Laurent Amiot: Canadian Master Silversmith

Laurent Amiot began his apprenticeship as a silversmith in the workshop of his elder brother Jean-Nicolas. Amiot’s keen interest in the craft, and his remarkable ability to work the precious metal, led him to pursue further training in Paris — a first for a Canadian silversmith during the 18th century. When he returned in 1787, Amiot had mastered the art of composition, had acquired impeccable technique, and was familiar with the latest stylistic trends in Europe.

With a valuable letter of recommendation in hand, Amiot set up his practice on the Côte de la Montagne, the main thoroughfare connecting Quebec City’s commercial and institutional sectors at the time. Like many silversmiths, he built his business by repairing, restoring and polishing damaged items. His clients noticed his talent, and were soon entrusting him with larger commissions. In order to meet the growing demand, Amiot brought in apprentices, using several artisans for specialized tasks.

Amiot was deeply involved in his community. He was a member of the Quebec Fire Society, provided his expertise during an inquiry into the wreck of the Atlas in the St. Lawrence River, and served as a churchwarden for the cathedral. In 1790, with François Baillargé, he also signed a petition to the governor, which called for the establishment of a university in Quebec City.

Aware of the value and exceptional quality of his work, by 1816, Amiot was billing himself as a “Maître es Art Orfèvre” (Master Silversmith). He even replaced the word “métier” (craft) with “Art d’orfèvrerie” (the art of silversmithing) in the employment contract of one of his apprentices.

Amiot’s reputation extended far beyond Quebec City and its environs. In 1919, the Victoria and Albert Museum in London, England, became the first museum in the world to add a work by the artist to its collection.