The Gilbert Galleries Reopened: Micromosaics in Focus

At first glance, they can be mistaken for paintings of luminous landscapes, ancient ruins, glittering city views, birds in motion. A closer look, and the illusion dissolves into thousands of fragments — glass cut finer than grains of rice, assembled with astonishing precision. These micromosaics caught the eyes of Sir Arthur Gilbert (1913 – 2001) and his first wife Rosalinde (1913 – 1995), starting a decades-long collecting journey that would shape one of the most important collections of decorative arts of the 20th century. Today, the Rosalinde and Arthur Gilbert Collection comprises around 1,000 objects — silver, gold boxes, stone mosaics, and enamel portraits in addition to micromosaics — many small in scale yet dazzling in material abundance.

Following a major renovation and an ambitious conservation project at London’s Victoria and Albert Museum (V&A), these works are being reintroduced to the public with a new clarity and intensity. Visitors will encounter not only one of the world’s greatest collections of micromosaics but also the story of a collecting passion. The collection was built over several decades by the Gilberts, who were both born into the fashion industry. They set up their own fashion business in London in the 1930s and their strong appeal to visual richness and intricate garments translated into their approach to their collection, which celebrates craftsmanship and beauty. After selling the business in 1949, the Gilberts relocated to Los Angeles. The process of decorating their new villa soon deepened the Gilberts’ fascination with art and interior design, sparking a particular love for historic objects. With the support of experts — many of them TEFAF exhibitors — they began actively collecting in the late 1960s and established a museum-worthy collection.
 

The Gilberts built up one of the three largest collections of micromosaics in the world. A technique invented in Rome, micromosaics are made of tesserae, small glass elements. They are fused into millimeter-thin threads, cut to two-to-five millimeters high, and set next to each other into a tray while held together with paste. “It’s not quite like a jigsaw because the pieces don’t fit into each other, like with Florentine stone mosaics, but are set next to each other with very little space for the grouting unlike what is often seen in traditional mosaics,” explains Alice Minter, senior curator of the Arthur and Rosalinde Gilbert Collection at the V&A. “The technique transformed the way mosaics were made because those threads could be formed and cut in several different shapes, imitating brush strokes, and therefore creating a visual effect closer to a painting rather than the typically ‘pixelated’ effect of a traditional mosaic.”

Guided by the motto “not just for us, for everyone,” the Gilberts believed deeply that art should be shared widely with the public. They collaborated with museums, lent to exhibitions, and championed scholarly research. After Rosalinde’s death in 1995, Arthur transferred the collection back to their native London. In 2008, it found its home at the V&A, where works have been displayed in the eponymous Gilbert Galleries. The museum houses the nearly 240 micromosaics, ranging from early works made and commercialized by master Giacomo Raffaelli in the 1770s to objects from the late 19th century.

The renovated galleries offer the opportunity to present the collection of micromosaics more in-depth. “This is the outcome of a four-year project and even longer in its conception,” says Minter, noting foundational research undertaken by her predecessor Heike Zech. Previously, about a quarter of the micromosaics collection was on display, divided between two rooms — one dedicated to large-scale objects and mixed with stone mosaic (commessi di pietre dure) objects; the other dedicated to gold boxes, as micromosaic panels were often mounted in that format. “Now that we have the space, we have allocated two galleries exclusively to this craft, exploring the history of the micromosaics in all its aspects,” Minter explains. “For example, we display multiple depictions of the same scenes — that we previously considered as merely duplicates to be kept in storage — to provide visitors with this striking visual moment where they can compare but also understand how this craft was the first type of luxury souvenir of its kind.” At a learning table placed in the gallery, visitors will be able to touch, hear, and watch the process of micromosaic making.

The new gallery installation has been accompanied by significant conservation work. Non-original bulky, gilt frames have been replaced with sleeker glazed frames, allowing visitors to get as close as possible to the works. In addition, the collection of micromosaics received an innovative laser cleaning treatment known as Er:YAG, developed by the V&A conservation department. Unlike traditional cleaning methods, laser cleaning can clean much deeper than any human or mechanical forces while remaining nonabrasive to the component of the work, shares Minter. “The result is unbelievable. For the first time, we can discover their original colors — they look like paintings but without a single drop of paint.”

The new galleries also offer a perspective on private collecting which has never been explored on this scale and on a permanent basis at the V&A. “We are addressing the emotions the Gilberts felt when acquiring their first objects, but we have been particularly cautious about not turning these galleries into a shrine. Instead, visitors will see the objects that triggered interest in the Gilberts and then be able to explore, at their leisure, a craft and its history,” Minter explains. “There are snapshot moments where we address how the Gilberts had conversations and friendships with art specialists, as well as how they learned from their mistakes; so hopefully everyone can understand or relate to the ecosystem of the art world in a more transparent way than ever before.”