Celebrating 50 years in business!

Patrice Lejeune and I show our Treasure Boxes

When I started my business in June of 1969 it was because I needed furniture for my new house and it was obvious that old or antique furniture was a bargain.  You could find nice hardwood rockers, tables and chairs and other antiques in thrift stores and used furniture stores, which were nearly everywhere.

I remember the first "antique" I bought was from the used furniture store just two blocks from my house.  It was a very ornate oak parlor pump organ made around 1880.  I think I paid $125.  It did not work (as the bellows were damaged and the works were dirty).  I immediately took it apart to see how it was made.

(True fact: all my life I have taken everything apart as a first step to fix it.  Not all of these efforts proved successful...I'm thinking of carburetors in particular, where you always end up with extra parts and no place to put them.)

In any event, I was soon playing music on my pump organ, which was very loud.  The dealer who sold it to me was walking by my house and the door was open.  He was surprised to hear the organ working and made me an offer to buy it back.  I think the offer was $250.  I had doubled my money!

AND I had a lot of fun.  I thought this would be a good way to pay for college, since I was making only minimum wage working 20 hours a week in the Physics Department at UCSD.  I was able to make much more than that restoring antiques on the side.

As you may know from reading earlier posts on this blog, the physics thing did not work out and the antiques thing just kept getting more fun and more profitable. First I opened an antiques store and called it "Antique Wholesalers."  My motto was "Quality Pieces at People's Prices."  I went back and forth in my truck from San Diego to the Mid West and East Coast and bought nice things.

After about 6 months in business I lost the entire inventory to theft.  I don't want to talk about it...

I quickly opened another business and called it "Antique Refinishers."  My new motto was "Here We Save the Past for the Future."  Business was great and, after a few hurdles, my reputation started growing and I began working on finer and finer pieces of antique furniture.  I specialized in veneer and marquetry repair.

In 1991, when I met Dr. Pierre Ramond at the Getty Museum, I was ready to graduate to the next level.  He was so impressed with what I had learned on my own that he invited me to study with him at ecole Boulle, in Paris.  That changed my life.  I owe a debt of gratitude to Brian Considine, who introduced me to Dr. Ramond.

I was fortunate to have spent much of the 1990's with Dr. Ramond and other craftsmen and educators in Paris, and when he retired, I opened my school, the American School of French Marquetry.

I am responsible for introducing the French method, using the "chevalet de marqueterie," to North America, and happy to see its general acceptance.  It is a wonderful tool and you can accurately saw the finest pieces of material in comfort and with confidence.  You can order a custom chevalet from David Clark.  Chevalet Kits

Soon after I opened the school, I was contacted by Patrice Lejeune, a graduate of ecole Boulle.  He wanted to work with me, and I ended up making him a full partner.  He has an amazing talent for the craft, and an educated eye.  Most unusual, he is not offended by my personality.

Working together, we have created many wonderful pieces of furniture.  Starting in 2011 we decided to produce a series of Treasure Boxes, in a process which allowed us to make four identical boxes at the same time.

To better understand our methods, you can visit our YouTube channel: 3815utah.

Here is a short video that illustrates a typical assembly process.  This is Patrice working on the marquetry for the inside of Treasure Box II.

TREASURE BOX I

The inspiration for TB I came when I was searching online with Google images.  I spend a lot of time using "images" as it provides an amazing wealth of information.  I discovered a marquetry box that was made late in the 17th century and sold at Christies in Monaco for 18,000 British pounds.  I thought it was perfect and the price indicated a certain demand for such an object.

We spent the next 18 months producing 4 identical boxes with a similar construction and design.
The background for the marquetry was some wonderful absolutely black Gabon sawn ebony veneer that we obtained from J. George in Paris.  The interior was veneered in sawn olive with king wood, tulip wood and boxwood.

Treasure Box I

Interior View (secret compartment)

We were able to sell all four boxes before we had finished construction.

TREASURE BOX II

Encouraged by the success of the first series, we began to design TB II.  Again, Google images provided examples of marquetry that we adapted for our use.  The inclusion of birds was a goal, as we find collectors really like them.

The detail on the second series is much more complicated than the first.  Also, we included bone inlay, both white and green.  It took some research to find out exactly how to color the bone green.  I want to thank Don Williams for help in that search.

Treasure Box II

Interior (secret tray released)

Instead of a hidden compartment, we designed a system for a gilt leather writing surface to be released.  In one spot on the interior the wood is slightly flexible.  By pushing down in that spot the tray is ejected by hidden springs.

The interior is veneered with sawn bloodwood, kingwood, tulip and boxwood.  In total there are three birds on the box and marquetry on all sides.

As before, we sold all the series before construction was completed.  One was purchased by a kind client who donated it to the permanent collection of the Mingei museum, in San Diego.  That represents the first time one of our creations found its way into a museum collection, although I have participated in several different museum shows in the past.

TREASURE BOX III

There are several objects in the Getty museum collection that Patrice and I really appreciate.  One is the ivory and horn table attributed to Gole.  One of my students, Aaron Radelow has succeeded in making exact copies of that table, and they are wonderful.

Ivory and Horn Tables by Aaron Radelow

The other object that we admire is the marquetry coffer.  It is a basic box, resting on a gilded stand (not original?) and covered in marquetry.  We decided to use it for our inspiration and reduced the scale by 33 % to make it more manageable and salable.  We also decided to design custom made hardware and include drawers.

For the background we selected ferreol.  This wood was rare, even in the 17th century, and found in South America.  It has the density of brass and is very hard to cut.  That said, it has a wonderful chocolate brown color and really shows off the marquetry elements.  We added pewter and brass inlay to set off the border.

For this box we used nearly 50 different species of exotic hardwood sawn veneers.  I must say that I was fortunate to have purchased the bulk of my veneers in Paris during the 1990's, while I was in school.  These veneers were very expensive then and, unfortunately, are not available today.  Thus, it is essential that I use the material I have very carefully.  It cannot be replaced at any cost.

I Love Wood

Selecting the Material for Treasure Boxes

That is why making the Treasure Boxes makes sense.  These are perfect objects to show off the last of the rare woods from all parts of the world.

We immediately sold the first box to a long time client and he asked "could you make a stand?"  We had not considered that, but his suggestion was taken to heart.  We created a stand in matching material in the same late 17th century style.

Treasure Box III and Stand

Interior (three drawers, writing surface, secret compartment)

In fact, the stand itself is something that "stands on its own"  (sorry, I had to say that!)

Here's Looking at You, Kid

Louis XIV Stand

The interior of Box III has several interesting features.  The key that locks the box also serves to open the secret compartment located behind the mirror.  The front lid is released by pushing two buttons on the sides. The writing surface is covered in French silk and lifts up to reveal a tray veneered in satinwood.  Inside this tray is a small brass button.  Depressing this button allows the drawers to spring forward.

Three drawers, Silk writing surface, Secret compartment

Drawer Release System

Here is a photo of TBI, TBII, TBIII and the stand sitting in the veneer cave.

Words escape me....

As you can see, what I have learned in 50 years of business as a furniture conservator in private practice is how to convert hardwood logs into rare veneers into decorative marquetry surfaces into money.  And it all started with a pump organ...

Top View Treasure Box III

PS:  We have sold two of the boxes and stands at this point and are looking for nice homes for the rest.  I am thinking of a new motto for these boxes:  "Limited Quantities, Unlimited Quality."

Final Delivery: Treasure Box Series II

Proud Parents in Delivery Room

If you have red this blog for some time you are aware we have been working on the series of Treasure Boxes, designed to show off our marquetry skills (and make some money!).

As I recall, Treasure Box Series I started on the drawing table in November 2011 and we made 4 copies.  Three of the series had olive, kingwood and tulip wood interiors and the forth had custom trays for jewelry made of ebony and lined with parchment.  All of these boxes were sold and paid for before they were done and the last was delivered in January 2013.

Treasure Box Series I

Treasure Box Series I was 440 X 340 x 140mm in size and I am holding one in the photo above.

We immediately started designing Treasure Box Series II and by June 2013 had the final designs, which were presented to clients and, as a result, two were sold and paid for.  We had to raise the price since the design was more complicated and the box construction was more involved, with a secret release that allowed the gilt leather writing surface to open.

Treasure Box Series II with Gilt Leather Writing Surface

We used white bone from Paris for the inlay and flowers and thanks to Don Williams were able to tint it green for the leaves.  On both the boxes we used sawn Gabon ebony which we were lucky to purchase in Paris.  This pure black wood is getting very difficult to find and we have a fairly good supply at this point.  We don't know what we will do when it comes time to replace it.

Treasure Box Series II

By the time we completed polishing the second series of 4 identical boxes, they were all sold and paid for.  We are pleased that our clients are willing to support this craft at this level, as it is not cheap to do it this way and we insist on producing an object using exactly the same methods and materials as would have been used at the end of the 17th century.  We are proud that we are making the finest examples of French marquetry in this country, as these boxes demonstrate.

Treasure Box Series II Top Design

Treasure Box Series II is 410 X 340 X 100mm and Patrice is holding one in the photo above.

Patrice Lejeune has spent a lot of time documenting the process of creating these boxes on his blog and on Lumberjocks.  You can see his post here:Patrice Lejeune Blog Post: Treasure Box Series II

I would be excited to see your comments on our work.

Edwards & Lejeune

Edwards & Lejeune Label

 In the history of furniture making, there are several examples of successful partnerships.  Goddard and Townsend come to mind.  (I am not making a direct comparison.  Please.  I am just pointing them out as one of the most famous examples...)

As some of you may know, I worked for nearly 4 decades absolutely alone.  I built the workshop and furnished it with rare woods and period tools.  I met with the clients, bid the jobs, did the work and delivered it when it was done.  I opened the mail, answered the phone and paid the bills.  It was exhausting but I had the energy so I did it all.

The first thing which changed in this business for me was when I convinced my wife, Kristen, to stop teaching art in High School and come to work with me.  She was able to take over all the office duties and interface with the clients very successfully.  My phone skills were basically, "Hello, I'm busy, what do you want?"  Her phone skills were very advanced and I noticed a real change in the business as the clients were happy and I was able to work at the bench without stopping every 10 minutes to answer the phone.  A real bonus was that I did not have to think about the money flow.  From time to time she would mention that we needed more money, but that was the extent of it.  What a relief.

The second change was when Patrice Lejeune was able to move to San Diego from Paris and work with me on a H1-B visa.   I had some reservations about sharing my work space with another cabinetmaker, but we hit it off immediately.  We went from working together to close friends to actual business partners.  We encourage each other, criticize each other when it is appropriate, and divide the work load according to our specific talents.

Patrice Removing Paper From Marquetry

Over the past decade Patrice and I have completed some wonderful projects.  One of the most successful has been the Treasure Box series.  The Treasure Box Series #1 sold out before we were able to finish them.  The current Treasure Box Series #2 has sold 3 of the 4 boxes and is nearly complete.  That means we only have one left.  They should be done soon, as the only thing left to do is get the leather writing surface embossed with gold and apply the French polish finish.  (Actually there is a bit of ebony and bone trim to do, but that is now much of a problem, considering all the technical problems we have solved to get this far.

UPDATE:  After I posted this I received a call from a past student (of ASFM) and good friend who expressed disappointment at not purchasing a Treasure Box Series #1 before they were gone.  She saw this post and decided that it was time to get one.  So now they are all sold.  Patrice and I are in the process of designing Series #3.  Stay tuned!  We both appreciate the support.

These boxes are a labor of love and a tribute to our passion for creating objects which are authentic to the late 17th period in every detail.  They are, in my humble opinion, some of the best work available anywhere today.  They take nearly 2 years to make, and are certainly  worth much more than we are asking for them.  That is why it is so easy to find people willing to buy them and then wait for us to finish them.

Last week Patrice and I glued the marquetry surfaces to the lid, pressing them in the heated press.  We had to pay close attention to the orientation of the birds, as the bird on the inside of the lid needs to be upright when it is open and the bird on the outside needs to be upright when it is closed.   As we glued 8 birds to 4 lids we were both checking each other to make sure nothing went wrong.  We made a video of the process, which we will post soon.

It was a real pleasure watching Patrice wet the paper on the surface and scrape away the paper and glue to expose the marquetry for the first time.  Since we work from the back of the design, gluing the elements face down on stretched Kraft paper, we never see the finished surface until it is finally glued down to the substrate.  That is our ultimate reward for a job well done.

Removing Wet Paper and Hide Glue From The Marquetry

Here is a close up of the work.  You can see it requires quick work to remove all the paper and glue before the mastic begins to expand or the veneer elements start to lift.  Of course, working with sawn veneers which are 1.5mm thick helps.

Blue Bird of Happiness Surrounded By White Bone Flowers

 Here is the top marquetry surface, cleaned of all the paper and glue.  It needs to be sanded and scraped flat before polishing begins.  However it shows the elements of a careful and professional collaberation between two experienced craftsmen.  It begins to look like another masterpiece will be delivered soon!

Top Surface of Treasure Box Series #2

Treasure Box Series II Progress Report

Patrice Lejeune shows the inside of the top

As I work my way to the end of each year, I tend to reflect on the past.  I started my business in June of 1969 so each summer I pass that milestone, marking another year of self employment.  However, the end of each year means I am another year older, and that is a more sobering thought.

At this stage in my life, many of my friends have retired.  They often ask me "if" and "when" I expect to do the same.  That thought never crosses my mind.  My usual response is something like "When they pry the chisel from my cold dead hands." or something equally dramatic.

Why should I retire?  I have a 5000 square foot "playground" which contains all the materials and tools I need to create anything I can dream up.  All I need to do is find a photo or see an object and I can have it.  I used to lecture a lot on antiques and fakes and one of points I would always make about fakes is that "if someone made it in the past, then it is possible for someone to make it again."  Kind of like counterfeit money.  No matter how clever they try to be, someone will be able to copy it.

Most professional woodworkers struggle to create original designs.  I find that goal very difficult.  I really don't think I have an original idea in my head about design.  The problem with me is that I have worked on tens of thousands of antiques, visited hundreds of museums and read countless books, and my mind is packed with images.  No matter how hard I try to create something, there is always an element of historical precedent which begins to appear.

I have the same problem trying to imagine creating an original piece of music.  I mean, after all, there are only so many notes, chords and key signatures that exist.  How in the world can you sit down and write something completely new without including some rhythm or sound that you heard before?  I have the deepest respect for those who can do this.  I spent many years of my life playing chamber music and sitting in orchestras, performing classical music.  The best I could do was to play the notes well, and try to make some kind of music.

That is the same for me with my woodworking.  The best I can do is to perform the piece well, and pay respect to the masters of the craft from the past centuries.  I must admit that, after 45 years of practice, I have been able to achieve a modicum of success in that goal.

One aspect of my professional life which has been very helpful has been my relationship with ecole Boulle and Dr. Pierre Ramond, among others in Europe.  Leaving San Diego and spending time and money in Paris really paid off, giving me the experience and confidence to take my work to the next level.

It also provided me with an opportunity to partner with Patrice Lejeune, who has worked with me for over 7 years now.  We have a good working relationship, and each day we share the load, dividing up the activities according to each person's schedule.  I am fortunate to have a business partner who completely understands both the operation of the business and the school and can contribute in areas which I am not as strong.  Not to mention giving me a hand when the furniture needs to be put on the bench or in the truck.

The success of the Treasure Box series is a direct result of this partnership.  The work we put into these boxes is as good as it gets and I am sure they will be regarded with deep appreciation and respect for many years to come.

As I have rather busy lately with other projects and not able to post on my blog much, I would like to direct you to visit the recent post by Patrice on his blog.  His posts, which detail the actual work on the boxes, is more complete and includes photos of each stage of the work.

You can see that post here:    Patrice Lejeune's Blog

Note, in particular, the photo of the tulip veneer with the words "This veneer has been saw cut at the end of the 19th century."  How wonderful it is to be able to use historic materials as well as historic methods!  Thank you Patrick George.

We expect to be able to finish and deliver all 4 of these boxes early next year.  At that time our cat, Gigi, will need to find another place to rest.  She always seems to appreciate our work as well.

Really?  

Fine Art or Decorative Art? It Makes a Difference!

Made of Wood.  How Can This Not Be Fine Art?

Three things happened to me when I lived in Paris off and on for a decade in the 1990's.  First of all, I sat at the feet of Pierre Ramond and sucked up all the valuable knowledge he was happy to throw at me.  Secondly, I got to meet many of the most important furniture and museum conservators as well as discover their suppliers, like Patrick George.  However, the most significant aspect of those travels was being accredited by ecole Boulle to receive their students in my workshop for a "stage" of work.

"The Shack"  by Patrice Lejeune

In total, I received 18 different marquetry and ebeniste students, and each one was a valuable experience for both of us.  They got to work in an American workshop.  They got to live in San Diego, which is, in my opinion, one of the nicest places in the country to live.  I got to speak French and teach as I worked.  It was wonderful, but terminated suddenly when Pierre retired in 2000.

"White Cockatoo" by Patrice Lejeune

I had just about given up on having any other workers in the shop at that time.  After all, I had worked alone for 30 years and I had a comfortable routine.

"Gaetane" by Patrice Lejeune

Then I was contacted by Patrice Lejeune, who had already graduated from ecole Boulle and was working in Paris. He had just gotten married and they both wanted to leave France and live in America.  He had heard about me from one of his friends at school, who had spent a stage here.  When he wrote to me, my immediate concern was could I afford to hire him and what was the process for a work visa (H1-B)?

"No Child Left Behind" by Patrice Lejeune ($50 shown for scale only)

The short answer about the visa is that it was time consuming and expensive.  Believe me.  First of all, I had to prove the "equivalence" of his education and that he would not replace an American worker who could do the same work.  As to his education, we spent a lot of money hiring a professional search team and they could only find one school in the country which would provide his education: the American School of French Marquetry in San Diego!

"3ism" by Patrice Lejeune

As to him putting an American out of work, we were required to post the job requirements in many different places.  We got a lot of calls.  However, the job requirements were that they know how to make and restore French marquetry, and are proficient in French polishing and traditional restoration.  Nearly every applicant said the same thing: "I can learn that!"  Sorry, but I needed experience in the field and Patrice had already both the education and the professional experience.

"Four Different Aspects of a Nebulous Thought" by Patrice Lejeune

He now has his green card and is a full partner in the business.  He has really contributed to our success and the level of our work has been dramatically increased, since we both criticize each other's work and we are both obsessive about perfection.  Sometimes at the expense of cost and deadlines...

"Dance Muse" by Patrice Lejeune

There is one thing that Patrice has done here that I would never have thought of.  He has made modern marquetry art.  Lots of it and in many different styles.  He has also pushed the process of marquetry into a new direction with new techniques that he developed.  He has also won awards and sold several of his pieces.

"Circle of Life" by Patrice Lejeune

In France, where marquetry has a long and respected tradition, there are often shows in different parts of the country which feature marquetry "art" and these shows are well attended by the public.  Readers of this blog should know by now that I consider marquetry, and specifically Painting in Wood, to be a fine art.  Unfortunately, the history of this field in this country is that, unless you glue it onto something functional, it is not appreciated.  That means that if it hangs on the wall it never sells.

"Cherry Blossom" by Patrice Lejeune

That is a crime.  Art made with wood as a medium is just as valid as art made with oil paint, or water colors or chalk.   It takes just as much talent.  It should be considered, at least, as "mixed media" which is a legitimate form of art, and can be quite valuable. In my opinion, marquetry art is a fine art.

"3ism #2" by Patrice Lejeune

That is why I thought it was time to post some of Patrice's work.  After all, it hangs on the walls of the workshop and school, and I get to enjoy it every day.  I thought I would share it with you.

"Summer in the City" by Patrice Lejeune

In particular, he has developed a series of contemporary mosaic designs which are abstract.  They are new and colorful and evoke images of modern life.

"Tide at Torrey Pines" by Patrice Lejeune

Finally, in case you like dogs as much as I do, here is a portrait of a dog in wood.

"Orpheo" by Patrice Lejeune

American Folk Marquetry

English Apprentice Board c.1885

The last few days I have been thinking about geometrical designs in marquetry.  One of the reasons is that I need to prepare new samples to take to the WIA show next month in Winston Salem.  The other is that I just finished restoring a series of nice pieces which had amazing marquetry surfaces.

It seems that my work goes in stages, from one topic to the next.  Perhaps the secret of my success is that I just follow the flow as it arrives and focus my talents on the job at hand.  Early in my career I realized a pattern to the work which made it easy.  The first week, for example, I remove the hardware and finish, studying each job as to the proper approach.  I would do this with several projects at the same time.  I cannot really work well if I have only one job.  I need to juggle many jobs simultaneously, to be happy.  The next week would be spent with repairs, filling the bench with clamps and glue.  The next week after that I would focus on sanding and coloring the surfaces as needed.  Then I would spend time cleaning up the shop so I can shellac and polish everything at once.  Since the shop was then clean, I would spend a week upholstering.  This pattern would repeat itself with little variations for most of my career.

That said, there are exceptions.  Yesterday I spent the day outside the shop weaving cattails into a natural rush seat for an antique French chair.  The weather was nice, and I have a place in the shade on the North side of the shop with a gentle breeze.  It was a pleasant distraction from the routine.

However, back to the topic this morning.  American Folk Marquetry.  What is it?

In 1998 there was an exhibition at the Museum of American Folk Art in New York and a book published by Richard Muhlberger, which is in my collection.  This book "is the first volume to record the history of marquetry and the American masters who handed down the tradition from father to son.  Never before has American folk marquetry been investigated, cataloged, or recognized as a distinct body of work."  Obviously more work needs to be done in this area.

In reviewing this book I notice a common thread.  All the work relies on some form of Tarsia Geometrica and Tarsia a Toppo, and the last two posts on this blog have been an effort to explain how this work is done.  One of the important facts about this work is that it is made with either a veneer saw or knife.  A chevalet is not needed, but in some small areas a hand held fret saw is used for curves.

Another fact emerges in this book.  The most important analysis of these pieces focuses on how many pieces of wood and how many species of woods were used.  No discussion of the form or overall design is really attempted.  Most of the pieces stand as a miscellaneous combination of unrelated marquetry motifs.  There is no serious relationship between the form and the decoration.

Here is Frederick Hazen's (1829-1908) secretary, made in Massachusetts between 1862 and 1869.  The  author is careful to mention that it contains 21,000 pieces of wood.

Lots of Pieces!

Another thing I note about this book and its discussion of these pieces is the terminology.  The term "Male Quilting" is promoted and a long discussion of the relationship between marquetry and sewing makes the strange claim that they are somehow connected.  "The making of quilts and marquetry is similar in that they both depend on a patient, additive progression from detail to detail, until plain cloth or naked wood is embellished with multiple designs that are also made of cloth or wood."

By this reasoning, I can easily point out that Painting in Wood and Painting in Oil are related.  Therefore, marquetry is an art and deserves to be appreciated exactly like fine art is in the market place.  Unfortunately, the real world does not support this idea.

Here is a rather standard Davenport desk form covered with Tarsia Geometrica, and featuring the cube:

Circa 1860

Here is a box on stand with drawers covered in Tarsia a Toppo:

Not made by Shakers!

I am fortunate to have a talented business partner, Patrice Lejeune, who graduated from ecole Boulle and has worked with me for nearly a decade.  He spends his "extra" time here at work picking up scraps of veneer from projects and designing modern marquetry panels.  He is not American nor is he a Folk artist.  His work is very professional, modern and high style.  That said, I think you might be able to see a relationship with his work and the American Folk Art shown above.

For example, this is one of his pieces of wall art:

"Rain on the City" by Patrice Lejeune

Here is another:

"City Map #2" by Patrice Lejeune

I think his work is wonderful and something I could never do.  I am too old fashioned.  However, when I see his designs, the first thing that comes to mind is not, "how many pieces?"  What I think of is how beautiful the art is, and the deeper subliminal meanings it inspires.

Finally, in reading the Forward to this book, American Folk Art, I find this interesting observation:

"The craftsmen whose work is celebrated in this book did not make their livings at marquetry.  The hours of labor necessary to ornament an object with marquetry were worth far more than anyone was willing to pay for the product.  Consequently, the men who made folk marquetry always required a means of support other than selling their fancy woodwork."

That remark reminds me of the day I proudly opened my antique store in June, 1969.  Another antique dealer in the neighborhood walked in to examine my stock and the first thing he said was "What do you do for a living?"  As if being an antique dealer was a hobby and you needed a "real job" (as my father always reminded me) to survive.  My immediate response was "I'm an antique dealer!"

Well, it has been 45 years and I still make my living as an antique dealer, furniture conservator, furniture maker and, most importantly, marquetry maker in America.

That said, Patrice's work is Art and should be worth millions!  Support the Arts!