Past and Present

Home , Certosina, Khatam, Marquetry, Pietra dura

2nd Scandinavian Symposium on Furniture Technology & Design Marquetry Past and Present

May 2007 Vadstena Sweden Cover photo: Detail of ‘Scarab table’ by Rasmus Malbert. Photo taken by © Rasmus Malbert. This publication was made possible thanks to Carl Malmstens Hantverksstiftelse Editor Ulf Brunne Director of Studies Carl Malmsten Furniture Studies Linköping University Tel. +46 (0) 13 28 23 20 e-mail: [email protected]

Layout Elise Andersson Furniture Conservator Tel. +31 (0) 686 15 27 06 / +46 (0) 704 68 04 97 e-mail: [email protected] Foreword The Marquetry Symposium in Vadstena 2007 was all over the world. The presentations covered a the second international symposium hosted by Carl multitude of aspects and were well inline with our Malmsten Centre of Wood Technology & Design ambition to include both historical, theoretical, at Linköping University. Since then we not only technical and design related aspects. changed our name, we also moved to new purpose- Even if the symposium, as intended, covered both built premises and above all, updated our programs historical and modern applications we conclude in order to meet future challenges. Carl Malmsten that presentations of contemporary works and Furniture Studies, which is our new name, is techniques were in minority. It is therefore with great satisfaction we during the past few years have Marquetry has since ancient times been used to registered a growing interest not only in traditional decoratedefinitely furniture back on track! and interiors. Starting with basic marquetry but also in the use of marquetry on but intricate geometric patterns in the Middle Ages, industrially manufactured design furniture. Inlayed the art of marquetry had its peak in the late 18th wood decorated surfaces can today be seen at every century when craftsmen like Riesner, Roentgen and Haupt produced highly elaborate and artistic inlays. At Malmsten’s we strongly believe that a better Even though the art and craft of marquetry has understandingmajor international of historical furniture aspectsfair! is crucial for gradually declined ever since the Art Deco-period the development of modern marquetry but we also encourage new and innovative techniques. Malmsten’s. Maybe the time is ripe for yet another symposium weConservation still find a most and livingrestoration tradition, projects not least confront here usat on marquetry, this time with focus on modern with problems where at least part of the solution is hidden in the actual craft procedure. However, We are very much aware that a number of technical documentation on historical techniques internationaltechniques and conferences contemporary on marquetry artistic expressions! and related and tools is scarce; so is research on timbers and other materials involved. Many of the presentations reasons references to these are not included in the articles.fields have been arranged since 2007 and for obvious showed ways to further deepen our knowledge I would like to conclude with a word of thanks to aboutin Vadstena the noble brought art of new marquetry. findings to light and also Elise Andersson and Johan Knutsson whose stamina, The aim of the symposium in 2007 was to bring dedicated work and expertise made it possible together both art historians, designers, craftsmen, conservators/restorers and conservation scientists. Scandinavian Symposium on Furniture Technology The interest in the symposium was far beyond our &to Design. finally publish these postprints from the 2nd expectations and gathered speakers from ten different countries and some hundred participants from Ulf Brunne Content

Marquetry Technology and Aesthetics 8 – Historic Objects and personal Work Silas Kopf

Craftmanship and Marquetry Works in the Nordic 32 Countries from 1560 to 1620 – Examples from Kalmar Castle and Fredriksborg Castle Stina Ekelund

Style and Technique of the 16th Century Marquetries 40 on the Choir Stalls in the Elisabeth Church in Wroclaw Christine Cornet

The ‘Amalia Cabinet’ 49 – A Masterpiece of 17th Century Dutch Cabinetmaking Angie Barth

Marquetry made of mixed Materials 60 – The Conservation Project ‘Furniture in Boulle-technique’ at the Bavarian National Museum, Munich Roswitha Schwarz, Stefan Demeter

UV/VIS-absorption spectrometry 76 – A non-destructive Method for Dyestuff Identification Heinrich Piening

Marquetry Techniques in Paris during the second Half 83 of the 18th Century Yannick Chastang

Chippendale’s Marquetry revealed 90 Jack Metcalfe

The Marquetry Artist Georg Haupt 102 – Cabinetmaker by Royal Appointment Per Kortebäck Different Materials 110 – Visual Exactness, Treatments, Tools Ulli Freyer

The Conservation of a late 17th Century Floral 118 Marquetry Cabinet attributed to Jan van Mekeren Iskander Breebaart, Paul van Duin

From High Wycombe to Iran 133 – The Tale of a three legged Table Paul Tear, Research by Alan Jones

Flowers from Holland 142 – Antique Dutch furniture with later added Marquetry from the late 19th and early 20th Centuries Jaap Boonstra, Maarten van Bommel, Pol Bruys

New from old 162 – Discoveries during the Conservation Treatment of a ‘Boulle’ Style Commode in the Wallace Collection Jürgen Huber

Continuities and Changes in Marquetry Technologies 168 and Techniques Clive Edwards

The demand for more Decorations in Norwegian 178 Modernism – a political statement Widar Halén

A contemporary Use of Marquetry 190 – Traditional Techniques in a modern Context Rasmus Malbert

An Exotic Cabinet 194 – The fusion of Indian and Persian style Nigel Bamforth Silas Kopf

Marquetry Technology and Aesthetics – Historic Objects and personal Work

Silas Kopf

Marquetry through the ages – a short outline Furniture has been decorated using contrasting This ragged edge became the teeth. Hammering materials since ancient Egypt. It is the craftsman’s the metal would make it somewhat harder, but familiarity with his tools that often dictates the also more brittle. The teeth would break frequently style of decoration that is used. Tools evolved over and it would require new hammering. Imagine the centuries allowing greater elaboration of design. challenge of sawing a hard wood like ebony with one Great craftsmen have also been excited by the of these copper saws. pushes the boundary of craftsmanship. The exotic wood and ivory that were the primary introductionThe earliest of existingnew materials. example The of finest marquetry-like work often decorativeThe Egyptians materials were were the firstvaluable to make enough veneers. that decoration is a fragment from an Egyptian box in there was a desire to “stretch out” the amount of the Ashmolean Museum in Oxford. It dates from coverage that could be obtained from a given log the First Dynasty around 3000 BC. Coloured faience or tusk. A depiction in the tomb of a nobleman, triangular tiles are glued onto the wooden surface Rekmire, shows how this was done (Figure 3). The creating a geometric pattern (Figure 1). log (or tusk) would be strapped to a vertical pole and the sawing would go down until the piece of and are contrasted with the plain wood surrounding thinner veneer was created. This veneer could then theThe design. pieces It isare this fitted concept and ofglued taking to thethin background contrasting materials and gluing them to another surface that cheaper wood. will evolve into the sophisticated marquetry of later beWe ground have beenflat and left aglued marvellous to the surfacerecord ofof Egyptian another eras. culture through murals found on tombs and temples. The tools available to Egyptian wood craftsmen There is a mural on the tomb of the woman pharaoh, largely dictate what can be done decoratively. Hatshepsut, depicting an expedition to a land called Punt (presumed to be in the area of present and this allowed the cutting of straight lines (Figure day Somalia). We are told that the ships are being Straight backed saws were first developed in Egypt loaded with ivory and ebony among other valuable imports (Figure 4). An expedition such as this was a but2). Howeverthere were it nocouldn’t harder have iron beentools. easy! The teeth The ofmetal the great undertaking and shows how important it was used for the tools was first copper and later bronze, to have these decorative materials available to the metal to a thinness where it the edge would fray. royal craftsmen. saws were not filed but created by hammering the

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Figure 4

Figure 1

Figure 3

Figure 1 Wood with faience inlay, Egyptian, 1st dynasty (c. 3100 - 2890 BCE). Ashmolean Museum, Oxford, England.

Figure 2 Egyptian woodworking tools, 1st dynasty (c. 3100 - 2890 BC), British Museum, London.

Figure 3 Representation of woodworking. Tomb of Rekmire c. 1475 BC, Valley of the Nobles, Thebes, Egypt.

Figure 4 Ships preparing to return from Punt, Temple of Deir el Bahari, Tomb of Queen Hat-shep-sut, c. 1460 BC.

Figure 2

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Figure 5 Coffer from Tutankhamun’s tomb, Eighteenth dynasty Figure 6 Ceremonial Chair from Tutankhamun’s 1332 - 1323 BC., Ivory, ebony, and faience, Egyptian tomb, Eighteenth dynasty 1332- 1323 BC., Ivory, Museum, Cairo. ebony, and faience, Egyptian Museum, Cairo.

One of the great surviving decorative objects in By the eleventh century Islamic culture dominated Egyptian history is a coffer from Tutankamun’s tomb (Figure 5). It looks very similar to the object techniques of mosaic were adapted by craftsmen and being made by the woodworkers from Rekmire’s spreadthe area throughout that was oncethe Islamic the Byzantine world. The Empire. favoured The tomb (Figure 3). In this case the surface is covered motifs were geometric and very elaborate. A minbar with small polygons of ebony ivory and faience tiles. from Cordoba, Spain is a wonderful example of the The surface is rich in pieces that all would have use of geometric decoration (Figure 8). This is close been cut using the crude saws of the era. Notice to what we would call marquetry. The parts are that all the lines are straight, saws were not yet available to cut curves. There is a ceremonial chair work). Most importantly the decoration is overlaid from Tutankamun’s tomb that were made with the asall atightly sheet onfitted a plainer (without wood. grout as exists in mosaic exact same technique (Figure 6). The techniques of Craft work in post-Roman Europe was generally marquetry and inlay were used in the post-Egyptian not very sophisticated. However the Crusades put eras throughout the Mediterranean area. Eventually many Europeans in contact with the Islamic world. in the Roman times iron tools were developed and Trade was established and eventually Europeans that new technology offered a great improvement of started to use the decorative techniques that they cutting edges for craftsman, but it is hard to say that were able to see on objects imported from the Middle the quality of work was necessarily any higher. East. Europeans start to experiment with marquetry, Romans were skilled at mosaics and the Roman Empire was so vast that these craft techniques were of the Islamic world. spread far and wide. Eventually the western empire andVenice the first was examples the most mimicked important the geometric trading lookport went into decline but the culture in the eastern empire bringing imports to Europe and it is not surprising stayed alive. Even long after the Roman Empire was that Italian craftsmen in the area of Venice started to gone there were craftsmen producing mosaics in fabricate marquetry pieces. Turkey and other parts of the Middle East (Figure 7).

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Figure 8a

Figure 7

Figure 7 Byzantine Mosaic, St. Eudokia, end of 10th - early 11th century, Archeological Museum, Istanbul.

Figure 8a Minbar from Cordoba, Spain, 1137 AD., Cedar, ebony, and ivory, Badia Palace, Marrakesh, Morocco.

Figure 8b Detail Minbar.

Figure 8b

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Figure 9 Certosina. Chest c. 1500, Rijksmuseum, Amsterdam. Figure 10 Certosina. Cabinet, early 17th century, Detroit Institute of Arts.

An order of monks, the Certosians, proved themselves Figurative work is still rigid but is becoming more to be particularly adept at the craft. The technique sophisticated. became known as certosina, and very closely follows By the end of the 14th century intarsia has become the Islamic model (Figure 9 and 10). Certosina can be manufactured using a technique was Antonio Barili. He lived and worked in Siena and that the Italians called tarsia a toppo. To make tarsia receiveda highly skilledsome important craft. One commissions of the finest to intarsiatori decorate a toppo, a ‘loaf’ is constructed where the pattern churches in the Tuscan region. One of his most shows on the end. This loaf can then be sliced into famous panels is the depiction of his tools, as if they individual pieces that can then be arranged together are inside a cupboard with the doors partly open to make larger patterns. Obviously the loaf is most (Figure 13). It is particularly interesting to note that many of the tools are familiar to woodworkers of and therefore the design is going to be geometric. our own era. There is a bow saw, a glue pot, a small easilyIn Tuscany constructed craftsmen of parts started with to a polygondevelop profile,a new plane, and a number of layout and marking tools. look that was a little more sophisticated than the The focus on the layout tools is of interest because purely geometric certosina. Small pieces of wood it shows how important geometry is to the intarsia were joined together to create pictographic images. of the era, when artists were newly exploring the mathematics of perspective. The tympanum of the cathedral of Orvieto (14th There is one tool depicted in the Barili panel that century)The first ofdepicts these alooked Madonna quite and rigid child and surrounded geometric. is unique to intarsia. It is foreshortened and sticking by saints (Figure 11), and marks an early example of out the window. It is called a shoulder knife. This this type of intarsia. tool was used by levering it against the shoulder and By the 15th century Italian craftsmen have cutting out the individual pieces. This makes intarsia become specialists at intarsia and are becoming a bit of a hybrid between inlay and marquetry. In a celebrated for their individual creations. Mattia di picture like this the larger pieces would have been Nanni was one of the best of the intarsiatori. He was glued directly to the ground wood in the manner of commissioned to decorate the churches in the region of Siena, as well as some secular work (Figure 12). a jigsaw puzzle.

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Figure 11 Tympanum, Coronation of the Virgin, Orvieto cathedral, Figure 12 Intarsia picture of Scipio Africanus, Sienese craftsmen, late 14th century. Mattia di Nanni, Siena 1425-30. Poplar, bog oak, various intarsia woods, tin and bone, Metropolitan Museum, New York.

Figure 13 Intarsia Tools, Antonio Barili, Made for Siena Figure 14 Self-Portrait, Antonio Barili c. 1490 – 1500. Cathedral´, c. 1490- 1500. Now installed in Collegiata, Formerly in the collection of the Oesterreiches Mu- San Querico d’Orcia. seum, Vienna, Austria, (destroyed in World War II).

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Figure 15 Urbino Studiolo, Ducal Palace c. 1476. Design attributed to Donato Bramante, Intarsia attributed to Benedetto da Maiano.

Then the craftsman would add the smaller details by perspectives are correct. It shows the Italian Renais- inlaying them. This is the way simple curved parts sance interest in perspective geometry, mathemat- could be made. The intarsia no longer needed to be ics and music. constructed of straight-sided geometric parts. Barili made a self portrait in intarsia showing intarsia masters was a monk named Fra Giovanni. himself using the shoulder knife (Figure 14). HeThe was man sent who by is the considered church to the decorate finest of choirstallsthe Italian Unfortunately the panel was destroyed in World War in a number of cities in northern Italy. He was even II, but photographs survived. Barili depicts himself summoned by the Pope to do some work in the cutting lettering in a tablet using the knife. The knife Vatican. He was a master of perspective drawing would have been used to chop out the individual and was able to translate his designs beautifully into recesses in the background wood. It would then be wooden panels (Figure 17). The analysis of one of Giovanni’s panels help explain a bit of a hybrid between inlay and marquetry. In how most intarsia was constructed (Figure 18). afilled picture with like contrasting this the pieces.larger Thispieces makes would intarsia have been glued directly on the substrate wood. One of the most sophisticated works of intarsia was the intarsia.Horizontal Panel boards parts, were such nailed as theto structural cupboard boards. doors, illusionary room made for the Ducal Palace in Urbino couldThese behorizontal assembled pieces before become gluing the toground the backing for the in 1476 (Figure 15). All the walls are decorated with boards. Note that most of the parts are polygons and illusionary marquetry. There are open cupboards, could have easily been cut with straight saws. The windows and landscapes, statues sitting in niches, key is in the design and choice of the contrasting etc. After the Urbino room was completed the Duke woods parts that would make the illusion work. The commissioned a similar room for his palace in Gubbio grosser parts were glued (and sometimes nailed) to (Figure 16). It has been restored and is now an the backing boards. Finally the details were added. important part of the collection of the Metropolitan It is important to note the date of these ‘classic’ Museum in New York. The room (a small study intarsia pictures at the end of the 15th century. or studiolo) has one station point where all the

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Figure 16a Gubbio Studiolo, Ducal palace c. 1479- Figure 16b Detail of Gubbio Studiolo. 1480. Attributed to Giuliano da Maiano, Metropolitan Museum, New York.

Figure 17a Fra Giovanni da Verona, Monte Oliveto Mag- Figure 17b Fra Giovanni da Verona, Monte giore, c. 1500. Oliveto Maggiore, c. 1500.

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Figure 18a-b Intarsia construction, Fra Giovanni. Panel with geometric objects, c. 1500, Monte Oliveto Maggiore.

This is just before world trade started to bring exotic schrank (Figure 19). It was made in Augsburg in timbers back to Europe. All of the Italian intarsia was 1566. By mid-century Augsburg had become the centre for marquetry craft throughout Europe. central Italy. Therefore the tonal palatte was quite Southern Germany was a centre for metallurgy and limited:done using Creamy temperate white, zoneto dull woods yellows, from to thebrown. area Yet of the pictures are quite vibrant and that is because the craftsmen so carefully selected the woods to tell the metalfretsaws parts were out refined of softer there, materials, both because such as steelbrass was for story in light and shade, and even after ‘mellowing’ gearsof excellent of clocks quality and and other fine mechanisms. saws were needed From Augsto cut- for centuries the panels are still vital. The one burg objects were exported through the continent, ‘exotic’ the intarsiatori had was a bog oak that could occasionally be found. This timber was submerged A woodworking book written by J. A. Roubo in in a swamp and the water reacted with the tannic 1772thereby shows popularizing the use of the the craft fretsaw of marquetry. (Figure 20). (The acid to turn the wood a charcoal colour. technique was probably much the same at the time In the era after Columbus craftsmen were able to the Wrangelschrank was built). The sawyer sits at a use some of the bolder colours of wood coming from bench with a vise in front of him. The wood is held in the tropics. Ebony, rosewood, kingwood, satinwood, place with a clamp activated with his foot. The pat- padouk, etc. all made their way into artisans tern would be glued on the wood and the piece sawn workshops by the end of the 16th century. and set aside. One other development happened in the 16th Roubo also depicted the sawing of veneers (Figure century that would forever change the look of 21). It was important that the wood be sawn as thin- marquetry. It was the invention of the fretsaw. A thin ly as possible, because the materials coming from tropical places were so expensive and the thinner make a saw blade that could cut delicate curving the stock the greater the square footage. The meth- shapes.wire of Thesteel tool was was held perfect in tension for the and Rococo teeth designsfiled to od was very similar to that used by the Egyptians to that would become popular. saw veneers 3000 years early (Figure 3), with the A celebrated object decorated with marquetry cut wood held vertically and sheets cut off one by one. using a fretsaw has become known as the Wrangel-

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Figure 19a The “Wrangelschrank”, made in Augsburg, Germany, 1566, Westfälisches Landesmuseum, Münster.

Figure 19b The “Wrangelschrank”, made in Augsburg, Germany, 1566, Westfälisches Landesmuseum, Münster.

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Figure 21 Sawing of veneer as depicted in Roubo 1772.

Figure 20 The use of the fretsaw depicted in Roubo 1772.

It was important to get the veneers to a standard sawing out the design and exchanging the parts. thickness so that in pressing the marquetry picture the surface of the ground and the picture would developed 100 years earlier and was now the make good contact. If the wood is too thick it also importantThis work toolrequired of the a marqueteur.fine fretsaw, Awhich pair ofhad coffers been acts like a solid wood on the outer surface and will in the Getty Museum in California shows how this expand and contract with changes of humidity, decoration was used to great effect (Figure 23). The thereby warping or cracking the panel. coffers are decorated with a striking Rococo design In the hundred years following the Wrangelschrank in tortoiseshell, brass and pewter. In one piece the the center for the marquetry trade had shifted metal parts are put in the shell and in the other the to the Low Countries. Skilled craftsman made brass serves as the ground. (a third iteration of this highly elaborate furniture with exotic materials design has the pewter as the ground). The surfaces from around the world. Dutch ships brought not are extremely rich owing to the use of the saw only timber, but tortoiseshell and ivory for use in technology. This work would have been impossible cabinetmaking. without the fretsaw. A slightly later development of the fretsaw used craftsmen in Flanders. Eventually he made his way a similar bench and then cantilevered an arm off to toPierre Paris, Golewhere was he one established of the finest a relationshipof the marquetry with the side (Figure 24). This allowed several advances. the royal court and received numerous commissions The saw frame was held on a steady axis and the for furniture pieces decorated with outstanding frame could be larger. In the 19th century these two marquetry. One such piece is a table with factors were exploited by designers. Holding the tortoiseshell, ivory and wood marquetry (Figure 22) blade in one axis meant that parts could be stacked that is a masterpiece of marquetry art. one upon the other and sawn accurately, with all the France had become the richest of the countries in Europe by the latter half of the seventeenth century. Motifs could be repeated over and over. The bigger Artisans attempted to out-do one another with their frameparts inmeant the stack that largerexactly parts the samecould sizebe sawn and shape.easily. The tool is called a ”chevalet”, sometimes refered to as a ”donkey saw”. superimposingcraftsmanship. Notwo onecontrasting did finer materials work than and André then Charles Boulle. Boulle popularized a technique of

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Figure 22a Pierre Gole, table, c. 1660. Ivory, Figure 22b The table top from avobe. tortoiseshell, wood, Metropolitan Museum, New York.

Figure 23a Boulle work, André-Charles Boulle, coffer with Figure 23b Boulle work, André-Charles Boulle, coffer with inlay work in “première partie”, 1684-1689, Getty Mu- inlay work in “contre partie”,1684-1689, Getty Museum, seum, Los Angeles. Los Angeles.

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Figure 25a-b Jean-Francois Oeben, mechanical writing and toilet table, 1754, Getty Museum, Los Angeles.

Figure 24 Chevalet.

France was the center of marquetry until the With this method, unlike the Boulle technique, time of the Revolution. Jean-Francois Oeben was only two of the parts are used. The discarded parts another foreign craftsman attracted by the wealth actually have twice the saw kerf between them. The of Paris. He built beautiful objects for the royal technique produces excellent results for complicated patrons, including a lovely mechanical writing table pictures. decorated with marquetry of individual character One of the royal commissions Roentgen received and repeated motifs (Figure 25). was for a bureau-desk for Frederick the Great (Figure Jean-Henri Riesener inherited the Oeben 28). Figurative marquetry panels cover most of the workshop and continued to build furniture with surfaces. He was also famous for his mechanical great marquetry designs. He, too, mixed the furniture with complicated moving parts (Figure repeated motifs with the one-off patterns (Figure 29). The mechanics combined with the marquetry 26). Many of the repeat patterns reappear over and made his work highly sought after. Roentgen was a master of using marquetry in a 27). It was a simple way to luxuriate a surface. The narrative fashion. He was commissioned to do a craftsmenover in Riesener’s who cut work, the motifssuch as were the lozenge skilled (Figurebut as set of wall panels for Charles of Lorraine depicting with any operation that is done over and over, it Roman history. The panels are approximately three didn’t require the same level of training that cutting meters square (Figure 30) and are considered one of the one of a kind motifs took. Therefore it was more the great examples of marquetry of the 18th century. economical to produce. The French Revolution altered the business of David Roentgen was from Neuwied in Germany furniture in Paris. The aristocracy was eliminated as and made furniture that was sold throughout patrons. However a new and growing middle class Europe. His work was particularly popular in Paris just before the Revolution. His work was decorated goods.did demand Here finethe objects.chevalet Thewas furniture a perfect trade tool was to using the bevel cutting method. Two pieces of wood producechanged togreater fit a demand quantities for ofslightly marquetry less expensive for use arewith place very one fine on marquetry. top of the The other marquetry (as in the was Boulle cut on furniture. By the end of the nineteenth century technique). Instead of sawing vertically through the furniture factories were employing hundreds of parts the saw is angled slightly so that when the workers, including marqueteurs. pieces end up on the same level there is no kerf.

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Figure 26a Jean-Henri Riesener, mechanical table, Figure 26b Detail of the table top of the mechanical table. The repeated 1780 – 1781, Metropolitan Museum, New York. patterns such as the lozenge can be seen in many of Riesener’s furniture, figure 27.

Figure 27a Jean-Henri Riesener, secretaire 1780, Figure 27b Jean-Henri Riesener, secretaire, 1782, Fontainebleau Frick Collection, New York. Chateau, France.

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Figure 28 Bureau / desk, Museum für Angewandte Figure 29 Cylinder fall desk c. 1776 – 1778, Metropolitan Museum Kunst, Vienna, 1776. New York.

Figure 30 David Roentgen, “Peace Between the Romans and Carthag- Figure 31 Emile Gallé, box with tulip motif, 1900, inians”, 1779, Österreichisches Museum, Vienna. Musee de l’École de Nancy.

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Figure 32 Louis Majorelle, armchairs with floral motifs, c. 1900 Nancy, France.

One of the biggest furniture businesses in France at The fretsaw was the important tool in cutting marquetry from the 16th century until the end of the 20th century. Current technology has produced new usedthe end it onof themuch 19th of century his work. was A the small Gallé coffer factory from in ways of cutting and the results can be very accurate. 1900Nancy. shows Gallé wasthe fondjuxtaposition of botanical of marquetry marquetry and Lasers can be used to cut wood. The design can be carving in the typical Art Nouveau style (Figure 31). beam can be trained to follow the line pattern. The marquetry extensively, was Louis Majorelle (Figure disadvantageprogrammed intoof the a computer technology and is thenthat thethe fineset uplaser is 32).A contemporary A picture of of the Gallé’s Majorelle in Nancy, factory who from also 1906used expensive and it probably only makes sense to go to shows the marquetry atelier with approximately the expense if there are multiples of a motif being cut (Figure 37). make the panels for the furniture (Figure 33). The laser can be extraordinary for cutting a The dozen French chevalets Art Deco where saw the a marqueteurs continued use would of something like lettering, where the computer is marquetry to decorate furniture. The workshops already set up to type words. The font can easily workshop of Jacques-Emile Ruhlmann (Figure 35) mouse (Figure 38). employedof Louis Sue skilled and Andrémarqueteurs Mare (Figure to translate 34) and the changeBeside and the the expense size can of thebe altered making with a one the off click picture of a designs into the new Deco idiom. there is one other disadvantage to using the laser. One of the more interesting marqueteurs of the The edge of the wood is slightly charred in the cutting era was a Russian immigrant to France who had process. This dark line will show up as an imperfect arrived in Paris after the Bolshevik Revolution. His joint when two lighter colors are put together. Water name was Vassilieffe. He established himself in a jet tools may eliminate that problem but the tool is more expensive than the laser. very detailed portraits (Figure 36). The technique hemarquetry used was workshop bevel cutting. and It specialized is interesting in makingto note that he, like Roentgen 150 years earlier, considered results for highly detailed pictures. that this was the method that produced the finest

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Figure 33 Marquetry atelier, Majorelle factory, 1906.

Figure 34 Louis Sue and Andre Mare, Figure 35 Jacques-Emile Ruhlmann, cabinet, cabinet, 1927. 1923.

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Figure 36b Detail Vassilieffe, portrait of Pierre Rosenau, 1930.

Figure 36a Vassilieffe, portrait of Pierre Rosenau, 1930.

Figure 37 Laser cutting.

Figure 38a Laser cut lettering, Walden Woods Piano. Figure 38b Detail, laser cut lettering, Walden Woods Piano.

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Figure 39 Wendell Castle, stack laminated table of walnut, 1974.

Personal work I have been using marquetry on my furniture since In 1984 I was able to make a trip to Italy with some American scholars who had an interest in working for Wendell Castle, a celebrated American intarsia. They introduced me to the great panels of I started my career 35 years ago. My first job was Fra Giovanni and Barili. When I returned home I sculptural laminated pieces (Figure 39). While I was attempted to do some portrait pieces (Figure 41), workingfurniture for maker, him I started who to specialized pay attention in to historic making imitating the ideas I had seen in Italy. The Italian work was on decorative wall panels and the key for Majorelle. They were my introduction to marquetry. me was to integrate the marquetry into the furniture furnitureI stumbled and onwas a attractedbook by anto theEnglishman, work of Gallé William and design. Hopefully the marquetry enhances the Lincoln. The book was The Art and Practice of furniture, and vice versa. Marquetry. In it he described the bevel cutting In 1989 I was able to spend some time in Paris in technique and I thought it looked like the most the marquetry atelier of the École Boulle, where I foolproof way of proceeding. Wendell had a scroll saw was instructed in the classic marquetry techniques by Pierre Ramond. I had a limited amount of time in Paris and I wanted to learn two things most of all: manyand I beganand slowly my first honed experiments my skills. withI started marquetry. to imitate piece by piece cutting with the chevalet, and Boulle My first efforts were crude, small box tops. I made work. The value of piece by piece cutting is that accurate arethe forgiving.French Art No Nouveau one would floral know designs. if you These actually were hit duplicate copies can be made of motifs. This is not theexcellent line you to intendedpractice on(the because leaf might the have floral just patterns been a possible using the bevel method that had been my little smaller for example), yet the bevel method gave sole way of cutting marquetry. When I got home I me technically satisfying results with tight joints. built a chevalet and started designing objects where elaborate, to the point where I felt like I was able toEventually do panels that my were floral as picturescomplex (but became maybe quite not 42).I used the ”piece by piece” method”. One of the first as artistic) as some of the great historic marquetry was a fishscale pattern on a chest of drawers (Figure (Figure 40).

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Figure 40a Detail, floral marquetry, by Silas Kopf. Figure 40b Detail, floral marquetry, Boulle work, 17th century, as comparison.

Figure 41a Bricolage, by Silas Kopf. Figure 41b Bricolage, detail, by Silas Kopf.

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Figure 42b Detail, chest of drawers, with Figure 42c Ernest Gimson, Musee d’Orsay, fishscale patterns. Paris.

Left: Figure 42a Chest of drawers, with fishscale patterns.

I have also used materials other than wood since I have taken decorative inspiration from other crafts my return from Paris, as well as taking inspiration as well. I have many friends who are excellent potters from other sources. We built a dining room buffet cabinet with marquetry based on a stained glass look (Figure 43). All the parts are outlined in a revealingand I have the always base colorliked underneath.the glazes that I attempted ‘crack’. The to black veneer (bog oak), giving the look of leaded getunderglaze the same is lookapplied on aand cabinet then anthat over used glaze a beautiful shrinks satinwood veneer (Figure 45). I surrounded parts with a black veneer. In retrospect the look reminds parts between the pieces. The stylized pattern is of me a little of a wonderful cabinet done by Ruhlmann, mother-of-pearlnasturtiums and and the abaloneflowers shell.are done with copper, where he used a rich amboyna burl and surrounded brassAnother and resultaluminium. of my tripThe tobutterflies’ Italy was thatwings I started are of the wood with irregular circles of interlocking ivory. In 1989 I was approached by Steinway and Sons to pieces I did was reminiscent of Fra Giovanni’s open design an art case piano. I chose a theme of morning cupboards.doing trompe It l’oeilis a fall still front life marquetry. desk looking One as of if the a cat first is glories in ‘windows’ that run around the rim of the lying inside the cabinet on top of two books (Figure case (Figure 46). I couldn’t help but be conscious 44). One of the things I noticed about Giovanni’s of the famous piano decorated with marquetry by work was that he would accentuate the illusion by Majorelle. My piano used a rich walnut burl as the ‘layering’ the parts; having one thing rest on top of base wood and a lighter laurel burl as the background the other and even having parts protrude through the picture plane. In my piece having the cat’s tail coming out of the cabinet and then appear to be in to the oversized white flowers. front of the ‘drawer’ accomplishes the same thing.

28 Marquetry Technology and Aesthetics

Figure 43a Nasturtiums with stained glass patterns, by Silas Kopf. Figure 43b Detail of figure 43a.

Figure 44 Fall front desk by Silas Kopf (compare figure 17b).

Right: Figure 45a-b Parabola One, cabinet by Silas Kopf. Elysée cabinet, Mobilier National, Paris (small picture).

29 Silas Kopf

Figure 46a Steinway and Sons art case piano designed and executed by Silas Kopf.

Figure 46b Piano by Louis Majorelle, 1900.

30 Marquetry Technology and Aesthetics

Figure 47 “Bad Hare Day”, by Silas Kopf.

myself, ‘How could it have been better?’ and ‘What do I really always like look about at it?’ a piece It is this when process I finish that it hopefully and ask makes my work evolve. One thing that I have become conscious of in working on pianos is that the curved shape of the piece can provide interesting design opportunities. The case that doesn’t have corners naturally invites the viewer to seek out what is on the other side. I used this concept on a recent piece called Bad Hare Day (Figure 47). The case is elliptical and the marquetry decoration is a fox being chased Silas Kopf by rabbits. The background is a striped Macassar Marqueteur ebony and the lines help lead the eye around the curves. The nose of the fox and the tail of the trailing Private workshop rabbit are each just beyond the long axis point and this also helps to lead the viewer to ‘explore’. Northampton, MA, USA

Tel. +1 41 35 27 02 84 E-mail: [email protected] www.silaskopf.com

31 Stina Ekelund

Craftmanship and Marquetry Works in the Nordic Countries from 1560 to 1620 – Examples from Kalmar Castle and Frederiksborg Castle

Stina Ekelund

Introduction Kalmar Castle The building of new castles was an important part Kalmar castle is situated on the Swedish east coast. It of the setting for the Nordic kings during the 16th acquired its present appearance in the 16th century, - when the Swedish Vasa kings rebuilt the castle in the cent interiors made by the greatest craftsmen, con- style of a Renaissance palace and furnished it in a tributedand 17th to century. the image The ofcastles, the powerful with all andthe magnificultural continental manner. Today most of the glory from royalties. I have chosen these interiors to illustrate the renaissance palace is lost, mostly during the the nordic marquetry work in the renaissance style 18th and 19th century renovation work. Already in because: the beginning of the 17th century the Royal family stopped using Kalmar Castle. Kalmar Castle suffered - They are situated in a well documented envir- heavy damage during the wars and was badly onment: we know when it’s made, we know who led the work, and we have quite a clear from the end of the 17th century the castle was picture of what has happened to these interiors alloweddamaged to by fall a intofire disrepair.in 1642. Repairs During thewere 18th begun century but for almost 400 years. it was used as a granary, a royal brewery and even as a prison. During the 19th century a restoration of - They are quite well kept. Kalmar Castle took place. The interiors had suffered severe damage, all furniture was gone and wall - They illustrate different types of Renaissance panels, ceilings and doors were badly damaged1. marquetry. The king’s part of the castle was decorated with marquetry work on the walls and on the ceilings (Figure 1). A German craftsman called Jacob Richter led the creation of these interiors. Their panels were damaged and during the restoration in the 19th century, copies of the old panels were made

32 Craftmanship and Marquetry Works in the Nordic Countries from 1560 to 1620

Above: Figure 1 The interior of Kungsmaket, (the King’s bedroom) at Kalmar Castle. Restored during the 19th century.

Left: Figure 2 Original panels from 1556-62. Stored in the attic of the castle.

33 Stina Ekelund

Figure 3 Part of a panel with knife marks on the substrate wood under the fragments of marquetry work.

and these copies are what you will see if you visit The wood spices used on the panels are local like Kalmar Castle today2. As always for a conservator, plum tree, maple, oak and walnut3. It’s possible to the most interesting pieces are the ones not shown match the 19th century copies with the original pan- for the public. What is left of the original panels is els on the attic (Figure 5). The main motives of the being stored in the attic (Figure 2). Today there are 8 panels (or fragments of eight panels) left in really arabesques, and motives with architectural perspective.panels are vases with flowers, fruits, leafs, masques, interesting. badThese condition. panels can Personally, tell us a Ilot find about these the panels techniques very behind the making of Renaissance marquetry. They Frederiksborg Castle are in such bad condition so you can see the substrate My second example comes from Frederiksborg cas- wood and the traces of tools (Figure 3). As you might tle on Zealand in Denmark. The oldest parts of Fred- see on these pictures the underlying wood has eriksborg Castle were built in 1560 by the Danish v-shaped marks from the knife and that the substrate king Frederic II and the castle is named after him. wood is cut in different levels. These motives are The majority of the present castle was built 1600- mainly cut by using a shoulder knife. All the original 1620 by Frederic II’s son, Christian IV in Dutch Re- panels have drawings on the blind wood (Figure 4). 4 This gives us a hint of the way the craftsmen worked part of the castle has been rebuilt from 1860 . The on the panels. One of the theories is that the sketches naissance style. Due to the big fire in 1859, a great were made on the blind wood. Then the veneers were shaped, one at a time. The piece was shaped oncastle’s the sidepieces church miraculously of the benches survived (Figure the 6 fireand and 7). to the line, and the next piece was shaped and glued Hanshere IBarchmann, can find panels a north with German renaissance cabinetmaker, marquetry led the creation of the interiors of the church 1611-13. until the whole surface was covered with veneers. by the first ones side. This procedure was repeated the church re-opened in 18645. The benches were slightly restored after the fire and It’s really like putting a puzzle together.

34 Craftmanship and Marquetry Works in the Nordic Countries from 1560 to 1620

Figure 4 Panel with drawings on the substrate wood. Some fragments of marquetry work and knife marks are also to be seen.

35 Stina Ekelund

Figure 5a-b The original panel and the 19th century copy (Kalmar Castle).

Figure 6 The interior of the church at Frederiksborg Castle, built 1611-16.

36 Craftmanship and Marquetry Works in the Nordic Countries from 1560 to 1620

Above: Figure 7 The sidepiece of the benches at Frederiksborg castle.

Right: Figure 8 Detail of the marquetry work.

Conclusion These motives are sawed by a thin saw as you can It is 60 years between the creation of the interiors of Kalmar Castle and Frederiksborg castle. Despite the squirrel (Figure 8). Some of the really small piec- this distance in time, the main motives are the same. essee have on the been well-shaped placed in curvesthe motive and theby usingfine turns a knife. on What has changed and developed is mostly the technique behind marquetry work. have been bent by the knife. The arabesques come The main similarities are: inOn positive these pieces and thenegative, fibres aof good the background indicator that veneer the The two interiors were made for the same purpose: marquetry has been sawed in the Boulle technique to underline the glory of the royal power. They were (Figure 9). The main motives of the panels are: Vas- made by immigrated craftsmen, mainly from Germa- - arabesques, and buildings and other in architectural men were specialised in marquetry work. The mo- perspectivees with flowers, (Figure animals, 10). fruits,The wood leaf, masques,spices used faces, on tivesny, Switzerland can be found and in The famous Netherlands. pattern books These and crafts the the panels are local (like maple, walnut) mixed with exotic spices like ebony and even snake wood. vases, masques, arabesques and animals are some commonmain motives motives. are the same. Fruits, leafs, flowers in

37 Stina Ekelund

Figure 10a-b Details of marquetry work with comparing designs from Johannes (Hans) Vreedeman de Vries’ pattern book Perspectivia (1604-06).

Figure 9 Arabesques in a positive and negative piece, an indicator that the marquetry has been sawed using the Boulle-technique.

38 Craftmanship and Marquetry Works in the Nordic Countries from 1560 to 1620

Figure 10c-d Detail of marquetrywork with comparsing designs from Johannes (Hans) Vredeman de Vries pattern book Perspectivia (1604-05).

Notes But there are also some great differences between 1 Olsson, M. (1966) De kungliga gemaken i Kalmar these two interiors: slott och deras inredningar. Jämte kortfattad redog- The marquetry on these panels is made by different örelse för slottets byggnadshistoria. Uppsala, p. 42. techniques. The Kalmar panels are cut by shoulder knife. The panels at Frederiksborg are mainly made 2 Björkman, P. E. (1998) Intarsian: i gamla kungsma- by saw. This change or development in technique ket på Kalmar slott, Lunds University, pp. 8-12. also affects the designs. As a result of the sawing technique, it’s possible to make several copies at one 3 Björkman, P. E., op cit., p. 28. cut, and the motives at Frederiksborg just got more 4 Paulsen, J. (1961) Frederiksborg slot, Frederiksborg panels is made exclusively by veneers from trees museum, pp. 2-10. thatof everything! can be found The locally. marquetry On the work Frederiksborg-pan on the Kalmar-- els the veneers are from both local and exotic wood 5 Ekelund-Karlsson, S. (2004) Snickarmästare Hans species. Barchmann – teknik och organisation på en dansk 1600-talsverkstad, Linköping University, Carl Malm- Hopefully we’ll get the chance to continue the work sten CTD, p. 8. with the panels at Kalmar castle and discover more about the marquetry work in the Nordic countries during the Renaissance period. There are still many Stina Ekelund materials and about the people who made these fan- PhD Student in panel conservation tasticquestions pieces. about techniques, identification of the Rijksmusem Amsterdam and Eindhoven University of Technology Amsterdam, The Netherlands

Tel. +31 (0) 652 84 96 00 E-mail: [email protected]

39 Christine Cornet

Style and Technique of the 16th Century Marquetries on the Choir Stalls in the Elisabeth Church in Wroclaw

Christine Cornet

Introduction

Gäthke-Kapelle (Gäthke-Chapel), there are stalls A Polish-German cooperation for saving the choir inIn situ a side since chapel their installation of the Elizabeth-church, in 15801 and later. named It stallsally bad and influencerestoring onthe thewhole general Gäthke-Chapel micro-climate. was must be noted, that these stalls were not made for established in 2003 and is now the background the clergy, but for a rich family, who ‘owned’ the of a restoration-project over several years. The chapel, and in reverance donated the furnishings. cooperation partners are the Institute for Restoration Probably the former alderman Erasmus Müller auf and Conservation Torun, the department for preservation of historical monuments of Wroclaw, chapel, the stalls are arranged at the sides of the an- Malcowitzgle between had the these south stalls and made west for wall his in family. a way In that the Ausbildung von Restauratoren für Möbel und the altar or the pulpit is not visible from this per- the parish of Wroclaw and the Fachakademie zur spective. They consist of nine seats, the arms and the part of this programme is the conservation of the high backs whose panels are covered with inlayed originalHolzobjekte structure in Munich. and the The inlayed objective panels of the of the German choir work. According to the style of the late 16th century, stalls. the structure of the back is composed of architectural elements such as arches, pilasters, and cornices. Condition of the choir stalls Currently the stalls are seriously damaged (Figure - losses and alterations The original appearance of the choir stalls, as seen Moreover,1). Most of the the walls damage of the has chapel been caused itself were by firewater wet, es- in the picture from about 1920 (Figure 2), shows the peciallyduring thethe occasionsouthern of wall, a big which fire inis the yearouter 1976. wall. original condition of the choir stalls with its cornice, second tier and front balustrade. Probably most of standing close to these walls, were exposed to per- manentAfter being humidity. reinstalled The marquetriesafter the fire, of the the choir south stalls, side Elisabeth church belongs to a military parish. On are therefore in much worse condition than those the losses took place after the big fire of 1976. The the choir stalls and the other furnishings without the occasion of the fire soldiers rapidly took out of the west side. The concrete floor had an addition 40 Style and Technique of the 16th Century Marquetries on the Choir Stalls in the Elisabeth Church in Wroclaw

Figure 1 The stalls in the condition in the year 2007; the restoration was finished in 2009. Photo: Joachim Dramm.

History and style of inlayed choir stall backs having time to take care of any damages. During the repair works the pieces have been apparently stored to have been made in Renaissance Italy. This type of in an un-systematic way in a depot in the military inlayedThe first choir choir stalls stalls was with adopted inlayed during backs theare Renaisknown- base of Wroclaw, where pieces of many choir stalls, sance from Italian works, of which many are still balustrades, seats and other wooden furnishings of preserved today. different churches were kept. Until now only a few One typical example of such Italian Renaissance pieces of the missing parts have been found there. inlayed choir stalls, are the stalls of Fra Giovanni da Moreover probably not all parts have been stored in Verona, from the beginning of the 16th century. Its the same place, so that the most parts of the cornice inlayed backs mostly show still-life arrangements, and the second tier are still missing. Possibly these sometimes in a trompe- l’oeil surrounding such as in items can still be found in another depot. a cupboard with half-opened doors. As the south part of the stalls shows, the choir As we know, the marquetry was introduced to stalls furthermore have obviously not been reas- southern Germany in the thirties of the 16th centu- sembled in a professional way after the restoration ry, but the best works emerged in the second half of of the church, using pieces from other furnishings the century, when the style had already become different to the Italian one. In other words there were parts missing, such as the cornice and the whole sec- no more still-life motifs on the backs of the seats, but ondand tier leaving mentioned the choir above. stalls unfinished with many scrolls and strap work typical of the manneristic pe- Due to the humidity, the condition of the choir riod. stalls deteriorated more and more during the following years; especially the inlayed parts of the south side suffered from the humidity and many parts of the veneers are lost. All the surfaces are covered with later coats of different substances such as waxes and lacquers as well as dirt.

41 Christine Cornet

Figure 2 The choir stalls in about 1920 with second tier and cornice. Photo taken from: Heyer, Karl Johannes: Das barocke Chorgestühl in Schlesien.

Ornaments and style of the marquetries in the Gäthke chapel The panels of the south and west part of the choir Both kind of marquetries are composed of a multi- stalls have different kinds of marquetries both in tude of different European woods, including green ornament-style and dimensions. Probably the two woods. The panels have therefore a quite colourful parts were put together from the beginning, as the appearance. architectural frame is uniform. The style of the marquetries of the south part shows tendrilled scrolls and strap work, that frame a motif in the centre; for Style of marquetry with a drapery with lambrequins. The latter appear of Silesian choir stalls inexample almost a the vase same with shape flowers, on anor aornament grotesque print figure of Jacob Guckeisen and Johann Jacob Ebelmann from The Silesian works show another style. Inlayed choir 1599. stalls of this period seem to be frequent in Poland, or at least in Silesia. As comparable examples like the leaves, covering the whole surface, as on the west sideThe panels, tendrilled are often scrolls to be with found flowers on 16th and century green seat stalls in the Elisabeth Church show, the Silesian choir stalls of Brzek, about 1600- 1620, or the two works in southern Germany. In this case too, the or- works are decorated preferably with strapwork ornament print of Jacob Guckeisen and Johann Jacob namentation more graphic in character. The colour- Ebelmann shows the same architectural frame as on ing which is a result of using only two kind of woods, is composed of contrasting dark and clear tones, and (Figure 3). These ornaments are depicted as multi- does not have the colours of other woods, especially colouredthe chapel 3-dimensional panels, filled objects,with strapwork with interlaced and scrolls ten- the green wood of the southern German or Tyrolean works (Figure 4). drils and flowers and even some birds. 42 Style and Technique of the 16th Century Marquetries on the Choir Stalls in the Elisabeth Church in Wroclaw

Figure 3a Panel of the west side. Photo: Joachim Dramm. Figure 3b Ornament print from: Johann Jacob Ebel- mann, Jacob Guckeisen: Schweyfbuch. Cologne 1599.

Comparable style of marquetry in southern Germany and Tyrol The high quality of the marquetries in the Gäthke century. Not only inlayed cabinets were exported Chapel and their designs suggest that they have from there, it is known that craftsmen too went to been made in a region, where such work was very foreign places to craft furnishings in churches or common. One of the big production centres of in- houses4. layed work in the 16th century was Augsburg, another one was Innsbruck. Indeed, the style of these marquetries corresponds exactly to the inlay works of the contemporary cabinets in southern Germany The marquetry technique or Tyrol. This means they show the same kind of ornaments with scrolls, strap work, tendrils and even Generally the inlay techniques were distinguished the shape of the green leaves (Figure 5). There are different possibilities how this work- consists in a ground wood which is cut out with the between the intarsia and the marquetry. The first manship could have come from southern regions to Poland. Possibly a Wroclaw journeyman on his per- In this case the substrate wood is visible at the sur- shoulder knife and carved to make the pieces fit in. egrination went to Augsburg or Innsbruck, which face and is a part of the aesthetic appearance of the were very sought after towns to get the opportu- piece. The latter has a wooden support, which is en- nity to learn the inlay work2 , and came then back tirely covered by the marquetry parts and thus does to his home city, in the German speaking region of not appear on the surface. Silesia3. It is also possible, that an Augsburg master The two terms of intarsia and marquetry are often craftsman was charged to manufacture these stalls, because Augsburg was famous all over Europe for period of an inlayed work. ‘Intarsia’ is mostly used not used to define the techniques, but to specify the this kind of work during the second half of the 16th for Renaissance work as it was a common technique

43 Christine Cornet

Figure 4 Detail of the two seat stalls in the Elisabeth church in Wroclaw. Photo: Joachim Dramm.

in the 15th century in Italy and ‘marquetry’ for the out for the inlaying. Large-area losses of veneer on 18th century pieces as used in France at that time. one of the panels have laid open the substrate wood In this case we have a 16th century late Renaissance which shows the deep linear traces of the shoulder work, which is only called ‘intarsia’ because of the knife as the maple veneer was penetrated by the period in which it was manufactured. But as the ex- knife. amination has shown, there is, as in marquetry, a This result is in contradiction to the opinion, that substrate coniferous wood entirely covered by other after the invention of the fretsaw in the middle of the 16th century, all the pieces of the marquetries had been sawn out and then glued on the substrate woods and not visible on the finished work. wood, and thus the inlaying technique had changed 5 Traces on the substrate wood completely by making the shoulder knife obsolete . But the evidence shows, that even after the inven- Another difference in technique to the early Ital- tion of the fretsaw, the shapes were still cut out with ian work is the use of different kind of tools. In the the shoulder knife (Figure 6). Italian work the shapes have been cut out with the Moreover, the appearance of damaged marquetry shoulder knife, and the inlayed parts have been ad- works of the 18th century show the same traces, so justed with the smaller knives. After the middle of it seems, that this kind of marquetry technique had the 16th century, when the fretsaw was invented, been applied in the same way, up to the 18th cen- the technique changed, as pieces of the marquetries tury6. were sawn out. The bare parts of the panel show still more; for The panels of the stalls are of coniferous wood example the absence of traces of the router plane, which were completely covered by a thick layer of that were expected to be found there. After cutting maplewood, which forms the base, that was then cut the shapes into the maplewood veneer (and the

44 Style and Technique of the 16th Century Marquetries on the Choir Stalls in the Elisabeth Church in Wroclaw

Figure 5 Detail of a south German or Tyrolean cabinet, Courtesy of Sotheby’s. Photo: Sotheby’s Zürich 1998.

substrate wood), they had to be chiselled out. The The examination of the surface has produced anoth- traces of the chisel left an irregular face on the sub- er result; the edges of the inlayed parts do not have strate coniferous wood. Probably the router plane was not used as these faces were anyway covered these pieces have been cut out with the fretsaw, by the inlayed pieces of veneer. However, the faces whichcompressed was used fibres. in this The kind fibres of marquetry, are even, too. because The of the areas that had been covered with the maple- traces of this sawing are to be seen at the rims of the wood veneer are smooth, as they never had been inlayed parts (Figure 8). chiselled out.

Traces of different tools on the The aesthetic appearance of the surface of the marquetry marquetry The large losses of veneer are not required to discov- To improve the appearance of the motifs, the inlayed er the type of technique used. Under the microscope pieces were graphically structured in different man- for example, the traces of the shoulder knife are also ners. The drawing inside the inlayed pieces was visible on the surface of the maplewood, where the done with the fretsaw. Linear drawings were pro- - duced by cutting several parallel incisions. To pro- bres at the edges. This can be seen best at the edges vide the impression of more relief partial areas of acrossblade ofthe this grain, knife but had only squeezed at those of and the bent ground the ve fi- the inlayed pieces were singed in hot sand to give neer as this was glued on the whole surface and had them a soft shade. This technique was very common to be cut out for the inlay-pieces (Figure 7). in most kind of inlayed work at this time (Figure 9).

45 Christine Cornet

Figure 6 Traces of the shoulder knife on the substrate wood. The ground was not evened with the router plane. Photo: Joachim Dramm.

Figure 7 Bent fibres at the edges of the ground veneer resulting of the use of the shoulder knife. Photo: Katrin Prem.

46 Style and Technique of the 16th Century Marquetries on the Choir Stalls in the Elisabeth Church in Wroclaw

Figure 8 Traces of the fretsaw at the rims of the inlayed parts. Figure 9 Cuts of the fretsaw. At the top the incisions Photo: Katrin Prem. have been compressed when the piece was glued in the cavity. At the left side the piece is shaded by singe- ing. Photo: Christine Cornet.

Summary Colour is an important element for the appearance The marquetries of the choir stalls in the Gäthke- of the marquetry. Besides the colours of the different chapel show the impact of the South German or Ty- woods there is the green colour of inlayed leaves and rolean style and therefore were probably not made trees that stand out in the marquetry. This colour is by a Polish or Silesian artist. In this context the Sile- due to an infection of the wood by a fungus called sian marquetries seem to have been made generally chlorosplenium, mostly found in aspen and beech in a different style. woods. This colour is unlike the staining colours, For these marquetries the fretsaw was used to cut lightfast, and therefore clearly seen on even very old out the inlayed pieces and to produce the drawing surfaces (Figure 3a). lines inside of these pieces. The shapes were cut out of the ground, which consists of a panel of coniferous wood with a thick layer of maple wood glued on it. No router plane was used to even the ground after Analogy in technique to marquetries in chiselling out the cavities for the inlay-pieces. This marquetry technique, which is known to have southern Germany and Tyrol been applied in the 18th century, was already used According to the stylistic resemblance there is an in the 16th century. Thus it has not substantially analogy in technique with the South German and changed during the centuries. Tyrolean works. The same technique of cutting out with the shoulder knife and sawing out the inlayed pieces with the fretsaw have also been applied in 16th century works of South Germany and Tyrol. Acknowledgements Also the use of the characteristic green coloured Many thanks to Katrin Prem for taking the photo- wood is common to the Wroclaw work (Figure 5). graphs at the microscope and to Joachim Dramm for his photographs of the choir stalls. Special thanks to

with the english translation. Sharon Gomez and Thomas Häusler for their help

47 Christine Cornet

Notes 1 One of these panels is signed ‘Sebastian’ and dated Heyer, K. J. and Aengenvoort, J. (1977) Das barocke 1580. Unfortunately there is no further information Chorgestühl in Schlesien: Eine Darstellung der where ‘Sebastian’ came from. Possibly this is not the Chorgestühle und ein Beitrag zur Geschichte von dating for the whole stalls. Kunst u. Kunsthandwerk im Barock. Bau- und Kunstdenkmäler des deutschen Ostens, Reihe C, 2 Hellwag, F. (1995?) Die Geschichte des deutschen Schlesien, Bd. 6. Frankfurt am Main: Weidlich. Tischler-Handwerks: vom 12. bis zum Beginn des 20 Jahrhunderts. Ed. libri rari. Hannover: Verlag Th. Hellwag, F. (1995?) Die Geschichte des deutschen Schäfer , p. 49. Tischlerhandwerks: vom. 12. bis zum Beginn des 20 Jahrhunderts. Ed. libri rari. Hannover: Verlag Th. 3 Wroclaw is the former Breslau, the capital of Sile- Schäfer. sia (Schlesien). Kreisel, H. (1981) Die Kunst des deutschen Möbels 4 A famous example of such work from an Augsburg 1, Von den Anfängen bis zum Hochbarock. München: master in a foreign country are the doors in the Es- Beck. corial palace made for Philipp II probably by Bar- tolomäus Weishaupt, in the year 1567. Windisch- Michaelsen, H. Unger, A. and Fischer, C. H. (1992)

5Graetz Kreisel 1983, (1981) Bd. 2,p. p.83. 129. Indeed this technique does In:Blaugrüne Restauro Färbung, 1/ 92, pan 17– Intarsienhölzern 25. des 16. bis exist in the late 16th and early 17th century. In this 18. Jahrhunderts. Wie kann sie identifiziert werden? case, the work is two coloured and both the ground Möbel Europas 2, Re- veneer and the inlayed motifs were sawn out to- naissance und Manierismus, vom 15. Jahrhundert bis gether with the fretsaw, analogical to the Boulle- inWindisch-Graetz, die erste Hälfte F.des (1983) 17. Jahrhunderts. München: technique. Klinkhardt & Biermann.

6 There is the big cabinet of Roentgen in the Kunst- gewerbemuseum of Berlin, which was heavily damaged during the War, where the open-laid marquetry-substrate shows similar traces of the shoulder knife. Becker (1971) pp. 22 - 39.

7 Michaelsen, Unger & Fischer (1992) pp. 17- 22.

References Becker, M. (1971) “Restaurierung des Großen Ber- - restaurierung”, In: Neue Museumskunde, Jg.14, liner Kabinettschrankes von David Roentgen. Holz 1/1971, pp. 22-39. Christine Cornet Cornet, C. (1999) “Zur Konstruktion und Verarbei- Art Historian tung der Roentgenmöbel”, In: Stratmann-Döhler, R. - Staatlich anerkannte Fachakademie zur möbel des 18. Jahrhunderts in Baden und Württem- Ausbildung von Restauratoren für Möbel und (ed.) Mechanische Wunder, Edles Holz: Roentgen berg. Karlsruhe: INFO-Verlag. Holzobjekte des Goering Instituts e.V. Munich, Germany Flade, H. (1986) Intarsia. Europäische Einlegekunst aus sechs Jahrhunderten. Dresden: VEB Verlag der Kunst Dresden and C. H. Beck, München. Tel. +49 (0) 89 38 39 50-0 E-mail: [email protected]

48 The ‘Amalia Cabinet’

The ‘Amalia Cabinet’ - A Masterpiece of 17th Century Dutch Cabinetmaking

Angie Barth

Introduction An exceptional 17th-century cabinet-on-stand was Until recently, Wilhelm de Rots (born c. 1616) acquired by the Rijksmuseum Amsterdam at the end was not known as a cabinetmaker: he was only of 2005.1 It is an early example of furniture decorated mentioned as the superintendent of Princes Amalia with marquetry of exotic and expensive materials: van Solms’ residences. Amalia van Solms (1602- ivory and tortoiseshell. The so-called Amalia cabinet 1675) was the spouse of Prince Frederik Hendrik van Oranje-Nassau, the political leader of the it sets a milestone in the history of Dutch cabinet Netherlands from 1625 until 1647. Amalia and making.is significant for artistic and historical reasons as Frederik Hendrik were inspired by the splendour

They built several richly decorated palaces, turned Historical aspects Theand Hague magnificence into a fashionable of other European royal capital, royal collected houses. When the cabinet entered the collection of the mu- treasures and introduced a genuine court etiquette. seum, the cabinetmaker as well as the client were The cabinet of the Rijksmuseum is a good example unknown, and it was thought to be a luxurious Pa- of their penchant for valuable and precious objects. risian, 17th-century French piece of furniture. This At present, the Amalia cabinet is the oldest known piece of furniture commissioned by a member of the Research carried out by Prof. Dr. Reinier Baarsen, House of Oranje-Nassau, ancestors of the present senioropinion furniture had to be curatorrevised! at the Rijksmuseum, re- Dutch Royal Family.3 vealed that the cabinet was produced in the early 1650’s in The Hague and that it was made by Wil- helm de Rots for Princess Amalia van Solms.2 A contemporary poem by Jan Zoet is remarkable because it is entirely devoted to this special cabinet (Figure 1). This written source provides extremely interesting historical and iconographical information.

49 Angie Barth

Figure 1 The poem by Jan Zoet is a valuable source of information, mentioning the client, the cabinetmaker and the iconography of the cabinet.

Iconography of the marquetry Formal description decoration The cabinet-on-stand is composed of a square upper The general appearance of the marquetry decoration chest, luxuriously decorated with highly contrasting can be placed in a historical perspective. Therefore, marquetry of ivory and tortoiseshell. The chest is let us take a few steps back in history, to 15th- century Italy. Two distinct, totally different styles joined to a rectangular-shaped stretcher which is of marquetry were developed at the same time veneeredplaced on with a stand rosewood, made ebony of five and spiral-turned ivory (Figure legs 2 in the Quattrocento: one based on the knowledge and 3).4 of architectural rules, geometry, proportions and The two doors of the upper part are entirely covered with marquetry and conceal a richly decorated interior. Unlike other 17th-century cabinets, there is borrowedperspective, from the the other animal composed and vegetal of ramifications kingdom. no cavity in the centre of the cabinet. The interior Bothinterwoven distinct withstyles imaginary are clearly figuresvisible on and the patterns Amalia cabinet, which is quite uncommon: the linear, the illusion of depth is entirely created by the design architectural trompe l’oeil perspective covering the of the marquetry.Amalia cabinet Only isa closea totally inspection flat surface reveals where the drawer fronts contrasts highly with the arabesques distribution of ten actual drawers around a central and scrollwork elsewhere on the cabinet. door (Figure 4). It is clear that the marquetry was designed for this cabinet and could not have been used on another piece of furniture initially as many iconographical items, such as oranges, refer to the House of Oranje. The monogram that can be seen inside, in the centre of the cabinet – HAVO – stands for Hendrik and Amalia Van Oranje (Figure 4).5 It is surrounded by decorative ropes with tassels, the so called cordon des veuves, an attribute for a widow.

50 The ‘Amalia Cabinet’

Figure 2 General view of the cabinet, the doors closed.

This is an indication that the cabinet was built It was introduced in the 1610’s in Paris, mainly in for Amalia van Solms after the death of Frederik the gallery of the Louvre, and soon became famous in northern Europe. Only in the mid 17th-century dendrochronology.6 was the peapod superseded by the fashion of natural HendrikThe marquetry in 1647. covering This dating the doors is confirmed may seem by 8 This decorative element places the Amalia cabinet in a period of Zoet’s poem explains clearly that the iconography of flowerstransition in marquetrybetween different decoration. types of marquetry thepurely decoration decorative has ata very a first political glance, meaning: however, it is Jan a ornamentation.

Dutch history (Figure 5a & b).7 messageThe poem of hope mentions in an extremelythat the difficultcrown ofperiod thorns of Construction and materials used on surrounding the heart of the nation is already broken and that the young sprout (baby William III) the cabinet will become a vigorous tree. This is illustrated in The construction of the whole cabinet is made of the centre of the marquetry on the doors. The poem solid oak. Both sides of the chest are joined with says that the enemies of the nation will destroy each dovetails to the top and the bottom of the cabinet. other. In the marquetry, they are represented as The dovetails are visible in raking light. The shelves a snake and a dragon facing each other (Figure 6). inside the cabinet are housed in dovetailed grooves. The poem compares the leaders of the country with The back panel is originally nailed into a rebate at biblical pelicans: they feed their descendants with the back of the chest. their own body (Figure 7). As the doors are entirely covered with marquetry, Another interesting decorative item is the peapod X-radiographs were made in order to achieve a better or cosse de poix (Figure 8). understanding of the construction (Figure 9).9

51 Angie Barth

Figure 3 General view of the cabinet, the doors opened.

Figure 4 Marquetry creates a three-dimensional illusion inside the cabinet.

52 The ‘Amalia Cabinet’

Figure 5a-b The marquetry on the outside (a) and the inside (b) of the left door.

Each door is constructed as a framework in which On the inside of the cabinet, some of the ivory is stained green, coloured with a copper salt, and some construction worked extremely well as there are is stained blue with indigo. The blue ivory has a mar- onlyfour solida few panels old shrinkage are fitted cracks. between The stretchers. X-radiographs This bled appearance because the colour has not pene- are quite beautiful in themselves, as one can see trated evenly into the material. This gives an almost the superposition of the ivory and the tortoiseshell mineral look to the ivory. decoration (on both sides of the doors) on the same The cabinetmaker used the ivory skilfully. The image. background of Amalia’s monogram – an eye-catcher Regarding the materials used on the cabinet, we in the interior of the cabinet – seems to have been have mentioned several times the presence of ivory made of one huge piece of ivory. In fact, it is made and tortoiseshell in the marquetry. Those materials of several pieces, but Wilhelm de Rots ingeniously have always been extremely precious, and as a con- used the joints of the marquetry to disguise the sequence, nowadays, both ivory and tortoiseshell joints of the ivory. are protected in Annex I by the Convention on Inter- The tortoiseshell used on the cabinet has been national Trade of Endangered Species of Wild Fauna - and Flora (CITES).10 chelys imbricata). In 17th-century archival docu- Ivory was transported to the Netherlands by ships ments,identified it is visually said to ashave Hawksbill been shipped sea turtle from (Eretmo the Car- of the Dutch East India Company (VOC), established ibbean region by the Dutch West India Company in 1602. As the ships of the VOC sailed to Africa as (WIC) in ‘buckets’.12 It is a very precious and exotic well as Asia, we would like to know the provenance material that can be polished to a high gloss. of the ivory used on the cabinet. Therefore, we The back of the tortoiseshell is covered with red intend to use micro-Raman spectroscopy, a non- pigment and paper. This gives the translucent shell a destructive method.11 This might inform us if the red appearance. Only few parts, like the semicircular ivory marquetry is made of Elephas maximus (Asian arches on the interior have no pigment at all beneath elephant) or Loxodonta africana (African elephant). the tortoiseshell. Those arches look yellow, which is Furthermore, micro-Raman spectroscopy will also the colour of the underlying glue. The cabinetmaker enable us to compare the ivory on the main body used the tortoiseshell very tastefully for creating his with the one used on the stand of the cabinet. architectonic perspective, taking advantage of the different patterns of the material.

53 Angie Barth

Figure 6 Detail of the marquetry on a door. A Figure 7 Detail of the marquetry on a door. Figure 8 Detail of the marquetry on dragon faces a snake, symbolizing the enemies The leaders of the nation are depicted as a door. The peapod is omnipres- of the Dutch Republic. biblical pelicans. ent on the cabinet.

As an example, the tortoiseshell used to create the after it was built, but before the back panel was pillars in the foreground has more spots and is dark- placed in position. This fabric has probably been er than the tortoiseshell used for the pillars on the produced and stained in Leiden, a city near The background. The corners of all pillars are made with Hague, famous in the 17th-century for its red and very dark tortoiseshell, as if those corners were seen black woollen cloths. The red fabric inside the cabi- in the shadow (Figure 4). It is also worth mentioning net has never been washed or exposed to ultraviolet that the small key holes on the drawers have been radiation and as a result it has kept a beautiful and skilfully integrated in the marquetry, in such man- remarkably bright colour. ner that they are almost invisible. Regarding the metallic elements present on the Wilhelm de Rots used a few pieces of ebony to tone cabinet (including locks, hinges, nails, screws), the darkest parts of his perspective. most of them are original, except for a few modern Other luxury materials are to be found in the cabi- screws. The craftsmanship is impressive, even the net, sometimes hidden from sight. The ten drawers locks have been very precisely ‘tailed’ into the solid in the cabinet are noteworthy in this regard. The oak of the door (Figure 11). fronts are decorated with marquetry, and all other parts are covered with an oriental lacquer imitation, red inside the drawer and black outside (Figure 10). Marquetry techniques The cabinetmaker created this interpretation with Several marquetry techniques have been used to paper. After constructing the drawers, he covered create Amalia’s cabinet. Wilhelm de Rots mainly cut the ivory and the tortoiseshell as a sandwich (later known as Boulle them with a layer of paper which was first painted In order to protect the drawer’s fragile lacquer imi- technique), which is a very economical method for red, then black and finally varnished. tation, shelves and partitions are upholstered with working with precious materials as there is almost a red wool twill fabric, which is not visible when no waste. Thanks to the pattern of the tortoiseshell the drawers are closed. It was glued into the cabinet and the lines of the saw blade, it is possible to deter-

54 The ‘Amalia Cabinet’

Figure 9 Detail of an X-radiographs showing the structure of Figure 10 Detail of the interior, upholstered with red fabric in order to the door. This image is beautiful in itself, as both partye and protect the lacquer imitation of the drawer. Notice the bright red color contrepartye are visible on both sides of the panel. of the fabric.

mine which parts have been cut together at the same well as ebony). As a consequence, the pattern of the time (Figure 12a & b). The marquetry has been cut pavement is symmetrical but the colours are not. with a very thin saw blade. When we are facing the cabinet, the pavement on The decoration on both sides of each door has been the right appears dark and has a predominance of cut together: the outside is the so called première green ivory and ebony, while the pavement on the partie (ivory pattern on a tortoiseshell background) left is mainly composed of white and green ivory while the inside is the contrepartie (tortoiseshell (Figure 4). pattern on a ivory background) (Figure 5a & b). In There are three distinct marquetry designs used the same way, the decoration on the sides of the on the cabinet: the composition on both sides of the chest are the première partie (Figure 13) and those doors, that of the sides and the top of the cabinet, and on the top of the cabinet are the contrepartie (Figure 14). Little engraving can be seen on the outside of The decorative lines below and above the mar- thefinally cabinet. the geometrical On the inside, perspective some of ivory the interior. elements quetry of both sides of the chest and of the doors are deeply engraved, such as the capitals and are interesting. These lines are not present next to basement of the columns, the architrave as well as the marquetry on top of the cabinet. They may have parts of the balustrade. The engraving gives depth been added in order to extend the height of the chest to those elements. No shading was employed in the and to improve the proportions of the cabinet. marquetry. Beside the so-called Boulle technique, the cabinetmaker also cut marquetry piece by piece. He mainly used this technique on the drawer fronts of the interior. Nevertheless, some parts of the interior have also been cut as a sandwich, like the green and white pavement. Wilhelm the Rots used three layers of veneer to cut this pavement (white and green ivory as

55 Angie Barth

Figure 11 The shape of the lock has been ‘tailed in’ very exactly in the solid oak of the door.

Conservation treatment When the Amalia cabinet came into our workshop, it Previous restorations, mostly described by Prof. was in a relatively good condition, except for a very Michaelsen in his conservation report, were visible, large amount of lifting ivory and tortoiseshell. There some of them carried out with materials different were only few lacunas and fortunately no traces of from the original (horn instead of tortoiseshell, bone woodworm. It was restored in 1984 in Germany by instead of ivory) as the original materials were not Mr. Hans Michaelsen (now Professor at the Fach- available. All those previous restorations were pre- hochschule in Potsdam) who kindly gave us a copy of the conservation report he made in the 80’s. replacements were retouched when the colour did The structure of the cabinet was sound. The stand notserved match as they (for wereinstance, stable. some Some pieces yellowed of blue fillings ivory or was not very stable, therefore it was taken apart and glued again. The back panel of the cabinet could not shrink freely because of the original nailed con- appropriatethe darkened material. old fillings in the cracks of the doors). struction, and therefore had developed some cracks. SomeLoose lacunas paper inon the several marquetry corners were of the filled drawers with was the Those cracks were glued after removing the back consolidated. The dust on the fabric was removed panel. The few cracks present in the construction carefully by suction. of the doors were stable and did not need any inter- To conclude the conservation treatment, the sur- vention. face dirt was removed with saliva and the cabinet The main conservation work consisted of consoli- protected with a very thin layer of microcrystalline dating the (partly) loose marquetry elements. Af- wax, in order to obtain an even, tempered gloss on ter removing the doors and the back panel13, it was the whole surface. much easier to apply the clamps for gluing the marquetry, especially on the top and sides of the cabinet. Sometimes the tortoiseshell was loose due to the delamination of the interface between tortoiseshell and pigment, in other areas the paper itself delaminated (Figure 15a & b).

56 The ‘Amalia Cabinet’

Figure 12a-b The pattern of the tortoiseshell and the saw lines make it possible to determine which parts have been cut at the same time.

Figure 15a-b Loose tortoiseshell can be a consequence of delamination between the material and the red pigment (a) or delaminating paper (b).

57 Angie Barth

Figure 13 The marquetry on the right side of the cabinet. Figure 14 The top of the cabinet is the contrepartye of the sides (cf. figure 13).

Conclusion Notes The Amalia cabinet is a very important acquisition 1 Inv. BK-2005-19. Dimensions: 145 x 111,5 x 44 cm. for the Rijksmuseum Amsterdam, representing one The Rembrandt Association, the K.F. Hein Trust, the of the highlights of Dutch furniture production made M.A.O.C. Gravin van Bylandt Foundation and the Dr for a Princess of the House of Oranje. Historical re- Hendrik Muller’s Vaderlandsch Trust enabled the search brought to light a previously little known Rijksmuseum to acquire the cabinet. furniture production centre in The Hague, where skilled craftsmen used elaborate techniques and 2 Baarsen, R. (2007) Furniture in Holland’s Golden precious materials. In the future, this will certainly Age. Amsterdam: Rijksmuseum, pp. 110-123. enable art historians to ascribe more furniture to Baarsen, R. (2006) ‘Kabinet’, In: Bulletin Vereniging that production centre.14 Rembrandt, 16, pp. 20-23. The conservation treatment of the Amalia cabinet (reproduced on: http://www.verenigingrembrandt. was carried out during the period January - March nl/image.phtml?Type=AanwinstenPDF&Id=173 ) 2006. The beauty of the cabinet and the large variety Baarsen, R. (2007) ‘Een cabinet voor Amalia van of materials made it a particularly interesting pro- Solms: Europese meubelkunst in Den Haag’, In: Leids ject. kunsthistorisch jaarboek, nr. 14, pp. 63-90. The cabinet is now on display in the Rijksmuseum Amsterdam.

58 The ‘Amalia Cabinet’

3 The ‘Stadtholders’ (governors) in the Dutch Gold- 9 X-radiographs were taken at 40kV, 4mA, for 55 sec en Age were the forefathers of our present Royal Family. Nowadays, Princes and Princesses are still named after their ancestors. The eldest daughter of using10 For Agfamore film. information, see http://www.cites.org/ Crown Prince Willem-Alexander, Princess Amalia, is named after her famous ancestor Amalia van Solms. 11 Micro-Raman spectroscopy, a non-destructive analysis method, is based upon the illumination of 4 Initially, we had some doubts about the authen- a sample with monochromatic light. A spectrometer ticity of the cabinet’s stand. As we were thinking is used to examine the light scattered by the sample that the cabinet was a French piece of furniture, it was hard to understand how the stand could match photons that lose or gain energy when they interact with the French aesthetic. Now that we know that withafter thereflection. molecules A laser in a sample.is used Thisas the generates source of a frethe- the cabinet is made in the Netherlands, the stand quency shift in the scattered photons, correspond- has become much more plausible. Dendrochronol- ing to the energy difference between the incident ogy carried out by Stichting RING from Amersfoort and the scattered photon (Raman shift). Different (http://www.archis.nl/RINGnieuw/) did not enable types of ivory have different vibration modes of col- us to date the oak used for constructing the stand lagen and therefore characteristic Raman spectra. (record 2007026). 12 Amsterdam Town archive, not. arch. 13438/akte 5 The same monogram is painted four times on the 182, nots. Willem Decker. Amsterdam Town archive, not. arch. 13053/akte 53, nots. Jan van Vollenhoven. Hague. Amalia devoted the whole decoration of this roomceiling to of the the memory Oranjezaal of herin Huis husband ten Bosch, Frederik near Hen The- 13 Fish glue (HMB, 8 rue de Prague, 75011 Paris) has drik. She is represented as a widow in the centre of been used for gluing the cracks as well as the mar- the painted ceiling. quetry.

6 Dendrochronology was carried out by Stichting 14 A small box (26,5 x 56 x 37 cm), from the collec- RING on the back oak panel of the cabinet (record tion of museum Schloss Fasanerie in Germany has 2006032). It was possible to date the panel us- great similarities in the use of materials, techniques ing macro-photographs of end grain wood: the oak and iconography. This object has undoubtedly been tree was felled before 1644 (with a probability of made by the same cabinetmaker for Amalia van 99,99%). Solms. See Baarsen, R. (2006) op. cit. p. 21. As the cabinet has few shrinkage cracks, we may suppose that the cabinetmaker used wood that had dried for several years.

7 In the early 1650’s begins a period without a ma- - ode’. Frederik Hendrik, Amalia’s husband, died in 1647ture governor,and Willam the II, so her called son, died ‘stadhouderloze in 1650. Amalia’s peri grandson, Willem III was born 8 days after his father William II died from smallpox. Thus William III became the Sovereign Prince of Oranje at the moment of his birth.

8 Führing, P. and Bambenet-Privat, M. (2002) ‘Le Angie Barth style cosse de poix. L’orfèvrerie et la gravure à Par- Furniture Conservator is sous Louis XIII’, In: Gazette des beaux-arts, tome CXXXIX, january 2002, pp. 1-224. E-mail: [email protected]

59 Roswitha Schwarz and Stefan Demeter

Marquetry made of mixed Materials – The Conservation Project ’Furniture in Boulle-technique’ at the Bavarian National Museum, Munich

Roswitha Schwarz Stefan Demeter

Summary The Bavarian National Museum in Munich (BNM) owns a collection of furniture in Boulle technique Stuttgart, Düsseldorf, Frankfurt am Main, Antwerp which is subject of a conservation project. In this andThe Paris.objects The were object made group in Munich, includes Künzelsau three couples near project manufacturing processes of objects of dif- worked in première/ contrepartie technique. Some ferent provenances are compared and former con- of the objects of highest quality are in demand of servation treatments performed on the objects are conservation treatment, others are in a stable condi- evaluated and compared with regard to long-term tion, but have never been closely examined before. A effects. Finally, conservation treatment plans for ob- third group was restored in the 1970s and has been jects in a bad condition are developed based on the put on display ever since. These pieces will be examined with regard to long-term effects of former conservation treatments. Others are in desperate need findings. for conservation and shall be displayed in the BNM Introduction from 2011 onwards. The Bavarian National Museum (BNM) owns a Preparing the conservation treatment of the ob- collection of pieces of furniture, which are sump- jects in bad condition an interdisciplinary project tuously decorated with marquetry made of tor- concerning the technological analysis of pieces was toiseshell, horn and non-ferrous metals (brass, started under the following aspects: manufacturing tin, copper). For some of the objects ivory, moth- techniques, conservation concepts from the 1970s er-of-pearl and bone were used too. The collec- in the BNM and their evaluation, conservation treat- tion ranges from the late seventeenth to the late ment plans and performance. A catalogue of meth- nineteenth century. Most of the pieces were made for the Bavarian court and came to the museum compare the results from objects of different prov- ods of analysis will help to find new information and soon after it was founded in 1855, others were acquired later in order to extend the collection. plans for those pieces, which are severely damaged. enance, finally leading to conservation treatment

60 Marquetry Made of mixed Materials

Figure 1 Medicine chest by Johann Daniel Sommer, 1692 (BNM 78/390.1-360).

- The earliest piece we know of Johann Daniel Som- jects included in the project: a medicine chest by Jo- mer is a table signed and dated 1666.2 hannThis paper Daniel presents Sommer the (1692), first results two double of five secretaries of the ob The BNM´s medicine chest was commissioned by

(1663-1731) and was acquired by the museum in (before1715)(1704-15) and made two in bureaux Paris. mazarins (c.1720) by 1978.Carl August The small Markgraf cabinet zu(33,8cm Brandenburg-Kulmbach high, 38,8cm wide, Johann Puchwiser (Munich) and a bureau mazarin 31,8cm deep) has two front doors and a lid (Figure 1). Inside there is a tray carrying many different vessels for ointments, essences and dried medical A medicine chest by Johann Daniel Sommer (1692) number of medical instruments and more vessels. drugs.The outer Three surfaces drawers and underneath the inner sides are filled of the with doors a 1643. He is considered one of the most important - GermanJohann Danielcabinet Sommer makers wasin the born second in Künzelsau half of the in nated by tulips and spiral-shaped tendrils, which 17th century. Because of his ornamental style it can are richly decorated with floral ornaments domi- be assumed that Sommer was trained in France and brought the technique back to Germany in absolute (Figureare typical 2). ofIconographically Sommer. Animals the and marquetry phantastic refers fig perfection. On the other hand he also could have toures the grow chest’s out function of the by colourful showing floralsnakes formations on the lid, been trained in Augsburg, where at that time mar- quoting the aesculapius rod. Markgraf Carl August quetry made of mixed materials was in fashion and is represented by a large coat of arms inside the lid produced on the highest technical level.1 In this case (Figure 3). Sommer would have learned typical French stylistic elements from internationally widespread ornament sheets.

61 Roswitha Schwarz and Stefan Demeter

Figure 2 Medicine chest, detail of marquetry on a drawer front.

Marquetry technique As the surface of the medicine chest is intact, no little holes in the tortoiseshell. This can easily be seen samples could be taken. The examination of the mar- in areas were stems and/or tendrils come together. quetry via microcope showed details concerning The cut goes down to the underlying red paper.4 The Sommer’s manufacturing technique. The colourful paper was painted according to the contours of the marquetry is made of tortoiseshell, engraved ivory, horn pieces. Both elements were glued together and engraved tin , and translucent horn covering minia- tures painted on paper. The very tight sawlines are background as last step in the composition of the remarkable. The ivory elements were used as accen- finally into the intended spaces in the tortoiseshell tuating elements of the marquetry in a very linear paper was obviously coated with a white ground, way, forming frames around the drawer fronts and whichmarquetry. can be No seen paper in smallfibres areas can bealong detected the leaf as edg theon the outer surfaces of the chest. The tortoiseshell es. On top of the small paintings a layer of translu- is glued to a red ground, obviously in the usual way made of paper painted red. It forms the background cent glue can be seen, which shows a fine craquelée net and tiny black inclusions, probably fine dirt. vermillionfor the lively and florallead red ornamentation. (see below). The pigment usedThe for tin the leaves red paintand blossomswas identified originally as a mixture were en of- - graved, the lines being filled with a black engrav- ameters,ing paste. which The thin were flower pressed stems into and sawlines the even of differ more- entdelicate width fine (c. tendrils 0,4mm-1mm). consist Inof wiresfew areas of different they were di tendrils were made by small pieces of tin wire with theeven diameter worked intoof c. horn 2mm, pieces. which Dots were at the inserted end of intofine

62 Marquetry Made of mixed Materials

Figure 3 Medicine chest, inner side of lid, coat of arms.

Non-destructive analysis of colorants via UV-VIS–absorption spectrometry Former restoration As the marquetry was stable and complete, no sam- Before acquisition in 1978 the chest was restored. ples for analysis could be taken. For this reason a Though this treatment was not documented we can non-destructive method of analysis was chosen – tell from the deep scratching marks on the surface the UV-VIS-spectrometry.5 The surface to be exam- that after gluing in place loose parts, the marquetry - was sanded down heavily. This treatment destroyed ing to the chemical characteristics of the colorant a large parts of the original engraving on tin and ivory ined is briefly illuminated with white light. Accord elements, which for better contrast had originally producing an individual spectrum. This spectrum is treatedpart of themathematically light is absorbed, and thenthe rest compared reflected, to thusdata ivory pieces were reconstructed clumsily by means libraries with reference material. The method can be been filled with black paste. The engravings on the applied through the horn layers and through the yellowish parts of the tortoiseshell, giving interesting putty.of a fine Another drawing very ink small pen. missing There were tin leaf also on missing the lid information on the range of colorants used by Som- wasparts replaced of blossoms by exotic which dark were wood filled veneer. with a Awax-like glossy rather thin coating of slightly uneven texture was and red ochre were used for the red underneath the applied to the marquetry surfaces. On one of the tortoiseshellmer. Seven colorants veneer. couldCaput be mortuum, identified: an Vermillion iron ox- drawer fronts a missing tortoiseshell element has ide, was used for violet, light yellow ochre for yel- been replaced by a piece of horn lying on top of a piece of printed paper (probably old German newspaper), which at an earlier stage carried an opaque low, green earth for green and finally blue was made layer of red paint. The red colour has almost faded linesfrom werelapis drawn,lazuli pigment we can assumeand probably that gold indigo. powder For away and the replacement is thicker than the neigh- wasthe goldenused as paint, pigment. with which the fine accentuating bouring pieces. So here no sanding was carried out, the whole replacement might even be older than 30 years and was left untouched when the latest restoration was carried out.

63 Roswitha Schwarz and Stefan Demeter

Two double secretaries by Johann Puchwiser They each consist of 3 parts: at the bottom a big by Johann Puchwiser are also part of the BNM`s con- chest of drawers without feet, which is constructive- servationTwo double project secretaries on furniture and two with bureaux mixed mazarins material ly connected with a writing desk element with two marquetry.6 Johann Puchwiser was born in 1680 fall fronts opening to the sides. Behind the lids there and worked for the court of Elector Max II. Ema- are drawers with sumptuously decorated fronts in- nuel (1662-1726) since 1701. He is considered the side. The second element is a tall carcass showing founder of Boulle-technique in Munich while, as shown above, Augsburg was already established as a centre of mixed material marquetry in the second thereas mechanical is a big refinementmirror which a revolving can be turnedinner carcass to the quarter of the 17th century. Max II. Emanuel had a front,containing hereby five locking drawers. the On drawers. the back The of last this element carcass distinct preference for Boulle work furniture and is a clock case on top of the pieces. owned several pieces from the Boulle workshop in The marquetry materials used for the double sec- Paris as well as from Hendrik van Soest in Antwerp retaries are tortoiseshell, horn, brass, pewter, cop- and other masters. In order to satisfy the Elector`s per and different wood veneers like snakewood and demand for highly representative furniture, Puch- wiser developed splendid, colourful pieces of furniture for his interiors. Johann Puchwiser died in Mu- severalebony. Thetimes ornamental as marquetry style motive is influenced or as byengrav Jean- nich in 1744. ing.Bérain. The The engravings monogram show of differentMax II. Emanuel states of appears quality. - While most decorative ornaments are carried out in retaries are worked in pemière partie/contrepartie, i.e.The on bureauxone piece mazarins the pewter as welland asbrass the ornamentdouble sec is elements show copperplate engraving quality. This surrounded by tortoiseshell, on the second piece the provesa rather a simple division manner, of labour some in ofthe the Puchwiser more figurative work- ornament is made of tortoiseshell in a pewter and shop: more demanding metal parts have been en- brass background. In smaller sections other materials like copper and horn are used too. We know that Taking a closer look at the manufacturing tech- niquegraved one by moreof the qualifiedmain questions craftsmen. was how Puchwiser to the BNM pair as a third variety of material com- produced the brilliant colours underneath the tor- binations.there used7 Theto be two a third double bureau secretaries mazarin have belonging a be- toiseshell and horn veneers. The pigments used longing piece decorated with wood veneer, now in for the red paint under horn and the tortoiseshell Schleißheim Castle near Munich.8 The double sec- veneers are vermillion and lead red.9 The brilliant retary in première partie is in desperate need for blue colour (Figure 5) did not only have a decorative conservation treatment (Figure 4), the contrepartie function. It was supposed to imitate natural lapis piece has already undergone conservation treatment in 1974 in BNM. pieces of furniture at the Bavarian court before, thus The double secretaries are of almost monumental lazuli, which had been used for the most10 precious

stressing the magnificence of the elector. size (c. 245cm high, c. 135cm wide, c. 95cm deep). 64 Marquetry Made of mixed Materials

Figure 4 Double secretary by Johann Puchwiser, c. 1704-15, première partie (BNM R 3891), restored (photo 2011 by Bastian Krack).

65 Roswitha Schwarz and Stefan Demeter

Figure 5 Double secretary, première partie, unrestored, blue paint with brass spots underneath horn veneer.

Figure 7 Double secretary, contrepartie (BNM R 3890), recon- struction of background in 1974. Figure 6 Double secretary, right fall front, partly highlighted by brass foil under tortoiseshell.

This is proven by the fact that golden spots in the blue paint imitate pyrite inclusions in natural lapis with water for the consolidation of the marquetry andIt was coloured modified with for pigments different inpurposes, order to e.g. unobstru diluted- - forlazuli the mineral. blue paint The and analysis small of pieces the colorants of brass showed foil for ments. thethat golden Puchwiser spots. used11 smalt and lapis lazuli pigment sivelyFor fillaesthetic the sawlines reasons between some themissing marquetry pieces ele of The monogram of Max II. Emanuel dominates the brass and tortoiseshell were added, for example, marquetry on the middle of the fall fronts. This area reconstructed in order to restore its former contour engraved in the highest quality, guarding the mono- (Figurethe missing 7). No background forms were of reinvented the Victoria but figure the exist was- ofgram heraldic at the importancesides. The tortoiseshell is emphasized areas by neighbour two lions,- ing the monogram are highlighted using brass sheets in many areas the wooden substructure was left applied to paper, which were translucently painted toing be information seen and the was old used glue to wasdefine removed. the outline. Here Still, not enough information on the shape of the marquetry (Figure 6).12 - redAs and mentioned finally covered above withthe contrepartiethe tortoiseshell piece veneer was fects of the conservation treatment in 1974 some conserved in 1974 and has been put on display ever morewas left. examinations For the final are evaluation necessary, of the e.g. long-term concerning ef since. The conservation goal at that time was stabi- the reversibility of the adhesive used. The last dec- - ades showed that the museum visitors are fully able ing the surfaces. The adhesive used for construction to perceive the highly representative function of this elementslizing the constructionas well as marquetry and the marquetry was ‘Ponal’, and a clean com- luxurious piece of furniture even with some smaller mercial PVAC adhesive for wood.13 marquetry areas missing.

66 Marquetry Made of mixed Materials

Figure 8 French bureau (BNM R 3893).

Two bureaux mazarins by Puchwiser compared to one of French provenance - the legs and the middle part of the corpus, where the pared to a French bureau which also belongs to the Puchwiser pieces show two drawers, whereas the furnitureThe two bureauxcollection mazarin of the Bavarian by Puchwiser National are Muse com- French one has a door. The great correspondence um. In former days it had been part of the collection in the arrangement of the marquetry on the top, the of elector Maximilian II Emanuel. Max Emanuel lived front and the sides is obvious. We assume that the between 1692 and 1701 in Brussels and from 1704 French piece came to Munich with the returning till 1715 mostly in France. During one of these stays of the Elector to Munich in 1715, while Puchwiser he must have bought the French bureau (Figure 8). made his pieces in Munich and signed one of them in Neither the inventory lists nor the transport list are 1714. So it is possible that Puchwiser and the French cabinet-maker worked on the basis of the same or- is dated before 1715. The two other bureaux (Figure nament sheet, which was made in the style of Jean 9,detailed 10) are enough made toby identify Johann it.Puchwiser, In the museum one of files them it 14 is signed on the top: ‘Joh: Puechwiser 1714’. Each of these bureaux is about 130cm wide, 60cm deep and Bérain. three-part composition with eight legs, each group of82cm four high. legs Typicalbeing connected for a bureau by amazarin cross-shaped is a vertical foot- bridge. In the left and in the right part of the three- part carcass there are three drawers; in the middle part we have usually one drawer on the top and a design of the three bureaux is the different design of flap below. The obviously biggest difference in the

67 Roswitha Schwarz and Stefan Demeter

Figure 9 Bureau by J. Puchwiser (BNM R 3363). Figure 10 Bureau by J. Puchwiser (BNM R 3364).

Construction Puchwiser and the French cabinetmaker used differ- bottoms of the French piece are also walnut, whereas Puchwiser decorates the bottom with wood mar- The board for the side and the bottom go through in quetry. Puchwiser’s wood joints are chosen well and bothent principles cases, connected in constructing by dovetails. the bureaux The French mazarins. cab- crafted solidly. The wood joints prevent a distortion inet-maker used one board under the top drawer to of the boards quite effectively, whereas those of the hold the case together (dado), whereas Puchwiser French bureau are less carefully chosen. They were constructed his pieces with middle sides (two-sided not able to prevent distortion as effectively as the dovetailed dado). The French cabinet-maker made ones Puchwiser chose and they were less precisely the wide board for the top by gluing several smaller crafted. Nevertheless, the carcasses of all three bu- boards together, while Puchwiser used a framework construction. Another difference is the assembling The choice of wood also shows a difference in of the legs. The French cabinet-maker connected craftsmanship.reaux mazarins areWhile in good the condition.French cabinet-maker the legs to the carcass by means of wooden dowels, used only coniferous woods of varying quality for Puchwiser used an iron rod, which is screwed into the carcass, Puchwiser used coniferous woods with- the carcass. Each leg consists of several elements, out knobs and in addition to that oak wood in order which are kept in place by the iron rod. Underneath to strengthen edges and as veneer underneath the each foot an iron plate is mounted to the rod and marquetry.15 So he was able to glue the marquetry kept in position by means of iron nails. At the top onto the veneer on the working-bench. In a second of the rod there is a thread so that the rod can be step the veneer with the marquetry could be glued screwed into an iron nut, which is inserted into the onto the carcass. In this respect there are many par- side of the carcass. Thus it is possible to attach or allels to the big double secretaries made by Puch- remove the legs without using tools (this principle is wiser described above. These pieces are also worked known from the Roentgen workshop in Neuwied – a very solidly. Parts which have to be very robust were few decades later). made in hard woods. Underneath the marquetry mostly hard wood can be found. of walnut and connected by dovetails. The drawer The drawers of all bureaux mazarins are made

68 Marquetry Made of mixed Materials

Analyses Method French bureau Bureaux by Puchwiser

Wood /corpus Microscope Pine (abies alba) Spruce (picea abies) (S. Demeter) Oak (quercus robur)

Wood /drawers Walnut Walnut

Marquetry Tortoiseshell Tortoiseshell Horn

Pigments Polarization Cinnabar and lead Cinnabar and lead microscopy red in mixture red in mixture, Smalt (S. Demeter)

Brass AAS Cu 69,4% Cu 72,1% (J. Riederer, Zn 27,6% Zn 23,5% Rathgenlabor Berlin)

Pewter AAS Sn 72-74% (J. Riederer, Pb 20% Rathgenlabor, Berlin) Hg 5-7%

Filling mass of GC-MS (P. Dietemann, Charcoal Charcoal engravings Bavarian Heritage Walnut oil Walnut oil Administration, Munich)

Glue ELISA Cow skin glue Cow skin glue (A. Heginbotham, Rabbit skin glue Rabbit skin glue Getty Institute, Malibu)

Marquetry materials The marquetry materials of the French bureau are other pieces of furniture in Boulle-technique it must very similar to the pieces made in Munich. Concern- be considered that the brass alloy often contains a ing the manufacturing technique of the marquetries - the two ebenists seem to have had the same know- - ledge. oursimilar of this high alloy proportion is described of zinc. as ‘high-yellow’.Obviously the16 cabi The All three pieces are decorated with tortoiseshell of pewternetmakers contains used brassa normal of a proportion specific quality. of lead, The about col similar quality. On the French bureau it is a bit dark- 20%, in order to make it harder. The high proportion er, whereas Puchwiser uses tortoiseshell with only of mercury about 5-7% is remarkable but its func- few dark spots. On all three pieces the tortoiseshell - covers a paper layer painted red (cinnabar and lead cal properties of the alloy. In historical sources no red in mixture). recipetion is ornot description quite clear. could It could be found.influence In Histoirethe chemi de In addition, Puchwiser uses horn veneer for small - areas with a blue paint layer on paper underneath. port about ‘malouin’, which is described as ‘whiter, harder,l’Académie more Royale sonorous’. des Sciences17 (1740) there is a re blue pigment, for the two double secretaries a mix- technical characteristic. The British philosopher and For the two bureaux mazarins smalt was used as- natural scientist Robert Boyle This mentionedhints at a modifieda modi- 18 A practical experiment with a blueture on of smaltthe double and lapissecretaries lazuli. does The blueas shown on the above bu detached original tin ornament gave some more in- (Figurereaux mazarins 5). So here shows just like little on the golden double spots secretaries like the formation.fied optical The effect. ornament was polished on the back - side. Within a few minutes a very plane and glossy - surface could be created, looking like polished silver tivethe imitationappearance. of natural lapis lazuli is intended, giv with a mirror-like effect. Even after 12 months this ing the bureaux mazarins an even more representa brilliance was still visible. From this we can con- thatThe alloy brass component analysis was of all created three by bureaux calamine mazarin or by processes of the surface. pieces showed a relatively high proportion of zinc. If clude that the mercury may influence the oxidation metallic zinc could not yet be proved. Compared to 69 Roswitha Schwarz and Stefan Demeter

Figure 11 Ornemens inuentez par Jean Bérain, about 1709 (Staatl. Graphische Sammlung München, Inv.Nr. IB 18/1 Ber 12/1), p.4.

Figure 12 Central scene of the French bureau (BNM R 3893).

70 Marquetry Made of mixed Materials

Figure 13 Top of a bureau by J. Puchwiser (BNM R 3363). The ornaments of the French bureau are marked in Pho- toshop and mounted on the top of a bureau by J. Puchwiser. The digital mounting shows that Puchwiser copied the French model.

Marquetry design As shown above the marquetry designs of the three engraved whereas the ground materials are not. The On all three bureaux mazarins the ornaments are As binding medium of all samples walnut-oil could bureaux mazarins refer to the same ornament sheet engravings are filled with a black pigmented mass. couldin the stylenot be of proved,Jean Bérain. though. The Inassumption the drafts that and they de- usual or if the cabinet-makers used the same mate- could even refer to the same copperplate by Bérain- rialbe identified. by chance If is walnut-oil not clear. As for the this three kind bureaux of work have was quetry appears, which shows Bacchus in the wine been part of the museum collection for about 150 yardsigns (Figure of Bérain 11, only 12). 20the So central someone motive must of have the commar- years it is possible that the presence of walnut-oil is bined several scenes from different copperplates or a result of maintenance work. sheets and must have put them together in the right The glue used for the marquetry of the three pieces - consists of rabbit skin glue and cow glue. This identi- - Insize. addition As the printedto that, Bacchus it was isinverted. smaller Notthan muchthe mo is 19 This knowntive on theon thebureaux transferring mazarins process it had of to the be enlarged.design to fication was made by means of a method called ELI the marquetry materials. SAused (Enzyme-linked in medicine. The Immunosorbent advantage of Assay).the method is is a very specific microbiological method originally results show that rabbit skin glue and cow glue were Digital comparison of designs usedthe very and specific that there reaction is no onglue different on the basiscollagens. of sheep, The If there was no common copperplate for the mar- ‘goat’ or sturgeon protein. If any other glue was used quetries of the three pieces there must have been additionally could not be proved as so far no anti- bodies for all other kinds of glue are available. this point, digital photos of the objects were com- In general J. Puchwiser and the French cabinet- pared.another The connection. photos were In order made to withfind outthe moresame about cam- maker have the same knowledge in manufacturing era, in the same distance and angle. In a second step furniture in Boulle-technique. The objects are made the contours of the marquetry of the French bureau of very similar materials but there are individual dif- was marked in Photoshop. Afterwards the contour ferences in how the work was carried out. lines could be mounted on the corresponding photo of a bureau by Puchwiser.

71 Roswitha Schwarz and Stefan Demeter

Figure 14 Detail of the third bureau by Puchwiser. The yellow and magenta lines represent the contours of the marquetry of the two bureau in the museum.

Figure 15 The coloured parts represent the smaller segments into which Puchwiser divided the whole design in order to simplify sawing work.

72 Marquetry Made of mixed Materials

Figure 16 Detail of the French bureau (BNM Figure 17 Detail of the bureau by Puchwiser Figure 18 Detail of the bureau by Puchwiser R 3893). (BNM R 3363). (BNM R 3364).

Cutting technique The comparisons of the contour lines with the In literature about Boulle-technique we normally marquetry lead to the conclusion that Puchwiser read that it was usual to glue the different material must have copied the French piece (Figure 13). layers one onto the other. Thus, it is assumed, it was He copied the whole arrangement, the scenes, the possible to cut out ornaments and backgrounds in one operation – the so-called sandwich-technique. On the other hand we know that it was not possible bands, the flowers, the birds almost in a relation to produce big brass plates. For big surfaces several 1:1.Using But the he described also changed digital some technique scenes it and could figures also brass pieces would have had to be joined together. beand proved filled that empty the spacestwo bureaux with by additional Puchwiser figures. were The same is true for the tortoiseshell. The joints usu- manufactured in the so-called ‘sandwich-technique’. ally correspond with the contour of the marquetry But as mentioned above Puchwiser used three mate- ornaments. But so far it is not explained how this rials for his marquetry: tortoiseshell, brass and pew- procedure worked when it comes to marquetries of ter. So it was possible to manufacture a third bureau big pieces of furniture: joining the brass together, - also the pewter and tortoiseshell, gluing them to- rials differently (see note 7). From this third bureau gether and making them correspond with the pat- mazarin with the same pattern combining the mate one side exist. Comparing the corresponding photos ofmazarin the other by two Puchwiser Puchwiser only objects some photosit can be showing shown ofterns the of sandwiches the marquetries. to be cut.And Sonot we to forgetassume the that size the of that all three of them must have been cut out in one bigthe fretsawsornament which sheets also for gives big surfacesa limitation were to thedivided size sawing process. into smaller parts along the outline of one material. This could also be proved via digital comparison The smaller section could have been joined together when glued to the wood surface. found, there would be two object groups by Puch- In order to prove this idea again digital photos wiser(Figure each 14). consisting If the third of three bureau corresponding mazarin could pieces be were compared to each other by marking corre- - sponding marquetry areas. Comparing the results it ies, see note 8), which would be quite a singular can be shown that all sawlines within the same ma- source(three bureauof information mazarins on and the threePuchwiser double workshop’s secretar manufacturing technique. terial fit together (Figure 15).

73 Roswitha Schwarz and Stefan Demeter

Notes This shows that the surface was divided into smaller 1 - parts, one part being a little smaller than the usu- MünchenLanger, B.,2, HerzogIn: Die deutschenvon Württemberg, Möbel des A., 16. Ottomey bis 18. Jahrhunderts.er, H. and Hojer, München G. (1996) (u.a.): Die MöbelPrestel, der pp.62-67:Residenz asal sizefollows: of a plate of tortoiseshell. So we suggest the treasure table with gold and silver sheets used for manufacturing steps for the BNM bureaux mazarin the marquetry, Augsburg 1626; pp.82-89: two cabi- – the marqueteur produced small “sandwiches” nets on stand, Augsburg around 1680/5 and many of different materials, according to the maximum other examples in the Munich Residence.

2 Angelmaier, Ursula (2004). ”Der Kunstschreiner – sizethe outlineof the materials of the plate was cut out according to a Johann Daniel Sommer”, In: Angelmeier, Ursula, design segment Freyer, Ulli & Huber, Andrea. Der Kabinettschrank

– the marquetry of this smaller work unit was cut, separated and combined (première partie, contre Swiridoff,des Würzburger pp.6-8. Fürstbischofs Johann Gottfried von partie etc.) Guttenberg von Johann Daniel Sommer. Künzelsau, 3 Two inventory notes refer to the table from 1666 – the small marquetry units were glued to the wood in the Hohenlohe Museum Schloß Neuenstein and a surface or thick wood veneer game board in the Württembergisches Landesmuse- um, Stuttgart. See Himmelheber, Georg (1966). ”Die But these thoughts are only suggestion – only the Möbel des Johann Daniel Sommer”, In: Kellermann, fact that bigger surfaces were divided into smaller - parts could be proved. gen, Thorbecke, p.124 and p.140, note 9. Fritz (hg.). Die Künstlerfamilie Sommer. Sigmarin The Bavarian National Museum owns with these 4 The analysis of the tin alloy has not yet been car- three bureaux not only three important pieces of the ried out. Bavarian court. As they are a French model and Mu- nich copy they are a group of high interest not only 5 Piening, H. (in press) UV/VIS-absorption spec- for conservators, but also for art historians (Figure trometry: a non-destructive method for dyestuff 16-18). The 2nd Scandinavian Symposium We hope the project on furniture in Boulle-tech- on Furniture Technology & Design: Marquetry past - andidentification. present, May In: 10-12, 2007, Vadstena, Sweden mation and discuss new aspects with other furni- turenique conservation will give us thespecialists. opportunity to find new infor 6 The BNM received a grant from the Getty Founda- tion, the Ernst von Siemens Kunststiftung and the Eleonora-Schamberger-Stiftung to support the analysis and conservation of the four Puchwiser objects. An exhibition and a conference took place in 2011. For information on the exhibition catalogue and the conference postprint please contact: restaurierung. [email protected]

7 In 1981 the object was offered for sale by the antique dealer Fischer-Böhler in Munich. As the

the BNM would be thankful for any information con- whereaboutscerning the destination of this bureau of this mazarin object. are unknown,

8 Hojer, G. (hg.) and Langer, B. (bearb.) (2000) Die Möbel der Schlösser Nymphenburg und Schleißheim. München (u.a.): Prestel, pp.277-278.

74 Marquetry Made of mixed Materials

9 The colorants have been analysed via UV-VIS spectrometry (non-destructive) and polarisation microscopy. Thanks to Frauke Schott, Dipl.-Rest.(Univ.), Munich, and Dr.Heinrich Piening, archaeometrical laboratory of the Bavarian Castles Administration, Munich.

10 (c.1623-20) at the Munich residence, see note 1, pp.68-72.See the magnificent table with pietra dura top

11 See note 9. The REM-EDX analysis showed an alloy made of Cu/Zn. Thanks to Dr.Christian Gruber, Bavarian Heritage Administration, Munich.

12 Thanks to Dr. Christian Gruber, see note 11.

13 Ponal wood glue, produced by the Henkel company, Düsseldorf (Germany) is a very popular white glue used for modern cabinet-making.

14 * 1640, † 1711, designer at the French court under Louis XIV.

15 The oak veneer is about 4 - 5mm thick.

16 Schiessl, Ulrich (1998). Techniken der Fassmaler in Barock und Rokoko. Stuttgart, Enke, p.22.

17 „… plus blanc, plus dur, plus sonore…“ Roswitha Schwarz 18 Segebade, C. (1993) Zerstörungsfreie Untersu- Dipl. Rest. (FH) Senior Furniture Conservator chungen von Boulle-Marketerie, In: Zeitschrift für Kunsttechnologie und Konservierung, Nr. 1, 1993, p. 131. Bavarian National Museum Munich, Germany 19 Thanks to Arlen Heginbotham at the Getty Muse- um, Malibu. For further information: Heginbotham, A., Millay, V. and Quick, M. (2004) The Use of Im- Tel. +49 (0) 89 21 12 42 51 E-mail: [email protected] linked Immunosorbent Assay (ELISA) as Comple- www.bayerisches-nationalmuseum.de munofluorescence Microscopy (IFM) and Enzyme- Artists’ Materials, In: The Journal of the American Institutementary for Techniques Conservation for, December Protein Identification 2004. in Stefan Demeter Diplom Restaurator Univ. 20 This was shown by Dr. Henriette Graf, art historian, Munich. Private Conservator Munich, Germany

E-mail: [email protected]

75 Heinrich Piening

UV/VIS-absorption Spectrometry – A non-destructive Method for Dyestuff Identification

Heinrich Piening

Introduction What is new about this technique? From historical treatises we know a lot about the A high performance diode-array spectrometer, nor- colorants used for the dyeing of wood and the de- mally used as HPLC-Detector was used. The spec- manding dyeing techniques. Conservators and art trometer has a resolution of 0.3 nm in the spectral historians like to know about the individual dyestuff range 300 – 1100 nm. It is thus possible to get im- used for a particular piece of marquetry. However, if portant spectral information from the UV and from the surface is intact it is in most cases not possible the near infrared parts of the spectrum. or desirable to take samples for dye analyses. There- A standard 45/0° geometry is used, applied with fore analytical results of dyestuffs are very rare. This paper deals with UV/VIS-absorption-spec- Interpretation is carried out using absorption spectraoptical fibres known (fibre from optics). infrared spectrometry. Absorp- technique for analysis of pigments and dyestuffs. It tion spectra show the results of the interaction of istrometry possible into identify diffuse nearly reflection, 90 % aof non-destructivecommonly used the electromagnetic wave with the material whereas colorants. This technique is applicable to furniture, textiles, drawings and paintings and has been fur- see. Absorption spectra can be used with commer- ther developed in order to get improved results.1 cialreflecting analytical spectra software. only represent the colour you can UV/VIS-spectrometry for colorimetry is used in

Portable spectrophotometers are on the market, but Some typical questions theydiffuse only reflection deliver colorimetric to proof colours data. of print media. What is the effect of the light source on the spectrum? colorimetric systems has been carried out by Robert FuchsSuccessful and Doris identification Oltrogge2 of of dyestuffs the University by the ofuse Ap of- How great is the effect of the surface roughness on plied Science, Cologne and by Ruth Johnston-Feller3 the spectra? from the Getty Conservation Institute. What is the effect of the measurement angle?

76 UV/VIS-absorption Spectrometry

Figure 1 Energy absorption and emission, Abs: absorption; IK: internal conversion; FL: fluorescence; Ph: phosphorescence.

What is the effect of binding media and varnishes? level S1 or S2. If the energy drops one step following emission of the former absorbed energy, it is called Every optical system must react to electromagnetic internal conversion. If the energy is lost in two or waves, but how important are these effects? phosphorescence. Some of the input energy is ab- Is it possible to identify mixtures of two or more sorbedmore steps without the emission. process is called fluorescence and colorants?

Measuring equipment Physical basics The measuring equipment comprises a light source, Additive mixing of red, blue and green results in - white light. What you can see with your eyes is the eter and a computer. The results are processed and effect of absorption from certain colours from white shownoptical fibres,in different a measuring scales appliance,such as chromacity, the spectrom ab- light. The measured spectra are completely differ- sorption spectrum or derivations of the spectrum. ent. Measurement geometry is 45/0°. The light spot nor-

Interactions of 1.5 mm. It can be narrowed to less than 0.5 mm (Figuremally has 2). a diameter of 3 mm and a detection field The interactivities of electromagnetic energy differ in different wavelengths. Interesting for UV-VIS- spectrometry is the region between 200 and 1100 nm. - pens to an electron, when activated by a photon. The electronFigure rises 1 shows from in the a simplifiedbase level formS0 to whatan excited hap

77 Heinrich Piening

Figure 2 Measurement equipment comprising a light source, optical fibres, a measurement geometry of 45/0°, the spectrometer and a computer. The results are processed and shown in different scales.

Basic results Binding media Halogen light and xenon light differ in their emission Different binding media seem to produce differ- spectra. It is only possible to get useful results when ent colours. A pigment like smalt looks light blue the correct energy is input. with gum arabic but nearly black when linseed oil Xenon light has more energy is put in the UV-area is used. In spectrophotometry binding material and of the spectrum, while halogen light has more emission in the near infrared. The spectrometer has its brightness is important for the colour calculation. own dark spectrum to which has to be subtracted Forvarnishes absorption greatly spectrometry influence the the results, effect becauseof the bind the- from the VIS-spectrum. ing media is very small. The binding material is nor- With the exception of the intensity, the spectra of mally nearly transparent in visible light. A binding different light sources are nearly identical. medium must have an absorption but in fact this absorption is only 1 to 5 % of the maximum absorption of a colorant. Roughness In this context, the interaction of electromagnetic The roughness of the surface which is measured waves and dielectric systems such as transparent does not change the position of the characteristic media is interesting. There are two refractive indices, one for the electric and one for the magnetic component. Depending on these indices, a medium peak , but has some influence on the intensity level. is transparent in different parts of the electromag- Measurement angle netic spectrum.4 Every medium which is transparent in visible light must have a point of absorp- For absorption spectrometry the measurement an- tion (Figure 3). At this point the medium becomes gle is not very important, if the variation form the opaque and has an absorption peak in the spectrum. standard 45/0° is no more than 15°. This absorption point can be used to identify binding media and white pigments.

78 UV/VIS-absorption Spectrometry

Figure 3 Points of absorption, depending on abnormal dispersion. X-axis: frequency, Y-axis: refraction index.

White Colorants Evaluation of the spectra White pigments seem to be white because they To identify a colorant by means of a spectrum it is spread light over a wide range of the electromag- necessary to use analytical software. The software netic spectrum. Optophysically white pigments are used was developed for analysis of IR-Spectra. The nearly transparent. They have however absorption programme was adapted and expanded to the spectrum area of UV/VIS. All mathematical functions like - points and these can be used for identification. tives can be used on UV/VIS spectra. An unknown Mixtures spectrumnormalising, can subtraction, be assessed first with and sets second of different deriva spectra libraries. In contrast to IR-spectrometry, UV/ - VIS-spectra-libraries are not commercially available. cal maxima bands in the spectrum. The absorption It is necessary to set up one’s own data library. In the ofMixtures light varies of colorants in proportion can be identified to the components by their typi of data library of the Bavarian Palaces Administration the mixture. Very rarely two different materials have there are more than 3000 spectra of known mate- their main maxima at the same position in the spec- rials, pigments and dyestuffs. With different search trum. A mixture of two components can normally be strategies it is even possible to identify the compo- analysed without a problem. nents of a mixture. While the system delivers results based on mathematical algorithms and displays a hitlist, the analyst has to interpret the results. Microscope - trometer to a microscope in order to analyse pig- Using optical fibres it is possible to connect the spec spectra are comparable with those from the surface. ments in cross sections or in dyed textile fibres. The

79 Heinrich Piening

Figure 4-5 Secretary, J.-F. Oeben, Paris c.1754/56. Residence Museum Munich, Inv. Res.Mü. M 32.

Examples Two pieces of furniture made by Jean-Francois Oe- table by Oeben (owned by the J.-P.-Getty Museum) ben in Paris between 1754 and 1757 belong to the which is similar to that in the collection of the Ba- Residence Museum in Munich. The dressing table varian Palaces Administration, high contents of iron and the secretary are both in very good, almost orig- and sulphate were detected. It was not possible to inal condition (Figure 4-7). identify the dyestuff 6. Questions from colleagues from England and the In the dyeing of textiles iron is often used as a mor- USA aroused our interest in these objects in our col- dant. Based on these analysis results it was tried to lection. reproduce the colour on wood. In combination with In her publication Die französischen Möbel der Res- the young fustic, a very interesting olive green dyed idenz München Brigitte Langer 5 shows a picture of a veneer was obtained. Comparing the spectra from - the Oeben marquetry and the reproduction it can be dition. The marquetry has been protected against shown that the spectra are similar with a correlation lightleaf with and floralshows marquetry, the colours which very brightly.is in very Some good piec con- of more than 98%. es of the marquetry show the natural colours of the It is possible to identify the now brown-looking colorants of the table-top marquetry and to identify rosewood. As dyestuffs cochineal and young fustic, the dyes used. In fact it is very seldom that a dye- thewood intensive such as yellowamaranth, dyestuff Bahia of rosewood Rhus cotinus, or Bazilian better stuff is completely damaged or degenerated. The known with the common name ‘Wig tree’, could be intensity and therefore the grade of absorption are characteristic. Sometimes one component of a mix- An especial point of interest was the olive green of ture of dyestuffs is more sensitive to light and has theidentified. leaves. Green as a natural dyestuff is very rare. degenerated more than another component. In this In historical recipes the use of copper acetate was case, the visual impression of the original colour can mentioned. Green is often a mixture of blue and yel- be misleading (Figure 8). But the experience made low. In this case only a yellow component was found: with more than 400 examined art objects proved Young fustic. There was no blue component. In the that UV/VIS-absorption spectrometry is a reliable analysis of the green marquetry of another dressing

method for non-destructive dyestuff identification. 80 UV/VIS-absorption Spectrometry

Figure 6 Dressing table, J.-F. Oeben, Paris 1754/57. Residence Museum Munich, Inv. Res.Mü. M 33.

Figure 7 Detail of the left side wing.

Figure 8 Table top of the dressing table with reproduces pieces of dyed veneer.

81 Heinrich Piening

Notes 1 For the authors dissertation on the topic see http:// Piening, H. (1996) VIS-Spektroskopie. Eine neue, - Restaurierung/MobileUV-VIS-Absorptionsspek- - troskopie01.pdfwww.hfbk-dresden.de/fileadmin/alle/downloads/ zerstörungsfreie Untersuchung eingefärbterBayerische Intar Ver- sien-waltung und der Marketeriehölzer staatlichen Schlösser, an zwei Gärten Roentgenmö und Seen 2 Fuchs (1989) beln(Hrsg.) der. München: Münchner Bayerische Residenz. Schlösser In: - bewahren und erforschen. 3 Johnston-Feller (2001)

4 Zinth/Körner (1998) p. 23 Zinth, W. and Körner, H-J. (1998) Physik 3. München: Oldenbourg. 5 Langer (1995) pp. 128 - 136

6 Heginbotham, A., Piening, H., v. Engelhardt, C.,

Revelations of the Colors in the Marquetry of J.F. Figures/ Photo credits Oeben.Grzywacz, In: 2012 C., IIC Hughes, Vienna Congress G., Smith, - The M.Decorative: (2012) Figure 1: © Gottwald, W. & Heinrich, K.H. 1998, p.28 Conservation and the Applied Arts, September 10-14, 2012, Vienna, Italy Figure 2: © Heinrich Piening

Figure 3: © Zinth, W. & Körner, H-J. 1998, p. 23

Figure 4; 5; 6; 7: © Bayerische Schlösserverwaltung

References Figure 8: © Heinrich Piening

In: Lexikon des gesamten Buchwesens, Bd. II.15. Stutt- Fuchs,gart: Hiersemann, R. (1989) S. p.v. “Farbempfinden”,550, p. 552. “Farbmetrik”,

Gottwald, W. and Heinrich, K. H. (1998) UV/VIS- Spektroskopie für Anwender. Weilheim: Wiley-VCH.

Johnston-Feller, R. (2001) Color Science in the Ex- amination of Museum Objects: Nondestructive Proce- dures. Los Angeles: Getty Conservation Institute.

Hecht, E. (2005) Optik. 4th ed. München: Olden- bourg. Heinrich Piening Kortüm, G. (1969) Reflexionsspektroskopie. Berlin: Head of Department of Furniture and Heidelberg, New York: Springer- Verlag. Wooden objects

Langer, B., Ottomeyer, H. and Hojer, G. (1995) Die The Bavarian Department of State-owned ie französis- Palaces, Gardens and Lakes chen Möbel des 18. Jahrhunderts. München, New York:Möbel Prestel. der Residenz München 1. In: D Munich, Germany

Nassau, K. (????) The Physics and Chemistry of Color. Tel. +49 (0) 89 17 90 84 50 2nd ed. New York, Chichester, Weilheim, Wiley. E-mail: [email protected]

82 Marquetry Techniques in Paris during the second Half of the 18th Century

Marquetry Techniques in Paris during the second Half of the 18th Century

Yannick Chastang

Although the Boulle technique was still being used, from the second quarter of the eighteenth century LeleuLatz (c.1691-1754), (1729-1807). AnalysisJean-François and conservation Oeben (1721-63), work onwardsParisian marqueteursused a different undertaking technique, floral which marquetry had its onJean-Henri furniture Riesener by these (1734-1806) makers have and revealed Jean-François distinc- origins in intarsia. Literature on furniture manu- tive tool marks and outline drawings cut into the facture techniques and, in particular, marquetry, is carcasse behind the marquetry. Further evidence of rare during the seventeenth century and much of the use of this inlay technique is found in a paint- the eighteenth. However, during the second half of ing representing an English marquetry workshop of the eighteenth century many more books were writ- the late eighteenth century. Executed by the Swed- ten and published on these subjects. The cabinet- ish painter Elias Martin during his travels in Eng- maker’s craft was discussed in detail in Diderot’s land between 1768 and 1780, the painting depicts a craftsman cutting a piece of wood with a fret-saw while another gouges out a cavity in a table top us- subject,Encyclopédie L’Art du of Menuisier 1751-80 .and Roubo’s in 1772 book the remains carpenter the ing a small inlay knife. Although it is unlikely that bestAndré-Jacob and most Roubo comprehensive published abook major on work eighteenth- on the all cabinet-makers in Paris in the eighteenth centu- century cabinetmaking, even though some modern ry used this technique, it is safe to assume that the cabinet-makers have criticised the fact that not all majority did so. Many were of foreign, particularly the recipes he quotes can be successfully replicat- Flemish, origin. They lived and worked in the same ed. Published during one of the richest periods of area of Paris around the Faubourg Saint Antoine French marquetry, the techniques Roubo discusses and undertook their apprenticeships in the same include many of the most important used by eight- workshops. Despite the fact that this technique is eenth-century cabinetmakers and marqueteurs. He closer to intarsia than to Boulle marquetry, this late provides a detailed discussion of what may be called eighteenth-century veneered decoration is also gen- the advanced inlay technique. erally described as marquetry. This technique was used to produce the marquetry made by such master-craftsmen as Jean-Pierre

83 Yannick Chastang

Figure 1 Louis Tessier, Livre de Principes de Figure 2 Louis Tessier, Livre de Principes de Figure 3 Louis Tessier, Livre de Principes de Fleurs, c.1755. Front page. Fleurs, c.1755. Engraving of lilies used by Fleurs, c.1755. Engraving of lilies used by Riesener. Riesener.

Figure 4 Transferring the engraving onto wood Figure 5 Cutting the pattern using a piercing Figure 6 Cutting out a lily using the piercing saw. veneer. saw and an 18th century donkey.

84 Marquetry Techniques in Paris during the second Half of the 18th Century

Figure 7 Lily petals after cutting. Figure 8 L’art du Menuisier by Andre-Jacob Figure 9 Lily petals with shadow. Roubo, c. 1772-1774. Sand shading.

Figure 10 Lilies glued on a backing paper. Figure 11 Preparation of the background veneer. Laying the background veneer on the solid wood carcase of a piece of furniture, starting by gluing the outside frieze.

85 Yannick Chastang

On the back of the roll-top desk (bureau à cylindre) The top of the piece of furniture would then be sand- made around 1770 for the comte d’Orsay (The Wal- - lace Collection, London F102; Hughes 191), Riesener spite its time-consuming nature, this technique was has depicted a bunch of lilies taken directly from an preferreded, engraved to theif necessary, Boulle technique and a finish during applied. the secDe- engraving by Louis Tessier. A modern reproduction ond half of the eighteenth century. Its advantages, of this detail has been made, using the technique de- besides those of technique, lay in the complete lib- scribed by Roubo, in order to illustrate the process. erty of interpretation of the marquetry composition The marqueteur would have made a tracing of the which it afforded the marqueteur and the exactness Tessier engraving, copying the detail of each individ- technique this tracing would have been transferred outwith depending which each on marquetrythe maker’s element whim. Such fitted freedom into its orual glued flower onto and aleaf. piece Just of as veneer, in the which Boulle would marquetry then allowedspace. A theflower resulting or leaf marquetry could easily composition be added or to left be have been prepared in the same way. Again as with adapted, often superbly so, to the piece of furniture - have been built up, the 1763 inventory of Oeben’s tures. workshop,Boulle, a stock for example, of ready-cut recording finished a chest flowers of pre-cut would withOn itsthe bronzeother hand, mounts this and technique other decorative only allowed fea one marquetry composition to be completed at a When a piece of furniture was to be veneered with time. With intensive practice and long experience marquetry flowers. - the eighteenth-century craftsmen produced high ing a sheet of background veneer onto a completed quality marquetry very quickly. However, the in- floral decoration, the first stage would involve glu dustrial revolution provided the impetus in the next composition would then be outlined on the veneer century for the development of faster and cheaper solid wood carcasse. A simple drawing of the final- techniques which would alter the course of standard - marquetry practice. There are a few rare examples mentsto assist selected with the for placement the design of thewould flowers be placed and mar on of nineteenth-century marquetry using inlay, but to- topquetry of the elements. background The veneer flowers and and carefully marquetry marked ele day the technique is virtually extinct. out into the veneer using a scriber. Turning to his inlay shoulder knife, with its long handle mounted with a sharp blade, the marqueteur would cut deep into the background veneer along the scriber lines. This is the process which can create the distinctive marks on the solid wood carcasse. The cut-out por- tion of the background veneer would then be removed, creating a cavity into which the marquetry other decorative element were individually inlaid usingelements this would technique. be fitted and glued. Each flower and

86 Marquetry Techniques in Paris during the second Half of the 18th Century

Figure 12 The veneer is maintained in position using Figure 13 Positioning and marking the Figure 14 Flower positioned and marked on small nails. individual flowers and elements on the plain the background veneer. background veneer.

Figure 15 Inlaying the flowers into the background veneer Figure 16 L’art du Menuisier by Figure 17 Modern reproduction of using the shoulder knife. Andre-Jacob Roubo, c. 1772-1774. shoulder knife. Shoulder knife.

87 Yannick Chastang

Figure 18 Removing excess material to create a cavity. Figure 19 Removing excess material to create a cavity.

Figure 20-21 Tools for removing excess material to create a cavity. Figure 22 Inlaying elements using a one handed knife with a hammer, as represented in the c. 1770 painting by Elias Martin showing an English marquetry workshop, now at Nationalmuseum in Stockholm.

88 Marquetry Techniques in Paris during the second Half of the 18th Century

Figure 23 Finished marquetry panel giving an ap- proximation of what the colours of Riesener’s furniture might have looked like when originally made.

Yannick Chastang Cabinetmaker and Furniture Conservator

Private workshop Kent, U.K.

Tel. +44 (0) 17 95 22 82 52 E-mail: [email protected] www.yannickchastang.com

89 Jack Metcalfe

Chippendale’s Marquetry revealed

Jack Metcalfe

I am a practicing marqueteur who has spent the The veneers used for the piece consist of a back- last 12 years teaching, writing and lecturing on the ground of Indian rosewood (Dalbergia latifolia), designs and techniques of Thomas Chippendale’s surrounded by a narrow banding of East Indian Sat- neo-classical marquetry furniture. This paper forms inwood (Chloroxylon swietenia) set between green part of the work I am undertaking to produce a book of the above title, which will reveal the marquetry panels are framed in South American Tulipwood techniques and working methods deployed by (dyedDalbergia stringing, frutescens and finally) cross the banding. doors The and marque drawers- Chippendale during the period 1770-1775. try elements are all constructed from holly veneer (Ilex sp.) On each door panel, wide cracks have appeared due to movement of the oak substrate, caus- Door panel - Harewood Library writing ing concern that some veneers would be lost, unless urgent remedial conservation work was not carried table 1771 out. Because the surface cracks occurred in different In 2003, I was invited to reconstruct a door panel places on each of the four doors, it provided a neces- (Figure 1) belonging to the library writing table sary, but fortunate opportunity to lift and reinstate a made by Thomas Chippendale 1771 for Harewood good selection of veneers from different parts of the House, Leeds. The table is considered to be one of design and hopefully reveal how the marquetry was Chippendale’s most prestigious works, representing established and constructed. Those revelations are discussed in this paper. has four matching doors – two on either side allowinga fine expression two people of neo-classical to work, facing design. each The other.piece Matching drawers are positioned above the door panels on each side. The two end panels have a central medallion from which elaborate sprays of plumages burst from its centre.

90 Chippendale’s Marquetry revealed

Figure 1 Door panel - Harewood Library Writing Table.

Diana & Minerva commode 1773 – made for Harewood House The Diana & Minerva Commode is perhaps consid- where gold, green and pink dominated. To comple- ment the room the gold coloured satinwood provided made by Thomas Chippendale. For many years, it the ideal foil, for displaying the green acanthus and wasered considered by many as to the be finest his most piece expensive of furniture at ever£86, laurel foliage, while pink ribbons and paterae, bal- until a second (unproven) commode made for Re- anced with red padauk and red berries throughout. nishaw Hall in Derbyshire is said to have cost £140. Natural white holly completes the colour scheme, I, along with a retired colleague and cabinet-maker/ with further embellishment provided by subtle sand marqueteur - Ron Dickens, are currently building a shading, delicate pen work and engraving. replica of the work. The main reason for this is to establish Chippendale’s techniques, both in construction of the commode and its elaborate and extensive marquetry. The work is in progress as I write. The main veneers used for the marquetry consist Veneer production of a background of satinwood, with tulipwood cross Another, and quite startling discovery I was able to banding framing each panel. The marquetry work is make about Chippendale was the production of ve- mainly holly, dyed in a variety of colours, with a small neers for decorating his furniture. Up till commenc- addition of padauk Pterocarpus dalbergiodes. The ing this project, I, and I suspect many others, had dyed colours are determined from two sources, the always held the view that 18th century marquetry one being the experience gained from lifting veneers furniture was consistently decorated with veneers on the library writing table, the other being studies that were sawn from the log to a thickness of 3 mm or greater. A misconception that was quickly dis- of Robert Adam’s ceiling and cornices at Harewood pelled when I measured a range of Chippendale’s House.of the polychrome It has to bedécor noted used here on thethat plaster Adam work and veneers (already glued and polished) to discover Chippendale ‘set out’ to create a total polychromatic effect in each of the state rooms at Harewood. The to over 90% of his (known) collection and the 1mm Commode was made for the state dressing room, thicknessthat they are(or thinness)all 1mm thick! is consistent I have now throughout. had access

91 Jack Metcalfe

Figure 2 Diana & Minerva Commode – Harewood House 1773.

It must be said that the production of thin veneers, Tests on furniture at the Wallace Collection, London prior to any subsequent treatments, is fundamental however, revealed that veneers on works by the in achieving the techniques given in this paper. A recent search for evidence of how thin veneers between 1.2 and 1.6 mm thick, but in places out- were achieved, led me to the following article: The of-view,Paris-based where ébénistes secondary Oeben sanding and would Riesener not werehave occurred, they measured 2mm. It has been noted December 1978 by Michael Stürmer titled ‘Bois des that some Paris-made marquetry furniture was Indes’Burlington and the Magazine economics Number of Luxury 909 Furniture Volume in cxxthe sanded back on more that one occasion to restore time of David Roentgen. the initial dyed colours. Therefore this test on French furniture from the mid 18th century is inconclusive. of veneers from an upright log by two men using a largeThe two-handedfirst paragraph saw (p. (Figure 803) describes3). It goes theon tosawing state the practice of sawing thin veneers occurred mainly ‘that they had a life-times practice of this specialist inHowever, London. my Stürmer’s finding do,paper at thisdoes stage, state suggests that German that work in producing 12 leaves to the inch’. On average, workshops, including Roentgen’s, used veneers that getting 10-11 leaves per inch. With the loss of over were 2mm (minimum) and occasionally 3mm thick. half the wood in sawdust from the kerf of the saw, A second method of thinning veneers after sawing, meant that veneers were cut to a thickness of 1.2mm. is shaving the veneers with a draw knife, by an Stürmer makes quotes from Roubo that he (Roubo) operative seated on a wood-shaving bench (Figure disapproved of this practice, describing the resulting 4). Roubo’s supporting text mentions thinning solid veneer as ‘tre mince’ (too thin), but eventually wood planks as well as veneers. I would suggest this concedes that: ‘It was absolutely necessary, and that practice was used to remove saw marks and thin the veneers were still strong enough to use’. wood even further. Typically, a draw knife is a tool Further examination of two other mid 18th century used extensively by a ‘bodger’ (chair maker), where London-based cabinet makers, who’s furniture is held in a private collection in Yorkshire showed that trimmed with the draw knife. Reference Roubo L’Art they were also covered with 1mm thick veneers. dutimber menuisier for making Vol 5 chairp.799. legs and stretchers are first

92 Chippendale’s Marquetry revealed

Figure 3 Sawing Veneers from log. Copyright Figure 4 Wood shaving bench. Copyright the ‘Colo- the ‘Colonial Williams Foundation’ USA. nial Williams Foundation’ USA.

I can report that the bench and draw knife seen at refers) written for students taking furniture mak- Figure 4, is used today by chair-makers, and that my ing courses in colleges/universities across the UK, - illustrates and teaches the ‘template method’ con- ducing smooth evenly thin veneers. struction of these motifs. Since my discovery that own experiments confirm its effectiveness in pro Chippendale’s veneers were reduced to 1.2 mm, -

myBending initial beliefveneers of knifeinto compoundconstruction angles is finally is made con Why so thin? firmed. My 12 years experience working with Chippendale This is a fact known to every veneerer and needs motifs, has given me good reasons why Chippendale noconsiderably further explanation. easier if the I have veneers had areconsiderable first thinned. ex- needed the source material to be as thin as could be perience in bending veneers over both convex and achieved, without compromising stability. The rea- concave surfaces, and in each case the addition of sons for this are: marquetry let into the veneers, prior to gluing, has To permit dyes to permeate through the thickness made the operation achievable. Chippendale’s most of ‘sheets’ of veneers. Our own experience in dying testing compound curved surface is unquestionably holly for the reproduction panel of the writing table, the domed door on the Diana & Minerva Commode, illustrated clearly that the thinner the veneer, the and the method of laying the veneers and marquetry quicker it was to achieve full dye penetration. Since on this piece is discussed later. we now know that Chippendale’s marquetry relied Mass production: I will be showing examples on dyed veneers to achieve the colour range. This where neo-classical motifs are replicated in very large numbers, for making repetitive decoration on Knife work. I have always held the view that one of Chippendale’s larger pieces of furniture. pateraeoffers the (fans first as reason I call them)for this were change constructed in practice. using

Marquetry Course (www.the-marquetry-course.net a craft knife and not a fret saw. My first book The

93 Jack Metcalfe

Figure 5 Acanthus leaves and damaged laurel leaf. Figure 6 No knife marks on the oak substrate.

Door panel – Harewood Library writing table Evidence of packet fret sawing The picture (Figure 1) shows one of the four original doors before work started on lifting the techniques used to cut the marquetry and set damaged veneers. It is important to see the two itThis into close-up the rosewood (Figure ground. 5) provides At the the left first side clues of the to matching acanthus leaves at top right hand side and picture we have acanthus leaves clearly showing a top left hand side showing the curled leaves ‘cut saw kerf (gap) between the perimeter of the leaf, short’, because when they were delivered by the and the ground veneer. A consistent thin black line marqueteur (suggests an outside contractor), the provides the clue. This means that the acanthus marquetry, already assembled into the rosewood leaves which form the outer structure of the vase background veneer, was too big for the door panel. design was fret sawn as a ‘packet’ along with the The cabinet maker had to maintain a constant rosewood veneers forming the ground. The laurel ‘border width’ throughout the piece for the assembly leaves, however, seen traversing the picture from top to look balanced. Therefore he had no alternative left corner to right side, have tight joints, not only but to reduce the marquetry on each side by 10mm. between the three petals making up each leaf, but tight joints between the assembly and the rosewood not have been ‘inlaid’ using a shoulder or inlay knife. ground. This initial sighting prompted the idea of HadThis thatis the been first theevidence case, thethat 10mmthe marquetry of leaf, whichcould inlaying these elements with a knife, which I quickly should have continued and curled upwards, could disproved by insisting that the damaged leaf shown easily have been accommodated for. You can see how (centre) be lifted. acanthus scrolls on the two examples at the very top (leftthe leaf & right) should of havethe design. finished, by looking at the same Evidence of two-part fret sawing After removing the laurel leaves and one berry (Fig- ure 6), it was revealed that there were no knife marks on the oak substrate. Further more, the sides of the edges of the rosewood ground were square to the

94 Chippendale’s Marquetry revealed

Figure 7a-c Green, pink, red & burgundy samples from original panel.

oak substrate to accommodate a matching bevelled with the addition of alum as the mordant, to produce insert. It was clear that the only way these leaves the bright banana yellow. During soaking, which could have been constructed into the background, is accelerated by heating, a solution of ‘vitriolated with such consistently tight joints, was by using indigo’ (indigo dye dissolved in sulphuric acid) is ‘two-part’ fret sawing, also referred to as either added. Indigo is derived from the bush Indigofera. piece-by-piece or the classic technique. sp. Control of the shade of green is achieved with the indigo. The pink dye was obtained by using dragons blood, a resin from the Dragon Tree Daemonorops, indigenous to Tenerife. No mordant was necessary, Dye recipes and after prolonged soaking in ethanol, heated up in The range of colours used on the door panel a glass vessel each day for a week, full penetration consisted of three shades of green, red, pink, and of the holly samples was eventually achieved. burgundy (Figure 7), plus the natural white. For our The burgundy for the central part of the vase was experiments holly veneer was used throughout and achieved using an infusion of powered Brasilwood the dye recipes were taken from an article titled The Caesalpinia.sp and alum as the mordant. Cabinet-Makers Guide to the whole art of Dying, The red for the berries was achieved using cochineal, Staining Varnishing & Beautifying of Wood by Peter a dye derived from the female beetle, Dactylopius coccus originating from Central America. 1809. I believe the above document is available ‘bite’) was tin chloride. The above dying and fromWeber, the Cabinet-maker British library. and The ébéniste, dying process second wasedition co- subsequent inclusion of the now coloured veneers ordinated by Ian Fraser – Senior Conservator, Leeds were eventually set into marquetry to two replica Museums and Galleries, in his workshops at Temple panels, which I made at the latter end of 2003. Newsam House. One panel has been standing alongside the writing table at Temple Newsam House since 2004, whereas soaking holly veneers in an infusion of powered bark the other is kept inside a black protective bag, ofThree the barberry shades tree of greenBerberis were vulgaris obtained, and turmeric, first by preventing exposure to light, except for occasional

95 Jack Metcalfe

Figure 8a Packet fret sawing of acanthus leaves. Figure 8b

brief hours during talks and demonstrations. The provide important registration marks for position- exposed panel during the intervening three years ing the rest of the elements that make up the vase. Note that both panels are sawn from one sawing. The pink has turned to a lilac colour, whereas the burgundyhas suffered vase significant and red berries colour have loss so to far the retained greens. their colours. The second panel, protected from the light, has not suffered any loss of green, burgundy The finished panel compared to the (dragons blood) has turned lilac. I can only assume original thator red some shades, chemical but like reaction the first between panel thethe pinkdye anddye It’s worth noting on the original panel (Figure 9), the tannin in the wood has caused this change. that in general, dark woods turn lighter in colour through exposure to light, whereas light colours turn darker. You may also note that I also ‘cut-off’ the Packet fret sawing the acanthus acanthus leaves (top left & right hand sides) on my replica work, just to emphasise the original human leaves error that fortuitously now provides us with vital These two pictures (Figure 8) provide a step-by-step information about 18th century assembly methods. overview of the packet fret sawing process, where halves of the rosewood is placed around two leaves ofthe green design dyed is first holly split (not down shown). the centre The packet,and the heldtwo together with small veneer pins is then fret sawn along lines of the drawing, so that both the right and left hand matching acanthus leaves are cut from one sawing action. Finally, as the packet is separated, the sawn green leaves are seen let into the background rosewood. These first elements to be sawn in, 96 Chippendale’s Marquetry revealed

Figure 9a-b Completed panel, compared to original.

97 Jack Metcalfe

Figure 10a Lines drawn on a board.

Figure 11a-b Diana door panel, the completed reconstuction versus Figure 10b The completed design. the original.

Half round paterae on drawer fronts of the Diana & Minerva commode The 9 half moon shaped paterae on each of the - sar ebony Diospyros celebica. Corner fans are con- design, initially drawn on a wooden board (Figure structedOn both by figures, the template the background method, while veneer the is garlands macas 10)drawer acts fronts as a ‘template’ are all the for same making shape multiple and size. copies. The of laurel leaves and pink ribbons on both panels are two-part fret sawn. The red berries are added with a held against a straight edge. The scallops which bor- hollowed-out metal punch. The flutes of the fan are cut with a small craft knife, der the flutes, consist of white stringing, surrounded- quetryby padauk Course border provides and a step-by-step final row of illustrationsberries, made of thewith template a hollowed method metal construction,punch. My first applicable book The toMar all Veneering the domed door panel shapes of paterae (fans). It’s on this door panel (Figure 13) that Thomas Chip- pendale showed his talents both as a designer and a cabinet-maker. Without doubt, his vision and skill, Diana & Minerva door panel turned what would have been an impossible task, into just another normal veneering operation. The – new versus old domed door, because of its shape, makes standard The completed door panels, compared to the origi- veneering techniques impossible, because there are nal, shows what coloured veneers were used (Figure two acute compound angles working against each other. One angle travels from top to bottom, while at parts is still to be added, as well as the cross banding the same time another pulls from side to side. On the borders11-12). Ivory, surrounding which forms the panels. Diana’s & Minerva’s flash

face of it, a veneering impossibility!

98 Chippendale’s Marquetry revealed

Figure 12a Minerva door panel, the completed Figure 12b reconstuction versus the original (12b).

Mass production and another proof of two-part fret sawing Thankfully, Chippendale’s designing genius and ob- This pier table (Figure 14) is one of a matching pair vious practical experience, solved the problem. He made for Harewood House c. 1771. At 1.8 meters (5ft 11in) long and 770mm (2ft 6½in) wide, they (as can be counted by the eight swags). This im- form one of the larger (not the largest) marquetry first reduced the dome into eight equal segments,- surfaces of Chippendale’s collection. inwood. His second move was to remove the stress The marquetry shows Chippendale at is most inmediately each segment minimised at the the critical size and of each sharpest piece point of sat of the curve, by adding swags of laurel leaves, plus a downward strip of leaves along the glue joints. The allflamboyant. constructed The from stylish holly. acanthus The background plumages down veneers the addition of the swags removes the stress in the sat- consistcentral columnof two areleaves truly of amazing. Indian rosewood,The marquetry joined is inwood and with marquetry now added, each seg- down the central line. Each leaf is over 1.2 meters ment bends easily into the acute part of the dome. (5ft) long and 300mm (1ft) wide: Clearly, impossible However there is still one further problem at the very top edge of the joints where two segments converge with the downwards strips. I found that the rosewoodto fretsaw leavesbackground this size? veneers. Two tiny tell-tale two segments of satinwood still pulled away from cutsThe are first visible points at the to ends highlight of the aretwo acanthus the cuts inleaves the - which almost touch the right and left hand borders. dale obviously had the same problem, so he intro- The cuts are about 3mm long and are made across each other on the final 2 or 3 millimetres. Chippen the grain. Other cuts are made between the ends of each leaf arrangement and the bottom edge of the whereduced athe tiny laurel white leaves flower converge. to cover up the unwanted table. While these are not visible on the picture, on- gap. The flowers are just visible above the junction site inspection shows them very clearly. In total, 8 added for artistic reasons, but to solve a practical cuts are made across the grain and 4 cuts with the You now bear witness that the flowers are not grain on each of the two tables. What this means is problem! 99 Jack Metcalfe

Figure 13 Chippendale’s domed door.

that the background veneer was deliberately ‘cut-up’ Each of these elements are repeated 82 times, but since there are two matching tables - 164 pieces had saw. Had the marquetry been ‘inlayed’ into the rose- woodinto manageable ground after sizes it had to beenfit into glued the throat to the substrate,of the fret shape. the cuts would not have been necessary. If ever there toThis be produced, was achieved each by perfectly making up repeated packets inof veneers,size and was a case for ‘knife inlaying’ this would have been - say 10 sheets of green veneer held together in a it, yet two-part fret sawing was clearly accommo- packet. With veneers sawn to a thickness of 1.2mm, dated for instead. I have examined other large sur- packets of 10 veneers would have been 12mm thick, faces from Chippendales collection, and I can clearly which is perfectly acceptable for fret sawing work. illustrate on each piece how the background veneers In the case of the single acanthus leaf, multiple copies of the drawing would have been glued to the top the required ‘windows’ to accommodate the mar- of the packet, and 10 elements fret sawn at a time. quetrywere ‘arranged’ elements. intoMy book, manageable when published sizes for in sawing 2008, By repeating the same drawing 16/17 times the 164 will reveal evidence on all his commissions, leaving elements were produced quickly and accurately. The no doubt as to the method of laying. same procedure was used to produce the S Scrolls, Finally, the border arrangement (Figure 14) de- except that these would have been sawn from pack- serves special mention, because of its number of ets of dyed pink holly. repeat motifs. I have counted 6 different elements which make up the border – acanthus leaf, acanthus stem, laurel leaf, S scroll, strap and a berry.

100 Chippendale’s Marquetry revealed

Figure 14 Pier table, one of a pair, Harewood House.

The elements, once all cut, are then laid out on the rosewood ground veneer, to achieve a symmetrical border. Once in place and held with tape or spots of glue, a scored line is made using a small craft knife. The elements are lifted off and the windows cut out with a fret saw, by sawing up-to the scored line. The cross banding border, because of its length, is cut the saw. Because the borders are cross grained, the cutsinto lengths,are easily short achieved enough with to the fit intograin. the Finally, throat the of elements are let into their respective windows and a Jack Metcalfe perfect fit is achieved. Marqueteur

Private workshop Leeds, U.K.

Tel. +44 (0) 11 32 75 66 87 E-mail: [email protected] www.marquetrymatters.wordpress.com

101 Per Kortebäck

The Marquetry Artist Georg Haupt – Cabinetmaker by Royal Appointment

Per Kortebäck

Georg Haupt is the most well known cabinetmaker The Duke of Choiseul at Chanteloup frequently used that worked in Sweden during the eighteenth cen- Simon Oeben as his cabinetmaker. In 1768 Haupt tury. And for good reasons, he not only brought the went on to London together with his nephew, the neo-classical style in furniture to Sweden, but he artist Elias Martin, who had joined him in Paris 1766 also brought a new technique of making marque- to study art. Christopher Fürloh had already moved try. Marquetry furniture in Sweden had been out of on to London before him. In London Haupt seems to fashion for some time and was hardly used at the have worked for John Linnell but also probably had time when Haupt became a cabinetmaker by royal a practice of his own. There is a small table now at appointment. the Victoria and Albert museum that was designed Georg Haupt was born in 1741. Both his father and by Sir William Chambers. It is signed by Haupt 4th grandfather were court cabinetmakers so he was of February 1769. more or less born in to the cabinet-making guild. In 1769 Haupt was made cabinetmaker by royal He started as an apprentice to Johan Conrad Eck- appointment and returned to Sweden. He then in- stein in 1754 and became a journeyman in 1759. troduced the technique of making marquetry that In 1762 he travelled to Amsterdam together with he had learned during his journey, but evolved to his a friend, another journeyman named Christopher own style by the use of engravings. He was a mas- Fürloh. They both worked in Amsterdam during one ter in Stockholm for only 15 years before he died. year. It is very little known of their time there, but in 1763 they went on to Paris where Haupt most others who copied him. Copies of Haupts furniture probably worked for Simon Oeben. In 1767 Haupt hasBut heeven had been a large produced production and soldand influencedduring the many 20th worked at the castle of Chanteloup where he made century by IKEA. a table with his sign hidden inside the construction.

102 The Marquetry Artist Georg Haupt

Figure 1 This is the first work Haupt made when he returned to Stockholm. It is his masterpiece and was ordered by the King Adolf Fredrik for Queen Lovisa Ulrika.

Figure 2 The signature is made as an engraving in the book at the front of the top section: ‘Georg Haupt: Ebeniste du Roi fait Cet Bureau’.

103 Per Kortebäck

Figure 3 This print by Francois Boucher was Figure 4 Centerpiece with cupid from com- Figure 5 Painting by Elias Martin called ‘Two used by Haupt in some of his marquetry. mode made by Haupt. ebenists’, one cutting the ornament that the other is inlaying.

The marquetry was made mostly in the same way The tools used by Haupt are also described in detail throughout Georg Haupt’s production although in the estate inventory made after his death, as well he had a great variety with many unique pieces as some of the different woods he used. of furniture. He brought with him the knowledge By closely examining the marquetry you most he gained from his stay in Paris, but his technique often can identify what technique has been used. evolved in some way from the small table made in When inlaying the saw cut pieces into the back- London, through his early pieces back in Sweden, to ground he used several different tools. When a chis- his later production. el or knife is forced through the wood it bends the The background was almost always made of stained birch veneer surrounded by black and white the veneer there can be marks from several different kindsfibres of when tools cutting used to across make the the cavity grain. for Underneath the piece He often added black lines to accentuate a three dimensionalbandings and effect colourful together friezes with ofshadings tropical made wood. by But it is in the engraving of the marquetry that engravings. Hauptto be filled really in. shows his exceptional skill and makes Haupt was very artistic and made many of his him unique. The engravings are very skilfully made designs himself, but also used others from books and prints he had collected. It is clear that he was to make a three dimensional effect. The grooves very artistic also in the way he interpreted designs and gives shades and fine details to the marquetry from prints and drawings to engraved marquetry. different tones but also colours like red and white Haupt inlaid his marquetry into the background where mostused, oftenwhite filled to accentuate with black highlights or brown instead wax in veneer in the same way as he had learned during of shades. Sometimes he could even use the engrav- his journey. In the painting by Haupt’s nephew Elias ings to make details directly into the background ve- Martin made in London 1768-80 you can clearly neer without inlaying. see some of the tools used to saw and inlay the marquetry.

104 The Marquetry Artist Georg Haupt

Figure 6 By the side of this flower the fibres have bent by the force of Figure 7 Here the mark from the center of the drill used to inlay the the knife when the marquetry was inlaid into the background veneer. medallion is clearly seen behind the veneer.

Figure 8 This is a detail made by Jean-Henri Riesener. The banding is Figure 9 In this picture you can see the visible saw cuts in the flowers made from one piece of veneer, cut in many parts and then shaded in by Riesener. There are no engravings at all. All details and shades are hot sand to make it appear three-dimensional. made by visible saw cuts and burning.

105 Per Kortebäck

Figure 10 This is a detail by Haupt with engraved shades in the Figure 11 Another detail by Haupt where he used only engravings to banding. make shades and details.

It is the engravings that parts Haupts technique like the birch I mentioned earlier. The fact that the from the French masters. The inlaying technique is materials where expensive and hard to get is clearly the same but Haupt used the engravings in a more illustrated by the fact that Haupt sometimes used pieces of less quality in concealed places or even left In Paris the marquetry was built up with many them out completely under brass mounts. morerefined parts way. and they used shadings made by scorch- His furniture was originally very colourful, and a ing in hot sand and visible saw cuts to make details. lot of the marquetry was made with stained veneer. Engravings were only occasionally used to make There are several contemporary descriptions with details. Haupt used this technique of shading in hot Haupt telling about his bright coloured motifs in- sand only initially during his stay in London and to layed into grey backgrounds. some extent after his return to Sweden. Haupt never Haupt mainly used veneers that were already used visible saw cuts to make details in leaves etc. stained when he cut the marquetry, and he used He only used engravings. this method also for the big background veneers of Like any great marquetry artist Haupt also must birch, which could be grey or brown. But sometimes have used several different techniques when making he also stained the veneer after it had been inlaid his marquetry, not only inlaying. One other method and engraved. that was used during this period was cutting with an angle. He most probably got in contact with it in it could give the impression of many parts, each with Paris where it was used occasionally. I have not seen itsBy own first colour. dividing However, one single this piece makes with the engravings colouring any proof that he used it in his marquetry, but it is even more sensitive to both light and wear, and has - probably disappeared quickly. neers and like here, in a bottom of a drawer. a Thefair guessmaterials since used he used where it to sometimes fill in holes very in hisexclu ve- sive and came from Europe, Africa, America and Australia. Many of them are the same as used in Par- is and London, but he also used many native species

106 The Marquetry Artist Georg Haupt

Figure 12 In some cases Haupt could also avoid artificial shadings Figure 13 Drawer bottom by Haupt where a damage in the wood has completely and instead used the wood grain to make it look three- been filled by cutting two superimposed pieces with an angle to obtain dimensional as he did with this rosette. a closed joint. A thin saw blade is inserted in the joint to show the angled cut.

Figure 14 Detail by Haupt that has been protected from light, and kept Figure 15 This festoon, with the ribbon wrapped around it, must have a lot of its original colour. been made with the technique of staining after engraving since it is made from only one single piece of veneer.

107 Per Kortebäck

Figure 17 This copy of the roll top is made out of both natural and coloured wood after the heraldic rules for the small Royal arms of Sweden. The border and bandings are made out of naturally coloured woods while the small Royal arms are made solely with stained woods.

Figure 16 This roll top desk with foldable legs was made by Haupt for the Royal family in 1779.

In France and Germany you can sometimes see that Engravings seldom have its original beauty pre- pieces in the marquetry has been stained by soaking served. Most often there are only remains of them them in colour after cutting, but before gluing them. left as they have been sanded and sometimes even This can be seen because the stain is much stronger along the saw cuts. Especially if the pieces have been enough to see a well-preserved marquetry by Haupt sanded down, the stain can be completely gone, ex- itfilled will in be by very less detailedskilled craftsmen. and the engravings But if you are contrib lucky- cept around the edges where it has soaked further in utes enormously to its beauty. to the wood. I have seen no evidence of Haupt using - this technique though. makers that followed in his footpath, not only in Although sometimes we can only guess the bright styleHaupt but influenced also in techniques. the upcoming Most Swedishof them howevercabinet original colours, there are a few pieces of marque- were way behind him in skill. try that we can be quite sure of its original colour Haupt was for sure among the best craftsmen in by the motif – like the small Royal arms on a roll top desk. The small Royal arms of Sweden have a blue background with pearls and precious stones in the Europe – both past and present! golden crown and green laurel festoons hanging by its sides. There is still some furniture by Haupt that has been protected from light and where many of the Photography by Per Kortebäck and Alexis Daflos, colours are still visible. Royal Collection, Stockholm.

108 The Marquetry Artist Georg Haupt

Figure 19 Detail by Haupt, which is very well preserved. Although some of the fillings in the engravings have fallen out it still shows all the exceptionally fine details.

Figure 18 Detail by Haupt where both colour and engravings have been well protected and preserved. Per Kortebäck Cabinetmaker and Furniture Conservator

E-mail: [email protected]

109 Ulli Freyer

Different Materials – Visual Exactness, Treatments, Tools

Ulli Freyer

During my years of experience with working on While working I have seen quite a lot of objects with Boulle objects and the materials brass, pewter, Boulle marquetry showing replacements which do turtleshell, horn, ivory as well as mother-of-pearl I have always had a strong interest for the individual On the illustrations on the next page you see the materials of this marquetry type themselves. not correspond with the original in size and form. Turtleshell and ivory are materials deriving from beginning of the 18th century. The six drawers show animals being under protection since 30 years. identical,example ofsymmetrical a French bureau Boulle Mazarinmarquetries made made at the of Therefore these materials are not to be used any turtleshell and brass. longer. One of the results of these measures is the Figure 1 shows the detail of a drawer with original rapid loss of the passed on knowledge on these parts of the marquetry. This detail is to be found six materials, their manufacturing techniques and the times in this form as well as six times back to front. tools traditionally used in combination with these Due to earlier reworking, the engravings are nearly materials. lost. In regard to the materials horn and mother-of- Figure 2, the upper right side of the piece, shows pearl there is, in my opinion, not much difference the same detail. In comparison, the replacement of as the production and work on these materials in Europe are not considered to be economically obviously from the original form. The replacement the floral ornament in the middle does differ quite As I would like to point out in the following it ornament. Its only function here is to replace the isefficient. exactly this sort of knowledge and the skilled missingdoes not part. reflect the multi-leaf structure of the floral handling of the materials that I consider to be one of the shape had been preserved for the most part. Boulle marquetry. This discrepancy is puzzling, as the ‘negative form’ of the most important qualifications when restoring

110 Different Materials

Figure 1 Drawer front of a bureau Mazarin, early 18th century.

Figure 2 The red arrow points at the replacment, which differ quite obviously from the original seen in figure 1.

111 Ulli Freyer

Figure 3 The replacement of the complete brass ornament.

Figure 3 shows the replacement of the complete I would like to break down my explanation of this brass ornament. The brass replacement is more theory with some arguments. I will start with the similar to the original than the example shown habits of seeing. before but still wider than the original and also - different in regard to the shape of its leaves, here in sion and the materials we work with have on our the middle of the picture. Although the original brass perception?What do we see? What influence does our profes form and the surrounding shape in turtleshell was To clarify this principle further, a short explanation: still existent, the replacements and the original do A carpenter works at the construction of a roof with not correspond. A fact which is even more disturbing an accuracy of about 1mm, a furniture maker works considering that producing these replacements was on a piece of furniture with an accuracy of about as time-consuming as sawing matching ones. 0,2mm, a goldsmith works with an accuracy of about Replacements like that I have seen many. Often 0,05mm. Each sort of craftsmanship and material I have asked myself how this kind of mismatching has its own ‘accuracy’ which depends on the nature forms could have occured. How could it be that though the original forms of the marquetry ornament Being a professional everybody puts himself every are still preserved the replacement could look totally and size of the objects being worked on. different from it in the end? What had happened like to call this visual exactness. during the manufacturing of the replacements? Did day at training in a specific way of ‘seeing’ – I would- ing to discover and classify one’s own visual exact- Is it the material? ness.By reflecting on one’s own profession it is interest theOr person is it that doing the person them nothad have been a trained proper on first working look? I would like to point out that the visual exactness with wood where he or she gained skills which are does not only have an effect on the way we are look- not to be disregarded, but in my opinion not helpful ing at an object but also on with which kind of accu- with working with turtleshell and brass as they are racy we are working on it. not applicable on these sorts of materials.

112 Different Materials

Figure 4a Wood marquetry made of holly and grained Figure 4b A similar ornament in a Boulle marquetry walnut. consisting of brass and turtleshell.

While working on an object we develop a certain What are the differences between wood and Boulle kind of sensitivity of the motoric skills, which varies marquetries? I would like to point out the differ- between the different sorts and categories of profes- ences to you by comparing a wood marquetry to a sions. Boulle marquetry. Another aspect to which is not paid enough attention to is the practical knowledge on handling the dif- - ferent sorts of materials Boulle marquetry consists In figure 4a you see a wood marquetry made of of. The quality of this kind of knowledge I would like ofHolly the anddetails grained shown walnut, is comparable. in figure 4bIf we a Boulle look at mar the to value and look at from a similar perspective like outerquetry form consisting of this ofpart brass of theand wood turtleshell. marquetry, The size we - leads to virtuosity in handling the material. lute shows no precise line. Visually this is not dis- a Asmusician Boulle whosemarquetries, constant which practising for the and most refining part turbingfind that – itit iseven slightly more uneven, so is part the of contour what is toof bethe con vo- consist of the materials turtleshell and brass, are of- sidered as the typical character of wood marquetry. ten applied as veneer on furniture, it is most often carpenters or furniture conservators working on them. Nevertheless the materials brass, pewter, tur- theLooking homogenous at the similar structure ornament of the metal cut in such brass a precise (figure tleshell, horn, ivory and mother-of-pearl are materi- 4b), we find that the outer edge is an exact line. Due to- sult in wood marquetry, due to the different grades of areas of the applied arts. finish of a contour is possible. To achieve a similar re alsLooking from the at field the ofmaterials goldsmithing of the and surface other of different Boulle lined up structure of wood, is nearly impossible. furniture the marquetry part of this type of furni- hardness of the early and late woods and the fibrous, turewould have to be sent to a conservator special- does differ from metal. In relation to the thoughts developedThus, the before accuracy on obtainablethe subject in of finishing visual exact wood- the question if the surface materials do justify such ness one could assume that a person being used to aized conclusion. in working with decorative arts. This leads to sawing wood marquetry with his, according to his

113 Ulli Freyer

Figure 5a The cut follows the outer edge of the ornament. Figure 5b The cut also cuts into the material the ornament is formed with, here the turtleshell. profession, certain type of accuracy would work the So the capture and inclusion of the individual pro- brass differently for example to a goldsmith. It is highly likely that a replacement cut by a wood an other essential criteria of producing appropriate marqueteur would look different from the one cut replacements,duction and finish and alsoof each separates and every the marquetryconservation is by a goldsmith. from the new production. In summary, it is to say, that the quality of the The importance of the knowledge on the charac- work depends on the visual exactness, the motorical teristics of the Boulle marquetry materials and its skills, the training in working with a material and processing becomes clear when it comes to the topic of ‘surface treatment’. This is to be applied on both: a newly-made article The surface of many Boulle marquetries look just andthe material’s a replacement own asspecific part of characteristics. a conservation. Is there any other ability required to produce on the brass. The marquetry is coated with varnish, replacements for the conservation of Boulle thoughlike figure the 6. surface Grinding of themarks brass are and easy the to turtleshellrecognize marquetries? A close look on Boulle marquetries will should have been polished. To give back some shine result in the discovery that they can be extremely to the surfaces, here, these once polished materials different from one another. Here are two examples: and then covered with some sort of varnish. cut follows the outer edge of the ornament. Here are were first treated with abrasive paper or steel wool noAt cuts the intoBoulle the marquetry ornament. in figure 5a the line of the abrasive paper just to 240 grit and then polished withTo achieveshellac. shineThe difference on wood betweenit is first wood grinded and with the of the cut follows the line of the ornament. The cut materials brass and turtleshell in achieving a shiny alsoAt thecuts Boulle into the marquetry material in the figure ornament 5b the is direction formed surface is that these two materials themselves are with, here the turtleshell. polished until their gleam with no necessity of add ing any other varnish. Grinding these materials as if

114 Different Materials

Figure 6 Grinding marks are easy to recognize on the brass.

- a good compression of its surface. Grinding pewter cessing with an abrasive paper type 240 or 320 will does not bring good results, as it is for example in they were wood, for example as to finish their pro comparison to brass, too soft in its structure. and tortoiseshell. The natural denseness of the ma- Ivory is traditionally put into shape with rasps terialonly result surfaces in abecomes final grind deeply far ruggedtoo coarse and thereforefor brass the falling light is scattered diffusely and hardly any scrapers. After that the ivory is grinded with silicon- carbideand files. abrasive The surface paper istype then 400-600 smoothed and bypolished using dull and matte after such a treatment. Also the ap- plicationmore reflected. of a polishing That is varnish why these does materials not result seem in a polish ethanol-blended chalk priming and a soft shining surface. Indeed, the varnish does cover the clothwith watered-blendedare used. The ethanol pumice dissolves powder. the For collagens the final ‘damage’, but does not repair it – there is only a re- of the material. Polishing the ivory with a soft cloth therefore it is not the correct type of polish required bringsin the ivory out the structure typical shinewhich of harmonizes the material. the surface byflection these ofsorts light of onmaterials. the surface of the varnish and Turtleshell is planed with a special plane until Each material mentioned requires a different sort it has the right thickness and then shaved smooth with a cabinet scraper. After that it is grinded with us look in detail at each different procedure applied abrasive paper type 400-1000, then polished with onof techniquethese materials to achieve used atoday. shining surface finish. Let chalk priming and tripoli. By explaining the different types of surface treat compressed thoroughly by using a thick polishing ments coming along with the different sorts of steel.The After surface that, of the a pewtersurface plateof the usuallypewter firstis shaved gets materials it has become obvious that they do differ from one another and very much so in comparison with the surface treatment of wood. smooth with a very fine cabinet scraper and polished until it gleams by using fine polishes. The quality of a finished pewter plate surface mostly depends on

115 Ulli Freyer

The metals brass and pewter of Boulle objects As a beginning, efforts are taken right now to iden- privately owned do need a protective cover against corrosion. Turtleshell, horn, ivory and mother-of- Asia, East- and West-Africa, as well as the materials pearl do not require any kind of protection when similartify and torecognize ivory: mammoth, the different walrus, types spermof ivory whale from handled with care. and narwal. I have noticed, that there is not only a difference in For turtleshell, there are no longer any work- the surface treatment of these materials but also a shops left processing and working with this mate- difference in the academical approach to them. rial, as it also derives from a protected species. The and answers found. types of turtleshell seems to have gone nearly lost. Wood,This also brass has andan influence pewter are on materialsthe questions still askedmuch Whatknowledge was considered on classifiying to be and common naming knowledge the different in in use and therefore data on them in regard to their the workshops working with turtleshell a hundred technical characteristics are well-documented. years ago for example the differentiation between During the conservation process of marquetry, - usually brass and pewter get more and more often tion according to colour and structure, seems now tothe be three hardly types available of turtleshells anymore. and their classifica historically used alloys come up. chemicallyUntil the analyzed.middle of As the a result18th century first hints European on the brass consisted of copper and calamine which led to 7b,The cerise turtleshell clair. In ofGermany the Hawksbill the turtleshell turtle, figurewas clas 7a,- was called in France rouge fonce, the one in figure number 3 would have stood for a very dark type of thean alloy middle containing of the a maximum18th century, of 30% and zinc. therefore turtleshell,sified by numbers the 12 fromfor a III very to XII, ‘blonde’ a system one. where The tur the- probablyIn Europe, not metallic used untilzinc wasthe notearly produced 19th century before during the production of brass. tleshell in figure 7a would have been classified as a since the 14th century, but we do not yet know 18thVII, the century one in clock figure may 7b asillustrate, a IX uni. that the different In India metallic zinc had already been produced typesIn figure of turtleshell 8 an example were put of thein place detail at of the a Frenchobject enough of the early imports and use of Indian zinc the right is made of longitudinally-welded pieces of 17thin Europe. century Nevertheless object. it could be possible to find turtleshellaccording tofrom their the ‘characteristics’. Hawksbill turtle, The the wide marquetry filé on a brass alloy containing more than 30% of zinc at a seen next to it consists of brass and turtleshell of the from led, mercury in an addition of 1-8% is found. Loggerhead turtle. As I do not know any museum HowFrom and time for to what time, reason when analyzingthis was added,pewter, is apart still classifying the different types of turtleshell at their another open question to be solved. objects, it is very hard to acknowledge experience in On the materials turtleshell, horn, ivory and mother-of-pearl there is hardly any technical data. For the work and the conservation of an object it One of the reasons is that these materials play no needsthis field. more than just the knowledge on how to handle a material. It needs skills which cannot be found of objects. There are hardly any workshops left in the written sources as for example a dictionary workinglonger a rolewith in thethese today materials. industrialized Therefore production the procuring of horn and mother-of-pearl as semi- motorical skills and experience. orFor an thatonline reason, data bankfor the – conservationthe visual exactness, of furniture fine Very rarely, material analyses are made of these showing Boulle marquetry or veneers including ma- materialsfinished products during conservation. becomes more and more difficult. terials other than wood the team work of the fur- One gets the impression as if it is considered to niture conservator and a conservator being specialised in working with the marquetry materials might different types of mother-of-pearl under the general be the best. termbe sufficient of ‘mother-of-pearl’. enough to subsumize for example the Deriving from a protected species, the few workshops still working with ivory have switched to using other sorts of ivory or similar materials: mammoth ivory, ivory from other animals, bone and stonenut.

116 Different Materials

Figure 7a Turtleshell of the Hawksbill turtle, France: rouge fonce, Germany: number VII.

Figure 8 The turtleshell around the ornament is of the Loggerhead turtle and on the board to the right, turtleshell from the Hawksbill turtle.

Figure 7b Turtleshell of the Hawksbill turtle, France: cerise clair, Germany: number IX uni. Ulli Freyer Furniture Conservator

Bern, Switzerland

Tel. +41 (0) 313 01 31 31 E-mail: [email protected]

117 Iskander Breebaart and Paul van Duin

The Conservation of a late 17th Century Floral Marquetry Cabinet attributed to Jan van Mekeren

Iskander Breebaart Paul van Duin

Introduction In the last decade of the seventeenth century, fur- Jan van Mekeren was born in Tiel in 1658. He was niture almost completely covered with marquetry working in Amsterdam before he moved to London made of many wood species, became very popular in 1682.1 He married in 1687 in Amsterdam. In 1704 in the Netherlands. The Rijksmuseum owns a large he is mentioned as one of the best cabinetmakers in group of this kind of furniture, including cabinets, Amsterdam.2 Floral marquetry was his specialty and tables, gueridons and mirror frames, and some of although he did not become as famous as his French - makers Jan van Mekeren (1658-1733) and Philips vanthe finestSantwijck examples (1632-1712) attributed (Figures to the Dutch 1, 2 andcabinet 25). morefellow-craftsman naturalistic than André-Charles those of the French Boulle examples. (1642- Much of this furniture was in need of conservation In1732), the inventory the style andmade composition up after Van of Mekeren’s the flowers death are treatment. They were unstable, showed cracks and in 1733, the importance of his workshop is evident. discoloured previous restorations as well as loose Numerous cabinets, tables and gueridons are men- and missing veneers. In 1995, a major conservation - programme for this group of furniture was started as part of the national project Deltaplan voor Cul- Dutchtioned, furniture including hardly four doors ever bearsand two a signature tables with of flothe tuurbehoud, aiming at a better preservation of the maker,ral marquetry but the anddetailed a small inventory cabinet and with a cutstrong flowers. rela- cultural heritage in museum collections. Between tionship to a piece in a private collection make the 1997 and 1999 the furniture conservation staff of attribution plausible.3 the Rijksmuseum in Amsterdam executed the con- We made a detailed photo documentation as well servation of the Van Mekeren table and cabinet. The as tracings of the complete design of the marquetry. present article will focus on the most interesting as- The tracings proved very helpful during the conser- pects of the treatment of the cabinet, on the choices vation process. Copies of the marquetry tracings that were made and it will also discuss the research were used for locating the loose pieces of veneer that was carried out into the production of Van and for documenting the treatment. In a later stage Mekeren’s marquetry. the tracings were indispensable for a better understanding of the marquetry design.

118 The Conservation of a late 17th Century Floral Marquetry Cabinet attributed to Jan van Mekeren

Above: Figure 1 Cabinet with floral marquetry ( after conservation). Oak, veneered with kingwood, ebony, rosewood, olive-wood, holly, boxwood, barberry, sycamore and other woods, h. 205 cm, w. 173 cm, d. 61 cm. Amsterdam, ca. 1695-1700, attributed to Jan van Mekeren. Rijksmuseum, BK-1964- 10.

Right: Figure 2 Table with floral marquetry (after conservation). Oak, veneered with kingwood, ebony, rosewood, olive-wood, holly, boxwood, barberry, sycamore and other woods, h. 77 cm, w. 100 cm, d. 69,5 cm. Amsterdam, ca. 1695-1700, attributed to Jan van Mekeren. Rijksmuseum, BK-1962- 50.

119 Iskander Breebaart and Paul van Duin

Figure 3 Figure 4 Figure 5

Condition of the cabinet The construction of the stand was fragile, because X-rays were taken in order to obtain a more precise many of the joints between the legs and the lower understanding of the construction of the doors. They stretcher were loose. Due to shrinkage of the construction timber both stretchers (Figure 5). In the hollow spaces between sides of the cabinet had vertical cracks in the mar- theshowed stretchers, the dimensions thirty glue-blocks of the mitred were frame visible. and These five were applied along the grain of the boards where loose. Some of the veneer along the cracks had been they covered the joints, and cross-grain in the mid- quetry. Old fillings in the cracks were discoloured or dle of the boards, probably to prevent shrinkage. had partly reopened again. The boards had shrunk nevertheless. The X-rays also previouslyThe marquetry replaced. on the Despite doors the was filling also thein a cracks poor revealed nails in the stretchers. condition. Each door had two large vertical cracks, We also wanted to establish if the nails were driven with discoloured previous restorations which badly in from the back or the front. With the help of a little disrupted the image of the marquetry (Figure 3). The magnet hanging from a piece of tape we concluded uneven level of the boards along the cracks made that the nails were driven in from the back of the this even worse. During an earlier treatment some door, as the attraction of the magnet along the back was evidently stronger than on the front (Figure 6). onto the inner frame. The interior of the doors also We concluded that the doors were manufactured by nails were inserted in an attempt to fix the boards to form a thin front panel of 8 mm thickness. A mi- showed long, previously filled, cracks (Figure 4). tredfirst frameglueing was together subsequently three oak glued boards, onto butt-joinedthe back of Construction of the doors the panel, followed by the stretchers and glue-blocks, The oak construction is only visible at the upper and all ca 8 mm thick. The back panel, also consisting of lower ends of the doors, as these are not veneered. three butt-joined boards of 8 mm thickness was sub- These ends have end-grain oak on either side of an sequently glued and nailed onto the frame, stretch- oak stretcher, indicating a sandwich construction. By ers and the glue-blocks. We assume that the nails knocking on the doors it was obvious that they were were used because a large surface had to be glued mostly hollow. We concluded that the construction at once, which is time-consuming and also makes it of the doors probably consisted of a framework with thin oak panels on either side. The cracks in the mar- clamps. After assembling the door the right and left quetry corresponded with open joints between the endsmore were difficult veneered to apply and enough at last pressurethe front withand back glue oak boards of the panels. were veneered with marquetry (Figures 7-8).

120 The Conservation of a late 17th Century Floral Marquetry Cabinet attributed to Jan van Mekeren

Figure 3 Detail of the right door of the cabinet in figure 1. The marquetry with a sunflower beneath a crown imperial is distorted by a 3 mm wide vertical crack, with a discoloured filling. The sunflower has several small round fillings concealing nails that were used to stabilize the oak boards underneath the marquetry.

Figure 4 The interior of the left door of the cabinet in figure 1. The marquetry of olivewood has a vertical crack of 2-3 mm wide, with a slightly discoloured filling.

Figure 5 X-ray of the top right corner of the right door of the cabinet in figure 1. The frame, with a mitred joint, and also the stretchers are nailed onto the boards. The glue blocks are applied alternately in a horizontal and vertical direction.

Figure 7 The construction of the left door of the cabinet in figure 1. The Figure 6 Iskander Breebaart determining the depth of the nails with a rosewood veneer from the left end is removed. The bottom shows the magnet hanging from a piece of tape. end grain of the front- and back panel, with the frame in between. Sketch Up drawing by Iskander Breebaart.

Figure 8 An exploded view of the components of the left door of the cabinet in figure 1. Sketch Up drawing by Iskander Breebaart.

121 Iskander Breebaart and Paul van Duin

Deciding on the conservation treatment Understanding the construction was paramount Disadvantages of dismantling and reglueing the con- for deciding which treatment was preferable for struction and closing the cracks: - Dismantling the doors is a considerable inter- the cracks in the marquetry, after conserving the vention and sound veneer on the ends has to be constructionthe doors. One as optionwell as would possible be withoutto fill and taking retouch the temporarily removed in order to lift the boards doors apart. Another option would be to dismantle from the frame and stretchers; the construction of the doors, in order to be able to reglue all joints and close the cracks. - Closing the joints between the shrunken boards means that the width of the doors becomes about 4 mm narrower. There will be a small loss of material if the stretchers are shortened. If the boar- Advantages- The treatment of filling is safeand retouching:and reversible; ds are broadened a strip of wood has to be added - The treatment takes comparatively little time. which will remain visible and which will not be authentic; - The treatment will take quite a lot of time. - The marquetry design will remain distorted even Disadvantages of filling and retouching: After careful consideration and discussions with - Consolidation of the construction is only possi- various other conservators, for instance with Ger- bleafter to filling a limited the crack;extent; man conservators during a visit from members of the AdR (German Society for Conservation) to the - Movement of the boards due to differences in RH Rijksmuseum furniture department, we choose to cannot be restricted and the cracks might reap- dismantle and reglue the construction of the doors pear; and close the cracks. The excellent result of a similar - treatment of the Van Mekeren table (Figure 9) and previously the cabinet initially attributed to Pierre AdvantagesThe filling of material dismantling might and discolour reglueing in time. the construction and closing the cracks: important role in the discussion.4 Closing the cracks Gole, but now to André Charles Boulle, played an the doors as well as the stability of the construction. would significantly improve the aesthetical image of - Theboards boards and considerablycan be firmly limitglued movement onto the stretch- of Since the front was only glued and not nailed onto ers and will be level again. This will stabilize the the frame and stretchers, it could be removed relatively easy. After removing the front panel, the con- - The cracks in the marquetry will be closed and struction would become more accessible, facilitating hardlythe boards visible. due The to fluctuations marquetry willof the regain RH; much the dismantling of the glued as well as nailed back of its original appearance; panel. - The loose veneer along the crack will be consolidated.

122 The Conservation of a late 17th Century Floral Marquetry Cabinet attributed to Jan van Mekeren

Figure 9 The top of the table in figure 2.

Figure 10 The crack in the marquetry of the Figure 11 The left door of the cabinet in figure 1. The front right board has been removed. right door of the cabinet in figure 1, after The interior of the door is visible on the right, the removed front board is turned over onto the cleaning. front of the door.

123 Iskander Breebaart and Paul van Duin

Figure 12 The front panel of the right door of the cabinet in figure 1. The boards have been rejoined and loose marquetry glued into their original position.

Conservation treatment The treatment was started by mechanically remov- The joints between the boards were some millimetres open in the middle of the joint. The boards had (Figure 10). Loose parts of the marquetry, as well been less restrained in the middle of the door be- asing marquetry the old fillings, overlapping using scalpels the open and joints small between chisels cause the glue-joints between boards and stretchers the boards, were temporarily removed. The veneer had separated, probably a long time ago. With mod- on both ends of the door had to be removed, as this erate pressure, applied with sash-cramps, we were covered the sandwich construction of the panels and able to close the joints completely. Immediately after frame. The glue was softened by moisturising the ve- glueing the construction, the loose marquetry pieces neer with damp tissue covered with Melinex, after were returned to their original position (Figure 12). which the veneer was lifted with a thin spatula. After the front boards were reassembled, the joints The front oak boards were removed relatively easy between the boards were secured by reglueing the with long thin knives and a little ethanol. Especially glue blocks in their original position (Figure 13). towards the middle of the door, the glue joints be- The dismantling of the back panel was slightly tween stretchers and oak boards were already loose. On each door, one board could be removed sepa- well as glued onto the frame and stretchers. The rately while the two other boards had to be care- nailsmore had difficult, become because accessible the boards after wereremoving nailed the as front boards (Figure 14). All nails were corroded in underneath the crossgrain veneer of the tabletop in thefully marquetry. lifted together, as they were still firmly joined breaking them. With a soldering iron we heated the The stretchers and glue blocks of the interior of tipsthe woodof the and nails. therefore The iron difficult nails expanded to remove and without when the doors now became exposed (Figure 11). The cooling down shrunk a little. In most cases we could blocks were temporarily removed from the front lift the board from the stretcher, leaving the nail in - the board. Unfortunately a few of the nails broke off moved from the surface of the cracks, after which or broke out of the back panel. theand boardsback boards. of the Old front glue panel and fillings could werebe rejoined. also re

124 The Conservation of a late 17th Century Floral Marquetry Cabinet attributed to Jan van Mekeren

Figure 13 The reassembled front panel of the right door of the Figure 14 The interior of the right door of the cabinet in figure cabinet in figure 1, as seen from the back. The glue blocks have 1, after the front boards and glue blocks have been removed. been reapplied in their original position.

Figure 15 The back of the right door of the cabinet in figure 1, Figure 16 The reassembled back of the right door of the after the two outer back boards have been removed. cabinet in figure 1.

125 Iskander Breebaart and Paul van Duin

Figure 17 The right door of the cabinet in figure 1, after conservation. Figure 18 Jan van Huysum, Still life with flowers, 1723. Oil on panel, 81 x 61 cm. Rijksmuseum, SK-A-188.

The middle boards of the back panels did not have The doors were now ready to be completely reas- to be removed from the frame and stretchers (Figure sembled. For glueing the construction, we used hot 15). To close the joints between the middle boards animal glue (Sheppy). We preheated the interior of and the outer boards, the latter had to be moved both panels using a photo lamp and hot iron plates. slightly inwards. Therefore, the nail holes in the The missing pieces were replaced using veneer of stretchers had to be adjusted. Although the nails did the right colour and grain (not necessarily the same not provide any strength, they would be preserved type). Most of the light-coloured veneer was slightly and retain their position in the back panel. A small darkened, before cutting out the pieces. A natural drill was used to elongate the holes in the stretch- aged colour was obtained by placing the veneer in a ers. Where nails had broken out of the boards, the pre-heated vacuum oven. holes in the boards had to be elongated extremely The position of the hinges on the frame remained carefully to prevent damage to the marquetry on the outer side. been slightly shortened, the hinges protruded ca The shrinkage of the boards meant that some of 2unaltered. mm more As than the horizontalbefore. The parts gap betweenof the frame the twohad - doors has become ca 4 mm bigger, but this is just tical parts of the frame, which were not removed covered by the central vertical moulding on the right fromthe stretchers the outer were boards. too Small long toparts fit between(1-3 mm) the had ver to door. Closing the cracks on the doors and the sides be removed from the outer ends of the stretchers as revealed that very little of the marquetry was miss- well from the mitred joints in the corners. After this, ing. As foreseen, the former cracks in the marquetry were hardly visible after conservation. The com- stretchers and this part of the construction could be plete marquetry panel can now be admired without reassembledthe back boards (Figure fitted 16). properly The re-glued onto the front frame boards and distortions and discolorations (Figure 17). were slightly warped, but the relatively thin front - tened onto the stretchers. panel (8-9 mm thick) was flexible enough to be flat

126 The Conservation of a late 17th Century Floral Marquetry Cabinet attributed to Jan van Mekeren

Above: Figure 19 Tracing of the marquetry of the top of the table in figure 2.

Left: Figure 20 Tracing of the marquetry of the right door of the cabinet in figure 1.

Examination of the floral marquetry The composition of the marquetry on the Van Mek- used for the marquetry are walnut, ebony, barberry, - purpleheart,The macro- andkingwood, microscopically boxwood, identified olivewood woods and er bouquets on the doors and the table top have a veryeren three-dimensionalfurniture is very complex. appearance. Especially There theis a greatflow are probably tropical. Holly is used especially for holly. Two wood species could not be identified and the appearance of the holly has been achieved by desimilarity Heem (1606-with the ca floral 1683) still-life and the paintings younger that Jan were van cuttingmost of the the veneer light-coloured at different flowers. angles Great (radial variety or tan in- Huysumfamous in (1682-1749) Holland, made (Figure for instance 18). The by Janmarquetry Davidsz

- calgential) direction from of the the log grain and on also the thecabinet. reflection5 varies- of flowers, branches, leafs and also birds and insects ersconsiderably, thus give the depending impression on thethat horizontal they are composed or verti Theis also conservation very naturalistic. treatment Many provided flowers usand with branches an ex- out of different wood-species, while they Many only flow con- are half hidden behind other branches and flowers. sist of various holly veneers. The individual pieces was designed and produced. Was the composition of marquetry are shaded, undoubtedly by dipping ascellent a whole opportunity designed to or find derived out how from the an marquetry ornament them into hot sand. The marquetry must have been drawing and cut out piece by piece? At closer inspec- very colourful, because of the great variety in natural colours of the different species of wood. This was the different pieces of Van Mekeren furniture. Did further enhanced by staining the wood. The stains thattion, meanwe noticed that the similarities marquetry between was composed the flowers out onof are no longer visible at the front, but we observed traces of red, blue and green on the back of the mar- of the production, we made tracings of the complete quetry. In the green stained wood, XRF-analysis marquetrypre-cut flowers? of the Totable obtain and the a better cabinet understanding (Figures 19- showed the presence of copper, indicating that a cu- 20). pric acetate was used to stain the wood. The red and 6 blue stains could not be identified. 127 Iskander Breebaart and Paul van Duin

Above: Figure 22 Tracings of various birds and insects, from the cabinet in figure 1 and the table in figure 2.

Under: Figure 21 Tracings of various tulips, from the cabinet in figure 1 and the table in figure 2.

128 The Conservation of a late 17th Century Floral Marquetry Cabinet attributed to Jan van Mekeren

Figure 24

Figure 23-24 Tracings of roses, from the cabinet in figure 1 and the table in figure 2.

Figure 23

We used ‘Ultrapfan’ drawing plastic and a Rothring surfaces are repeated, but with differences in quality pen. Copies were made of the tracings for locating loose pieces as well as for documentation. Copies front of the cabinet are much more elaborate than of the tracings were also used to cut out every sin- onand the refinement. less conspicuous The patterns surfaces, that like are the used sides on andthe - ment between the front and the other sides of the togle each flower, other bird enabled and insect. us to discoverArranging even identical very small and legs.the lower This parts.elaboration There is evenachieved a difference by making in refine more differencessimilar flowers in the into cutting-patterns groups and placing (Figures them 21-24). next leafs. The differences can be explained by a crafts- Many interesting questions can be addressed: mansaw cutsusing to the create same veins, design finer to leafsreproduce or curls multiple in the

- ated? flowers and interpreting the design quite freely, - To what extent are the flower patterns duplic- - - What is the explanation for the differences in pliedmaking in moremirror elaborate image, to flowers create morefor the diversity more promi (Fig- urenent 23). parts of furniture. Some of the flowers are ap - refinement of the flowers? by cutting two or more layers of veneer at the doubtedly produced by cutting out more layers of - Tosame which time? extent were identical flowers produced veneerWe found at the 15 same pairs time. of truly In thisidentical way twoflowers, or more un

other pieces? - - How similar are the designs of the flowers on ferentidentical veneers. flowers After are cuttingproduced out simultaneously the design, compo and- nentsefficiently. were One interchanged identical pair to createwas made exact of countertwo dif- parts. andAt first the sightsides. it This seems is not that the the case, flowers the tracings on the ofstand the are quite different from the flowers on the doors flowers clearly show that many of the flowers on all

129 Iskander Breebaart and Paul van Duin

Figure 25 Cabinet with floral marquetry. Oak, veneered with kingwood, Figure 26 Cabinet with floral marquetry (after conservation). Oak, ve- ebony, rosewood, olive-wood, holly, boxwood, barberry, sycamore and neered with walnut, rosewood, kingwood, olive-wood, holly, boxwood, other woods, h. 206 cm, w. 173,5 cm, d. 61 cm. Amsterdam, ca. 1695- sycamore and other woods, bone, h. 202,5 cm, w. 181,5 cm, d. 62 cm. 1700, attributed to Jan van Mekeren. Amerongen Castle Foundation, Amsterdam, ca. 1695-1700, attributed to Philips van Santwijck. Rijksmu- 0237.1. seum, BK-1954-5.

as it describes that pre-manufactured marquetry cabinet are repeated on the table: 7 It was striking to find that many of the flowers of the In his composition of the marquetry on his furni- flowers were kept in a box in the former workshop. - On the cabinet are ca 550 flowers; and leafs, are executed in a very naturalistic manner ture most of the flowers, including the flower stems - On the table are 126 flowers; of the cabinet also appear on the top of the table. - Of the 676 flowers on both cabinet and table, 157 They(Figure are 24). of theMany same of thedesign, flower with stems small on differences the doors

flowers are repeated more than once; in cutting and position. the same piece, on different surfaces; - Some of the flowers are repeated 4 or 5 times on well as on the table. - About 50 flowers are found on the cabinet as Comparison with other pieces by Comparing the compositions on the doors and table top with still-life paintings and ornament drawings Van Mekeren To broaden our research into the manufacture of the Van Mekeren marquetry the Rijksmuseum furniture thatdid not the result same inpattern finding was a true used match. for cutting Our findings, elabo- conservation department investigated other pieces that many flowers appear more than once and also- attributed to him, such as the cabinets, tables and quets were arranged quite freely by Van Mekeren queridons in Amerongen Castle near Utrecht (Fig- rate as well as simple flowers, suggest that the bou- ure 25). The construction as well as the marque- ing a complete design for a bouquet. The inventory try of the two cabinets, two tables and two candle out of a stock of pre-cut flowers, instead of follow stands is clearly by the same hand as the furniture drawn up after Van Mekeren’s death confirms this

130 The Conservation of a late 17th Century Floral Marquetry Cabinet attributed to Jan van Mekeren

Figure 28 Tracings of daffodils, from the table in figure 2 and the cabinet in figure 26.

Figure 27 Left door of the cabinet in figure 26. Figure 29 Tracings of tulips, from the table in figure 2 and the cabinet in figure 26.

in the Rijksmuseum. Some 10 other pieces of furniture, mostly in private collections, were investigated striking similarity with those on the Van Mekeren as well. A cabinet which the Metropolitan Museum some of the individual flowers on the doors had a acquired in 1995 through mediation of the Rijksmu- those of Van Mekeren, not only the outlines, but also seum, was conserved and investigated by their fur- thecabinet. saw-cuts Some for flowers creating bear leafs a great and resemblance veins (Figures to niture conservator Marijn Manuels. The exchange of 28-29). drawings and information about the cabinets was This discovery makes the relationship with other 8 contemporary marquetry furniture even more in- very beneficial to the research. designs used on the Van Mekeren furniture are not Marquetry attributed to Van Santwijck exclusive?teresting. HowDid cancabinetmakers it be explained have that access the flowerto the As part of the marquetry conservation program of same designs, did marquetry cutters work for vari- the Rijksmuseum, another cabinet in the collection ous cabinetmakers, was there a trade in ready-made of the Rijksmuseum was treated immediately after the completion of the conservation of the Van Me- century cabinetmakers were in contact with each marquetry flowers? Undoubtedly the seventeenth- keren furniture (Figures 26-27).9 This cabinet has other, just like the conservators nowadays when been attributed to Philips van Santwijck, a cabinet- they exchange information at conferences like the maker from The Hague.10 - Marquetry Symposium in Vadstena. try design does not seem related to the Van Mekeren pieces and also the construction At first issight clearly the differentmarque in many aspects. Further examination of the marquetry tracings of this cabinet proved very interesting. Despite the different design of the marquetry,

131 Iskander Breebaart and Paul van Duin

Notes We are grateful to Dominique van Loosdrecht who 10 Lunsingh Scheurleer, Th.H. (1955) Een Hollands - kabinet versierd met ‘blomwerk’. In: Bulletin van het cies and transcribed the Van Mekeren inventory. Rijksmuseum 3, pp. 85-90. participated in this project, identified the wood spe 1 Baarsen, R. (2007) Furniture in Holland’s Golden Tracings and drawings are made by Iskander Age. Amsterdam: Rijksmuseum, pp. 186-193. Breebaart. The drawings are made with Google Turpin, A. (2003) Floral Marquetry in late seven- SketchUp 7 (2010). teenth-century England and Holland. In: Leids Kun- sthistorisch Jaarboek 13, pp. 207-230.

2 Lunsingh Scheurleer, Th.H. (1941) Jan van Mek- eren, een Amsterdamsche meubelmaker uit het ein- de der 17e en begin der 18e eeuw. In: Oud Holland 58, pp. 178-188.

3 Lunsingh Scheurleer, Th.H. op. cit. (note 7). Wichers Hoeth, A.W. (1942) Jan van Mekeren’s ges- ticht ‘De Eendracht’. In: Jaarboek Amstelodamum 39, p. 109-129.

4 van Duin, P.H.J.C. (1993) Het Gole kabinet. Con- structie, conservering en restauratie, In: Bulletin van het Rijksmuseum 41, pp. 96-123. van Duin, P.H.J.C. (1993) The progress of the conservation of the Pierre Gole cabinet. In: Proceedings of the Wood and Furniture Symposium, October 22, 1992, Amsterdam, pp. 9-21.

5 van Loosdrecht, D.B.L.M. (2000) Houtdeterminatie in een meubelrestauratieatelier. In: Vierde Nationale Symposium Hout- en Meubelrestauratie, October 12, Iskander Breebaart 1999, Amsterdam, pp. 47-60. Senior Furniture Conservator 6 Research carried out by Instituut Collectie Neder- land, project 99-079. Rijksmuseum Amsterdam, The Netherlands 7 Gemeente Archief Amsterdam, NA 8830, no. 817. Tel. +31 (0) 20 674 72 39 8 Manuels, M. (2001) Technology and Attribution: E-mail: [email protected] Met Objectives. Treatment and research notes, 2, pp. 1-3. Defining the oeuvre of a Dutch Cabinetmaker. In: 9 Breebaart, I.L. (in press) A structural approach to a Paul van Duin complex conservation of two late 17th-century cab- Head of Furniture Conservation inets-on-stand in the collection of the Rijksmuseum in Amsterdam. In: Restoring Joints, Conserving Con- structions, 10th International Symposium on Wood Rijksmuseum and Furniture Conservation, 2012, Amsterdam, The Amsterdam, The Netherlands Netherlands, Stichting Ebenist. Tel. +31 (0) 20 674 71 05 E-mail: [email protected]

132 From High Wycombe to Iran

From High Wycombe to Iran – The Tale of a three legged Table

Paul Tear Research by Alan Jones

Abstract Introduction Oriental Arms and Armour and related objects have a literature review to get an understanding of the become very collectable over the last 10-15 years, manufacturingHaving identified processes, the materials a small used section and carriedof marque out- this has meant that the prices have risen to such try was produced, but it took a very long time. It was an extent that objects that were once not worth re- felt that the only way to learn how to produce the storing are now becoming very collectable. This ar- marquetry in a reasonable time frame was to visit ticle will recount the work of Alan Jones an under- - graduate student from what was Buckinghamshire quetry manufacture. Alan contacted the Art Univer- Chiltern University College (BCUC), but which is sityEsfahan of Esfahan in Iran, and a recognized made contact centre with of KhatamDr Ghanbari, mar now ‘Bucks New University’ (BNU) who undertook who agreed to accept Alan into his workshop. After an investigation into the techniques used to repro- a month in Dr Ghanbari’s workshop, Alan returned to High Wycombe and produced a number of small small three legged table from Iran, which was in sections of marquetry that could be used to restore needduce of the substantial fine Micromosaic restoration. marquetry found on a the table in less time than it took before his visit. Following an examination of the table with Nigel This article will describe the English approach to Bamforth, Senior Furniture Conservator at the Vic- producing a section of Khatam marquetry, followed toria and Albert Museum’s Conservation Depart- by the process as demonstrated by Dr Ghanbari. ment, it was decided that the table was most likely made in Iran. A literature review was then under- - tion of micromisaic marquetry were described in English.taken to Thefind mostout if detailed the techniques source was for thefound produc to be ‘Traditional Crafts of Persia’, by H E Wulff.1 The various materials found in the marquetry on the table in question were assembled and then interpreted as closely as possible, the steps that were clearly described by Wulff were followed in an attempt to produce the geometric patterns similar to those found on the small round table at the college.

133 Paul Tear

Figure 2

Figure 1 Tri-Pod table with round top, dated 1830. Substrate: poplar and oak, hight: 764 mm, diameter of top: 750 mm. Decoration: Micromosaik.

Figure 2 A round table top consisting of 3 narrow bands of marquetry, followed by one wide, then two narrow bands of marquetry, leading into a central area of marquetry. Figure 3 Marquetry containing brass, bone and wood of different colours. This type of marquetry is referred to as, ‘Sadeli’ or ‘Bombay Work’, also ‘Khatam Bandi’.

Figure 4 Small sections of different materials are shaped into equilateral triangles, then glued together to form hexagons, pentagons and geometric Islamic patterns.

134 From High Wycombe to Iran

The manufacture of micromosaic marquetry (Khatam) from Iran On examining the makeup of the micromosaic, it Our interpretation of the manufacture of micromo- could be seen that it was made up mostly of trian- saic marquetry that was made in High Wycombe was painfully slow and there was very little to show for a process was to shape the material into triangular huge amount of effort, the main problems were: segmentsgular elements of one of mm wood, in bonewidth, and this brass. was achieved The first by cutting accurate triangular grooves into wooden - Preparation of materials from scratch was very boards, placing square section strips of wood into time consuming. - The length of the bone determined the overall A femur from a cow was purchased from the lo- length of the bundles. calthem butcher, and then It was filing boiled them and to shape. bleached then cut into

due to design delaminating when cut into sections. mm triangular sections. - Difficulties to produce large sections of marquetry, smallThe sectionsjewellery which department could then at bethe filed university down to wasone It was felt that the only way to learn how to produce used to reduce a sheet of brass into square seg- the marquetry in a reasonable time frame was to ments. These were then annealed in order to be pulled through a drawplate, giving them the correct marquetry manufacture. Alan contacted the Art Uni- triangular section. versityvisit Esfahan of Esfahan in Iran, who a recognized put him in centre contact of withKhatam Dr Wulff makes reference to the local craftsmen in Ghanbari, who agreed to accept Alan into his work- Iran gluing and wrapping small bundles of triangu- shop for a month. lar sections with thread or string to act as a clamp when assembling the geometric patterns. At this stage we were unable to copy this wrapping technique. Instead, the elements that made up the geometric patterns were glued and clamped between wooden boards with triangular sides built up onto them. These sections were then glued together allowing the geometric pattern to be slowly built up into the design that could be seen decorating the edge of the table.

135 Paul Tear

Figure 5 Materials & jigs for preparation and making of marquetry.

Figure 6 A cow bone ready for cutting.

Figure 7 Mechanical drawing machine.

Figure 8 Drawing brass wire by hand. Figure 9 A bundle of four elements.

136 From High Wycombe to Iran

Clamp Pressure

Wood Wood Jig Face

Brass

Bone Jig Face

Figure10 Clamping jig. Figure11 A clamping jig used to assemble four or five elements together into a section.

Once in Esfahan, the cultural capital of Iran, the prepared and allowed to dry, then the two sections workshop of Dr. Ghanbari was located, he agreed to were glued together, then four, etc until the design demonstrate the craft of making micromosaic mar- was complete. Final assembly of the design took quetry, or ‘Khatam’ as it is referred to in the language place in a specially designed gluing box, then it was of Farsi. Dr. Ghanbari not only gave his time and cut into 100mm lengths ready to have the top and knowledge, but he also invited Alan to share meals bottom veneer added. with his family. He agreed to explain the techniques The appropriate coloured veneer was prepared involved in making one of the geometric patterns and glued onto the top and bottom of the design, it that was on the edge of the table, the plan being to was then placed in a special clamp and heated to in- then put these techniques into practice to reproduce crease the setting time of the glue. the other patterns on the small round table upon re- When dry, thin strips were cut off using a band saw, turning to High Wycombe. the table. needed to produce the marquetry, most of these providingThe strips the of finished marquetry sections were readysmall into sectionbe glued and to wereThe readily first step available, was again already to gather prepared the materialsinto the therefore did not need backing with either paper or correct section and 500mm in length, much longer thin wood. On larger sections of marquetry you will than the material used in England. The remaining elements were roughly cut with a small saw then hold the small elements together during storage and transportation.find the design isThis glued can to sometimes a thin wooden give thesupport restor to- - er an added problem. What seems to happen is that ible,finished making off with it ideal a file, for the Micromosaic bone that wasmarquetry. used came the marquetry can delaminate from the backing or fromThe the next ribs stage of a was camel to beingstart tolonger assembling and more the flex tri- the backing can delaminate from the carcase. So you angular elements into the appropriate design using need to make sure where the delamination is taking place when working on this type of marquetry. a PVA glue and fine twine. Several sections were

137 Paul Tear

Figure12 Section of assembled marquetry.

Above, left: Figure13 First attempt at cutting sections.

Above, right: Figure14 The final cutting solution.

Above: Figure15 Damage prepered to inlay new marquetry.

Right: Figure16 Small section of marquetry made in Wycombe.

138 From High Wycombe to Iran

Figure17 Dr. Ghanbari in his workshop.

Figure18 Alan Jones gluing elements together.

Figure19 Assembling the design.

Figure 20 Cutting the design into sections.

139 Paul Tear

Figure 22 Designs held together with cotton thread.

Figure 21 Filling the missing elements on the edges. Figure 23 PVA glue being used to glue design together.

Figure 24 Top veneers being applied. Figure 25 Strips of marquetry being cut off.

140 From High Wycombe to Iran

Figure 26 Finished strips of marquetry. Figure 27 Larger sections of marquetry are backed on wood.

Conclusion Notes Being shown the correct techniques to produce the 1 Wulff, H. E. (1966) Traditional crafts of Persia. marquetry by Dr. Ghanbary gave the following in- Cambridge: MIT Press. sigths: 2 In Wycombe we used a protein base glue to stick - Materials readily available cut into the proper sections are relatively cheap compared to the time it of marquetry was cut off it delaminated due to the takes to cut the small sections of material. frictionthe elements heat from together, the band but when saw softeningthe finished the section glue. - The techniques for gluing the elements together using twine and assembling the design in the correct sequence is crucial for the success. - Using a modern glue to stick the elements together proved to be an adequate alternative.2

Upon graduating from BCUC, Alan Jones entered a holy order and is now training to become a monk, Paul Tear but I feel the ground breaking research that Alan Course leader, FDA/BA (Hons) Furniture: carried out needs to be disseminated to a larger au- dience. Conservation, Restoration & Decorative Arts

Bucks New University High Wycombe, U.K.

Tel. +44 (0) 14 94 52 21 41 E-mail: [email protected]

141 Jaap Boonstra, Maarten van Bommel and Pol Bruys

Flowers from Holland – Antique Dutch Furniture with later added Marquetry from the late 19th and early 20th Centuries

Jaap Boonstra Maarten van Bommel Pol Bruys

Introduction The popularity of Dutch marquetry This paper deals with the trend in the late 19th and It is important to study the contemporary views and early 20th-century to re-decorate antique Dutch furniture with marquetry inlays. As Christopher Payne Dutch marquetry from the 17th century, in order to writes: ‘The period from 1880 to 1900 is that in understanddefinitions of the antique origins furniture, of its popularity more in and particular the re- which a vast number of good plain Dutch pieces of sult the 19th century copyists were trying to attain. the period 1690-1760 were inlaid. Even plain Em- The antiquarian movement that emerged in the pire and Biedermeier pieces were not exempt from early 19th century throughout Europe started col- the expressive marqueteurs. […] The great revival lecting antiques and these collections often became for marquetry which seemed to dominate Holland an integral part of the interior. This was dubbed a at the end of the nineteenth century was a nostalgic ‘romantic interior’ by the author Clive Wainwright revival that many European countries developed at when he described acquisitions of Dutch 17th cen- the same time. In Holland there was a revival of all tury marquetry by British collectors such as George things Dutch and in a logical joining together of ide- Hammond Lucy who bought a Van Mekeren cabinet as the best features of earlier Dutch furniture were for Charlecote Park, Warwickshire in 1837. amalgamated into a style that is commonly seen Collectors like Lucy would typically obtain their in shops and salerooms throughout the furniture furniture at auctions, preferably of private collec- world. Vast quantities were exported to America, tions to be assured of a good pedigree. If this wasn’t England and other European countries.’1 possible dealers, cabinetmakers, brokers or ‘nick- Although they are nowadays recognised by experts nacketarians’, as they were sometimes called, would for what they really are, antique pieces of furniture provide them with such furniture.3 that were embellished at a later date, more often Research by Reinier Baarsen indicates that the than not they will be labelled with the comfort- Dutch marquetry tables and cabinets amongst these ably ambiguous term a ‘Dutch marquetry’ – piece.2 early British collections are sometimes composed Whether intentionally done or not, by evading the of pieces of different origin.4 Similarly, two tables issue of authenticity this hardly promotes the study at the Royal Dutch Household that are mentioned of Dutch furniture. in inventories of 1864 and 1885 as ‘antique inlaid’ We therefore want to identify and describe what sets apart these secondary marquetry inlays and van Voorst tot Voorst as pastiches; newly composed how one can distinguish them from original 17th piecesand ‘with of furniture Old-Dutch made inlay-work’ up from older are identifiedelements. 5 by and 18th century work.

142 Flowers from Holland

Figure 1 Marquetry flowers, c. 1915 (Miner Collection, Rijksmuseum Amsterdam).

The marquetry cutters Not only in England and the Netherlands did the Published research on wood species, stylistic details and furniture making techniques proper to period example of old Anglo-Dutch marquetry originating furniture was virtually non-existent in the Nether- fromcraze a for table Dutch and re-used marquetry to make exist; up recently a chest of another draw- lands of the late 19th century. There was no readily ers was discovered at Ulriksdals Slott, Stockholm. available information on documented collections. This alteration is assumed to have taken place in the There were few accessible museums. Formal edu- 19th century when it was acquired for King Carl XV cation of craftsmen was largely limited to theory, (1826-1872).6 for instance drawing classes that concentrated on sketching plaster casts and prints.9 the 1850’s onwards demanded heavily ornamented Commissions and instructions from antique deal- furniture.The historicism Van Voorst that tot characterizes Voorst, the most design compre from- ers must have been the prerequisite10. Cabinetmak- hensive author on 19th century Dutch furniture, ing skills and orally transmitted workshop tradition describes how decoration, not so much propor- were performed by professionals that would prob- tions and design, was the key factor in determin- ably present themselves as joiners, cabinetmakers ing style. One didn’t just slavishly copy the historic or ‘inleggers’, inlayers.11 example but tended to improve it in the richness of decoration, to the extent that even actual antiques were ‘dressed up’ with extra inlays and carved orna- TheSo Hague far two12 firmsand that involved of Johannes in inlaying Lodewijk have Miner been ments.7 identified. Both the firm of Meijer in Voorburg near These were some of the circumstances that stim- decades of the 20th century. ulated the production of marquetry furniture that establishedEspecially inJ. L. Amsterdam Miner is of wereinterest active to us, in as the part first of would start in several cabinetmakers’ workshops his marquetry production has been handed down in the Netherlands, as compositions of old furni- - rial in the conservation studios of the Rijksmuseum marquetry cutters didn’t stop at this and would also Amsterdam,through the firm the ofUniversity J.G. Eilers of and Amsterdam is now study and mate the startture withproducing secondary pieces new newly inlays. made Soon throughout. these prolific8 Amsterdams Historisch Museum.13 The Miner collection comprises hundreds of loose marquetry elements and compositions depicting

flowers, leaves, garlands & swags, baskets & vases, birds & butterflies, human figures and trophies. 143 Jaap Boonstra, Maarten van Bommel and Pol Bruys

Left: Figure 2 Long case clock by Jacobus Vliet, Rotterdam c. 1750, with later inlays. (Private collection. Photo: M. Spaander, Zutphen).

Right: Figure 3 Long case clock, c. 1750 (Private collection).

Above: Figure 4 Marquetry parrots, c. 1915, (Miner Collection, Rijksmuseum Amsterdam).

Under: Figure 5 Marquetry swags, c. 1915, (Miner Collection, Rijksmuseum Amsterdam).

144 Flowers from Holland

Figure 6 Marquetry vase, c. 1915 (Miner Collection, Rijks- museum Amsterdam).

Right: Figure 7 Contemporary photo from the Miner collection of a piece of furniture which probably began as a chest of drawers without any marquetry and then was extended in height and width to create a display cabinet as well as being inlaid with marquetry. (Collection Amsterdam Historical Museum).

Characteristics of inlays The condition of the material varies as some com- As with most fakes and forgeries, the people in- positions are extremely fragile and vulnerable when exposed to physical stress. Due to age and negli- by their surroundings and times. These two aspects gence, soiling and oxidation processes have taken betrayvolved them overdid today. it and their tastes were influenced their toll. Still, apart from its losses, the material is In order to be a real marquetry piece in the forger’s largely ready to be inlaid and when it was stored it eyes, there had to be lots of it; the furniture should was obviously meant for later use. Incomplete un- be covered with it, inside and out. This would be the aspect of overdoing it. collection. In addition some much used tracings on The overall effect that was most probably sought paperfinished have designs been form preserved only a thatminor allow part an of insightthe whole on after, was an aged look. The colours should therefore the working method of copying designs, probably by be subdued and faded. So lots of natural coloured, using carbon paper. yellowish light brown mellow tones are seen in this relatively new marquetry. The brightly coloured, unique chance to compare unused prefabricated stained elements tend to be much smaller in num- marquetryThe size andelements variety with of the collectionsecondary gaveinlaid us mo an- ber and hardly ever add up to a naturalistic compo- tives found in antique furniture. A valuable refer- sition. (The coloured elements that are used seem ence collection it may be, some caution is appropriate in interpreting its example. It is not actually The other aspect, the surprisingly clumsy and inlaid – there is no furniture found as yet with inlays sometimesoften quite haphazardlyquite oddly strewnanachronistic in the total look picture.) of this that can be attributed with certainty to J.L. Miner. As marquetry should perhaps be seen in the light of - the fairly recent development of the antique fur- tury14 and probably just one man’s production this niture trade at the end of the 19th century. Access obviouslyit is dating also from limits the firstthe scope.three decades of 20th cen to antiques was limited to the newly founded museums, antique dealer’s shops, auctions, and some catalogued collections. In comparison to today’s situation, the material one could draw from was extremely limited. This would explain for a lot of the quaint fantasy decorations the marquetry cutters were forced to come up with, for sheer lack of material to copy.

145 Jaap Boonstra, Maarten van Bommel and Pol Bruys

Figure 8 Two door cabinet c. 1700, with later inlays of mar- Figure 9 Two door cabinet, late 17th century (Private collection). quetry and ceramics (Inv. nr. L 745 Collection Paleis Het Loo Nationaal Museum, The Netherlands).

Technique of marquetry cutting The individual marquetry elements were generally sawn out with a mechanical marquetry saw at a veneer sheets, is an important characteristic to go perpendicular sawing angle. Up to 10-12 sheets of by.ness,16 However a result it of shouldn’t mechanized be mistaken sawing or for slicing veneers of veneer of less than 1 mm. thickness were stacked to- thinned down by repeated scraping and sanding.. The newspaper separation layers can give impor- On the top sheet of the stack a pattern in the form of tant clues as to the date and origins of the marque- agether, line drawing temporarily on paper held wasby a glued, thin glue the otherfilm or sheets pins. try. The glueing together of stacks of veneer gave were interspaced with newspaper for ease of sepa- extra support to the thin sheets during the sawing ration after sawing. process. This method would produce a whole series of The marquetry inlays are mostly secondary, which identical motives with fairly wide saw kerfs. means they are incrusted in the already glued down By incorporating differently coloured sheets of ve- ground veneer. The outline of the inlay was traced neer in the sandwich one could achieve some varia- on the ground veneer with a knife or chisel and that tions in the design by interchanging elements from - various layers after splitting up the stack. Another frequently used technique for adding tone and depth insertionform subsequently of inlays gougedin solid outwood, in order which to happened fit the in to the design was shading the individual elements in mostlylay flush on with chairs. the adjacent veneer. A variation is the hot sand. More seldom one comes across marquetry which The technique described implies much laborious has been cut into a ground veneer with a saw. This of course implies that the inlay and ground veneer are a complete design that can be handled and inlaid, of the same date. heldpuzzling together together only of by the narrow loose glue elements lines atto thecompose edges 15 decorationof the veneer schemes elements! – a lot of mirror imaging and sheerThe repetition identical motivesis found. producedThe average are veneer reflected thick- in

146 Flowers from Holland

Figure 10 Detail of proper left side of two door cabinet shows the rather crude marquetry. (Inv. nr. L 745 Collection Paleis Het Loo Nationaal Museum, The Netherlands).

Marquetry patterns The patterns used for the later marquetry inlays seem to follow the example of folk art (for instance and ground. It may also happen that motives of com- - pletelycrudely differentincrusted origin without and a styletight fitare between combined inlay in metrical and repetitive motives are used for panels one picture. thatpaper often clippings). form swags On first and impression branches that largely seem sym to Some of the later imitations though, reach a re- grow from central trunks or are collected in a cen- markable similarity to the marquetry in late 17th trally positioned vase or basket. Such a vase or bas- century Anglo-Dutch clock cases. The same crowd- ket will be ‘resting’ on some sort of support formed by acanthus leaf scrolls or a console. Narrow edges these instances the give-away might be in the incon- will be inlaid with single curvilinear branches. The gruityed appearance of marquetry of figures inspired and by intertwined the late 17th swags. centu In- ry example applied on 18th century cases. (Authen- - tic marquetry in mid 18th century clock cases will attempt to fill all vacant spaces with decorations- has a definite aspect of ‘horror-vacuï’. By nature al vase or tied up with a ribbon, the forms of trunk- oftenready lacking flat, through in depth their and primitivism perspective. and Overlap their re- doorbe rather and sparse;base elegantly limited toaccentuated a few flowers by ina narrowa small pingpetitive of variousforms and forms, standardization which would the have designs added are to a realistic effect, is seldom observed, as this would shapes were then used only once.) of course mean additional effort for the time and lining. And significantly; all these various marquetry labour of conscious worker. The individual wood secondarily applied marquetry-patterns; the furni- elements, which constitute the marquetry, may be tureFinally, can doa less without. obvious There aspect will characterizesnecessarily always these of rather large dimensions of quickly cut rounded be scores of un-decorated, unaltered counterparts of forms when compared to the more diminutive 18th the marquetry furniture of the same basic type and and 17th century originals. This of course again ef- ground veneers that survive perfectly happy with- fectively speeded up the production. Another thing out inlay. The comparison can often be quite telling. to look for is low quality workmanship of various forms, for instance not fully cut out shapes that are

147 Jaap Boonstra, Maarten van Bommel and Pol Bruys

Figure 11 Detail of the trunk door of the long case clock Figure 12 Reverse of secondary marquetry inlay, removed from table by Jacobus Vliet, Rotterdam c. 1750. The secondary top, (Private collection). marquetry fills up all vacant areas and the marquetry cutter also introduced iconographical novelties such as a parrot. Photo: M. Spaander, Zutphen).

Individual figures - the risk of cutting through and losing the colour. In quetry elements, such as; helmed deities, parrots, - Some figures are typical for the later applied mar ing all over the individual marquetry pieces and not may appear anachronistic in 17th and 18th century thematerial accumulation thus prepared and deepening one will findof colour an even along stain the Dutchseashells, furniture. heraldic figures, national emblems. These edges one expects to see in individually stained pieces of genuine early marquetry. At the end of the 19th century synthetic dyes were developed and from the 1870’s onwards they found Colours increasingly application in the wood trade.18 Analy- ses of pieces from the early 20th century have con- various tones of light yellowish brown of the natu- ralThe wood. colour The range edges of ofthe individual inlays is elementsmostly defined are often by be easily purchased, were ready to use and pro- picked out or accentuated by shading done by dip- ducedfirmed –this at leasttrend initially (see below). – brilliant These colours. colours Aniline could ping the veneer in hot sand. dyes were mostly used, often in combination with metal salts, either mixed together or as separate stain solutions. Although these modern dyes had the tendIn addition to fade. Thesome reverse pieces of may pieces be artificially that are taken stained, out advantage of instantly producing colour and giving duringbut this conservation can be hard mayto recognize still show since the primary most stains colours that were used: green, red, yellow and blue. material to fully penetrate with a stain. To improve A typical characteristic of staining in this period thereproducible penetration results, veneers wood could still beremained immersed a difficult in hot is that whole sheets of mechanically sawn or sliced dye-baths.19 veneers of less than 1 mm thickness were stained, - before cutting them up in patterns. A deep stain pen- ecuted by saw cuts, while sketch-like engraving is etration of these thin sheets was generally easier to notThe so detailingcommon. of This veins constitutes and fine anotherlines is mostlyimportant ex obtain.17 Full penetration is an obvious advantage if difference from true 18th century marquetry. one has to scrape or sand the marquetry; it limits

148 Flowers from Holland

Figure 13 Detail of side of long case clock by Jacobus Vliet, Rotterdam c. 1750, showing later inlays encrusted in the walnut groundve- neer (Private collection. Photo: M. Spaander, Zutphen).

Wood species The light coloured wood species that were mostly The original ground veneer can also be replaced used for marquetry inlays can be hard to identify. with more modern varieties like thinly sliced walnut Species like maple, horse chestnut, boxwood, horn- instead of sawn walnut veneer or African instead of beam and holly are very similar in appearance, South American mahogany. In these cases one has to and applied as small marquetry elements they can be aware of the possibility that the marquetry has be impossible to tell apart on a macroscopic level. - The same accounts for cherry, satinwood and avodi- fore gluing. been fitted in the ground veneer by fret sawing, be used. Generally the variation in choice of woods of strongré; another colours group is ofless species than inthat the seem authentic to have speci been- men of 17th century marquetry. Positive microscop-

20 ic identifications have been made so far of maple, horse chestnut and avodiré. Ground veneer The veneer that forms the background for the later inlays is most often of walnut and mahogany, less frequently rosewood. The walnut veneers on 17th - ured dark veined or burr veneers. They will be hand sawn,century as and a rule 18th of 1century mm thickness furniture or can more. be livelyThe usu fig- ally darker colour contrasts with the light coloured inlays.

149 Jaap Boonstra, Maarten van Bommel and Pol Bruys

Figure 14 Screen, c. 1890’s. (Inv. nr. L 673, Collection Paleis Het Loo Nationaal Museum, The Nether- lands, Photo: C. Desmet).

Figure 15 The front of an interior drawer from the bureau display case with sample location. (Photo: C. Desmet).

150 Flowers from Holland

Scientific analysis as a tool for identification A helpful tool ascertaining whether inlays are au- samples. This can be done directly on the surface of a thentic or possibly secondary can be stain analysis. sample, or cross-sections can be made to determine When modern, early synthetic dyes are present in the penetration depth of the element into the wood. the marquetry, this may be an indication of its age. In such case, it can be distinguished whether the in- As part of this project a selection of stained and un- organic components originate from the wood (i.e. stained samples were analysed by M. van Bommel, present all over the sample) or from the stain (i.e. I. Joosten, L. Megens and H. Neevel of the Cultural top layer). In general, SEM-EDS has a detection limit Heritage Agency of the Netherlands for using HPLC, of 0.1 weight %, which sometimes is not enough for SEM-EDS, XRF and FORS. Although a complete description of the techniques XRF, but localisation of the components present is used is beyond the scope of this paper, we will give anidentification. advantage of The this technique technique. is more laborious then a brief description and state the advantages and dis- High Performance Liquid Chromatography cou- advantages of these techniques. XRF and FORS are pled to Photo Diode Array detection (HPLC-PDA) both portable and non-destructive techniques; the - - ganic colorants. After sample pre-treatment with - hydrochloricis a very sensitive acid, organictool for colorantsthe identification are separated of or trometry,first was usedcan be to used determine to analyse inorganic inorganic elements stains, butdi from each other by HPLC and then UV-VIS spectra alsorectly to on identify the furniture. other XRF,inorganic X-ray fluorescencecomponents specused are recorded. By comparison of both retention time for the production process or salts used as an agent and spectra with those of known reference materi- in the staining process. It is a very quick and non- destructive technique; the disadvantage however, is disadvantage of HPLC-PDA is the fact that small samplesals, the organic are needed colorants for destructive can be identified. analysis. The In main ad- which elements originate from the wood and which dition, the technique is more time consuming than fromthe low the sensitivity production and process. the difficulty Analysing to determineuntreated XRF and FORS. The HPLC procedures used are de- wood as a reference or ‘blank’ is therefore crucial. scribed elsewhere.21 Our approach was to start with the non-destructive techniques XRF and FORS, to compare differ- VISFibre up to optic near reflectanceInfrared. The spectroscopy absorption behavior (FORS) wasof a ent areas of furniture which are of interest. As these colorantused to record in the UV,reflectance the visual spectra and in ranging the near from infrared UV/ techniques are quite fast, many areas can be scanned is dependent on the chemical structure of the com- prior to sampling. The selection of the sample location is done, based on the results of both XRF and FORS. After sampling, SEM-EDS can be done to de- ponent. In principle it can be used for identification. termine the inorganic components and HPLC-PDA possibleHowever, ifas reconstructions not only the colorant of reference shows reflectance, materials to identify the organic colorants. onbut various also the wood wood speciesitself, identification are available. can Also only degra be - dation of both the colorant and the wood can affect marquetry, a second batch of samples was obtained fromThe actual first furniture selection assumed was taken to be from inlaid the in the Miner- late - 19th century. A cylinder bureau with display cabinet the reflectance. Although some colorants have such on top (L 767) and a screen (L 673) both from the neededspecific forreflectance reference behavior would be that enormous. they can Itbe seems iden collection of Koninklijk Paleis Het Loo Nationaal Mu- tified on that basis, the number of reconstructions- seum were selected.22 tion purposes. The technique can be used however, toan compareimpossible colored route toparts use ofthis furniture system forto determineidentifica if different stains are used. As it is portable, fast and non-destructive, the technique can be used as a sam- - pleA selectionscanning toolelectron to minimize microscope the numbercombined of samwith energyples necessary dispersive for furtherX-ray identification.spectroscopy (SEM-EDS) was used for determining the inorganic elements in

151 Jaap Boonstra, Maarten van Bommel and Pol Bruys

Results of the analytical techniques XRF and SEM-EDS analysis revealed the presence of all over the furniture as in that case the contribu- many inorganic components, mainly calcium, sul- tion of the varnish to the spectrum will be the same phur and iron and as minor components aluminium, for all samples. In principle, this contribution can be silicon, potassium and lead as is shown in table 1. In subtracted to obtain a clearer result. However, the presence of a varnish can be misleading. In two sam- was found as well. With the use of SEM-EDS, sodium ples, L767-2 and L767-4, a greenish/yellow stain andquite chloride a few samples were detected from the as Miner-collection well. With SEM-EDS zinc was expected to be present. On observation of the analysis it was observed that many particles were back of the inlays, no stain was found at all and the present, whose elemental composition indicates the yellow colour on the front probably had to do with presence of dust (sand, clay, gypsum). In particle- the varnish. Obviously, if the colour of the varnish is free areas calcium, iron, sulphur, sodium and chlo- dark or is quite similar to the stain expected, FORS ride were usually detected. Analysis of unstained can not be used for sample selection, unless the in- reference wood samples of the same species yielded lays are removed and monitored at the unvarnished areas. lower amounts. So the presence of these elements An example of the possibilities of FORS is given in isgenerally probably the related same to components, the use of stains. but inHowever, significant the graph 2. In the Miner-collection as well as in the bu- compositions of the elements found in the stained reau display case interior a range of green, green- wood are all very similar; with a few exceptions no blue and blue colours were found. The blue colours differences in composition nor concentration was were easy to distinguish from the green and the found in wood stained with different colours. So, it greenish-blue. But the last two colours were more is likely that the stained areas were all treated in a similar way, prior, after or during application of the the green and green-blue colours showed very simi- colorant, independent of the colour one tried to at- lardifficult absorption to differentiate. behaviour, As indicating can been thatseen similar in graph col 2,- tain.23 orants were used which were clearly different from As a result, the inorganic analysis can not be used to give information about which stain was used. by HPLC analysis (see below for more information) bythose which found it was in thedetermined blue areas. that This picric was acid confirmed was pre- of inorganic components present on the different sent in the green samples, but not in the blue sam- woodHowever, samples, due to it theis likely lack ofthat significant organic stains differences were ples. In the green, the greenish blue and the blue the decisive factor for producing colour. samples, blue dyes were detected of the triphenyl FORS was used as an experimental technique, to methane dye class. The blue dyes found in the green investigate its use as sample selection technique. and greenish blue samples are similar, while in the Some general observations were made during the blue sample a different blue dye was detected. This - corresponds with the fact that the FORS results were mine whether or not a veneer was stained when the similar for the green and greenish blue samples, but colouranalysis. observed First of is all, yellow it is ratheror (light) difficult red. toAs deterthese different for the blue samples. colours can be very similar to the natural tint of un- - orstained blue sampleswood, perception were easier with to interpret.FORS is difficult Obviously, un theless topa very layer, specific often staina varnish, was used. does Resultsaffect the of greenFORS measurement as well, see graph 1. We have examined inlays of the bureau display case both at the front, with a varnish applied, and at the back of the - tance is somewhat lower at the front of the sample, whichinlay which is explained was not byvarnished. the presence In general, of the the varnish. reflec But the main difference can be observed in the area the varnish. However, for sample selection, this is notaround that 450important nm where when reflectance the same varnish is higher is applied due to

152 Flowers from Holland

Table 1 Results HPLC Sample code Inorganic compounds Dyestuff Remarks Main Trace Stain related Blank analysis of Ca Al, Si, K, Fe -- Mainly yellow and some red These components are related to the maple (Acer spec.) components, flavonoids and wood anthraquinones respectively Flower-1-red S, Ca. Fe Al, K, Fe, Cl S, Fe, Zn, Cl Victoria blue R Reflected light microscopy showed only (Miner collection) Unknown red synthetic dye (abs.max very superficial staining 513 nm) Flower-1-white S, Ca. Fe Al, Si, K, Zn, ? No result, probably inorganic pigment (Miner collection) Na, Cl Flower-2-green S, Ca. Fe Al, Si, K, Zn, S, Fe, Zn, Pb, Picric acid Concentration picric acid and blue / violet (Miner collection) Pb, Na Na Traces of basic blue or violet dyes, dyes are approximately equal probably of tri-phenyl methane dye class. Flower-2-yellow S, Ca. Fe Si, K, Zn, Pb, S, Fe, Zn, Pb, Picric acid Picric acid concentration much higher (Miner collection) Na Na, Cl Traces of basic blue or violet dyes, then in the previous sample, which probably of tri-phenyl methane dye explains the colour difference class. Flower-3-green S, Ca. Fe Al, Si, K, Zn, S, Fe, Zn, Pb, Picric acid Picric acid present in abundance (Miner collection) Pb, Na, Cl Na, Cl Traces of basic blue or violet dyes, Acer spec. (analysed by transmitted light probably of tri-phenyl methane dye microscopy ) class. Flower-4-green S, Ca. Fe Al, Si, K, Zn, S, Fe, Zn, Pb Picric acid Picric acid present in abundance (Miner collection) Pb Traces of basic blue or violet dyes, probably of tri-phenyl methane dye class. Flower-4-yellow Not analysed No result, probably natural coloured It is sometimes difficult to distinguish /brown/natural wood. between the natural colour and a stain (Miner collection) Flower-5-blue S, Ca. Fe Al, Si, K, Zn, S, Fe, Zn, Pb Unknown basic blue dyes of tri-phenyl Similar components as found in sample (Miner collection) Pb methane dye class. 11, but different from those found in the green samples Reflected light microscopy showed partial staining; penetration depth of c. 0,1 mm. Acer spec. (analysed by transmitted light microscopy ) Flower-6-dark red S, Ca. Fe Al, Si, K, Pb, S, Fe, Pb, Na, Possibly brasilein indicating the use of a Na, Cl Cl redwood dye

Flower-6-yellow Not analysed No result, probably natural coloured (Miner collection) wood. Flower-7-red S, Ca. Fe Al, Si, K, Zn, S, Fe, Zn, Pb No result Acer spec. (analysed by transmitted light (Miner collection) Pb microscopy )

Flower-8-yellow S, Ca. Fe Al, Si, K, Pb S, Fe, Pb No result, but based on the colour a (Miner collection) stain was expected Flower-10-green S, Ca. Fe Al, Si, K, Pb S, Pb No result, but based on the colour a Reflected light microscopy showed (Miner collection) stain was expected partial staining; penetration depth of c. 0,28 mm. Flower-11-blue S, Ca. Fe Al, Si, K, Pb S, Fe, Pb Unknown basic blue dyes of tri-phenyl Similar components as found in sample 5, (Miner collection) methane dye class. but different from those found in the green samples Reflected light microscopy showed partial staining; penetration depth c. 0,18- 0,28 mm. Bureau display case Ca, Fe Al, Si, S, Pb Ca, Fe Fuchsine Stain related components were present in interior drawer -1, red a significantly higher amount. petal Bureau display case Ca, Fe Al, Si, S, K, Pb -- Not stained at the back Yellow colour probably due to the varnish interior drawer -2, greenish/yellow leaf Bureau display case Ca, Fe Al, Si, S, K, Pb -- Unknown synthetic blue dyes, unknown Sample showed green at the varnished interior drawer -3, red dye present as well. part, but blue at the back of the sample green stringing (unvarnished) Bureau display case Ca, Fe Al, Si, S, K, Pb -- Not stained at the back Yellow colour probably due to the varnish interior drawer -4, greenish/yellow leaf Bureau display case Ca, Fe, Al, Si, S, K, K, -- Unknown synthetic blue dyes, unknown Sample showed green at the varnished desk -5, green leaf Pb red dye present as well but different part, but blue at the back of the sample than in sample Cabinet-3 (unvarnished) Screen-6, yellow scroll Not analysed Flavazine L equivalent Screen-7, green leaf Not analysed Unknown basic blue dyes of tri-phenyl methane dye class.

153 Jaap Boonstra, Maarten van Bommel and Pol Bruys

Graph 1

As mentioned before, this part of the research was respectively. The dyestuffs here found could not be quite experimental. The main aim to determine related to any of the known dyes, this could be due whether FORS can be used as sample selection tech- to the lack of reference materials analysed so far. In- terestingly, in most green samples the concentration although on certain conditions. First of all, the col- of blue dyes was much lower than the concentration ournique. of Thethe stainfirst analytical must be clearlyresults differentsuggest that from it thatcan, of picric acid. It is rather odd that such a low concen- of the wood. A varnish can hamper analysis when it tration of blue dyes can affect the colour so much. has a strong colour of its own or when it is unevenly - applied on the object. More experiments are needed tions, to calculate the concentration of blue dyestuff to get a better understanding of the possibilities and neededThis might for abe green confirmed colour. by preparing reconstruc limitations of FORS. In the blue samples, blue dyes from the tri-phenyl The results of the HPLC analysis are given in table methane class were found as well, however, these 1. As yellow stain, picric acid was found in the yel- were different from those found in the green sam- low and green samples. Picric acid was developed in ples. Another blue dye, Victoria blue R, was found 1771, as a semi-synthetic dye obtained by treating in a red sample from the Miner marquetry together natural indigo with nitric acid. In 1841, a synthetic route was discovered treating phenol with nitric Victoria blue R was developed in 1892 and is known acid, other synthetic routes were developed as well aswith Colour a synthetic index redname dye basic which blue remains 11. In unidentified. another red in the 19th century. The light fastness of picric acid sample from the Miner collection, the natural dye is not good, but despite of this it was used as col- brasilein was found, indicating the use of a redwood orant until the early 20th century.24,25 In some sam- dye (Caesalpinia sp.). ples, which seem to be stained yellow no colorant Samples from the bureau display case and screen was found. It could be that analysis failed; however, were taken by removing the inlays which allowed it is more likely that these samples were not stained us to take samples from the back of the veneer. This at all. In the green samples, picric acid was found to- has the advantage that un-faded areas were sam- gether with unknown blue or violet dyes from the pled and that the inlays can be mounted back to the synthetic dye class of tri-phenyl methane dyes. This furniture without disturbing the overall look of the is an important dye class of green, blue and violet object. In a red sample from the bureau display case, dyes. Methyl violet and crystal violet are important fuchsine was detected. Fuchsine, basic violet 14 was dyes of this group, developed in 1861 and 1883 developed in 1856 and is therefore one of the earli-

154 Flowers from Holland

Graph 2

est synthetic dyes. Fuchsine consists of a mixture of closely related dyes, presumably different methylat- dye, mauve was developed. Since many of these dye- ed forms of pararosaniline, the same dye class as the produced after 1856, when the first real synthetic blue dyes found. In the two green samples from the originate from the end of the 19th century or early bureau display case, unknown dyes were detected, 20thstuffs century could not as we be identified,are able to itidentify is likely 85% that of they the different from those found in the Miner-collection. dyes used between 1850 and 1900. Analysis of more A few blue dyestuffs were found, again from the tri- phenyl methane dye class and in both samples a red dye was present as well. No yellow dyestuffs were reference materials can improve identification. detected, it must be noted that the green areas were actually blue at the back of the inlays where the sample was taken. Two areas were selected with a greenish/yellow colour, however, after removal of the inlay from the object it was noted that the reverse was not stained. The yellow colour originates probably from the varnish applied; this may also be the explanation for the green appearance of the samples described above. In general it can be concluded that the HPLC analysis used showed quite varied results. Although in many samples dyestuffs were detected, the response is in general quite low. This could be due to sample the sample pre-treatment was very low when ap- pliedsize, but on itwood. is more The likely hydrochloric that the extraction acid extraction yield of was developed for textiles and paint layers, future of this extraction for wood samples. With the excep- tionresearch of the will redwood be devoted dye, to all determine dyes found the were efficiency from synthetic origin. This means that the inlays were

155 Jaap Boonstra, Maarten van Bommel and Pol Bruys

Figure 16 Desk c. 1780’s, armchair (so called ‘barbers-chair’) second quarter 17th century, both with later marquetry inlays. (Collection Marinemuseum Den Helder, The Netherlands).

The public demand – popularity at home and abroad The earliest examples of furniture with secondary J.A. Eilers, a third generation Amsterdam cabinet- inlays of which the dates of acquisition are docu- maker-furniture restorer describes the turn of the mented are typically found in highly representative century practice of inlaying plain cabinets with collections. In the former Royal collections of the Netherlands, of boiled and shaded veneers…’ to produce mar- now at Museum Paleis Het Loo one thus comes quetry‘...flower furniture motives, thatfigures was and hard swags to distinguish that were madefrom across 17th and 18th century furniture with second- real antiques and was exported in large numbers to ary marquetry dating from 1870-1880.26 Scandinavian countries.32 Similarly in Ulriksdals Slott, the former palace of The author on Dutch longcase clocks J. Zeeman Carl XV of Sweden there are several examples of on the other hand claims that mainly in England a these ‘antiques’ which were probably acquired be- market existed for Dutch marquetry furniture in the tween 1850-1870.27 Exemplary of this fashion, is the early decades of the 20th century. Antique chairs, presence of exactly the same type of two-door mar- porcelain cupboards and clocks were embellished quetry cabinet with inset china bowls and plates in to meet that demand.33 the collection of both Het Loo28 and Ulriksdals Slott This is corroborated by the unpublished memoirs collections29 and in the Hermitage museum, St. Pe- of the antique dealer Jacob Stodel, a member of a tersburg.30 several generations antique dealers’ family. He de- From royal circles the fashion has spread amongst scribes the activities of the antique dealers Stodel, other collectors (Compare in various figure countries 8). such as the well Aandacht and Woudstra in Amsterdam who made documented Dutch marquetry cabinet of the Hallwyl deliveries of newly inlaid Dutch antique furniture in considerable quantities to the London auctioneer for their town house in Stockholm.31 Bonham and the dealers F. Berendt and Sales dur- family that was purchased in 1897 in Switzerland(!) sketches a vivid picture of the trade: ‘…Then we ing the first decades of the 20th century. Mr. Stodel

156 Flowers from Holland

Figure 17 Detail of chair (Collection Marinemuseum Den Helder, The Netherlands).

Questions still had our own workshop at the Kromboomsloot. Questions remain with furniture that doesn’t quite Two men were every day at work there restoring. They French polished and, on a modest scale gave later inlays referring to historic events and/or geo- antique furniture new marquetry. This was so much fitgraphical the picture situations. sketched Were above these such perhaps as furniture made with on sought after in England around 1900-1910, that all comission? sorts of workshops in the Jewish quarter had a daily Or furniture with well copied 17th century style task permanently providing for it. Cupboards, chests marquetry – both technically, materially and stylis- of drawers, chairs, tables, longcase clocks – every- tically. Meticulously copying individual examples of thing got marquetry, sometimes with ivory or moth- 17th century marquetry by tracing and subsequently reproducing them obviously resulted in quite anoth- this way. er category of fakes. Less far-fetched in their designs er of pearl. The finest furniture has been mutilated and execution these products can be extremely hard to date correctly. The same applies for the fretwork Sometimes one could not obtain sufficient amounts from 18th century clock cases which is notoriously theof antique patterns furniture. they used Not examples to worry! from One books could on also or- vulnerable and often repaired. Some indication of naments…’make new 34 marquetry furniture from scratch! For this was found in the exact tracings on paper found Stodel had obviously second thoughts about the in the Miner collection taken from clearly original trade his father and uncle had been actively involved patterns. in and he claims to have acted against false dating of such work at auctions in England. He even published on the matter to have it correctly described as ‘antique furniture with later marquetry’.35

157 Jaap Boonstra, Maarten van Bommel and Pol Bruys

Epilogue Notes Our aim was to illustrate the main aspects that char- 1 Payne, C. (1981)19th Century European Furniture, The Antique Collectors’ Club. Woodbridge, p. 447 Dutch furniture. In doing so we became aware that theacterize people the involved secondary at the marquetry time - dealers inlays andin antique crafts- 2 Using these terms for an internet search on the men – were in a sense forerunners of today’s conser- websites of the main auction houses, one is directed vators and mirrored in their attitudes and produc- without fail, to pieces dressed up with secondary in- tion to some extent our professional interests. lay as well as furniture with genuine 17th- and 18th Obviously writing the history of our profession century marquetry, (the latter category usually be- by far exceeds the scope of this article, but we feel ing the smaller one). one cannot fully understand ‘the Dutch marquetry scam’ without some appreciation of the art market, 3 Wainwright, C. (1989) The Romantic Interior. New contemporary fashion, ethics and economics. This Haven & London: Yale University Press leaves challenging opportunities for further research. 4 Baarsen, R. (1988 ) Mix and match marquetry. In: On a more technical level the analysis of synthetic Country Life, CLXXXII, No. 41, pp. 224-227. dyes has yielded promising results and has proven The author describes the marquetry cabinet at itself as a tool for identifying late 19th and early Burghley House, Stamford as an early 19th century 20th century marquetry. assembly of at least one cabinet and a table to com- pose one massive piece of furniture.

5 Van Voorst tot Voorst, J.M.W. (1992) Tussen Bieder- meier en Berlage. Amsterdam: De Bataafsche Leeuw, Acknowledgements pp. 464-467. According to the author these two tables originated Many thanks are due to all the colleagues that helped from the rooms 106 en 107 of palace Het Loo and by providing useful material and comments. Espe- were described in as ‘antiek ingelegd’ and ‘met Oud- cially the active participation of L. Megens, I. Joosten Hollandsch inlegwerk’. (Paleis Het Loo Nationaal and H. Neevel of the Cultural Heritage Agency of the Museum: inv. nrs. L 356, 410) Netherlands and Charles Desmet of the Paleis Mu- seum het Loo was essential in researching the col- 6 In 1872 it entered the collection of the National oured parts of the marquetry. The generous way in Museum, Stockholm. There is no record of exactly which practically everybody we asked shared infor- when the king had the piece acquired. (Information mation with us was most enjoyable. kindly provided by J. Norrman, curator at the Na- tional Museum, Stockholm.)

7 Van Voorst tot Voorst J.M.W. (1992) pp. 30-31, 38

8 An example of such a ‘new antique’ was offered for sale fairly recently as lot nr. 51 at the Sotheby’s Important Continental Furniture & Tapestries Auc-

pearltion, inlaidLondon walnut 10 december and marquetry 2003, when commodes ‘a fine circa pair 1760’of Dutch turned gilt-bronze-mounted out to be dating from ivory the and 19th mother century of at the earliest. They were withdrawn from the auc- -

tion. (We thank Mr. J. Estié, Salomon Stodel Antiq uités,9 Van forVoorst bringing tot Voorst this to J.M.W. our attention.) (1992) pp. 81-100

158 Flowers from Holland

10 15 In the Miner marquetry collection it was observed S. Stodel and A.F. Woudstra are said to have been inthat apart from interlocking forms, a thin wash of In Amsterdam the firms of Aandacht, E. Delaunoy, - gether. 11volved. (Information received from J. Estié.) glue size seems to hold the separate elements to furniture restoration from the early decades until 16 New methods of veneer production are men- theThe early firm ‘80’s of of J.G. the Eilers, 20th known century to was be involvedmentioned in in the Amsterdam address books (‘Amsterdamse 167-168. They describe how the traditional method Adresboeken’) under the caption cabinetmakers & oftioned producing in Michaelsen, hand sawn H. andveneers Buchholz, of 1,5-2 R. mm.(2006) thick pp.- shopkeepers (‘meubelmakers & winkeliers’). Eilers Between 1814 and 1834 the French engineer A. and merely had the term cabinetmaker (‘meubel- Cochotness was constructed superseded and by improved mechanized a mechanically processes. didn’tmaker’) specifically put behind mention his name. his activity as a restorer J.L. Miner, whose stock of marquetry elements forms log drawn up from a pit. Transport of the log was an important source for this research wasn’t men- linkeddriven withhorizontal the speed saw cuttingof sawing. an upThis to resulted4 meter longin 1 tioned with a profession in the address books at all, mm. thick evenly cut sheets of veneer. From 1830 only his private address was put in. On his business onwards the same technique was applied in Berlin, card however, he styled himself as ‘inlegger van Germany. meubelen’ (inlayer of furniture). In the civic regis- Along with mechanical production of sawn veneers, ters as well, he was called a ‘meubel inlegger’ (fur- one was experimenting with the production of sliced niture inlayer). veneers. After trials in 1820-1830, the method was applied on a massive scale from the 1860’s onwards. 12 Zeeman, J. (1996) De Nederlandse staande klok. After a pre-treatment of the log by vapour-pressure, Zwolle: Waanders, pp. 74-76, 290-292. this method gave a thin (less than 1 mm.), evenly cut veneer and very little waste. David van den Boogaard that was ‘improved’ by the See also Ramond, P. (2000) La marqueterie. Dourdan: The author identifies an 18th century clockcase by Editions H. Vial, p. 76. The author writes that sliced Other examples of secondary inlays are shown on - pagesMeijer 290-292. firm in Voorburg, The Netherlands (p. 74-76). ning of the 19th century in Pont de Claix (Isère) France.veneers ‘Thewere ‘trancheuse’first machine-produced was driven atby the a waterbegin- 13 The Miner collection had become part of the stock wheel and it cut the wood cold, without preparatory steaming or boiling the log. Although some wood chairmaking, cabinetmaking and furniture resto- species like maple and poplar can be cut this way, of another Amsterdam firm, the three generation this didn’t apply to the harder woods. Since these ‘90s. beginnings producing veneered work with sliced ve- Itration is only firm recently Eilers attributed which was to sold J.L. Miner in the on 1980s the basis and neers has strongly developed. After 1865 one sees of private correspondence, permits, and business cards found scattered through the marquetry ma- machines were designed that produce veneers for terial. Stylistic and technical analysis and a photo- affordablethe industrialization prices which of allowed the production for a wider technique; applica- graphical registration established the uniform char- tion.’ acter of the collection and supports the assumption - 17 Vom Fär- rial owned by the Amsterdam Historical Museum is ben des Holzes. Holzbeize von der Antike bis in die registeredit is almost under entirely the one inventory firm’s production. number KA The 19263. mate GegenwartMichaelsen,. St. Petersburg: H. and Buchholz, M. Imhof R. (2006) Verlag, pp. 167- 169. 14 permitting Miner to have a stove for ’boiling glue’ 18 andBased the dates on the found official on municipalthe fragments document of newspaper of 1905 165. originally serving as a separation layer between the Michaelsen, H. and Buchholz, R. (2006) pp. 162- sheets of marquetry veneer.

159 Jaap Boonstra, Maarten van Bommel and Pol Bruys

19 Although fully colour-penetrated prestained ve- 25 On two Dutch pieces of furniture from the collec- neers were produced by companies in France and tion of the Oderlandmuseum, Bad Freienwalde that were found to have secondary marquetry in 1994-9 it remains questionable whether small scale cabi- by their restorer K. Broschke, the analyst Dr. A. Un- Germany, (Michaelsen and Buchholz 2006, p. 166), ger of the Rathgen-Forschungslabor Berlin similarly material. Eilers’ description of ‘boiled’ veneers that analysed picric acid on yellow/green marquetry werenetmaking-restoration used for inlay, seems firms to indicate did make the useworkshops of that samples with the help of HPLC. We are grateful to did their own staining. (Eilers, J. A., Antiekrestaura- our German colleagues Mr. K. Broschke, H. Michaels- tor en wat er aan vooraf ging, Opleiding Restaura- toren: Amsterdam, 1983, 17) Samples of coloured us with this information. veneers from secondary marquetry more often than en, R. Buchholz and professor Unger for providing not show only partial penetration. 26 Bureau display case L 767; Bureau bookcase L690; Set of chairs L 691 a- 20 Three samples were taken from off-cuts of mar- 27 At the time of writing this article were on exhibit maple, horse chestnut), two from stained marque- in Ulriksdals Slott: an 18th century two door cabinet tryquetry elements elements from from the theMiner Miner collection collection (maple) (avodiré, and with later inlays (NM.C XV. 2192); two small chests three from stained marquetry taken from a 19th of drawers; one commode with mirror in Oscar II century dumb waiter top (horse chestnut). bedroom; a set of chairs in the balcony room and a bureau bookcase. 21 van Bommel, M., van den Berghe I., Wallert, A., Boitelle R. and Wouters J. (2007) Journal of Chroma- 28 Inventory nr. L 745, possibly bought in 1882 at tography A. Vol. 1157, pp. 260-272. Voorst, 1992, p. 451 and Rem P., 2003, Hofmeubilair 22 We are most thankful to Mr. C. Desmet and Mr. P. -the Negentiende-eeuwse Grand Bazar Royal, meubelen The Hague uit (Vande collectie Voorst vantot Rem for their help and support in this research. Paleis Het Loo. Zwolle: Waanders Uitgevers, pp. 150- 151, 202) Rem also mentions a second cabinet of 23 Literature mentions the use of these elements ; this type in the collection of HMS the Queen, Palace calcium, iron, suphur, sodium and chloride as com- Noordeinde and a third one in the collection of the ponents in separate stain solutions to be combined Fürst of Waldeck, Castle Arolsen. with synthetic stains or as additives to such stains. See for instance : 29 Exhibited in the General’s room of Ulriksdals Slott, Sweden.

StudieBuchholz, und R. restauratorische (2001) Zur Entwicklung Betrachtung und Geschichteals Beitrag 30 The use of ceramics incorporated in furniture was der synthetischen Holzbeize. Eine Quellenkundliche possibly inspired by a true 17th century example. Compare: Watson, F.J.B. (1966) A possible source denzur KunsttechnologieChemiker Wilhelm des Zimmermann frühen 20. Jahrhunderts sowie von for the practice of mounting French furniture with Produktenam Beispiel der der Fa. Entwicklungen Arti in Barmen/Wuppertal. von Beiztypen Diplodurch- Sevres porcelain. In: Opuscula in honorem C. Hern- marbeit, Studiengang Restaurierung, Fachhochs- marck, Nationalmusei skriftserie, nr. 15. Stockholm: chule Hildesheim. Nationalmuseum, pp. 245-254. van Hoek, C. P. (1944) Beitsen, Kleuren en Oppervlak- te-Behandeling van Hout. Deventer: Æ. E. Kluwer. 31 The cabinet with secondary inlay (Hallwylska Kollmann, F. (1951) Technologie des Holzes und der Sammlingen inventory nr. I:I.d.d.8) was bought by Holzwerkstoffe. Berlin: Springer-Verlag. Mrs. W. von Hallwyl Kempe on 04.06.897 at the Soxhlet, D. H. (1899) Die Kunst des Färbens und Bei- - zens von Marmor, künstlichen Steine, von Knochen, tory books Hallwylska Sammlingen, p.180. We thank Horn und Elfenbein und das Färben und Imitiren von Mrs.goldsmith I. Jansson, and 1st artdealer curator J. of Bossard, the Hallwylska Luzern. museet Inven allen Holzsorten. Stockholm for this information. Verlag. Wien.Pest.Leipzig: A. Hartleben’s 24 See note 21.

160 Flowers from Holland

32 Eilers, J. A. (1983) Antiekrestaurator en wat er aan vooraf ging. Amsterdam: Opleiding Restauratoren,

(Drentse kasten met vlakke pilasters uit de tweede helftp. 17. van ‘Rond de 17de 1900 eeuw werden – JB) er wat vele uiterlijk van deze betreft kasten verfraaid; door in de bestaande fineer bloemmotieven inleggers,en figuren kamelotwerkers en (p. 18) slingers en politoerders.van gekookte […] en Ookmet zand gebrande fineer in te leggen. Je had in die tijd instoelen grote en hoeveelheden andere meubelen uitgevoerd werden naar op deze de Scandimanier- met inlegwerk verfraaid. Deze meubelen werden moeilijknavische uit landen. elkaar De te uithouden.’ de tijd zijnde meubelen en Jaap Boonstra de later van inlegwerk voorziene meubelen zijn heel Furniture Conservator 33 Zeeman, J. (1996) p. 63.

34-35 Unpublished memoires of J. Stodel (1927-2007); Amsterdam Museum ‘...Dan hadden we nog een eigen werkplaats aan de Amsterdam, The Netherlands Kromboomsloot. Twee mannen waren er dag in, dag uit aan het restaureren. Ze politoerden en op besc- Tel. +31 (0) 20 523 18 22 E-mail: [email protected] marqueterie. Daar was rond 1900-1910 in Engeland heiden schaal gaven ze antieke meubelen nieuwe de jodenbuurt er permanent een dagtaak aan had- zo’n grote vraag naar, dat allerlei werkplaatsen in stoelen, tafels, staande klokken – van alles werd ge- marqueteerd,den om erin te soms voorzien. met ivoor Vitrinekasten, en parelmoer commodes, erin. De Maarten van Bommel Dr. Senior Researcher Soms kon je niet genoeg antieke meubelen prachtigste meubelen zijn zo verknoeid. Cultural Heritage Agency of the Netherlands Amsterdam, The Netherlands aangesleept krijgen om van marqueterie te voorzien. voorbeeldboekenGeen nood! Dan maakten met ornamenten...’. ze toch nieuwe meubelen met marqueterie?! Voor de patronen gebruikten ze Tel. +31 (0) 20 305 47 80 Amsterdam for this information. E-mail: [email protected] We thank Mr. J. Estié, Salomon Stodel Antiquités, www.cultureelerfgoed.nl

Pol Bruys Furniture Conservator

Private workshop Haarlem, The Netherlands

Tel. +31 (0) 652 34 05 02 E-mail: [email protected] www.bruijs-streep.nl

161 Jürgen Huber

New from old – Discoveries during the Conservation Treatment of a ’Boulle’ Style Commode in the Wallace Collection

Jürgen Huber

Introduction This paper will outline the complex and time-con- acquired in the mid-nineteenth century by the suming work undertaken to conserve a ‘Boulle’ style fourth Marques of Hertford, a passionate collector of Boulle furniture, who continued to buy pieces until perhaps not all it once seemed. his death in 1870. The basic form of the commode régence commode. As will be seen, this commode is- gent need of conservation. Much of the ebony veneer andIn aprilBoulle 2004 marquetry the commode decoration was identified was no as longer in ur (1715-1723),dates from the and régence, it has traditionally the period whenbeen dated Philippe to - aboutd’Orléans 1720. ruled France during Louis XV’s minority ing and corrosion of the brass was obscuring much In June 2004 a detailed conservation treatment offirmly its engraved adhered todecoration. the carcass, Areas and ofexcessive both brass darken and proposal was produced and the commode was turtle shell were missing, and many elements were removed from East Gallery II to the Furniture held approximately in position with adhesive tape Conservation workshop for detailed visual to prevent further loss. The gilt metal mounts were examination and photography. also heavily corroded in many areas and the thickly The conservation proposal was then further applied shellac based coating (applied in 1925) was discussed with curatorial staff and the Wallace very discoloured. The time-consuming treatment of Collection’s Conservation Advisory Committee, this commode involved the use of EDTA, the vacuum an international panel of both conservation and clamping technique, and rehydration, in addition to curatorial experts from the UK and abroad prior to more traditional techniques. treatment commencing. The Wallace Collection holds one of the largest and There is one recorded treatment on this commode, most important collections of furniture attributed carried out between the 02/09-19/10/1925: ‘Inlay and shell loose. Take out clean; relay all comprising about 70 pieces. Furthermore, there are loose inlay shell; repair groundwork clean up all manyto André-Charles more pieces Boulle decorated (1642-1732), in Boulle inmarquetry, the world, a over slightly with pumice powder; oil; re-polish with style named after this famous cabinetmaker. button polish; dull down with pumice powder, clean This commode, with the catalogue number F407 is mounts with turps; slight methelated spirit; lacquer made in pinewood. The oak drawers are decorated one coat pale gold.’ top is of griotte marble. The commode was probably with Boulle style marquetry, gilt-bronze mounts. The

162 New from old

Figure 1 Commode before treatment, catalouge nr. F407.

Conservation treatment The treatment commenced in October 2004 with the The ‘vacuum pressure-clamping’ technique was recording through both drawings and photographs used wherever it was considered to be the most ap- of F407 followed by the careful removal of all gilt propriate. There are of course advantages and dis- metal mounts. Photos were mounted on cardboard advantages of using this technique. One advantage and the screws used to hold the mounts into position were screwed into their corresponding places silicone panel heated to 50ºC was placed over the preparedis the even areas pressure as part applied of this to treatment the surface. and A flexibleleft for screws when the mounts had to be reattached. up to thirty minutes. Clamps and weights were also onAll the the photo, surfaces to enable were the then identification very carefully of the dusted, right used to re-adhere loose, detached or indeed new pieces of Boulle marquetry. cloth. All the loose but still attached pieces of eb- After all preliminary consolidation and replace- ony,hoovered turtleshell and cleaned and brass with veneer a damp were soft microglued fibreback ment treatment had been carried out; the old shel- into place using warm isinglass at a strength of ap- lac varnish applied in 1925 was softened with a pa- proximately 10% weight, in water. This mixture was rubbed for several minutes over the marquetry sur- minutes. After removing the old shellac varnish the face in order to seep into the crevices and reactivate rehydrationper I.M.S. poultice technique and removedused and after where about necessary fifteen the already existing glue. This technique can be described as rehydration and the solution of isinglass re-adhered. repeatedThe marquetry until all areaswas ofthen delamination polished using were firmly‘ivory Where necessary more glue in higher concentration wasin water injected adds using additional a hypodermic strength needle and flexibility.and a sy- little EDTA, Ethylene Diamine Tetra-acetic Acid Dis- ringe. Brass parts which were distorted or bent were odiumblack’, aSalt finely-ground (0.01 molar black strength pigment mixed mixed with awith small a removed where possible, straightened, cleaned, amount of Sodium Carbonate to increase the PH and keyed (scratched) on the reverse before being value to 7) as a lubricant and to help to treat the cor- glued back into position. Parts which could not be rosion. Where spots and patches of corrosion had removed were straightened in-situ in best possible been removed, the underlying surface of the brass way and glued back into place using a stronger mix- was often pinkish in colour, indicating a copper-rich ture of isinglass.

alloy suffering from zinc-depletion.

163 Jürgen Huber

Figure 2 Commode F407, detail of damage before treatment.

Figure 3 Commode F407, detail of damage Figure 4 Commode F407, detail of damage before treatment. before treatment.

Using more interventive abrasion techniques it the surrounding gold colour. The mounts were then would have been possible to remove this discoloura- screwed back into place using the screws taken off tion completely, but this was deemed unnecessary originally, after they were cleaned and lacquered, and too interventional. The entire surface was then even though none of these screws can be considered cleaned with a soft lint-free cloth dampened with as original. During the detailed examination of commode Once detached, all the gilt-metal mounts were la- F407, it soon became clear that some major altera- belledI.M.S., inand preparation exposed to for Diacetone-alcohol re-finishing. vapour in tions had been carried out since its initial construc- an airtight container for about 48 hours. Exposure tion in the early eighteenth century. Although almost to the solvent vapour caused the varnish to break certainly made originally with a single top drawer, down, and the degraded varnish could be brushed off this had been cut into two at a later date, resulting with a soft bristle brush and IMS. For some mounts in the bottom of those drawers being rebated only this process had to be repeated as the varnish as well along their outside edge, rather than throughout as as waxes had been applied very thickly. The mounts they would have been originally. were then fully submerged for about a minute in an EDTA disodium salt solution like the one used for decided to subject the commode to X-ray photogra- treating the corroded marquetry and steam cleaned. So baffling were these inconsistencies that it was This process was sometimes repeated several times it had been made with one single top drawer. The X- until the desired result was achieved. In the next rayphy, clearly which finallyrevealed proved a rectangular conclusively hole that in the originally centre stage the mounts were rinsed with de-ionised water part of the top of the carcass; this would have been and submerged in cork granules to dry before be- chiselled out to take the bolt of the double-throw lock which would have originally been in the centre acetone. In some areas where the corrosion was too of the single top drawer. Obviously there is no sign ing finally rinsed with a 50/50 mixture of IMS and- of this now, from the outside, since the evidence was vious, some mica-based pigment powder was mixed withdeep theor an shellac old soldered based lacquer or brazed and repair applied was to too match ob assembly. covered and lost due to the fitting of the two-drawer

164 New from old

Figure 5 Commode F407 during treatment, ‘vacuum pressure-clamping’. Figure 6 Commode F407 during treatment, polishinging with ‘ivory black’.

The present four drawer locks are identical, which ered underneath the present marquetry scheme. At would indicate that they also must be later replace- - ments, because there should actually be three iden- pairs in which veneer was glued onto the back of the tical ones (for the three original drawers) and one turtle-shellfirst it was thought to increase that thisthe thicknessrepresented to isolatedmatch that re made later for a fourth drawer when the original of the surrounding area. However, as work contin- single top drawer was split. ued it became clear that this veneer was to be found Furthermore, the bottom-centre ‘apron’ at the everywhere underneath the Boulle marquetry, the front was probably also a later addition, made of wood-grain running in the same direction (verti- a timber completely different from the rest of the cally) throughout the carcass. commode; the glue-block used as a reinforce to The layer of this ‘mahogany’ veneer appears to be the back was clearly an old moulding re-used from present throughout. It is visible as a thin layer no- something else. The back of the commode, compris- where more than 1,2mm in thickness on the edges of the drawers and carcass. other, was almost certainly later than the rest of the Whilst researching the history of the commode, pieceing several because planks they ofwere pine tongue-and-groove laid horizontally tojointed each and looking for comparable pieces of furniture, an (very crisply executed) rather than butt-jointed. example virtually identical to F407 was discovered. During the process of cleaning and restoring the It had been sold in Monaco by Sotheby’s auction commode it became increasingly obvious that the house on the 18th June 1994. The black and white present Boulle style marquetry was not the original decoration, and thus was presumably made and added in the middle of the 19th century, probably at drawercatalogue escutcheons; photograph moreover,reveals it tothe have dimensions been fitted of the same time as all the other alterations were car- thewith piece identical were gilt-bronzeabsolutely identical mounts, with apart its from Wallace the ried out. Whilst cleaning areas of losses in the Boulle Collection counterpart. It too had one single long top drawer and no apron… now thought to be the origi- freshly-cut pieces of turtle-shell or brass, a reddish- nal form of the Wallace piece. colouredmarquetry veneer decoration, (probably in mahogany) preparation was for discov- fitting

165 Jürgen Huber

Figure 7 Commode before treatment, catalogue nr. F407. Figure 8 Commode F407, mounts, detail during EDTA treatment.

The Sotheby’s commode had clearly been veneered It is interesting to note that the chest-of-drawers/ with (presumably exotic) timbers, arranged in such commode F407 was exhibited at Bethnal Green from a way that the wood-grain direction was varied so 1872-5, while Hertford House was being refurbished as to make up decorative geometric patterns. This is prior to Sir Richard Wallace taking up permanent certainly not the case with F407, though, since the residence in London. It was then described as fol- wood-grain of the underlying veneer only runs in lows: ‘1327 Chest of drawers, new Boulle work, with one direction (vertically on the carcass), and clearly marble top: French, late 17th century’ (although consists of one tree-variety only, probably mahoga- modern scholarship places this style of commode ny. Analysis is pending, but if (as seems likely) the rather later in date, into the early 18th century, - probably no earlier than about 1720). The expres- tremely unlikely that the application of this veneer sion ‘new’ is in fact somewhat ambiguous. It could layerpresence pre-dated of mahogany the third is quarter confirmed, of the then 18th it is cen ex- just mean ‘in as-new condition’, but it could equally tury; mahogany was not being used in France even mean that even in the 19th century F407 was recog- for furniture of royal quality until the middle of the nised as being in fact an old commode bearing ‘new’ 18th century. decoration. The presence of a veneer layer beneath the Boulle style decoration of the Wallace Collection commode - plied much later, probably in the 19th century. Af- Acknowledgments tertends much to confirm discussion that of the our Boulle observations marquetry with was fellow ap I like to thank Stefanie van Wüllen, David Edge, Dr. conservators, curators and furniture historians, we Alan Williams, Peter Hugh, John Hardy, Duncan Hook can only conclude that F407 was probably originally and Zoë Allen for their help on this project. veneered with wood-veneer decoration, of which nothing now survives; it was then, probably in the mid-19th century, structurally altered/ restored, and re-veneered with new or recycled Boulle style marquetry decoration, at a time when the popularity of furniture by or in style of André-Charles Boulle was at its zenith.

166 New from old

Figure 9 Commode F407 in Gallery after treatment.

References Hughes P. (1996) The Wallace Collection Catalogue of Furniture. Ramond Pierre, Marquetry The Conservation Unit, Science for Conservators. Jürgen Huber Peter Blight, Internal paper on the use of EDTA by The Meeting of East and West in the Furniture Trade Senior Furniture Conservator Sixth International Symposium on Wood and Furni- ture Conservation, Conference Postprints, Stichting The Wallace Collection Ebenist, Rijksmuseum, Amsterdam. London, UK 37. Rivers, S., & Umney, N., (2003) Conservation of furniture. Oxford: Butterworth-Heinemann. Tel. +44 (0) 20 75 63 95 26 E-mail: [email protected]

167 Clive Edwards

Continuities and Changes in Marquetry Technologies and Techniques

Clive Edwards

Introduction Early developments The basis of the paper is that there have been con- In 1803, Sheraton (p. 357) noted that marquetry tinual developments in marquetry working from the (which he still called inlay): ‘was much in use be- seventeenth century onwards that have developed tween twenty and thirty years back; but was soon the craft, whilst remaining true to the basic techni- laid aside, as a very expensive mode of ornamenting furniture, as well as being subject to a speedy decay’. follows: This was a matter of fashion for particular designs calChanges and visual from principles. hand to machine;These may from be classified practice asto and styles and marquetry made a return to popular- process in terms of techniques. Although the tech- ity by the mid nineteenth century. niques illustrated in eighteenth century manuals are The practices, which had endured since the sev- recognisable today, there have been many attempts enteenth century, were beginning to be inadequate at developments in the materials and techniques for the larger volume of furniture being made during used in marquetry. the nineteenth century. It was clear that there was Changes from general cabinetmaker work to spe- a need for some mechanising of the process if pos- cialist marquetry workers. The craft of specialised sible. ‘inlayer’s or marquetry workers operated in re- The process of building up decorative patterns sponse to the growing demand for marquetry work. cut and inlaid into veneer, the whole of which Ready-made marquetry panels, beadings etc. have was then applied as a sheet to a cabinet surface, been produced since the eighteenth century in response to demands. However, various attempts at producing machine- Changes from elite to commonplace consumption madewould orseem machine-assisted to be a difficult marquetry process to weremechanise. made and the impact this had on the craft. As fashion in an attempt to speed up what was essentially a moved towards marquetry for a wide range of furni- hand process. The majority of efforts to meet the ture in the nineteenth century, this new demand put pressure on the production process and encouraged simple batch production, others relied on imitation a range of developments that included methods of ofdemand surface fell effects, into three and thirdlytypes. The there first were was those a form that of imitation of true marquetry effects. tried to mechanise processes to speedily create In this paper I will concentrate on the processes ‘marquetry’. that tried to ‘improve’ the marquetry and associated Perhaps not surprisingly, the simple batch processes during the nineteenth and twentieth centuries. described as mid-way between artistic marquetry processes were first attempted. A decorative process

168 Continuities and Changes in Marquetry Technologies and Techniques

Figure 1 Tiffany chair using wood mosaic decoration. © 2013. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence. and Tunbridge-ware was invented by a Msr. ‘No marquetry exceeds for curiosity, that which is Marcelin, a French marqueteur who exhibited occasionally brought now from India, known as the mosaic veneering at both the 1851 and 1855 mosaic of Bombay and made of microscopic cubes international exhibitions (Wyatt, 1856, p.296). It was made by gluing together pieces of wood so as Tiffany (New York) introduced wood mosaic which to make a mosaic pattern, and then this was cut at ‘wasof wood produced that produce by a new a method fine effect’. of work. Around The 1890, pat- precise angles. These blocks were then sliced into terns (...) are made of thousands of squares of nat- as many thicknesses as required and laid down as a mosaic veneer. In 1863, G. Colomb (Pat. No. colours, and each individual square surrounded by a 905, 1863) patented a process that mixed wood minuteural wood, line sixteenthof metal’ (Ibidem).of an inch in size, of different shavings with glue and ‘other material’ which was In 1896, Karl Zuppinger (GB Pat.No.189622547), then compressed into blocks ready to be sliced into a Zurich mechanician, patented a method of manu- veneers. The American Mosaic Veneering Company of New the feature that ‘from a number of different blocks York took out a patent in 1867. In this instance it did whichfacturing are mosaic composed plates of colouredor designs, plates characterized are obtained by not use wood parts but rather a ‘plastic’ material. differently composed plates by cutting in the trans- The process involved forcing the material through a verse direction, which plates are joined together to metal plate with the appropriate design upon it, then form a block according to the design to be produced, drawing the resulting rods together and gluing and this block being cut transversely into plates for the hardening them. Finally the bundles were sliced into purpose of working, not with single small rods, but veneers ready for application. All these were in fact with plates, and thereby simplifying the manufac- variations on the theme of mosaic Tunbridge ware, ture of mosaic plates’. in which spills of wood of various colours are glued A more recent attempt at reviving this type of together following a pattern. These blocks can then technique was by Takeshi Sadashige in 1976 (GB be sliced through to reveal a decorative patterned Pat. No.1456889). In this method, blocks of timber veneer. are routed out. The plug then inverted or rotated to The wood mosaic process remained a fascination. change colour grain. This is glued back and then the In 1878, Harriett Spofford (cited in Metropolitan block is sliced to create a decorative piece for assem- Museum of Art, 1970) wrote in glowing terms of the bly as parquetry. American practice of importing Indian marquetry:

169 Clive Edwards

Imitative processes As demand for furniture grew during the nineteenth Furniture manufacture, George Maddox (1865) openly declared in his catalogue of bedroom turning to methods of imitating marquetry. One of furniture that his suites ‘were made of polished deal thecentury, most it successful is not surprising was the to Englishman find inventive John minds Dyer with the additions of ornamental borders, centres (Pat. No. 1661), who in 1861 patented a process that etc. of imitative marquetrie [sic] having all the produced an imitation of marquetry on the surface appearance of being really inlaid and being equal in of deal or pine furniture. His simple method consist- every respect to satinwood and marquetrie’.In 1877, Charles Spurr and Louis Prang of Boston developed wax and then applying blocks, stencils or transfers a process of printing on prepared plain white toed theof coating surface. a Thecheap dry wood surface surface was withthen gum,French size pol or- wood veneer. The patent explains: ‘With the article so produced an excellent and remarkably close p. 16) acknowledged the process as being an excit- imitation of marquetry or inlaid work, especially ingished. development. The author He and praised critic theLorenzo partnership Booth of(1864, Dyer of wood, ivory, or bone, may be accomplished at a and Watts for their ‘honest intentions’: ‘These gen- producer the real work, of which the article may be antrifling imitation’. expense, in comparison to that required to superiortlemen have design; directed and their secondly attention, they firsthave to involved treating While a little later, in 1882,William Schroeder of anda common introduced material a decorative with first ratesystem, workmanship which is sim and- San Francisco (US Pat No. 257,081) applied for a ple, effective and expressly suited to their common patent for a stencilling process that was ‘intended material’. to be applied to the cheaper kinds of furniture and The Art Journal (1863, p. 80) was even more glow- work at moderate expense’. Dyer and Watts claims from us a most decided ex- whereThese it variantswas desired on theto produce basic process a fine effect of veneering of inlaid pressioning in their of ouraccount approval of the and firms admiration- products: not ‘Messrs only illustrate attempts to either copy more expensive because of its intrinsic elegance, but also because, processes or achieve effects that would otherwise being so excellent, it is in every respect adapted to be unobtainable. As in other cases the result was to both the requirements and the means of the com- broaden the repertoire of available processes and munity at large’. Finally, G. W. Yapp (1885, Plate cxix) to further encourage a narrowing of differentials commenting on the painted furniture of Dyer and between the real and the illusory. However, the Watts pointed out that painted ornament should not evidence does not indicate a great deal of interest necessarily be made to imitate inlaid work. He said from the bulk of the trade, most of these processes ‘on the contrary, it is capable of effects quite beyond appear to have remained specialised and limited. the reach of marquetry.’ This was perhaps the vindi- cation of an imitative process that was a success in its own right.

170 Continuities and Changes in Marquetry Technologies and Techniques

Figure 2 Zuppinger’s patent drawing for Mosaic plates 1896.

Figure 3 Spur and Sprang’s patent drawing, 1875. Figure 4 Schroeder’s patent drawing, 1882.

171 Clive Edwards

Figure 5 Brock’s patent drawing, 1876. Figure 6 Thornton and Thallon’s patent drawing, 1877.

The case of Boulle (Buhl) There were to be attempts to mechanise the Boulle he mentions the use of punches to cut out the shapes process, as there was an increasing interest in mak- required, and in 1856, Digby Wyatt (p. 296) noted ing these styles available to a wider market. In 1830 that ‘stamps or punches are sometimes used in buhl - [sic] work of brass or wood, but only to a limited ex- ried a report on an invention for ‘buhl-cutting’. This tent.’ machine,the Mechanics made Magazine by a Mr. McDuff, (1st May a member 1830, p. of 130) the Lon car- Initially the techniques were used to revive old designs rather than create new ones. Digby Wyatt the best machine invented in the year 1829. McDuff (1856, p.294) commented on the practice of makers wasdon Mechanicsa working turnerInstitution, who wondevised a prize an arrangementof £10.00 for using the techniques to doctor old furniture rather that allowed a frame with a reciprocating saw to be than design new models. He said: ‘It is a great pity mounted onto an existing wheel -operated lathe. It that much of the ingenuity and dexterity which are now brought to bear in doing-up old foreign work, should not be devoted to the improvement of our processhad the benefitsimilar toof thefreeing original both ‘donkey’ hands and method, of having but contemporary productions.’ the work surface flat. This method still used a saw But as the century progressed other processes The cutting out process was speeded up by the use were introduced into Boulle work. In 1863 the Lon- ofreduced stamping the techniquestime and improved for the metal the efficiency. (usually brass) don Cabinet Makers Book of Prices [Supplemen- sections of the work. At least prior to 1818 the cab- tary], gave a note that ‘Buhl [sic] borders stamped inet-maker George Bullock had a stamping press into veneer tops are charged at half the price of with an iron vice and dies, which can reasonably banding.’ This seems to indicate that decorative bor- be assumed to have been used to cut out the brass- ders were punched straight into the wood veneer strip decoration that he used as inlay. Interest in me- surface to create a Boulle-like effect at a reduced chanical Boulle work continued into the middle of cost. Other methods of obtaining Boulle effects with- the century. In 1839 Andrew Ure in his Dictionary of out great cost included substitutions of materials. Manufactures described Boulle decoration in which In a guide published in 1830 the process of using a

172 Continuities and Changes in Marquetry Technologies and Techniques

Figure 7 Masselin’s patent drawing, 1879. Figure 8 Dunsky’s patent drawing, 1899.

Mechanised marquetry methods - suggested as an alternative to the more costly silver though the effects created were interesting, it was a inlay.mixture (sic) of tin and quicksilver mixed with size was longSome way mechanised from traditional; processes marquetry were bizarre, or inlay. and Clara al Another process, devised by a Mr. Cremer involved Mateaux (1883, p.153) described the system of ‘pat- a method of applying a mix of japan and copper to a ent veneering’: base frame to create an effect that resembled Boulle, ‘Here the thin slices of wood are glued fast to but was made for between a tenth and a twentieth of the cost. The process involved engraving a cop- been punched a scroll or other design. This metal per plate, then taking an impression of this in gutta- plateboard, is and somewhat on it is placed thicker a piecethan ofthe zinc sheet in which of wood. has The whole board is then submitted to a roller, which The whole surface was then painted with strong ja- forces the metal into the surface of the veneer, which panpercha colour onto and which this waswas builtdeposited up and a stoved film of between copper. each layer. When it was as thick as the excised parts of course, forming a pattern, which has been fairly it was then rubbed down to the copper surface leav- is then planed until the zinc itself is reached. This is ing the japan colour in the excised parts of the pat- Many seemingly good ideas were never commer- tern (Wyatt, 1856, p. 294). Naturally this process re- ciallysqueezed adopted into duethe surfaceto the wide of the range solid of wood.’ products and quired a substantial demand for it to be an economic styles produced in limited quantities, which inhib- proposition. ited the introduction of ‘long-run’ processes, as well as the abundance of labour available for simple mar- (October 1st, p. 280) noted that: ‘The modern man- quetry work. However industrial examples contin- ufacturersIn 1890 thesaw magazine out simultaneously Furniture andten Decorationor twenty ued to be suggested. sheets and the whole result is so rough and paltry that to call it Boulle is a calumny on the name.’ This would appear to be the triumph of economy over craftsmanship.

173 Clive Edwards

In 1871 a Birmingham cabinet-maker, John Tysall Despite the detractors, interest remained high in (Pat. No.308), patented a method of inlaying by cut- the potential of patented methods of marquetry. In ting inlay into a carcase, then veneering over the top, 1879, Eugene Masselin (US Pat. No. 217,129) of New York devised marquetry in relief, or carved marque- underneath inlay. Five years later, Philadelphia in- try process similar to the work of Fourdinois. ventor,finally carvingWilliam outBrock the (US pattern Pat. No. again 178,989) to reveal in 1876 the In 1898 Alfred Dunsky (GB Pat. No.189822867), used tongued and grooved panels linked together a Berlin architect, devised inlay or tarsia-work pro- and then cut through to produce striped marquetry - ing and ornamental backing. In this case, ‘a transpar- Another process was patented in 1875-7 by two duced by means of a transparent or translucent fill cabinet-makerspanels for floor orfrom decorative Camden use. Town, London. John or the like is painted or coloured on the back, and Thornton and James Thallon (GB Pat. No. 186,180), securedent or translucent within a wooden filling or plate design which of celluloid, has the design horn, invented a method of ‘inlaid marquetry’. This rath- sawn out so as to form bevelled retaining-edges’. In er contradictory name used a process of relief-cut rollers that impressed the pattern onto the surface, ornamental material is secured within a transpar- which was then planed level to reveal a marquetry- enta modification perforated aplate, design which or pattern is backed of ivory, with brass, a layer or like design. of metal, coloured fabric, etc. Several layers of wood Indeed there were many detractors. In 1878, H. are glued on the back of the inlaid work, and the face R. Paul (Society of Arts, 1878, p.419) in a commen- is planed, polished, stained, varnished, etc. tary on the Paris Exhibition noted that a wardrobe, The improvement in ‘the production of ornamen- by English makers Howard and Sons, had ‘some tal inlay or tarsia-work, which consists in using as a machine-made marquetrie [sic], which is simply an - abomination’. His report goes on to describe how the terial capable of being planed, polished or otherwise ‘abomination’ was created: covering or filling a transparent or translucent ma ‘It is made by cutting the pattern with a stamp, placing it on the veneer that is to form the ground, finished on its face or top, applying to the underside- ingof the in thesaid suitably filling aprepared coloured surface, fabric, substantiallylayer of metals as pressure (...). Anyone may imagine the ragged edges described’.or other ornamental backing, and then fixing the fill leftand by squeezing such a process. the one In intofact the the wood other must by machine become In 1901 Ernst Hugendubel (GB Pat. No.190121859) pulp before it can do what is intended.’ an umbrella manufacturer from Stuttgart, patented The report ends with a sombre announcement a method of inserting marquetry on top of a soft that said that ‘so long as wood is wood, and until a machine can be invented to deal with it as wood, various thicknesses of veneer may be used. The ap- marquetrie [sic] will have to be made by hand’ (Ibi- plicationbase material of heavyweight (pasteboard, presses papier the mâché) veneer so pieces that dem).

into the ‘soft’ base creating a flat surface.

174 Continuities and Changes in Marquetry Technologies and Techniques

Figure 9 Ready made marquetry catalogue page James Latham, London. c. 1900.

Figure 10 Patent drawing for Breece’s marquetry system 1948.

175 Clive Edwards

Figure 11 “Hopper Dark” panel by Anita Marquetry Llandrindod Wells c 2000.

A year later Auguste Boehme (GB Pat. No. 190113274), an inventor from Bohemia, conceived ‘The method for producing marquetry from a a system of cutting out blades that were arranged pluralityThe patent of explainspieces of the veneer benefits: wood makes provision in groups in a metal plate and in this way several for the respective pieces of veneer to be divided up complete designs or parts thereof are stamped out, into the necessary sections by means of a cutting so as to prevent the marquetry pieces from being laser. In this manner, very accurate cut joints limited by clean-cut edges are obtained, requiring no form to effect a close joining in the various designs. of after-treatment. The cut joints are so narrow that tornProgress between slowed the different in the early figures twentieth of the designcentury and in the regions of the veneer sheet on both sides of the patent terms, but there were sporadic developments cut joint can be used as parts for the marquetry. and attempts. Ready-made marquetry panels were often supplied by the trade for insertion into chair for marquetry is eliminated; moreover the time backs and cabinets. requiredLaborious is manualgreatly reduced.’ work to cut the parts to size In 1948 John Breece (US Pat. No. 2,447,609) This important development was followed a year devised a mechanical system that used pre designed later in 1987, by a more esoteric way of dealing with marquetry inlays pressed into a surface that would marquetry. Cane Matevski (Pat. No. FR2592839) allow the design to be implanted into the substrate obtained a patent for a method of producing ‘trans- without cutting the shapes prior to application. lucent marquetry work’. This invention consists in In 1986 a highly important development occurred rendering marquetry work translucent on both of its faces by assembling the wood veneer on transparent received a German patent for laser cutting marquetry. supports on both sides with adhesives that are like- when Atz-Maria Denger (Pat. No. DE3432681) wise transparent. Although traditional marquetry techniques remain, the search for variations on the technique seems set to continue.

176 Continuities and Changes in Marquetry Technologies and Techniques

References

Metropolitan Museum of Art New York (1970) 19th Century America Furniture and other Decorative Arts, Exhibition Catalogue, April 16 through September 7.

Booth, L. (1864) The Exhibition Book of Ornamental Designs for Furniture etc. London.

Maddox, G. (1865) An Illustrated Catalogue of Bed- room Furniture etc. London.

Mateaux, C. (1883) The Wonderland of Work. Lon- don.

Sheraton, T. (1803) The Cabinet Dictionary. London.

Society of Arts (1878) Artisans Reports on Paris Ex- hibition.

Ure, A. (1839) Dictionary of Arts, Manufactures and Mines. London.

Wyatt, M. D. (1856) On furniture and Decoration: Re- ports on the Paris Universal Exhibition. London.

Yapp, G.W. (1879) Art Furniture, Upholstery and House Decoration.

Clive Edwards Professor of Design History

Loughborough University Leicestershire, U.K.

Tel. +44 (0) 15 09 22 89 50 E-mail: [email protected]

177 Widar Halén

The Demand for more Decorations in Norwegian Modernism – a political Statement

Widar Halén

Introduction In the latter part of the 1930s and during the dark The new ideas were frequently submitted via years of the Second World War there seemed to be a Sweden to Norway during these years. Sweden was need for more decorations in Nordic Functionalism. our most important trade ally, and many of our The austere Modern style was in fact associated designers and cabinetmakers were educated there. with the contemporary fascist regimes of that of Several of them also lived in Sweden during the late Russia and Germany, where much of the style had 1930s and the Second World War. Even in Sweden originated. In the Nordic countries we launched a the Functionalism style and steel-rod furniture was regarded as too austere and around 1930 the Art prevalent.suitable alternative In fact there which was awas public more demand influenced for more by During the 1920s and 30s Carl Malmsten and Axel decorations,the French Art and Déco we shall style, see where that itdecorations was particularly were EinarDéco styleHiorth was reintroduced introduced asthe a artsuitable of marquetry alternative. in expressed in some colourful marquetry work in Scandinavian furniture at the time. It was generally from Austria in 1934 soon made similar pieces. Julius referred to as intarsia in Scandinavia, although andSwedish Rolf Lehmann furniture, and and Manne Josef Johansson Frank who (Manning) had fled technically it was in fact marquetry. Previously art were the most important marqueters.1 Their attempts to introduce decorations in the only limited impact in Norway, but this was certainly Functionalism style were heavily criticised as ‘Pseu- nothistorians the case have with claimed cabinetmaking. that the Art Déco style had do functionalism’.2 The same derogatory attitude could be detected in Norway when the painter and certainly not unknown in Norway and in Nordic sculpturer Arthur Gustavson in 1934 referred to countries.This refined The formEmpire of furniturestyle and decoration Art Nouveau was the development in Sweden with the slogan: ‘Let us furniture masters had made great examples of 3 marquetry decorated furniture, but the subsequent In his article on ‘Intarsia, technical tradition and Functionalism and Modern Movement rejected strikeartistic a renewalblow for inintarsia!’ perfect union’, he also explained ornaments and promoted a rather cold and severe the technical details of this complicated art. He style which made a breakthrough at The Norwegian showed how the various woods were laid on top of Exhibition in Bergen in 1928 and in The Stockholm the other, and how the pattern was drawn and then exhibition in 1930.

finally cut out with a fine saw. The various bits with 178 The Demand for more Decorations in Norwegian Modernism - a political Statment

Figure 1 Cupboard with marquetry decoration showing the history of Figure 2 Cupboard with marquetry decorations Norwegian shipping, mahogany, macassar, birdseye, zebrano, jacaranda, showing the four seasons, design and carpentry paddock, lemon tree and caucasian nut, designed by Karen Berner (later Carl Malmsten and marquetry by Manne Johansson Brochmann) and motifs by Arthur Gustavson for The Norwegian Shipping (Manning), Stockholm 1933. Association. Made by Johan Fredrik Monrad and marqueter Wilhelm Sjøwall. Oslo 1934. Photographer:Andreas Harvik, Nasjonalmuseet.

their face down were then glued to a large piece lished individual companies. These brothers were of paper and this was subsequently glued on to combination of art and industry. Both had their craft be removed. Gustavson summed up his article by both pioneers in their field, presenting the finest askingthe furniture why ‘this carcass charming - and arts finally and the crafts paper technique would Government School of Art and Crafts. At the school had been neglected for so long by us?’ He suggested theycertificates became as friends well as with their some higher of degreethe future from lead the- certain answers to this question; the massive ing architects and designers such as Odd and Karen recession during the late 1920s as well as the lack of Brochmann6 and Arne Korsmo, who all delivered de- machinery skills among Norwegian cabinet makers, signs to the company. The Monrad Brothers above all became famous for the artistic crafts touches of Norway was lacking behind in developing the their furniture. They had embraced the machines furnitureand the influence industry, of andthe moreit was severe only Functionalism. in 1934 that but they managed to combine it successfully with one heard about machinery for all sorts of cabinet old craft techniques, like intarsia and marquetry

40 % from 1929 to 1935 as a result of this light stand in sharp contrast to the steel rod furniture and making. In fact the prizes on furniture fell with plywoodfor instance. of the Clearly time. these refined furniture pieces that Norwegian furniture industry developed.4 The Monrad Brothers undertook several major industrialization, and it was only after this period interior decorations in Norway during the early 1930s, especially for our wealthy ship-owners, and 1930s – Art Deco and Functionalism they furnished several of the big American liners. In aesthetics reflected and rejected Johan Fredrik Sundt Monrad5 1934 they executed their first commission for the cabinetmakers in Norway to invest in machinery. After an apprenticeship with the was Ollendorf one of Brothersthe first he started his own company in 1932 with his brother Hans Sundt Monrad, who was educated as an upholsterer, but in 1936 they separated and estab-

179 Widar Halén

Figure 3 Frescoes for the Bergen Bourse showing the shipping industry by Axel Revold, Bergen 1918-23.

Norwegian Shipping Association for their 25th ju- designers received important impulses from the bilee, a cupboard with marquetry decoration (Fig- decorative fresco paintings which were intended ure 1). The cupboard was drawn by architect Karen to give some life to the austere architecture of Berner. She was the daughter of one of our major the period. This remarkable piece of furniture - can be placed in a historical context with more ry, Carl Berner, and she later married the architect Oddarchitects Brochmann. during The the firstmarquetry part of was the 20th.designed Centu by Etienne Kohlman in France, who made similar Arthur Gustavson and cut by Wilhelm Sjøwall who cupboardsinternational and designers decorations like during Sué the et 1920s Mare and did most of this for the Monrad Brothers. The cup- 30s.8 board showed the history of shipping in Norway reminiscent of Paul Poirets marquetry interiors and Jean Dunand’s The friezelike lacquered effect screens and horror from vacui the 1920s.is also covered the whole of the cupboard front. The year Dunand was represented at all the larger exhibitions beforeover five Carl horizontal Malmsten friezelike in Stockholm compartments had made awhich simi- during this period and a screen by him named ‘The lar cupboard with four horisontal pictures showing the four season in marquetry by Manne Johansson 9 (Manning) (Figure 2). This had been featured in the Huts’In 1935 show Berner the same married division Odd of Brochmann five horizontal and 7, and it is possible that Karen Berner infriezelike 1937 they compartments established as their that ofarchitectural Karen Berner. and and Arthur Gustavson could have seen this cupboard. magazineThe composition Form and horror vacui is indeed close to visited the Paris World Exhibition, where they that of Malmsten’s. The marquetry is particularly certainlyinterior decoratingsaw Dunands firm. work. The In same fact yearseveral they of colourful and the woods were described as mahoga- their mutual marquetry furniture pieces can be compared to some of Dunands lacquer work. lemontree and caucasian nut. It displays a virtuous, The Brochmanns and the Monrad Brothers highny, macassar, class marquetry birdseye, and zebrano, the pictures jacaranda, can be paddock, associ- marquetry furniture was extremely well received ated with our most famous artist Axel Revold who and many designers now turned their back to had executed similar fresco decorations in the Ber- the austere Functionalism and looked towards gen Bourse 1918-23 showing the city’s commerce something ‘more human and decorative’ as they put and shipping (Figure 3). Clearly the architects and it.10 By using the marquetry technique they achieved

180 The Demand for more Decorations in Norwegian Modernism - a political Statment

Figure 4 Bar cupboard with marquetry decorations, design by Arthur Gustavson, carpentry by Johan Fredrik and Hans Sundt Monrad and marquetry by Wilhelm Sjøwall, Oslo 1936.

Figure 5 ‘Outside the Factory’ painting by Arne Ekeland, Oslo 1936.

Wilhelm Sjøwall had also placed some silver stars of the surface. It was the same attitude which pre- inlaid among the trees. The cupboard itself was vailedthe decorative among the effect goldsmiths without with breaking their highlythe flatness decorative guilloche and enamel decors on silver. this exotic wood was used in Norway. Teak became In 1936 Arthur Gustavson composed a bar cup- increasinglymade of teak popularwood and as it no was lacquer probably was the needed, first time just board with lively marquetry decorations executed polishing with oil. The full length pictures of the by William Sjøwall for The Monrad Brothers (Fig- doors and the general horror vacui again bring to mind Jean Dunand’s screens, particularly one called ‘Snow in the Woods’ from 1936, which was pictured panelsure 4). ‘Chianti’The first and inexpensive ‘Toscana’. wine The somewhatwas imported angu to- - larNorway and constructivist in this period compositionsand this is reflected are not in dissimi the two- spirational source for this cupboard (Figure 7). lar to Arne Ekelands contemporary paintings (Fig- inIn Gazette 1937 thedes BrochmannsBeaux Arts and made may yet have another been the deco in- ure 5).The interior was covered with opal glass and rative cupboard for Johan Fredrik Sundt Monrad. The cupboard was standing on four column legs and Dr. Thor Kielland, the former director of The Oslo the exterior had a stripe effect with chalk-coloured Museuma sandblast of décorDecorative of a sailing Arts, wasship Norwegianat the back comwall.- stripes alternating with lacquered oak and stud- missary for the Paris World Exhibition in 1937. The ded with silver nails. The interior decorations were cupboard was exhibited in Paris on his initiative and not intarsia but painted this time, and they showed it received a lot of attention and was subsequently scenes from workers life and commerce and can be bought by a Norwegian.11 compared to Alf Rolfsens frescos for the Tele-com- Karen and Odd Brochmann participated in the munication Bureau in Oslo from 1922. The back wall Paris World Exhibition in 1937, where they exhibited of the cupboard interior was covered with yellow one of their marquetry cupboards executed by Johan glass and the drop-leaf serving table was covered Fredrik Sundt Monrad and Wilhelm Sjøwall. The with black glass. cupboard featuring a skier among trees was also shown in the International Crafts exhibition in Berlin and at the International exhibition in Prag in 1938 (Figure 6).12 To enhance the motif the marqueter

181 Widar Halén

Figure 7 Lacquer screen ‘Snow in the Woods’ by Jean Dunand, Paris 1936. Figure 6 Cupboard in teak wood with marquetry in various woods, design Karen and Odd Brochmann, carpentry by Johan Frederik Sundt Monrad and marquetry by Wilhelm Sjøwall, Oslo 1937.

of ‘Peer Gynt’ the man who desired to conquer the style made a proper impact in Norwegian furniture world, just like our emigrants to the USA wanted to design,It was notand until this thewas later much 1930s thanks that theto the Art work Déco conquer their new territories. This impressive piece of Karen and Odd Brochmann. They also drew of marquetry was destroyed during the Second furniture for the Oslo company G.N.Huseby. Amongst World War, alas (Figure 8). these is a striking cupboard from 1937 with a The exhibition ‘We can make it’ in Oslo in 1938 was chequer pattern of elm and nut-wood alternating, a tremendous boost for Norwegian decorative arts and with some tin plaques engraved with Diana- and for the company of Johan Fredrik Sundt Monrad motifs by the ironsmith Carl Bilgrei and executed as well. They received great acclaim for their so called at J.Tostrup goldsmiths in Oslo. G. N. Huseby ‘Oslo-cupboard’, which has recently been acquired received a gold medal for this cupboard at the Oslo by the National Museum of Art, Architecture and Handicraft and Industry exhibition in 193713, and Design in Oslo (Figure 9). It was drawn by Karen and two years later it was also exhibited at the Deutsche Odd Brochmann and the marquetry was by Wilhelm Ostmesse in Königsberg where it was acquired by the Reichswirtschafts-ministerium in Berlin.14 teak, and the composition with the new Oslo skyline The French love of marquetry had also been wasSjøwall. successfully The cupboard composed itself wasin various executed woods in flame- as a displayed in the luxurious interiors of trains, liners middle-belt along the front and with silver lines and boats, particularly in the famous Wagon Lits of the Compagnie International in the 1920s. In 1937 City Hall with its twin towers is included. The Johan Fredrik Sundt Monrad executed a seven square compositionto underline can the be water compared effect. to Even several the unfinisheddepictions meter large marquetry panel for the Norway-America of the New York waterfront which became so popular 15 The motif which was drawn by the artist Per Krohg pictured Henrik Ibsen’s tale Liners ship Oslofjord I. in American art after Fritz Lang used it as leitmotif in his famous film ‘The Metropolis’ in 1926.

182 The Demand for more Decorations in Norwegian Modernism - a political Statment

Figure 8 Panel ‘Peer Gynt’ for the Norway – America Liners ship Oslofjord 1 by Per Krohg, executed in various woods by Johan Fredrik Sundt Monrad and Wilhelm Sjøwall, Oslo 1937.

Figure 9 ‘The Oslo cupboard’, design Karen and Odd Brochmann, teak, various woods and silver details. Carpentry by Johan Fredrik Sundt Monrad and marquetry by Wilhelm Sjøwall, Oslo 1938. The National Museum of Art, Architecture and Design. Photographer: Børre Høstland, The National Museum.

Second World War and Post War lightness, simplicity and decorativeness In 1959 the Norwegian Furniture Manufacturers The demand for more decorations however, led to Association was celebrating their 50th, jubilee with the creation of a number of neo-renaissance and an exhibition in The Oslo Museum of Decorative Art, neo-baroque furniture with inappropriate orna- where several of the Monrad Brothers cupboards and ments. In 1943 in Bonytt, the Norwegian interior furniture pieces were featured.16 Odd Brochmann - wrote then that the reunion of these cupboards niture shop-keeper had uttered that ‘People now made him realise how worried he had been by ‘the wantsdecorators decorations. magazine, Yes itthey was simply reported want that it, and a furthe unyielding demands of Functionalism’ and that he furniture do look more distinguished with some with these furniture designs had sought to achieve ornaments. A main point is that it is not so much something more human: ‘The cupboard show how expensive either, since these ornaments have been we strove to return to the more decorative. The use prefabricated in all different styles and they can be of intarsia was characteristic of its time, and in this acquired in all shops. It is just to glue them on to the way we could keep the clean and smooth surfaces 20 which we had sworn to maintain.’17 Regardless of the hard times of war some architects, The dark years of the Second World War had designerssurface wherever and furniture you think makers it is suitable!’ managed to keep developed an urge from the depth of the people, ‘a demand for more decorations’ as they said.18 But them was the interior decorator Arne Remlov who poverty and lack of materials led to the use of less intheir 1943 integrity underlined during that these the difficultwar, despite years. the Among lack costly materials and bad substitutes. ‘They copy and of materials, working power and professional steel and cheat, until all your creativity has gone’ inspiration, had given room for a remarkable clearing said Jens von der Lippe in 1943.19 Indeed, this lack of ground. Particularly with a view of matching the honourable work and professional moral mirrored materials with more simple and rational shapes.21 the rotten wartime regime.

183 Widar Halén

Figure 11 Cigar box in various woods and marquetry, design by Karen and Odd Bro- chmann, executed by Johan Fredrik Sundt Monrad and Wilhelm Sjøwall, Oslo 1942. Figure 10 Cupboard in bubinga wood, mahogany, jacaranda and pear wood with marquetry, designed by Alf Sture for Arne Hiorth, executed by Hiorth and Østlyngen furniture makers, Oslo 1941.

Alf Sture was another designer who retrospectively bottles was in jacaranda wood with marquetry and said that: ‘The stereotype selection of shapes and the interior back of the cupboard was covered with colours in the “renaissance-furniture” which were frosted glass with lights behind the glass. Sture had seen in many homes, was so degrading to the mind seen a similar cupboard by Carl Malmsten during that many wished for a richer variety, and at the his studies in Sweden in 1939, and this may have same time there was an emphasis on construction inspired his apprentice piece.23 During the war Johan Fredrik Sundt Monrad also much more in that direction than what we had done executed quite a few cigarr- and cigarettes boxes, in duringand simplification. the 1930s when In the Functionalism period 1940-45 was we launched. moved various woods and with with marquetry work based The principal idea of one piece furniture as opposed on drawings by Karen and Odd Brochmann (Figure to the ensembles were maintained. During the 40s 11). These boxes became tremendously popular and one went one step further with a greater variety several of them were delivered to the goldsmiths of colours. To avoid the similarity between colours David-Andersen and J. Tostrup which furnished in textiles and the furniture wood we underlined the use of contrast and stronger colours in the silver inlay or intarsia. The lack of silver during the upholstery. It also became fashionable with different warthem made with this silver cooperation fittings and natural, sometimes and the also general with coloured walls in one room’.22 problem with materials encouraged designers to Alf Sture who became one of our main furniture experiment as they had never previously done.24 designers during the post war period made his - apprenticeship work in 1941 and it was indeed a lished a longer interview with Odd Brochmann about colourful cupboard he made for Arne Hiorth of the “Intarsia”The Norwegian in 1942. Several interior of magazine his and Karen’s Bonytt works pub furniture company of Hiorth and Østlyngen (Figure for Monrad were illustrated, and many of the cup- 10). It was a combined bar and cupboard and it was executed in bubinga-wood and mahogany. The substructures, but the latest works from the 1940s doors are in dark polished pear-wood with sailing revealboards lighter from the proportions 1930s with with the thinner heavy Artlegs Déco and sub- like boats and hunting motifs incised, which showed structures (Figure 12). The inspiration from Swe- the hobbies of the owner. The drop-leaf door for den and particularly from Carl Malmsten is evident

184 The Demand for more Decorations in Norwegian Modernism - a political Statment

Figure 12 Cupboard in various woods and with marquetry, designed by Odd Brochmann. Carpen- Figure 13 Cupboard in various woods and with try by Johan Fredrik Sundt Monrad and intarsia by marquetry, designed and executed by Carl Malm- Wilhelm Sjøwall, Oslo 1942. sten, intarsia by Manne Johansson (Manning) Stockholm, 1941.

(Figure 13). Finally the Nordic designers had man- keep up their production despite the lack of materi- - als during the war.27 That year Johan Fredrik Sundt ence and a new style was making its way – that which Monrad made yet another cupboard after drawings shouldaged to beseparate called themselvesScandinavian from design the Art after Déco the influ war. by Karen and Odd Brochmann and with marvellous Brochmann summed up the ideas of the time saying marquetry by Wilhelm Sjøwall. It is a slender, re- that: ‘The light and slender furniture, which younger architects and designers are launching now, come as with three drawers under the doors (Figure 14). The a reaction to the heavier furniture of the past. This samefined structurestructure, can with be rounded seen in Malmstens corners and cupboards legs and kind of furniture has managed to cleanse the air and from the time and this in fact became the model for recreate the sense of simple lines and structures, Scandinavian cupboards until the end of the 1950s. and soon there will be time for decoration and orna- The doors were entirely covered by marquetry ments by competent artists. The light furniture will in light mahogany, oak, rosewood, maccaser and the Empire style’.25 motif with the deer in the wood was similar to that receiveDagbladet, a refined one decorationof Norways just largest like in newspaper,the time of ofzebrano-wood, Jean Dunand’s and screen with from some 1936 stars (Figure in silver. 7), Thebut published a whole page article in 1942 about ‘The even more suggestive perhaps is the fact that Walt Revival of an old crafts technique. Intarsia has rich - traditions in Norwegian cabinet making’ and placed vian countries in 1943. the recent development of this work in a similar Disney’s film ‘Bambi’ was launched in the Scandina historical context. The collaboration of Karen and Odd Brochmann with Johan Fredrik Sundt Mon- - ticularly important to this development, and the painterrad and Rolv Wilhelm Kongsvolds Sjøwall drawings was emphasized for marquetry as par panels for interi ors were also lauded as high art.26 furniture makers to indulge in marquetry and to In 1943 the Norwegian magazine Byggekunst urged

185 Widar Halén

Figure 14 Cupboard in teak with marquetry in mahogany, Figure 15 Cupboard in various woods and marquetry oak, rosewood, maccasar, zebrano woods and silver stars, designed by Karen and Odd Brochmann. Carpentry by Arne designed by Karen and Odd Brochmann. Carpentry by Jo- Bjørke, Porsgrund and intarsia by Wilhelm Sjøwall, Oslo 1943. han Fredrik Sundt Monrad and intarsia by Wihelm Sjøwall, Oslo 1943. PHotography: Andreas Harvik, The National Museum.

During the same year the Brochmanns had also Von der Lippe also mentioned the ceramic works by Isaac Grünewald and Stig Lindberg in Sweden and Heistad’s jam factory. The whole ceiling was by Jais Nielsen and Inger Møller in Denmark as well covereddrawn theby marquetry, interiors ofand the the directorsfurniture was office light in as Johan Fredrik Sundt Monrads furniture. Bonytt and slender in light coloured woods, made by the - furniture maker Arne Bjørke and with marquetry tions’ where several of our most prominent design- by Wilhelm Sjøwall (Figure 15).28 The motifs are magazineers and architects invited participated. to a debate aboutThey spoke ‘More in decora favour more in the manner of the popular social realism of of and against decorations. Monrad and Brochmann the day with ladies who make jam and juice which defended their use of marquetry whereas the young they delivered to the factory. Here the democratic Alf Sture uttered that furniture was best seen with- attitude of the early Scandinavian design movement out ornaments. The designer Sverre Pettersen un- is clearly visible. derlined that we Northerners who suffer from win- It was indeed during the middle of these dark ter, cold and darkness during long periods of the year needed festive colours and decorations, and Arne Bonytt could proclaim ‘that now the public is Remlov uttered that: ‘We must achieve some kind of cravingwaryears for that decorations, Jens von and der Lippea lot of in people the magazine want to enrichment of our furniture surfaces’. Evidently the decorate’.29 He referred to a whole mix of various marquetry decorations were most suitable because historical styles and ornaments which during the you could retain the clean surfaces, which Dr. Thor war had become so popular. This was clearly a reaction against the austere Functionalism and early the headmaster of the Government School of Design Modern style which people in fact associated with andKielland Crafts, defended summed during up the this general debate. attitude Jacob by Prytz, say- the fascist regime they suffered under. This early ing that: ‘A decoration, an ornament must be built phase of Scandinavian design should be seen as a in a constructive way, in the most intimate contact distinct political statement opposing the wartime regimes, and particularly in Norway which was decoration must be suited to its function.’30 with the shape, and finally the whole object and its occupied by the Nazis for five years. 186 The Demand for more Decorations in Norwegian Modernism - a political Statment

Figure 16 Cupboard in various woods and with marquetry by Karen and Odd Brochmann. Carpentry by G.N. Huseby and intarsia by Wilhelm Sjøwall, Oslo 1945.

Karen and Odd Brochmann agreed in this state- The country had to be rebuilt and the great pride were the new factories, – here in the pictorial marquetry. Towards the end of the war in 1945 they manner of the painter Axel Revold who at this time designedment and yetthey another continued cupboard to pursue for theG. N.fine Huseby art of was executing the frescoes of the new City Hall in with marquetry by Wilhelm Sjøwall, which was a Oslo. Hans J. Wegner had made a similar marquetry- gift from The Norwegian Crafts and Industry Society cupboard which was exhibited in the Danish Museum to Bergen Crafts and Industry Society’s Centenary of Decorative Art in Copenhagen in the same year, but (Figure 16).31 The outer surface of the doors were a Danish critic wrote that ‘the marquetry works are covered by a simple hexagon pattern, whereas the often too sweet and unpleasant to look at.’33 Shortly - after the cleaner lines and undecorated shapes of try showing the carpenters and bricklayers in full the Scandinavian design movement was a fact. actioninner parts rebuilding were decoratedthe devastated with country.the finest marque ‘Quality and Crises’ was a strongly debated theme war. 32 Many people felt that the old sense of quality inhad our been most weakened popular interior during magazines the war, and just thisafter was the probably true. Fascist regimes frequently have a - marketnegative again influence and a on marquetry artists and cupboard designers. designed How byever, Karen some and good Odd furniture Brochmann pieces was were shown finally as aon good the example (Figure 17). The cupboard had been ordered as a gift to the director of Lilleborg factory, one of our most important chemical industries after the war, and it showed the factory framed by a dramatic kind of theatre-curtain.

187 Widar Halén

time for the company of Ole N.Ruud in Oslo before he established his own company together with his brother Hans in Oslo in 1932. (Hans established his own company in 1936. ) Made the interiors for several of the rooms in the new City Hall in Oslo, and numerous remarkable pieces of intarsia and marquetry furniture. Received H.M. King Olav V’s gold medal in 1959.

6 Odd Thoralf Brochmann (1909-1992) architect educated at NTH, The Norwegian Technical Univer- sity, Trondheim1928-34, married the architect Ka- ren Berner (1908-1988 ) in 1935, and they started a joint architectural company in 1937, from 1952 in collaboration with architect Dag Rognlien who subsequently took over the company in 1965. After this lecture was presented I have discovered that Karen Brochmann made most of the furniture designs, while Odd executed the drawings for the decorative -

Figure 17 Cupboard in various woods and marquetry show- manns Møbeldesign” in Kunst og Kultur, Oslo, nr. 2, ing Lilleborg Factory, designed by Karen and Odd Brochmann. 2010:motives. 78-89. See Widar Halén: “Karen og Odd Broch Carpentry by Johan Fredrik Sundt Monrad and with marquetry by Wilhelm Sjøwall, Oslo 1946. 7 Romdahl, A. L. (1933) Möbler av Carl Malmsten. In: Form, pp. 209-215. Notes 8 Kjellberg, P. (1980) Art Déco. Paris, p. 104. 1 Nordenfeldt, E. (2003) Lehmanns i Bodafors, Garner, P. (1980) 20th Century Furniture. London, p. Familjen som blev mästare på intarsia. In: Antik & 75. Auktion, nr. 7-8, pp. 76-80. 9 Marcilhac, F. (1991) Jean Dunand - his life and 2 Boman, M. (ed.) (1991) Svenska Möbler 1890 – works. London, p. 213. 1990. Kristianstad, p. 145. 10 Anon (1943) Mere Dekor. In: Bonytt. pp. 156, 158. 3 Gustavson, A. (1934) Intarsia, teknisk tradisjon og 11 kunstnerisk fornyelse i lykkelig forening. In: Vi Selv Information from Johan F.S. Monrad who prior to og Våre Hjem. p. 176. Arthur Gustavson (1895-1968) his death in 1995 contributed essential information designer, ceramist and sculpturer was educated at included in this article. the Government School of Art and Craft and at Val- and Art School in Gothenburg as well as Kunstgew- 12 Norges Håndverk og Industri (1938) pp. 55, 236. erbeschule in Vienna. 13 Norges Håndverk og Industri (1937) p. 176. 4 Wildhagen, F. (1988) Norge i Form. Oslo, p. 101. 14 Norges Håndverk og Industri (1939) p. 152. 5 Johan Fredrik Sundt Monrad (1805-1995) Oslo, Norway. Training with the company Ollendorf 15 Dagbladet, june 20, 1942 (illustrated) Brothers in Oslo from the early 1920s, mastersde- Bård Kolltveiet (1984) Amerikabåtene. In: Norsk gree at SHKS (The Government School of Art and Sjøfartsmuseums Skrift, Crafts) Oslo, and after that he worked for 4 years in Oslo before he enrolled as an apprentice with David nr. 44. Oslo. “Oslofjord I ble Blomberg in Stockholm. This was around the time sjøsatt ii 1949.”1937 og var i trafikk fra 1938 til 1940 da of the Stockholm exhibition in 1930. Worked some den gikk på en mine utenfor England. Oslofjord II ble

188 The Demand for more Decorations in Norwegian Modernism - a political Statment

16 Midtbust, A. (ed.) (1959) Til 50 års jubileet i 33 Jalk, G. (ed.) (1989) Dansk Møbelkunst gjennom 40 Møbelprodusentenes Landsforening 1909-1959. In: år. København, vol II, pp. 224-225. Møbelsnekkeren, nr. 4-6

17 Bonytt (1959) p. 138.

18 Anon (1943) Mere Dekor. In: Bonytt. pp. 156-159.

19 von der Lippe, J. (1943) Dekor i Vår Tid. In: Bonytt, pp. 129-133.

20 Bonytt (1943) p. 158.

21 Remlow, A. (1943) Det skjer noe her og. In: Bonytt, pp. 182-187.

22 Bonytt (1959) p. 138.

23 Omtvedt, E. (1996) Norsk Møbelproduksjon i 1940-og 50-årene, belyst ved interiørarkitekt Alf Stures design, unpublished batchelor dissertation, University of Oslo, p. 44.

24 Engelstad, H. (1945) Gullsmedkunst søker nye venner. In: Vi Selv og Våre Hjem, nr: August, pp.10- 12.

25 Lund, K. (1942) Intervju med arkitekt Odd Bro- chmann: Intarsia Innlegningsarbeid. In: Bonytt, pp. 81- 84.

26 ”Et gammelt håndverk kommer igjen. Intarsiaen har rike tradisjoner i norsk møbelkunst”,Dagbladet 20.6.1942. Rolv Kongsvold (1903-1960) was a student of Per Krogh and Axel Revold and during the Second World War he turned to intarsia and executed several drawings for interior panels and some furniture pieces.

27 Byggekunst (1953) p. 57.

28 Bonytt (1943) p. 185 and Vi Selv og Våre Hjem Dr. Widar Halén (1943), nr: September. Director of Design and Decorative Arts

29 Op cit: 131. Kunstindustrimuseet, The National Museum of Art, 30 Bonytt (1953) p. 157. Architecture and Design

31 Norsk Håndverk og Industri (1946) p. 135. Oslo, Norway

32 Vi Selv og Våre Hjem (1946) Kvalitet og Krise, pp. Tel. +47 (0) 21 98 21 16 20- 21. E-mail: [email protected]

189 Rasmus Malbert

A contemporary Use of Marquetry – Traditional Techniques in a modern Context

Rasmus Malbert

Introduction Marquetry, yesterday until today As a student at Carl Malmsten Furniture Studies I studied cabinetmaking and wood technology for a the more I prepared and researched in marquetry, bachelors degree. To be given the chance to study theAt first more thought, frightened this seemedI felt. We like all a know brilliant the idea history but and a privilege. marquetry, then a little bit more, then a lot of mar- theAmongst art of making many finedifferent furniture techniques has been anin honourgiving quetry,of marquetry, and suddenly, first there there was was none, nothing. then thereThis iswas of shape to wood we were taught the basics of marque- course not the whole truth but an interesting way of looking at it. - Marquetry in Sweden, as we know it, exists only in try. Amazed as I was by this way of treating wood, I antique furniture and of course, in schools such as towanted dye through to find veneersa way to and use howmarquetry this can in be my put furni in a Malmsten. Even though you can sometimes read in modernture projects. context This in hasa piece lead of to furniture. my final thesis on how the popular press about ‘inlays of different species of wood’ where marquetry is reduced to a breakfast table topic there isn’t much for a discussion about marquetry at all. However, if we consider marquetry as a mean of decorating, it exists to full extent. Flowers, patterns, pictures, motifs of all kinds all exist on furniture today. It seems as if the techniques are still used but

the technique of cutting patterns into the surface is with different materials. For instance, we find that- ing it with another material. Also, many of the typi- calused rococo frequently patterns leaving reappear the cut in open contemporary contrary to furfill- niture.

190 A contemporary Use of Marquetry

Figure 1-3 Archive table by Rasmus Malbert.

191 Rasmus Malbert

Figure 4 Cabinet ‘Estrad’ by Rasmus Malbert. Figure 5 Cabinet ‘Estrad’ by Rasmus Malbert.

So, why not in the form of marquetry as we know it? In the case of the Archive table I have placed the Are there no masters of marquetry left? Of course marquetry on the inside of a hinged door in order to surprise the user. I have used the nature as a main the world kept turning. Outside of Sweden, marque- source of inspiration but in a more subtle and mod- trythere exists is! Maybe on a much they largerhave been scale, busy a glance practising at Internet while est way than my predecessors. It consists of only shows proof of this. two species of mahogany and one of them has been treated with fumes of ammonia in order to create depth and contrast. For some reason, I keep on using Nature as inspiration. Unlike the Archive table, the marquetry in Marquetry in my work the cabinet ‘Estrad’ is not subtle at all but violently I see a gap between what is called ‘applied arts’ and green and messy. This is a way of revolting against furniture design in Sweden at the moment. This is the ‘Ikea patterns’ that we see a lot of on the market due to the last years of focus on design and interior today. Rather than to describe Nature as symmetri- decoration, which successfully have put the design- cally slim and organised I show it wild and rough. er on a pedestal. The traditional craftsman has sadly As a result of my studies and research in dying lost not only his/her status but people’s interest as through veneers, the ‘Scarab table’ has a mix of tech- well. niques and materials. The table top marquetry con- So, is marquetry a tool that can be used to regain sists of birch veneers, which has been dyed through with spirit based dyes, and pewter. The solid table How can marquetry be modernised without loosing stand of oak has been stained with a water based so- itsthe dignity? interest Well, for theI don’t art have of making the answers fine furniture? to these lution of commercial stain and the mix of hematein questions; however, I have tried in my work to think and iron dioxide. The three beetles are put sym- differently about marquetry and about its original metrically in line with the shape of the table top but purpose, which is to decorate furniture. lying on a bed of grey stained leaves. The leaves are

192 A contemporary Use of Marquetry

Figure 6-8 ‘Scarab table’ by Rasmus Malbert.

non symmetrical and non consequent in shape. These are made in a spontaneous manner where the shape is decided during the process of sawing. This with wood’ without following a pre made drawing was a way to find out whether I could really ‘paint with this way of working, I got a fast result without losingor plan. track The of result the purpose, I find is whichquite satisfying in this case because was to make a bed of leaves. Leaves, as we know, are never symmetrical or exact copies of one another. So, where am I to go now? There is no master plan but to keep on trying to develop and learn more about the many different ways of cutting a marquetry. It is my belief that as long as well-taught makers for contemporary and modern furniture, there will beand only designers progress. find And marquetry with that interestingprogress, the enough pub- Rasmus Malbert lic interest will follow. This applies with many old Designer and Maker techniques and styles. They are thought to be bor- ing and dusty until that day someone comes along Gothenburg, Sweden and creates something interesting and spectacular. work with marquetry and hopefully I will get the Tel. +46 (0) 709 205 058 opportunityHopefully I to can develop inspire my others skills and to create dig deeper amazing into E-mail: [email protected] the art of marquetry. www.rasmusmalbert.com

193 Nigel Bamforth

An Exotic Cabinet – The fusion of Indian and Persian style

Nigel Bamforth

Historical woodwork in Gujarat, India has a long The Mogul Empire (1483-1707) established a so- standing tradition dating back to the 15th and 16th phistication and creativity that astounded the early centuries, where there are references regarding European traveller. Embassies visiting the Mogul woodwork found in the works of two contemporar- Court in the 17th century record the splendours of ies, Thomas Herbert (1628) and Tavernier in 1640, the interiors, a style of both architecture and interior that derived from cities as far apart as Constantino- ‘although ancient tradition throughout India, it ple, Mecca and Damascus. This fuelled the integra- wasthe first only commenting found in a regional on carved pocket wood: including Guja- tion of design between Central Asia and the Indian rat’. Continent that are seen in the surviving secular and Very little is written about the preservation and domestic objects from both Western India and Sindh conservation of this early furniture originating in In- and Goa. From these objects we can observe the de- dia. This industry was founded during the 16th cen- velopment of the late 16th and 17th century Hindu tury where under the auspices of trade, the Portu- cabinet maker’s skills, much of this alluding direct- guese interlopers were to acquire and commission ly to Islamic and Christian iconography, termed an transportable objects that lead to a development Indo-Persian style that blended the artistic creativ- for the highly crafted cabinets, chests and boxes ity of Islamic iconography with the geometric form. (Figure 1). These objects were to survive the rigors Those of Persian derivation are seen in classical not only of time but also the intense variations of designs of meanders and sprays (Figure 2). By the climatic change with the long and arduous East In- second half of the 17th century this evolved into the dia Companies voyage home. This was to prove the more regimented rows of cypress bordered within worthiness of the craftsman’s skills when producing entwined shrubs also clearly recognisable as of Is- these valued objects. lamic origin.

194 An Exotic Cabinet

Figure 1 16th century fallfront cabinet of Indian origin.

Figure 2 Cabinet in Indo-Persian style.

195 Nigel Bamforth

Figure 3 Hindu and Jain architecture relief carving.

furniture and Western styled goods in the 16th and designs, comprising of motifs which appeared re- peatedlyNot to be in confused Hindu and within Jain architecture,this area are integratingthe figural timber joinery and construction techniques dating subjects such as composite beasts, part elephant, back17th tocenturies. India’s 6th A proficiency century Gupta one periodmight attributeand the ab to- part lion or part bird engaged in the high and low relief carvings (Figure 3). Generally the timbers found on furniture objects Early furniture acquired by the European travel- issorbing rosewood influences (Dalbergia from latifolia the Greco-Roman), shisham wood,Empire. eb- ler represents the high levels of the arts that were ony for the stringing and teak for the carcasse. The to be found within the Empire. Today we see the cul- technique of veneering although unsuited to the mination of these skills bound together where the transition of temperature and humidity to which conformity of both the artist and the artisan dictated most parts of India are subjected, was regularly em- the arts of the period. Terry wrote in his Voyage to ployed for sandalwood, rosewood, ebony, tortoise- the East Indies that ‘the natives there show much in- shell, horn and ivory. Ivory has been revered for the genuity in their curious manufactures’. ornamentation of furniture from ancient Egyptian The Hindu suthar or carpenter was employed by and Assyrian times. More recently the use of ivory in an overlord Mughul Raja or European coloniser. So- the surviving Islamic-Mughul cabinet can be found cially bound within his caste, a system that acted as inlayed into the partially veneered fall front or pared a strong defence against outside forces where over 17th century door cabinet (Figure 4). The interior a period of two hundred years, technological stag- - nation ensued, this enabled the artisans to retain a laid drawers in single, paired, and triple sequence certain purity of skills whilst precluding any cross (Figureof these 5), cabinets furniture is generallythat originated fitted in with the ivoryWestern in fertilisation of ideas. Despite these restrictions the Coastal Regions of Sindh and in particular in Guja- artisan was able to excel in initiative if not innovative rat’s trading centres of Surat and Cambay, and fre- progression, allowing him to maintain high levels of quently manufactured for the foreign markets. competency within the skill when manufacturing

196 An Exotic Cabinet

Figure 4 Islamic-Mughul 17th century paired door cabinet, Victoria and Albert Museum.

Figure 5 Islamic-Mughul 17th century paired door cabinet, Victoria and Albert Museum.

197 Nigel Bamforth

Figure 6a Indian ivory work with foliate patterns, 16th century. Figure 6b Mughul style inlay work, possibly inspired by textile embroidery, 17th century.

The progression from the earlier 15th century fall Of the ivory supplied from the Asian continent, that front cabinet to the two door 16th century cabinet of the islands of Ceylon and Achin (Sumatra), Taven- allowed the incumbent to display both the exte- ier also proclaimed this ‘has the peculiarity when it rior and interior as an object of status. The evolu- is worked that it never becomes yellow’. In 1616 the tion from the earlier ivory foliate confusion of the factors or managers at Surat record Gujarat as being 16th century to the later high Mughul style of set- The techniques employed in the preparation of on a plain ground (Figure 6) possibly derived from the best market for the medium sized tusk. theting textilesrows of offlowering the Deccan plants and in is alternating recognisable patterns from ‘certain procedure of work that is mechanical, re- carved wood printing blocks. This was also a charac- peatedivory, Eberhard once a principle Fischer recentlyhas been defined learnt. asThe being carv a- teristic of Shah Jehan’s reign (1627-1658). ings of the carpenters are stereotyped reproductions of designs passed on from master to apprentice, in and inlayed ivory are recognisable as themes com- monlyMany employed of the figural in the representations schools of Indian on paintings, cabinets carpenter, skilled apprentices or beginners being generally elements of historical representation that distinguishablefact petrified designing. as such, at The the most work in of respect the master- of mi- depict a composition of Mogul courtly scenes (Fig- nor details or negligible omissions’. This is a useful ure 7). Often a less recognisable interpretation is the statement when observing the irregularities in the inlay deriving from Southern India where motifs, re- manner these inlays have been carried out. liefs and ornamental carvings uphold the Sinhalese The art of marquetry in India is known as Sad- traditions of designs from temples applied to ob- - ling down to the Hindu carpenter of Sindh. The to ivory employed in a similar form in Renaissance techniqueeli work, originatingfor the ivory from was Shiraz to cut in into Persia, the timber travel Europe.jects, caskets and boxes. These objects bear infinity veneer to produce the marquetry panels ready for the application of the ivory for the drawer fronts

1598The claimed sources when of this speaking ivory, especiallyof ivory bone, the finest,much surface, such as dried skin, was stencilled onto usedcame inchiefly India: from ‘They Africa. are in Linschoten, great numbers a traveller brought in theetc. prepared The design timber once carcase established by pricking on a plain holes flat in out of Aethiopia, Mosambique and other places‘.

the stencil outline and brushing a fine powder 198 An Exotic Cabinet

Figure 7 Mughul courtesy scene on drawer front. Figure 8 Stencils used for transposing the shapes to the substrate wood.

Figure 9

Figure 10 Chisels used for preparation of ivory pieces.

199 Nigel Bamforth

Figure 11 The colour of the lac resin is left in the engrav- Figure 12 Ivory losses on the cabinet represented in figure 4-5. ings after polishing.

over the surface. This transposed the outline onto the lac incisions, the ivory surface is then polished the timber surface, the timber was then chiselled (Figure 11). to produce a shallow relief ready for the ivory inlay Harvard’s Centre for Conservation and Technical (Figure 8). An alternative method employed in West- Studies analysed similar Lac material with FT-IR, centre near Madras, was once the design had been most likely from a tropical plant source, the insolu- established,ern India and a alsosection around of ivory Vizagapatan, was sawn a tofurniture the re- bletheir part findings proved yielded to be interestinga spectrum asfor it a revealed natural gum,gum quired shape then the ivory was placed on the tim- arabic and opium, a gum exuded from the poppy. ber and the outline scored, the appropriate timber The replacement of the ivory losses for the con- chiselled out and the ivory adhered to the rebate servation of a Victoria and Albert Museums late sev- with resinous glue (Figure 9). For the preparation enteenth century ivory inlayed cabinet (Figure 12) of these materials a basic set of tools were engaged and then glued onto prepared ivory plates and care- common to the ivory industry and used until its de- fullyshow sawn the leaf around and withfloral a designs jeweller’s traced saw ontoprior paperto in- clinesuch asin the drill,mid-twentieth saw, chisel century and file, (Figure these tools 10). were The technique of engraving the ivory was com- material and distinguish from the original ivory in monplace and it was the job of the engraver, the thesertion. cabinet To aid (Figure the identification 13), it was decided of the replacement rather than kharadis also a member of the suthar caste who engraving directly into the ivory, the design should be drawn on the surface with a Rotring® architec- this, the ivory was laid onto the wooden carcase, the tural pen, this being only distinguishable on close surfacefinally appliedthen has the patterns surface etched decoration. upon them To achieve or en- investigation as the original engraving is fairly worn possibly due to the ivory having been scraped at pieces were engraved in situ and the larger engraved beforehand.graved, the termTo complete being scraffito. this inlay The the smallerLakh (lac ivory resin), the secretion of the lac insect is infused with a some stage to flatten the surface. hot iron over the surface of the engraved ivory, the etched portions being loaded with the charged colour and any superfluous lakh is scraped off to reveal 200 An Exotic Cabinet

Figure 13 The patterns on the replacement pieces have been drawn, not engraved, distinguish- ing the recently added parts from the original.

Figure 14 Ivory and ebony glued together, then sliced.

201 Nigel Bamforth

Figure 15 Bandings to be adjusted and glued in place.

The constraining stringing bordering and band- grinder and scraping with a scalpel, a process also ing the central panels are timber and ivory sawn to that I also felt could further abrade the surfaces. veneer thickness, and then sawn again to provide Being both hydroscopic and anisotropic the use of ribbons of timber and ivory for insertion. Sand- an aqueous process is not desirable but in this in- wiched between the stringing are diagonal inlays stance saliva applied on cotton swabs was not felt to of generally contrasting ivory and ebony. To manu- be too radical. It produced results safely by working facture this inlay, ivory and ebony sheets are glued swiftly to avoid penetration of the material with the then sandwiched in an alternating stack, then sawn satisfactory result of the ivory being cleaned in this through with jewellers saw to produce an effective manner. black/white inlay (Figure 14). This is laid against The object is now on display in a gallery where the stringing, glued in place and so the process pro- there are variations in the climate, this does not ap- - pear to impinge on the stability ivory and timber, a ibility and long working time that allowed the band- great credit to both the skill and craftsmanship of ingceeds. and Liquid inlays tofish be glue placed was and used adjusted due to (Figure its revers 15). these early cabinetmakers. Finally the cleaning of ivory is controversial, and as such discussed in the large amounts of literature published on the subject. The use of polar sol- vents toluene, ethanol and acetone are commonly recommended but are found to bring organic matter to the surface by leaching action. Others sug- Dr. Nigel Bamforth gest dilute hydrochloric acid for the removal of Head of Furniture Conservation stains and accretions, with much of the literature concluding that all this drastically alters the sur- Victoria & Albert Museum face composition and morphology of ivory, leading London, U.K. to the formation of amino acid salts and making the material more hydroscopic, treatments that I feel should be avoided. Other procedures recom- Tel. +44 (0) 20 79 42 20 97 mend the use of abrasive points in a Dremel® E-mail: [email protected]