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."

American Chevalet Made In The USA!

Page 62, "Masterpieces of Marquetry" 1996

In 1990 I was hired by the Timken Museum here in Balboa Park to provide public education on the topic of French marquetry.  It was funded by the National Endowment for the Arts in conjunction with the San Francisco Legion of Honor as they were rebuilding the museum in SF and needed a place for some of the furniture while they completed construction.

It was a two year contract, and we selected 5 different French cabinets, each one illustrating a different method of marquetry.  The name of the show was "France in the 18th century, the Age of Elegance."  I provided a 10 minute video, which was nominated for an Emmy, as a documentary.  I also installed a Didactic Gallery installation, which included a chevalet, a foot operated frame saw, and all the materials and other hand tools used to make marquetry.

My job required me to lecture in the gallery twice a week for several hours, and, when I was not there the video played on a screen near the "workshop" so visitors could imagine what was involved in creating the marvelous decorative surfaces on display.  It was a great job, since my workshop is a few miles from the museum, and I could just ride my bike there, through the park and into the museum where I could change into my work clothes in the guard's room.

Immediately after this contract was finished, I was invited to attend ecole Boulle, in Paris, by Pierre Ramond.  Over the next 4 years I became good friends with many students, teachers, and museum conservators in Paris, thanks to the support of Pierre.

On one of my trips, as I walked into the conservation lab at Musee des Arts Deco, I was treated with applause.  Surprised at the reception, I asked why they were celebrating my arrival, since they had never done that before.  They simply put a copy of Volume II of Pierre's latest book, "Masterpieces of Marquetry" on the table and opened it to page 62.

Imagine my surprise to see a photo of me, sitting on my original chevalet in the Didactic Gallery at the Timken Museum.  The copy said "The perpetual transfer of techniques between continents can be illustrated by Patrick Edwards' equipment." (translated from the original French)  "After a training period of several months at the Ecole Boulle, this American craftsman built his personal donkey as well as a model for his hometown museum, where he is in charge of furniture restoration."

This was a nice compliment, even if the facts were not exactly correct.  In fact, I had spent part of 4 years "in training" at Ecole Boulle.  Also, I had built a chevalet some 15 years before I went to study there.  Finally, I was not in charge of restoration at the museum, but in charge of public education.

Still, I got the applause from my peers at the museum in Paris, and left the lab walking on air.

I am still working to introduce the chevalet to North American marquetry workers.  My efforts at the American School of French Marquetry have been rewarded by all the students who have passed through these doors, and sat on our chevalets.  Many dozens of them have purchased the hardware kits and built their own tools.

And now there is a wonderful woodworker, David Clark, who is making the wood parts for the chevalet at a good price, with excellent results.  His wood kit is designed to work with my hardware kit, and you can just order it, wait a short time, and put it together with very little effort.

I mentioned his work a few posts ago, so just scroll down to find his information, and see the results.

You can email him directly with your questions or to place your order.  Just send it to: david.chevalet@gmail.com

I want to thank him for creating a check list of the parts, and providing names and part numbers for this tool.  Now, when I communicate with anyone about the chevalet, we can use the same names for the parts and clearly understand what is going on.

Click On Picture to Enlarge

In Pierre's first book, "Marquetry", he illustrated blueprints for the tool, with his parts list.

This tool is measured to be 54cm tall.  Pierre notes in his copy that, since the workers today are much taller then they were a century ago, he suggests we add 3 to 5 cm to the plan.  Than means the typical French worker would use a tool in the size from 57 to 59cm.  Of course, Americans are generally  taller then French (my experience), so we have tools as large as 62cm here at the school.

To determine what size tool you would use, just measure (in metric centimeters) from the top of the seat to the base of your throat, while you are sitting comfortably, slightly bent forward.

Since it is absolutely essential that the tool be adjusted to cut perpendicular in both the X and Y axis, you make a test cut to check it, after initial set up or when ever it is taken apart and moved to a new location.  Here is the test cut, as shown in Pierre's book:

Move the Vertical or Horizontal Adjustment Arms until correct

The test is done with a piece of wood, like tulip poplar, which is easy to cut, and about 1/2" thick.  Note that adjustment is usually a combination of the X and Y adjustments, which can take a bit of time.  Once it is dialed in, it will be fine for a long time.  At any time that the piece you are cutting resists falling out of the packet, it might indicate a need to check the adjustment.  Doing this test with a finer blade than the one you are using for the work will increase the accuracy.

Now, for the first time in history, you can order an American Chevalet, made in the USA.  I have fulfilled Pierre's wish and transferred the "secret" technology from France to North America.

It only took 20 years!

A Dream Realized After 20 Years

What is He Thinking Now?

I have always been able to function day to day, taking life as it comes.  It just seems easier to me not to worry about schedules and appointments too much.  Of course, I am reasonably responsible in meeting demands on my business and other social activities.  I just don't write it down on a calendar or post it on my phone with alerts.  I figure that life will prompt me to do something when the time is right.  That means I need to be sensitive to the subtle indicators around me from hour to hour.

Instead of dwelling on what I need to do this week or next, I focus my energies and dreams on the event horizon, years in the future.  For example, in 1984 I started the North Park Main Street Business Improvement District, and directed the non profit management board for the next 30 years in a prolonged effort to revitalize the historic area with new economic development.  I retired from that board in 2014 after it was obvious that North Park was a positive success.  Last week the local paper had a photo of me on the front page, under the headline: North Park Renaissance".

In the same way that I could work towards a long term goal of improving my neighborhood, I had similar goals when I started the American School of French Marquetry.  Initially I just wanted to continue the environment of creativity which I enjoyed at ecole Boulle, so I built some chevalets and set up a workshop for students to learn the French method.

Since the French method I was taught is rather specific to the Paris workshops and uses the "chevalet de marqueterie" to cut the patterns very precisely, I knew that the biggest obstacle to my students was going to be how to get this tool.  While the student was working in the school they could use the various chevalets and get a chance to find out what size tool they needed.  They also got the experience of building and sawing packets so that they could begin to appreciate the possibilities of what the tool could do.

However, it was clear that there was no general awareness of the tool in America.  It's existence was unknown.  Even in Europe, outside of the general Paris region, it was the same.  Somehow, over 3 centuries, the Parisian marquetry worker had kept it secret.

Therefore, my initial goal was just to introduce the tool to students, so that they would find out if they needed one.  Then I began to create blueprints and order hardware so that students could build their own.  Still, the problem of building a chevalet was that you needed to have timber framing skills to build it, so that you could then use it to cut microscopic elements of veneer into exotic shapes.

In spite of these problems, I have sold dozens and dozens of kits over the past 20 years.  I suspect that not all of those kits ended up as built tools.  However, even if half of them got built, that means there is now something like 50 or so in workshops around the country, where previously there was none.

During the past 20 years, as I was selling hardware kits, I had a dream that one day a woodworker would appear and be more interested in building the tool then using it.  I needed a person who had access to good timber and all the machinery required to do the work in a efficient and professional manner, and at a good price.

Those of you who take the time to read these posts will remember that I posted on Tuesday, July 28, 2015 the prototype kit supplied by Mark Hicks, of Plate 11 Workbench Company.  I had met Mark at the Woodworking in America Show and he agreed to work on making chevalet kits.  However, his business making workbenches had a large backlog of orders and he was not able to get to the chevalet project until he cleared his shop of those benches.

At the last WIA show in Kansas City I met another woodworker, David Clark, who is retired.  We discussed the possibility of him making kits and he was excited to accept the challenge.  Since he had a very well equipped workshop and plenty of time, he started immediately.

10 x 20 x 48"

Last week the first kit arrived and it was perfect!  The chevalet of my dreams!  Beautifully crafted, exact in all dimensions, and ready to put together.  Less than two hours after I opened the box I was sawing marquetry on the fully functional chevalet.  All the surfaces were nicely sanded, edges rounded, and everything pre drilled to fit my hardware kit, which I had supplied to him previously.

I have bought and sold and built these tools over the years.  When they are available, which is not often, they sell for an average of $2500.  If I build them by hand, and charged for my time, they would cost three times that price.  If I sell the kits for $500 with blueprints, the buyer needs to then buy the wood and spend the time to make them, which can take weeks, depending on the skill and tools available.

Dave has worked out the specific costs: $400 materials and $1400 labor (at $30/hour).  Amazing!

This Is How You Pack A Box!

He is located in Missouri and was able to ship my kit to San Diego for $110.  Since he is in the middle of the country, I suspect that the shipping to either coast will be about the same.  The kit arrived in a box 10 x 20 x 48" and was packed beautifully.  I was impressed with how he was able to get everything in such a small box.

Wow!  Just Wow!  

As I laid out the parts on the workbench it was clear to me that finally I have found the perfect person to supply the Made in America Chevalet.  He is starting to build up an inventory of parts so that the lead time to supply a kit is expected to be only two weeks.  He says he can build left or right handed tools, in any size for the same price of $1800 out the door (plus shipping).  He told me he needs a $400 deposit for the materials only to place an order.

Two Hours After Opening Box

His contact information is David Clark, 2429 NW Ashurst Drive, Lee's Summit, Missouri 64081 and his phone number direct is 913 486 0344.  He has created a personal email for ordering these kits, which is "david.chevalet@gmail.com".  You can contact him with any questions or to place your order.

I will reduce the price of my hardware kit to $400, since there is no need for the blueprints.  My hardware fits his wood parts perfectly.  I sell the hardware and he sells the wood.  Now a student can simply order the chevalet, wait two weeks and put it together, ready to work.

It Even Includes The Knob!

The French chevalet is no longer a secret or a dream.  This is a reality!  Dreams can come true!

Chevalet In A Box. Delivered!

NOT from IKEA!

I had a great time last year at the Woodworking in America conference.  I am really looking forward to returning in September to the WIA at Kansas City.  I will be speaking, and probably looking as usual at tables stacked with old woodworking tools.  Also it will be a good chance to meet old friends, since I live on the extreme South West corner of the country and many of my "buddies" live on the other side of the world  (in other words, the East Coast.)

Last year I met Mark Hicks, who was showing his beautiful benches, at his booth for his business, Plate 11.  You can see his work at his website, Mark Hicks.  He lives in Missouri and builds amazing benches with all the surfaces finished by hand.

I mentioned to him that for years I had been looking for a woodworker who could supply the wooden parts to a chevalet.  I have been selling the hardware kits since 2000 but many of the students who buy the kits are not set up for "timber framing" which is essentially what building a chevalet involves.

In my experience it may take several weeks to cut out and fit all the wood parts and students just want to return home from the classes at ASFW and start cutting marquetry.  I have had dozens of students say that they would prefer to just buy a tool and get to work.

Mark was very interested in the project, so I left him with a hardware kit and a set of plans and we communicated off and on over the past year by email.  Fortunately for him, but unfortunately for me, he had a lot of orders to build benches and it took him a while to find the time to study the plans and "tool up" for the job.

A few months ago he sent me a message that he had started the prototype.  Last week it arrived in a box.  There have been a few jokes about IKEA but none of them have been worth repeating.  I should say that he builds shipping boxes and packs them better than any professional shipper I have ever seen.  You could have driven a fork lift over that box and nothing would have been scratched.

Every Thing You Need Ready To Assemble

I opened it and found a beautiful set of wood parts to make a chevalet.  Mocking them up with some hardware provided me with the confidence that I had found a perfect partner in this effort to make this tool available to a wider audience of woodworkers.

Then last week Mark arrived and spent several hours with Patrice and I discussing minor points of the elements, perfecting the prototype, which I will be sending back to Missouri.  Mark will then develop the final kit and have one on display at his booth in Kansas City.  If you ever thought you would be interested in working on one of these amazing tools, be sure to take the time to visit WIA and talk with either Mark or myself.

He will be taking orders for these kits at the show.  We will be working together on this effort, and I will supply the hardware from my workshop while he ships the wood kit from his business, located in the center of the country.  I will reduce the cost of the hardware since I do not need to supply the plans, and he is making every effort to keep the cost of the wood kit as reasonable as possible.

Prototype Chevalet

Looking at his work on this prototype, I can say that the marquetry worker who ends up with this tool will have a better chevalet than any of the tools I currently have in my school.  I expect that, once he is in full production, I will probably sell off the chevalets in my school and replace them with these new ones.  They are that good.

The American Chevalet has arrived!  It's not your father's Chevalet.

Teaching at MASW Soon

Two years ago I was invited to teach at Marc Adams' school in Indianapolis.   It turned out to be a great experience for me and I got a lot of positive feedback from the students.

As I mentioned in this blog previously, I had some reservations about asking Marc to build 8 chevalets and thus limit the class size to 8 students.  I knew this would not be profitable for him and was surprised when he agreed to take a loss in order to introduce the process of French marquetry to his students.

The down side for me was transporting two 50 lb suitcases on the flight full of materials and tools for the class.  I wonder what the TSA people thought when they scanned those bags?

Now I have confirmed my flight and return to MASW next month.  I will be there for two weeks, starting Monday, August 17.  The first week will be French marquetry, Stage I, the Boulle method.  That class is full.

Over the weekend following I will offer two different classes.  Saturday, August 22, I will demonstrate methods to veneer turnings and columns, using protein glues.  Each student will be provided with materials and glue that they can take home for further practice.  Veneering columns is a valuable part of my furniture building and I have worked for years to perfect the process.  I think you will find this interesting and by adding veneering to your turned work, open up new avenues of design.  There is still room in this class.  Here is the link: Veneering a Column

Sunday, August 23, I will be teaching about geometrical marquetry, and that class is full.  I am excited to be able to show how the French were able to do amazing things with small pieces of veneer.  Also, this class will demonstrate how to make an assembly board.

Starting Monday, August 24, I will again return to the chevalet and offer a class in Stage II marquetry, the "piece by piece" method.  There are still openings in this class.  Note that the Stage I class does not require any previous experience with working on the chevalet, as you do not have to exactly follow the lines.  By contrast, Stage II requires a bit of experience as you have to accurately follow the lines when you cut for the pieces to fit.  There are many posts on this blog which explain the difference.

However, since the class is not full, I would also accept any student who wishes to start Stage I (since the first week is full), or wishes to do an exercise in Painting in Wood, since I am able to teach all these methods simultaneously.

Here is the link for that class: Piece by Piece Marquetry Class

Finally, I am very proud of the popularity of the tool, "chevalet de marqueterie."  I was the first to introduce it to the American woodworker some 15 years ago, and it has become a recognized fixture in many workshops.  To that end, MASW is offering, for the first time, a class on building your own chevalet.  Amazing!

Obviously, you need to plan for this and I believe bring your own wood.  However, it is a wonderful opportunity to use the facilities at his school (every woodworking machine ever made).

Here is the link:  Build Your Own Chevalet

Hope to see you there.

The Chevalet Pandemic

Suspected Source of Infection

My dictionary defines "pandemic" as "occurring over a wide geographic area and affecting an exceptionally high proportion of the population."

Here are some facts about this particular infection:

I discovered the tool through "pre industrial espionage" in 1976 and built my first tool soon after.

The first time the "chevalet de marqueterie" was published in English was in 1989, when Taunton press issued Pierre Ramond's book, "Marquetry" including blueprints.  Soon after, he published the three volume edition, "Masterpieces of Marquetry" which was eventually translated into English by the Getty museum.  In volume II, he honored me with a photograph and copy which said "The perpetual transfer of techniques between continents can be illustrated by Patrick Edwards' equipment."

I feel responsible, in some way I suppose, for introducing the "chevalet" to North America.  I had a two year contract with the Timken museum, with sponsorship from the NEA, to create a didactic marquetry workshop in the lobby and demonstrate to the public how this tool was used.  We also produced a short PBS video, "France in the 18th century: the Age of Elegance" which was nominated for an Emmy.  (We didn't win, but as they always say, its an honor to be nominated.)

Then, a decade later, I sat on stage in front of the SAPFM audience at Williamsburg and introduced it to a large group of woodworkers.  I still remember the look on their faces.

For three years after that I demonstrated twice a week in the Getty museum, with both the chevalet and a picking machine.  I was informed that I had an average of 120 people during each of my 2 hour lectures.  They monitor these things, I found out.

Then Roy invited me to be on his show, which was for me like dying and going to heaven.  I don't know what his audience is in numbers, but they must be the most interesting woodworkers in America. He has established "The Woodwright's Shop" as the longest running "how to do it" show on television.

During this entire time, I was teaching students at ASFM and selling kits with plans. I have exported my kits to Belgium, England, Australia, the Philippines, and several other countries.

Today I sat down in front of my computer and Googled the term "chevalet de marquetrie" then clicked on "images" and was amazed.

Try it.  See for yourself.  Take a few minutes and see how fast good ideas can spread.

PS:  If you are already infected and one of these tools sits in your shop, let me know.  Send photos and I will post them so others can be warned!  By the way, there is no known cure...

ASFW at MASW!

The New School of French Marquetry

I realize that, in the world of French marquetry, there are a few "chevalets" sitting in workshops in large cities like Paris, Brussels, London and New York.   However, these tools belong to the artisans who built them and use them for highly specialized work, usually restoring period furniture for dealers.  In general, the design and function of this tool has remained somewhat "secret" over the centuries.  You could just say the "chevalet de marqueterie" is obscure.

In fact, there is only one school in Europe where students can get instruction and practice using these tools.  That school is ecole Boulle, in Paris.  Even in that school the chevalet is part of a curriculum which includes Colombo Filippetti  jig saws and other cutting tools to make marquetry.

When I was there as a student some 20 years ago, Dr. Pierre Ramond taught a rather strict traditional approach to making marquetry which focused on the chevalet.  There were 12 such tools in the class and a similar number of students, working diligently every day to design, cut out and assemble real masterpieces of art in wood.  The new professor at that school has a new building and encourages a diverse mix of traditional and modern methods to create the work.

In 2000, when Pierre retired, I asked him and received his permission to create my own school in San Diego, where I endeavored to continue his work, using many of his exercises and methods.  I built 7 chevalets and created a simple introductory program for students which would allow them to experience the amazing properties of this tool.  That program has been a great success and I have had hundreds of students, of all ages and skill levels, over the years.  Every one of them is delighted to have the chance to use this tool, and many of them have followed up by building one for their own use.

During the past several years, Marc Adams and I have had phone and email conversations about me teaching at his school.  Although I had never visited his school, I had had many students here at ASFM who also were graduates MASW, and they encouraged me to go.

The biggest problem is that the chevalet is a large tool and cannot easily be transported, so it would be necessary for Marc to build a chevalet for each of his students who wanted to take a class.  That means, essentially, that there was no profit motive for him to do so.  It is to his credit that he decided to proceed, and the only motive I can suggest is that he really loves woodworking and his desire to create the best and most diverse woodworking school in the country is sincere.

At any rate, Marc built 8 chevalets this summer, and I agreed to fly out and teach a class.  I was impressed and amazed at the facilities and quality of instruction which I discovered when I arrived.  I had no idea how complex and professional the facilities were.  He is celebrating 20 years of classes and it shows.  The walls are covered with student's work and souvenirs of past instructors, many of whom I know and admire.  On top of it all, it was spotless.  Imagine all the woodworking machinery and activities running continuously and not a spec of dust anywhere.

First Class at Marc Adams

I was provided with a room to myself, full of benches and a chalkboard with video hookup.  In the center of the room stood 8 beautiful new chevalets, ready to use.  I arrived a day early to run through the final tune up procedure so they would cut properly and empty my bags.  I had brought 100 pounds of materials and supplies to run the class and it took some time to set that stuff up for class.

Cleaning Up the Marquetry on Friday

I was pleased to meet the 8 students who showed up bright and early Monday morning for the first class.  It was an honor to be able to bring the chevalet to another school in America, and I personally want to thank Marc for his vision and support to make this possible.

I had suggest that Marc build his chevalets in several different sizes, but he chose to build them all the same size, which was 61 cm.  This size tool is fine for a person who is over 6 feet but one of my students was only 5 feet tall, and that presented a problem.  I have different size chevalets here in my school, and it makes it easy to fit the student to the tool.  The solution we came up with at MASW was to make a second seat blank and use wood spacers to raise the seat.  This required raising the foot pedal an equal amount with a block of wood, and allowed the shorter students to easily work the larger tools.

Adjustable Seat Height

At the end of the week, all students had successfully completed the three basic projects in Boulle technique.  Everyone was pleased with the class and I felt that I had contributed to the diversity of the woodworking program that Marc has developed over 20 years.  It was an honor to add my name to the list of famous and distinguished instructors who have passed through these doors over the decades.

Now there are twice as many woodworking schools in America as there are in France where students can create art using the "chevalet de marqueterie."  The American School of French Marquetry, in San Diego, will continue as usual to offer classes, as we have done since 2000.  Marc Adams School of Woodworking, in Indiana, will offer similar classes in the future, so keep watching their schedule.

I am rewarded each time I see a woodworker sit for the first time on this tool and smile at the results.

"Classic Method" Video

Oeben Table J. Paul Getty Collection

Several years ago the J. Paul Getty Museum had an exhibition which illustrated the various stages of making a table by Oeben which is in their collection.  It was a well produced effort, and involved many of the workshops and artisans who I know from my time in Paris.

In particular, Michel Jamet was involved in the ebenisterie, and Pierre Ramond directed his top students in the recreation of the marquetry surface.  They are not given credit in this video, but I would like to mention that they produced this work at ecole Boulle, in Paris.

The exhibition discussed the sawing of the veneers, the making of the carcase out of oak, the bronze dore mounts, the polishing and, of course the marquetry.  Note the veneers used were sawn veneers which are 1.5mm thick and supplied by Patrick George, in Bagnolet, France.

If you have visited the museum, you will recognize this table as one of the great masterpieces in their collection.  It was made by Jean-Francois Oeben, around 1754.  The top of this table slides back which opens the drawer for access.  That, in itself, is a neat trick, since you do not have to move any of the stuff sitting on the top and get full access to the drawer for the writing tools inside.

The inside of the drawer is finished as elaborately as the outside of the table.  I particularly love the grill and flower motif ("jeux de fond") which decorates the aprons and sides of the drawer.  In this method, each of the individual flowers were cut into their respective backgrounds with conical cutting.  Then the grill was laid down and, one by one, the flowers were positioned into their appropriate cavities.

The Getty video is a very accurate representation of the Classic Method, invented by the French in the 18th century, also called "element par element" or "piece by piece."  The essential part of this process was making copies of the design using the picking machine, or even using a pin to poke the holes by hand.  This early "Xerox" method allowed the artist to make as many exact copies of the drawing as needed.  Each part of the design was then cut out and applied to a packet of veneers, held together by nails.

It is important to understand that this method relied on cutting the outside half of the line away for all the inside elements and the inside half of the line away for the background.  The accuracy required for the proper execution of this method depended on two things: using a chevalet, which is the most controlled and accurate tool for cutting veneers, and the simple trick that the inside elements were cut clockwise around their perimeter and the background packet was cut counter clockwise around the perimeter.  Once you understand this, you will see the advantage of this method.  Not only does it minimize waste and eliminate the saw kerf completely, it allows the worker to make many copies of the marquetry as he wants, all exactly identical.

I was fortunate to be involved in this exposition.  I was hired by the Getty Education Department to make twice weekly public presentations in the Gallery adjacent to the installation.  I had a picking machine, chevalet, and all the tools and materials used to make marquetry set up and demonstrated the techniques which were shown in the video.  These 2 hour talks allowed the visitors to ask questions and see exactly how marquetry is traditionally made in France.

Demonstrating Marquetry at the Getty Museum

Let me know if you have any questions.

Lumberjocks

I have given lectures, done numerous television and video episodes, written articles and taught for years, but nothing compares with the worldwide influence the web has provided these past few years.  It is truly amazing that I can sit down in my office at work,  turn on my computer, and create something that literally thousands of other like minded people with be able to see in seconds.

A good example of how this works as a specialized communication tool is the emergence of focused speciality interest group sites, like Lumberjocks.  On the one hand, it provides a central discussion and information platform for thousands of woodworkers who can share their experiences and talent.  But at the same time, I wonder how much work is actually being done, as these guys spend their days in front of the computer instead of standing in front of the bench.

My partner, Patrice, is spending a fair amount of time posting online lately.  He cuts some marquetry, then posts.  He designs some more marquetry, then posts.  He does some French polish, then posts.  I can't complain, as the publicity is great for business, and it is important for others to see the kind of work we do here.

Recently, he posted a wonderful series of photos which explains in detail how we made the Treasure Box.  His post in Lumberjocks is much more clear than the post I made here on this blog.  You should check it out and can find the link here.Patrice Lejeune Treasure Box

Also on Lumberjocks is a new club, started by Paul Miller, who lives in Vancouver and is a big supporter of marquetry.  He had the idea of having a "chevalet club" where others can share their photos or questions about this unique tool.  What a great way to spread the news.

You can see this thread here. Chevalet Club

I remember the first time I saw a real chevalet and realized how cool that tool was.  That was nearly 40 years ago and it was virtually unknown to woodworkers in North America, except for a couple of workshops where Italian, German or French workers operated in secrecy.

Well, the secret is out!

Graham Blackburn Videos

I remember when MTV first appeared and for the first time we could watch music videos on our TV.  Then YouTube was developed and we could watch videos on demand on our computer, and eventually, on the portable devices which everyone in the world now seems to have in their pocket.

All this is recent history, and I seem like an old guy when I talk about "when I was young..."  However, this is not the world of video which I entered in 1973 when I taped my series on CBS.  I had ten shows at that time, tracing the evolution of furniture design from the pilgrims to the victorians.  What I remember most was the cameras.  There were three cameras, each about the size of a Volkswagen, and they were on these wheeled tripods, moving slowly around the room, following the action.  You didn't move too quickly, or you would miss your blocking and the operator couldn't focus fast enough to capture the information.

Talk about the dinosaur era of video.

Technology has changed all that, of course, and it is now possible to "film" using hand held cameras with natural lighting, and sound.  (I wonder how long we are going to use the term "film" to talk about these digital files...)

I have done a lot of video over the years, and am trying to make these past efforts available online.  I am still working on Roy Underhill to get his episode, and he assures me that, when he gets some time to put it together, that will happen.

In 2007 I worked with Graham Blackburn to shoot some material in my shop.  He was very easy to work with and the result was very informative and professional.  Graham has been involved in traditional woodworking as long as I have, and I have always had the deepest respect for his work.  I was honored to have him in my workshop and we really enjoyed each other's company.

The result was a series of video "magazines" which were called "Woodworking...in action!!!"   They were available on a subscription basis, and each issue included a long list of diverse workers and their work.  I was featured in Issue 6 and Issue 8.

I had forgotten about these videos until recently.  That was when I found out that Popular Woodworking had purchased them and was making them available again.  I contacted the publisher, Kevin Ireland, and floated the idea of linking to my videos directly from this blog.  He was very supportive and generously made it happen.

Popular Woodworking has posted my two videos on a private YouTube link, which you can access directly from this post.

Here is the link.  There are two videos on "Recreating a Process" which include part one (handtools and veneer) and part two (pickers and chevalets).  Just scroll down from the first video to see the second.

Blackburn Videos


Be sure to thank Popular Woodworking for making these videos accessible.

ASFW Invades MASW

Demonstrating at Timken Museum in 1990

There are so many ways to make marquetry, you could fill a book.  Actually, Pierre Ramond has filled 5 large books, including his recent publication in French of the work of Andre Charles Boulle.  You can use chisels, knives, fretsaws, jigsaws, lasers, punches, overhead saws and, of course, the famous "chevalet de marqueterie."  I think by now you know which method I prefer.

Pierre's first book, "Marquetry," was published in 1989 by Taunton Press, and was the first handbook I got my hands on which explained the proper use of the chevalet.  Prior to that, I had found the rare reference to this obscure tool in a few other books, but none of them seemed to know what they were describing.  I recommend "Marquetry" as the first and only book necessary to understand this ancient craft, and note, with some unease, how the prices for this out of print book have risen over the years.

Note to students: There is also a Vial edition published in France which is in English, and a reprint of the book in English, published by the Getty Museum in 2002.  All editions have identical copy and the only difference is in a few of the photos, which change from edition to edition.

Pierre published this important book after he got his PhD and included much of his research with a wide range of photos, essentially making him the world's expert on French marquetry.  However, he still had more material, and as he was allowed to actually trace designs of famous marquetry examples in many museums, he continued to publish a series of 3 volumes over the next few years, called "Masterpieces of Marquetry."  This three volume set was translated into English and published by the Getty Museum also in the year 2000.

The French edition of "Masterpieces" was published much earlier, and I still remember on one of my trips to Paris, in February 1996, walking into the conservation lab at the Musee des Arts Deco, and being greeted with congratulations by my friends.  Not knowing why I was so special, they presented me with the newly published Volume II, which had just been released.

There, on page 62, was my photo, and some copy which read, in part: "The perpetual transfer of techniques between continents can be illustrated by Patrick Edwards's (sic) equipment."  He goes on to discuss how I was able to acquire an historic foot powered frame saw and build my own chevalet.  In my talks with Pierre, he encouraged me many times to introduce woodworkers in my country to the traditional French methods of work, including the "chevalet de marqueterie."

That is exactly why I have established the American School of French Marquetry in San Diego.  I realize how special and fortunate it was for me to attend ecole Boulle, and it was my duty to make that experience available to others in any way I could.

Demonstrating at Getty Museum in 2000

When I started the school, I doubt that there were more than a couple of chevalets existing in North America.  I knew of a few European trained workers who had personal tools in New York, San Francisco and Los Angeles, but their shops were closed to the public.  In fact, the Getty Museum had two examples made for their purpose and I was able to see these tools in storage.  When I first opened my school, the Getty was generous enough to loan me one of them, until I could build more of my own.  That particular tool has now been loaned to the Philadelphia Museum of Art for their use.

The ASFM has two goals in teaching students: first, introducing the student to the chevalet, and second, transmitting the traditional French methods of making marquetry surfaces as taught to me by Pierre.

I often use a musical metaphor when I teach about the tool.  For example, if you were given a violin and a bow and had no knowledge of how to hold it, tune it, or read music, it would be very difficult to learn how to play it properly.  Therefore, the first class, Stage I, is designed to fit the student to his personal chevalet, how to adjust the blade tension and angle, and how to follow the line.  Also, the student is provided with three simple exercises to execute, so that they can learn the process from initial design to final picture.

By the end of the first week, they have a choice to proceed to Stage II and work on the Classic Method, or do a Painting in Wood exercise, depending on how accurately they can follow the line.

We have had hundreds of students from dozens of countries complete our classes.  All of them have been surprised to learn how easily the tool functions, and what amazing things can be accomplished with it.  Nothing in my experience allows the precision and comfort that the tool is designed for.  It actually becomes a direct extension of the body, after a few hours of practice.

In addition to the 6 chevalets, of different sizes, that I now have in the school, I am currently building a 7th tool, which I expect to be available by June's classes.  One of the tools is left handed, but it is my experience that the majority of "left" handed students prefer working with the right handed tool. After all, how many left handed violinists are there?  (OK: Jimi Hendrix and Paul McCartney are exceptions.)

Now for the exciting news.  After some time discussing with Marc Adams the possibility of teaching at his school, we have come to an agreement.  He has purchased 8 chevalet kits and is building new tools for his school, where I will teach my first class in October.  Unlike his other classes, this marquetry class will be strictly limited to 8 students at a time.  I understand that he already has 6 students registered, so there are only 2 spaces available.

I expect that, now that his school has invested in these tools, I will be able to teach there more often than once a year, and even that his staff will be able to develop classes themselves, after some instruction.  This will be the second school in North America with chevalets!

Here is the link for the class:

Painting in Wood Class

In addition to that one week class in October, I will be also teaching two one day classes that weekend. The first is all you need to know about using protein glues.  I have sort of become the leading "authority" on these organic glues, so this should be interesting.

Here is the link for that class:

Working With Protein Glues


Finally, the last class I teach will be on French polishing.  This is a difficult class to teach in one day, but I will cover the basics and get you started on a life long pursuit of the most beautiful finish you will ever struggle to accomplish.

Here is the link for that:

French Polishing Class

The gluing class is limited to 20 and the polishing class is limited to 18.  That should be interesting.

If you can't make it to San Diego and ASFM, I hope to see you in Indiana at MASW.

The History of the Chevalet de Marqueterie

When I started restoring marquetry on antique furniture in 1969, I looked at Diderot and Roubo for information on what kind of tool the French were using.  What I found was called a donkey, and it had a seat, a foot pedal and jaws for holding the veneers in a packet.   At that time I was traveling each month to the midwest to buy antiques for resale.  During one trip I found a harness maker's bench, which looked exactly like the donkey illustration in Roubo.  The only difference was the jaws were perpendicular to the worker, not parallel.  I paid $150 and brought it home, took it apart, made a new seat and remounted the jaws to work for veneer.  I spent nearly 10 years riding that donkey, with a hand held fret saw, struggling to create marquetry like I saw on 18th century furniture in museums.

I have posted previously here about how and when I first saw a real chevalet.  I call that discovery "pre industrial espionage" in my lectures.  In short, when I saw the saw frame support, I immediately understood how important that part of the tool was to keep the blade perpendicular to the work.  I built that tool, which is called a chevalet, and used it for nearly 15 years before I was accepted at ecole Boulle.

When I asked Pierre Ramond about the history of the tool, his response was not precise, either because of my poor understanding of French at that time, or because the actual facts of the development of the tool are "secret."  One thing is certain: the knowledge and use of this tool is not wide spread, and seems to be limited to workers in Paris and those who learned the trade there.

I am fortunate today to have the internet and a partner, Patrice Lejeune, who is really a talented researcher, among other things.  His wife, Agnes, shares this talent, and has just received her PhD in Art History from the Sorbonne, in Paris.  Patrice was able to search through early French books online and found some important facts about this tool.

The only reference I have found to the chevalet in English publications is in the book, "The Gentle Art of Faking Furniture," by Herbert Cescinsky.  He was a noted furniture historian, and published this work in 1931, with a second edition published in 1969.  I treasure this book, and many others which I have collected on the subject of fakes, not only for its unique first hand perspective on the trade, but also since it includes photos and information about French marquetry.

On page 89, he states: "The marqueterie-cutter's saw, in its guides, with the 'chops,' which open and close by foot pressure, to hold the veneers while being cut, and his seat at the end (the 'donkey,' as it is called), have hardly varied at all in two hundred and fifty years."  If you believe this statement, then the tool was used as early as 1680, suggesting that Mr. Boulle and Mr. Gole and all the rest of the late 17th century ebenistes could have used it.

Here I need to make an important distinction.  Roubo, writing in 1769, illustrates an "Ane" in his famous "L'Art Du Menuisier," Volume IV, Plate 291 and 292.  This illustration shows a tool without the saw frame support, and the translation of the noun, "ane," is "donkey."  When the tool is shown with the additional saw support, it is called a "chevalet."  We are talking about two different tools, which do the same job, and are often called the same name, incorrectly.

The term "chevalet" is interesting by itself.  Pierre Ramond specifically asked me to find a better translation for the tool than "donkey" when he retired from teaching.  I looked up the term "chevalet" in a French dictionary, and found the answer.  "Chevalet" is a "stand, support, trestle, frame.  "Chevalet de scieur" is a sawbench, sawhorse.  "Chevalet de peintre" is an easel.  All of these terms have a common function: something to hold the work in place while it is being worked on.

Patrice made an important and significant discovery during this search for the origin of the tool.  He found a book online, "Des Principes de l'Architecture, de la Sculpture, de la Peinture, et des Autres Arts qui en Dependent.  Aved un Dictionnaire des Termes propres a chacun de ces Arts."   This book was published in Paris by Jean-Baptiste Coignard, in 1676, and reprinted in 1690.  The first edition published in 1676 has a full page illustration in Volume III, page 457, that shows clearly two important things: a two man veneer saw and the wood clamp holding the veneer log, which rises from a hole in the floor, and a pair of "anes" or "donkeys" with slight differences.  These donkeys each have a foot operated clamp, and are shown holding the packets of veneer in the jaws.  There is a tray to catch the parts, and the "bocfil" or fretsaw is resting on the floor.

This proves conclusively that the donkey existed during the time of Boulle and Louis XIV, and that the illustration in Roubo, some 70 years later is essentially the same tool.

What I am now researching is the precise time when the saw frame arm was added to this tool.  Clearly, the size and complexity of marquetry which was produced during the third quarter of the 18th century would suggest this tool was used, but I haven't yet found the "smoking gun."  It is evident that the "chevalet" with the arm existed during the 19th century, and I have many references for that.  I will post any new discoveries on this site as soon as they appear.

At the same time, you will note in the above illustration that the tool is referred to simply as "appareil special pour decouper la marqueterie."  Translated that means "apparatus (or tool) special for cutting marquetry."  This is from a catalogue of tools for sale by La Forge Royale, published during the first decades of the 20th century.  It is interesting they did not use the term "chevalet" so I wonder when that term became associated with the tool.

The donkey and chevalet were not the only tools used to make marquetry of course.  In addition to the hand held fretsaw, there was a foot operated frame saw, like I used in making the AIC video.  I was trying to be conservative in deciding to use that saw, instead of the chevalet.  One reason I suspect that Boulle would have also used that saw is the sheer weight of the packet when using brass, pewter and shell, as Boulle did.  It is very hard to hold it in a vertical position without breaking blades, as would be required if it were cut on a donkey.  Therefore, I suspect that these large and heavy packets were cut on a table, horizontal, using a foot powered frame saw with a vertical blade.

It is interesting when you view all three videos on the last post (The Art Institute of Chicago Project) to see each of us using different tools.  I am cutting with a foot powered frame saw, Patrice is using a hand held fret saw, and Yannick is using a chevalet.  I suspect that workers in the period used a wide range of methods to achieve the amazing results we see in museums today.  The great tragedy of that time is that Mr. Boulle's workshop burned to the ground at the end of his career, and all the work, tools, materials and designs were lost forever.  It is left to the historians to speculate and the researchers to discover the secrets of the past.

POSTSCRIPT:  I just received an email from Filip in Belgium adding confirmation to my decision to demonstrate the Boulle method using the foot powered frame saw instead of the chevalet.  I haven't had the money yet to purchase Pierre Ramond's latest book, "Andre-Charles Boulle, ebeniste, ciseleur et marqueteur ordinaire du Roy," published by Vial in 2010.  However, my friend Filip has a copy and sent me images from page 24 and 25 where Pierre concludes that Boulle used a foot saw.  Here is the image with the text:









Those of you who read French will note that on both illustrations Pierre concludes that Boulle probably used a tool like this.  We had made this decision based on the size and weight of the packets that were cut, and the technology available at that time.  It is always rewarding to have my independent research supported by my professor, and the person I believe knows more about French marquetry than anyone else alive.