and public buildings in Europe. The techniques were perfected by the 17th century and have been used in all styles of construction well into the 20th century, including Baroque, palladian, neoclassical and historical revival styles as well as Art Nouveau and Art Deco buildings. Craftsmen who are able to replicate this work are still available, as evidenced, for example, by the extensive restorations of faux marble surfaces in important Eastern Europe buildings since 1990.

The art of marbling and graining reached its apogee in Britain between 1845 and 1870, and during this period the acknowledged master was Thomas Kershaw.

Kershaw was born in Standish, Lancashire England in April 1819. At the age of 12 he was apprenticed to Mr. John Platt of Bolton who was paid the sum of £23 by Kershaw’s father in order that his son could be instructed in the craft of house painting. He worked 10 hours a day for six days a week. He completed his apprenticeship at the age of 21.

He achieved international fame, winning a number of the most prestigious awards at the major exhibitions of the age; The Great Exhibition, London, 1851 - a first prize medal; Exposition Universelle, Paris, 1855 - a first class medal; London Exhibition, 1862 - first prize.

Kershaw's work was so good that it was often considered to be indiscernible from the original. He undertook work in many large, houses, mansions and stately homes throughout England and Wales and once declined an offer from the Russian Ambassador to imitate marbles on the interior of the Imperial Palace in St Petersburg. In 1858 he produced one of his important works in the Blue Room in Buckingham Palace where all the pillars were done in imitation marble.

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Wikipedia