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!

Mr. Roubo at Ecole Boulle

Mr. Roubo's Book

From time to time I find myself actually reading posts from my own blog.  Some times I am impressed with what I wrote and often I realize I left something important out or what I was trying to say was not as clear as I would like.

Today I put down my English copy of Roubo, which I have read twice, and went back to the computer to read my last post.  That was when I remembered my early conversations with Christopher Schwartz about writing the Preface to the new edition.  My post on "Roubo Redux" left out one of the most important events in my life as it related to Mr. Roubo.  So I went back to my email conversation and pulled up these photos to share.

I Love Libraries

As I spent several years at ecole Boulle as a student, it was my pleasure to explore the school and meet other professors and their workshops.  At some point, I opened a door and found myself in a library.  What a pleasant surprise!  It somehow had not occurred to me that ecole Boulle would have a library, but as soon as I discovered its existence I began to spend a lot of time searching its stacks.  It was full of some amazing books, mostly in French, but still exciting.

Title Page with Inscription

The first book I asked for was Roubo.  The librarian smiled and returned with an original first edition of the same.  I carefully placed it on the table and opened the cover.  I still remember, as I sat quietly in the center of the library, with the sunlight raking across the desk from the 19th century windows,  how I stopped breathing when I saw the inscription.

"A Camille Pouplin affectueux souvenir de la petite fille de Roubo.  Adele Margolle"

Handwritten in ink was the dedication: "To Camille Poupin friendly souvenir from the grand daughter of Roubo. Adele Margolle."

Roubo's Grand Daughter's hand

Not only was this particular copy of Roubo's work directly from the family but it is entirely possible that it was a copy that Mr. Roubo himself owned!  I imagined his hands turning the pages exactly as I was doing.  It struck me that I was sitting in a French school, named after the greatest cabinetmaker of France, reading a book written by one of the most famous authors of the trade.

It just doesn't get any more real than that.

How could I have not included this little story in my post?

Ecole Boulle Porte Ouvert 2013

It has been too many years since I visited ecole Boulle, and I miss it more than you can imagine.  That is why I appreciate a good friend and fellow ebeniste from Belgium, Filip Tanghe, who found me on the internet and has travelled to San Diego to visit my workshop.  For the past few years, he has visited ecole Boulle during their annual "porte ouvert" (open house) and shared the photos with me.

I can tell from the photos that things have changed at the school since I was there over 25 years ago.  They have built new buildings, as only the French can do, mixing contemporary architecture with traditional historic facades.  The marquetry workshop has moved from the top floor of the old building to the new glass building, and seems to be much more into the 20th century (21st?) than the 18th century.  They still use the chevalets, but they also have the best Italian marquetry jig saws available.

Recently, I discovered on YouTube a series of three videos which were made for French television.  These videos show the school, its students and their work, and the professors at work, discussing the philosophy of the teaching methods.  Although it is in French, I think that it is fairly obvious to non-French speakers what is going on.  Take some time and watch them, and I think you will begin to see how great the experience is for me to be able to participate, and what an honor to be accepted.  Thank you Dr. Pierre Ramond and Brian Considine for making this possible.

Here is the link:
ecole Boulle video

By the way, during the last weekend in January, when the doors are open to the public, is really the only time of the year that you can visit the school.  It's a great time to be a visitor in Paris, since all the normal tourists are not there.  It is the time of year then Paris is populated by Parisians, and the best time to really see the city in its "natural" state.  Plan now to go next year; I know I am.

Historic Ecole Boulle Video

Very few foreigners have ever been accepted at ecole Boulle, in Paris. It has always been a quiet and rather selective institution, focusing on training French artisans in the traditional skills of furniture design and fabrication, as well as upholstery, architecture, interior design, sculpture, metal working, and many similar trades.

I was only allowed in because Dr. Pierre Ramond invited me to be there. In fact, the only time visitors are allowed to walk in the door and get past the guard is during the annual open house in late January. This provides the entire school a chance to clean up and show off to the "public."

At that event, busloads of people from all over Europe arrive to examine the student's work. Each workshop sets up an area where the best efforts of the students is on display, and the students stand ready to explain how and why they decided to do that project.

Not much has changed in the century that ecole Boulle has been teaching the historic trades. Certainly the most obvious is that female students and teachers are now part of the school. Another difference is the first floor, where the heavy machinery is located. The old cast iron belt driven power tools have all been removed and are replaced with the most modern CAD and industrial machinery. As you can see from this video, probably many fingers have been saved by removing the old machines.

Fortunately, upstairs nothing has changed. The work benches, tools, patterns and floors show the marks of thousands of talented workers who have passed through these rooms. It is, for me, one of the most authentic historic experiences of my life. When I saw this video, I was transported back to the same place, like a time machine.

Recently a friend sent me a link to this old video of ecole Boulle in the early days. Enjoy!

http://www.ina.fr/economie-et-societe/education-et-enseignement/video/VDD10045545/la-fabrication-d-un-siege-a-l-ecole-boulle.fr.html

Diversity Survival Mode

When I arrived in Paris in 1991 to enter ecole Boulle, I was introduced to many important craftsmen in the field of furniture making. They would ask me what I did for a living and I would mention that I did everything: restoration, conservation, creation, upholstery, weaving splint seats and rush seats, veneering and marquetry, turning, carving, polishing, making hardware, fixing locks and keys, replacing period glass, and so on, thinking that I was impressing them with my diverse talents.

I quickly learned that this approach was counter productive. The philosophy of craft in Europe is that you spend your life in one field. In fact, you should spend your life focusing on one aspect of that field, so that you can truly master the trade. You know the mantra: Jack of all trades, master of none.

So, I changed my introduction. If I was introduced to a carver, I said that I was a carver. If I was introduced to an upholsterer, that was my trade. And so it goes, to quote Vonnegut.

I did not start out to be a "furniture conservator in private practice" as my listing in the AIC directory states. I first started out as an upholsterer. That was because, in my neighborhood, there was an 85 year old upholsterer who moved here from New York and set up shop. I would visit and spend hours talking with him, watching him as he worked, methodically tying springs, stitching horsehair stuffing and spitting tacks. He was old, but his hands were strong and agile.

I thought, "I could do that." And so I did. It was very rewarding.

When customers asked me where they could get the wood repaired or refinished while the upholstery was changed, I said, "I can do it." I started to get more jobs, since I was able to do the complete project. My entire career has been successful because I am not afraid to take on jobs which require adapting and learning new methods. I should say, discovering old methods which are almost forgotten.

This typically American philosophy of craft has kept me in business during the past years, when others are closing up shop. I can adapt to whatever job walks in the door.

Currently, I am doing a lot of upholstery. I still find it interesting and rewarding. I am one of the last who spit tacks, tie springs by hand (8 knot Italian cord) and stitch horsehair.

The trade of upholstery took a wrong turn in the 1950's, when foam and staples became available. Hundreds of years of using organic materials were abandoned in favor of the new materials. Horsehair, Spanish moss, kapok, down feathers, cotton batting, excelsior, straw and other materials were removed from antique furniture and thrown out in the trash. Foam was added in place and, not only was the shape of the upholstery different but the comfort that those earlier materials provided was lost.

As it turned out, foam deteriorates rather quickly. Early foam from the 50's lasted about a decade. Later foam was improved and lasted several decades. Modern foam is supposed to last much longer, but will it? Horsehair lasts a century and more and still retains its shape.

Perhaps the most serious loss has been to the actual craft of upholsterer. Being an upholsterer in the 18th century was more prestigious than being a cabinet or chair maker. The trade of upholsterer included aspects of what we call today, interior designer. The upholsterer advised the client on fabric selection, bed "furniture", drapes and carpets and diverse textiles. All these materials were very expensive and the value of the actual upholstery on the chairs and sofas exceeded the value of the woodwork.

Upholstery is one of the few trades you can learn by undoing and studying antique examples. To restore upholstery means to take it apart, layer by layer, conserving the stuffing and springs, and replacing the jute webbing, cord, burlap and muslin with similar materials. Properly done this work can fully restore the original comfort and look of early seating furniture. As older, traditional upholsterers retire or die, this trade is in danger of becoming obsolete. The pieces which survive with their original foundation are rare and need to be properly conserved.

This week, if you ask me what I do for a living, I will respond: "I am an upholsterer."

Surviving The Test Of Time

The last two posts have focused on the new Colombo jig saws in use at the school. I can only imagine how smooth the operation of these expensive and specialized saws is. I can also imagine the younger students who might prefer the new system to the old ways.

However, I would like to point out an important difference between the most expensive modern jig saw and the traditional chevalet de marqueterie, as it has existed, according to Herbert Cescinsky, since 1680.

The French have the distinction of being the only country in the history of marquetry who use a horizontal blade to cut material. As far as I can determine, every other country uses a vertical blade alignment. Whether you are using a hand held fret saw, or a foot powered frame saw or a jig saw, the blade moves up and down. The chevalet is the only tool which has been designed to operate with a blade in the back and forth direction.

This may seem like a small detail, but the differences are dramatic.

When the blade moves up and down, it is easy for small elements to fall down into the throat of the machine. The sawdust remains on the surface which hides the design. The worker must use his hands to hold down the work, or it will bounce up and down. It is nearly impossible to see exactly along the length of the blade, and the worker needs to adjust his sight to cut while viewing from an angle.

The chevalet is unique in holding the saw frame horizontal and cutting with a horizontal blade. The dust falls away naturally, the blade is directly in front of the eyes of the worker. The saw, which is controlled by hand, is very sensitive to pressure and speed, and can be manipulated very easily. The small elements which are cut out are held in the packet, since the packet is vertical, and it is possible to cut the smallest pieces imaginable. The feet operate the clamps, which frees up the left hand to control the material.

It is not known exactly when the chevalet was created, but I note that Herbert Cescinsky, in his 1931 classic, "The Gentle Art of Faking Furniture," 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." 1969 edition, page 89.

The pictures illustrate one of the antique chevalets at the school, which I probably used. Also shown is the newest chevalet, which is adjustable in height and can be converted from left to right handed use. Note the fancy carved face.

There is no other tool quite like it!

Out With The Old

The last post included photos of the new atelier de marqueterie at ecole Boulle, provided by my internet friend, Filip. I received a comment on that post which asked about the new marquetry saws. I thought the best response would be to show more photos of the saws, provided by Filip, and information about the company which manufactures them.

The mark, Colombo, has earned a respected reputation during many generations of marquetry artists. The new professor of marquetry, Gabriel Fuchs, has installed 4 Colombo saws in the new building. One has a throat depth of 115cm, and the others have an 85cm throat. The company makes smaller saws, including one with 55cm clearance. These are highly developed tools with specialized features designed to make marquetry cutting easy and precise. The largest tool runs about 4500 euros, and is manufactured in France.

I include three website links for you to explore:

http://www.ftfi.fr/bois/articles/machines/stationnaires/scie-a-chantourner-lourde.htm

http://www.cofil.fr/index.php?option=com_content&view=article&id=76&Itemid=66

http://www.directindustry.fr/prod/colombo-filippetti/scies-a-decouper-5613-38717.html

I am not sure, but I imagine that the single overhead saw must still be used. There were three cast iron jig saws and one overhead saw. The overhead saw has no throat depth, since the upper structure is suspended from the ceiling. I include a photo of the workshop as it was when Pierre was there. You can see all the chevalets lined up along the window, with the overhead saws and jig saws in the back.

So, it seems that Gabriel has removed the three jig saws, and perhaps the overhead saw, for all I know. He has installed the Colombo saws, and the entire workshop is larger and more open.

Life goes on, and old men guard their memories, as they sip their coffee and live in the past.

Porte Ouvert 2011

One of the great consequences of the internet age is the ability to have strangers around the world share common interests. I know the movie industry has discovered this. I expect the movie about facebook to win an oscar. Who would have thought, just a decade ago, that you could tweet or unfriend someone?

I have only blogged (again, a modern concept!) for a few months, but I am amazed at the international response I have received. I imagine my words as just a few data drops in the immense ocean of internet content, but people have found me, just like a message in a bottle is picked up on the other side of the world by a stranger. It boggles the mind.

One of these kind souls is Filip Tanghe, and I believe he lives in Brussels. He also attended a Stage at ecole Boulle and returns each year, when he can, to tour the open house. This year he offered to take some photos for me, since I am not able to make the trip. Looking at the photos I am filled with warm memories of my years in school in Paris, nearly 2 decades ago.

I knew that when Gabriel Fuchs replaced Pierre Ramond there would be changes. I heard that Mr. Fuchs wanted to "modernize" the atelier and invite more contemporary work from his students. Pierre was always passionate about the past, and admired the great works from the 18th century, as well as supporting newer ideas.

I had no idea that the school would tear down the entire wing of the building and start over!

The school is built in a large "U" shape, with a courtyard in the center. The original wing still stands in place, with the names of great ebenistes posted in tiles on the outside wall. The front wing is now draped in construction scaffolding and I assume will also be modernized. The wing which housed the marquetry workshops on the 6th floor, as well as the finishing workshops and other classes, has been replaced by a modern glass structure. All the classrooms are new.

In addition, the old cast iron jig saws have been replaced by modern jigsaws. Filip reports that there are 5 of them, as well as two new chevalets. One of the new chevalets is designed to work either left or right handed, as well as being adjustable in height. These new chevalets also have carved masks on the front block, perhaps since I note the carving workshop is in the next room to the marquetry atelier.

He also sent me a photo of Pierre, who is now 75 years old. I note he is older and grayer than I remember, but there is one feature that hasn't changed in 20 years. His passionate smile still fills the workshop.

Porte Ouvert

Since I was invited by a professor to attend a stage at ecole Boulle, I had no idea how difficult it was to visit the school. Once I was provided with my student identification and pin, I realized how special it was to be accepted into that institution.








Assuming you were visiting Paris as a tourist and wanted to see the school, this is probably what would happen: you would enter the front door and meet a security guard sitting behind a window. He would ask you what your purpose was and, if you had not made prior arraignments to visit, send

you away. Assuming you got past the entry, you would find yourself in a lobby without any information on where to go; just the normal crowd of students passing on their way to class.

The actual administration is located on the second floor, and, since the school is 6 floors high, you would need to ask them where the workshop is that you wanted to visit. There are many different workshops in the school. Classes in upholstery, chair making, cabinet making, carving, engraving, metal working, industrial design, marquetry, finishing, sculpting, and so on. Everywhere you go there is amazing talent. The teachers are all outstanding in their profession, and the students have such a high level of ability that it is taken for granted that anything is possible.

Once a year, however, the school opens its doors, and makes it possible for the public to see the work. This happens at the end of January, in a few weeks. I can imagine that this week the entire school is cleaning up its floors, ceilings, lamps, windows and setting up dioramas in each workshop to show off their projects. It is a busy time for all.

Busloads of people arrive, from all over Europe. Italians, Germans, English, French and many other countries arrive to tour the school during this special time. As an English speaker, it became my duty to explain the marquetry workshop to these visitors who did not speak French. It was a treat I will always cherish.

It also gave me a chance to tour the entire school during this time. Normally, I had very little chance to see all the other workshops, since I was busy doing my student work. But during "open door" I could wander all over the school and discover for myself what was going on. Behind every door was a new experience and a chance to see some wonderful work.

If you have the chance right now, go to Paris, take the metro to Place Nation and walk two blocks to ecole Boulle. It is worth the trip.

Don't You Loose Pieces?

The craft of marquetry does not travel well. By that I mean that, during my career I have demonstrated in public at woodworking shows, SAPFM conferences, school classrooms and, for three years, in the Getty museum galleries. What a chore!

You need to move the chevalet, all the hand tools and materials, set up the glue pot, assemble the picking machine, and not drop the trays which are full of pieces. Any unnecessary movement of the trays means that time must be spent putting all the pieces back in order. That can easily take hours...


At the workshop in ecole Boulle there is a wall cabinet which holds all the trays of work for the students. Each student is provided with a tray or trays according to his project, and the position of his trays within the cabinet is decided by the teacher. You do not put your tray back in a different slot. There is no messing around with the trays; too much is at stake.

I noticed that, like all students where there is a close friendship bond, there is a certain amount of humor and jokes. It happens from time to time that one student will do something to another student to create a moment of laughter. This is really because the work is serious and challenging and it makes the working environment more enjoyable when people have fun.

However, it is never fun to mess with a student's tray. You do not touch it. If it is in your way, you find the owner and ask him to move it. Too much is at stake.

I was at school for so long that I took this rule as absolute and obvious to all. Unfortunately, not all Americans understand this idea. Years ago, when I was demonstrating at the Novi convention center in Detroit (I think?) I had all my work and materials spread out on the tables for the public to see. I was working for several days on my chevalet, making a project, and putting the parts in the tray on the table as I cut them out. I encouraged the visitors to handle much of the material and tools which I used to show the process, but I had a small "do not touch" sign next to the tray of parts.

When my back was turned a kid about 10 years old, standing with his father, used his hands to stir up the parts in the tray, breaking many of them, and spilling them on the floor. What I said next caused all the people within a 50 foot radius to stop talking and stare. It was not nice. The father covered his kids ears and quickly disappeared into the startled crowd. It was several minutes before I regained my composure, and I never was able to complete the project, which had taken 3 days to cut.

Now that I have my own school, the American School of French Marquetry, I never need to travel. Everything has its place, and the space is wonderful to work in. I am a lucky camper.

You are all invited to visit when you are in San Diego. Anytime...just don't touch the trays!

Kraft Paper

Before I went to Paris to study with Pierre I had been working over 20 years restoring antiques and making marquetry. I had read all the books that existed in English and that was the source of much of my knowledge as well as my problems.

I have mentioned before in this post that the first time I saw a copy of Pierre's book, "Marquetry," which was published by Taunton Press in 1989, I was introduced to methods which resolved many of the difficulties I had encountered. I was already using a chevalet to cut designs, since I built my first tool 15 years earlier. However, it did not come with any instructions! I had to teach myself by trial and error as well as deduction.

My first mistake in building the chevalet was that I placed the blade in the saw in the wrong position. I knew that it cut on the push stroke and was held horizontal in the jaws. However, I positioned the blade with the teeth cutting on the left side, not on the bottom. That meant I had been cutting for 15 years by feeding the material into the blade from the left, cutting sideways.

When I arrived at ecole Boulle, I knew that I would be able to use the chevalets with confidence, since I had been sitting on one for a long time and had lots of experience. After all, my first project was cutting a table top which was 4' x 15' (which took 300 hours). Imagine my surprise when I sat down and realized the blade cut down and not sideways!

There was another aspect of the French method which had eluded me as well. I had used lots of gummed veneer tape to hold my work together, as most workers do in countries outside France. I would start to salivate as soon as I saw a roll of tape, and had licked miles of tape in my career. I wonder what the protein content of veneer tape is?

The biggest problem with taping projects together is that the layers of tape are not even all over the surface. In some places there were many layers of tape and in other places there were only a few layers, or none. That created problems when the marquetry was put into the press, as the pressure did not evenly reach all the surface of the veneer at the same time. Other problems were caused by tape not properly adhering or not pulling the pieces together properly.

In reading Pierre's book, I noticed a short mention of the kraft paper, which he uses. On page 73 is a paragraph which describes the 4 types of paper used in marquetry. "Grey kraft paper for gluing and inlaying," is the only mention of this material, and no where does he discuss making an assembly board with this paper. Clearly, it is such an obvious trick that he does not feel it necessary to explain further.

I have posted previously the proper method for making an assembly board using kraft paper. (Post dated 10/10/10).

When I saw the students building such amazing projects with this method I realized what an important part of the process this was. It allowed the pictures to be built face down, which created a clean front with all the elements pressed forward properly. It allowed the work to be done from the back, where tool marks and mastic were not seen in the final result. The paper was easily removed after the picture was glued to the project by using cold water and gentle scraping. Most importantly, it allowed even pressure to reach the entire surface, since there was only one layer of paper holding everything together.

Unfortunately, kraft paper is not available in America. I have to import it at some expense from France, and I sell it for my students to use at a reasonable price. I wish it were more generally available. It seems that in our modern world we are so anxious to have the newest electronics, but who cares about such a simple material as traditional paper?

Fantastic Realism

As I watched the students in the marquetry workshop at ecole Boulle choose their projects, I noticed that there was a preference for transforming art into marquetry. Some of the most popular design sources were from M. C. Escher, who was responsible for much of the black light art posters of my young college days. Yes, I experimented...

Another source of inspiration was that of a Polish artist I had not heard of previously. Wojtek Siudmak was born in 1942 and moved to Paris in 1966 to study art at the ecole des Beaux-Arts. He is the most famous proponent of "fantastic realism" which, to the normal viewer could be described as "science fiction art." I suggest you visit www.siudmak.com to see for yourself.

I have included with this post the original paintings by Siudmak along with the marquetry panels which were produced by the students while I was there. The detail is amazing.

I have included a photo of one of the students, Stephen Delage, who is shown in front of his work during a marquetry exhibition around 1992. These exhibitions were grand affairs, with the Minister of Culture and other official dignitaries opening night. They were usually held in some large room, which by itself was worth viewing. It was an impressive feeling to see the artists, their work and all the public standing around discussing the works.

Stephen also produced the second image of "the man who stopped the world" loosely translated by me from the official title: "L'homme qui arreta la Terre." The name of the work which Stephen is standing in front of is "L'infranchissable obstacle." That means something like "the insurmountable obstacle."

I do not know who made the marquetry picture of the third image or the original title. This panel was located under glass in the office of the school, and was made before I got there. I cannot actually find my picture of the full panel, but I was able to find a picture of a detail, which I show here. When I get the time to search for the full picture, I will post it.

In the meantime, just enjoy the detail of the work, and the faithful interpretation of the original work. Far out, Man!

Size Matters

In total time I spent ten years at ecole Boulle, staying only once or twice a year during that decade, and less than 3 months each time. It was like I discovered a new existence, and (like an untold number of visitors before me) I began to consider parts of Paris my "neighborhood." I would sit on the metro or in a cafe and read French newspapers, carefully holding them up between me and the tourists next to me so that they would not ask me directions (in English!)

I was reminded of my first time in France, way back in 1967, when I was a healthy, young bicycle racer. I had purchased a custom Rene Hearse bicycle and was traveling around Europe for the summer. It was the "Summer of Love" and there was a very unpopular war in Viet Nam, which the French had lost and we were losing. I carried a small Canadian maple leaf flag which hung from my bicycle and that prevented people I met from asking questions about the war. I discovered that Canadians were generally treated with polite respect, and I was free to experience the true excitement of being a cyclist in Europe. There are some great mountains and many days I would spend all day climbing, only to be rewarded with the entire next day descending.

So my goal in returning to Paris as a student was to be assimilated into the local culture as a resident, not a tourist. It was obvious that I was not French, since I stood a foot taller than everyone on the Metro, so I became a German or American or Dutch or Canadian visitor, depending on the situation. By that I mean if an American asked me directions, I would answer in German, or if a German asked me directions I would answer in French Canadian, and so on. It was just a game, and a lot of fun.

One thing I did have which connected me to the city was a pin, which I wore on my shirt at all times. This pin changed each year, and was made by the students at ecole Boulle, to identify them as students. I have ten different pins, each one designed and manufactured by the students in the engraving/jewelry workshop.

This pin opened doors. When I would walk into any museum they would immediately notice the pin and grant me free entry, as well as clear passage to the workshops and back rooms. Versailles, the Louvre, Musee Camondo, D'Orsay, all museums large and small were happy to let me in and show me anything I wished to see. It was amazing.

It also worked in visiting different cabinet shops and supply houses, since they also showed preference for the students of ecole Boulle. I was spoiled and soon took it for granted that I would get "special treatment."

One year there was a request from the administration for the marquetry workshop to produce a small number of unique pins for some visiting dignitaries. This was unusual, since the pins were normally made in the metal shop. However, the marquetry students were happy to provide the pins, which were made in pewter, bone and purpleheart.

The cutting was done on one of the overhead saws which sat in the center of the marquetry workshop. I was completely amazed to see the precision of the work, as well as the size of the elements. It is hard to believe but the students produce this kind of precision on a daily basis, without any obvious consideration that it might be difficult.

You can judge for yourself by looking at the metric ruler next to the pin. This is not a pin that I was able to get. I had to be content with the normal student pin, but that was just fine with me.

Pierre Makes Glue For All To Use

I cannot say enough to explain how much Dr. Pierre Ramond, professeur d'marqueterie a l'ecole Boulle, changed my life.

On a human level, he demonstrated to me that passion and enthusiasm are just as important as solid research and knowledge in your work. We live our lives surrounded by thousands of acts of human genius, and it is normal that, since we are involved in our own egocentric world view, we often fail to open our eyes to the miracles that surround us. The difficulty is understanding the balancing act which is necessary between passion and objectively.

On a professional level, he demonstrated how much there is to appreciate about the range of methods, materials and historic processes used over the centuries in our trade. He would look at a marquetry surface and explain at great depth how the woods were selected, how the colors were achieved, how the pieces were cut and glued together, how the style and complexity could be used to indicate the age or origin, what was good and what was bad.

In fact, when I first met him, he did not speak much English, and I spoke no French. The first three months I existed on two phrases, which he used often: "Is Good" and "Is Bad." In the beginning I thought all he could say was "Is Bad." It was several weeks before I knew he could say "Is Good." Understand that he did not say these phrases with any particular emotion. It was not punishment to hear my efforts were "bad." It was just a fact. There was no way to explain to me how bad or what I could do to make it better. Just the fact that I could make it better was the only conclusion I could make.

When he finally said it was good, I was elated. At the same time, since it was just a simple fact, I had no idea how good it was or if I could even make it better. As I worked in the school, the other students began to help me understand what he meant and how I could better communicate my questions.

Pierre had a small class, compared to the other teachers. He normally had about 15 students, which included in the same class first, second, third and fourth year students. Each student helped the other. Pierre watched over them like a proud parent. Most of the time he listened to the sound of the saws as they worked. It was amazing how sensitive he was to the sound of the workshop. Anytime there was an unusual sound, he immediately was at the student's side to assist in the problem.

He always encouraged. He was always positive. He always was ready to discuss new ideas or elaborate on old techniques. He was also involved at the same level as the students. By that I mean that he had the ability to relate to students, visitors and staff on an equal basis at their level of understanding. As a direct result of this ability he was able to elevate their insight to his level, which was at the highest professional level possible.

I first noticed this during class, each day at 10am and 3pm. That was coffee time. Class would start as usual in the morning with all students greeting each other and starting work independently. Pierre would stop class at times for all to meet together to get a short lesson in some technique, then back to work. Promptly at 10 coffee would appear in the center of the room, and all would stop to drink and tell stories, like a big family. The coffee was prepared and cleaned up by different students each day, and this task was organized among the students for the benefit of all. It was strong coffee and, after 15 minutes the group returned to their tasks.

Pierre was just one of the gang, during coffee time, and he even had an open door for the school staff and workers to show up and take a break. After coffee, he transformed into the professor who was always assisting the student as needed. His quick smile and honest sense of humor was always ready to warm the room.

Pierre provided the glue which held us together. I will be forever grateful for having met him. "Is good!"

20 Years Ago In Paris

Nearly 20 years ago I looked at my wife, Kristen, over the dinner table and asked her if we could borrow money against the house so I could go to Paris and study with Dr. Pierre Ramond. What made this conversation more difficult than you might expect is that we owned the house free and clear. It is a tribute to her trust and understanding that she agreed to the proposal.

Pierre had met me at the Getty museum and had invited me to study with him in Paris for a "Stage" which is a short term of study for a specific project, usually lasting less than 3 months. It was the most exciting offer I had ever had in my career. After all, he was recognized as the world's expert in the field of traditional French marquetry, and ecole Boulle was the most difficult trade school in France to get into. Without his invitation, it would be impossible to even visit the school, except during the annual week in January when the school opens its doors to visitors.

The first day I arrived in Paris I was invited to dinner at Chez Jenny, a famous restaurant at Place Republic which specializes in food from Alsace. More importantly, the walls were completely covered with marquetry by Spindler, a three generation family of marquetry artists from that area in Eastern France. Around the table, at the request of Pierre were the conservators of many museums from France and England, and I realized that this was my official introduction to the world of marquetry, at a very high level.

Of course I was tired after 12 hours of flight and I wanted desperately to have some French coffee. The maitre d arrived (in a tux) and asked everyone at the table (in French, of course) what they would like to drink to start. "Wine, beer, wine, wine, beer..."etc was the response as he went around the group. When he looked at me, I said "coffee, please." He took a few moments to speak and raised his eyebrows, looking sternly at me and repeated "coffee???" I just said "Yes, please, I would like a coffee." He turned and walked away.

As he left the room, I turned to the only person at the table who spoke English, the conservator from the Wallace Collection, and inquired why the strange response. He just looked at me and replied, "Coffee will damage your taste for the food, and should be consumed after the meal." I looked around the room at the other, elegant diners, and said, "That person is smoking, that person is smoking, all those people are smoking, and that person is smoking and feeding her dog oysters from a silver tray!"

"Yes, of course!" he answered, and then clarified his response, "But tobacco does not affect the taste." Welcome to France. Immediately, the maitre d returned and served everyone their drinks, without looking at me. I did not get my coffee until after dinner.

The real reason I am remembering all this is because I spent several years in Europe and always had my cameras at my side. I managed to take thousands of slides and prints of the school, marquetry exhibitions, workshops and the trade in general, as it existed at that time. Little did I know that I would document the end of an era, since I have noticed, in recent visits, that most of the business activities of that period have changed completely. It is a different world today, and I hardly recognize it.

Fortunately, I have the record on film, and I have begun to transfer this material to digital format. I will use this blog to post much of this material so that others can appreciate the work of the European masters, both ancient and recent. I think you will be amazed at what professionals and students are able to do with the technique of marquetry.

As I write this post, I am enjoying a nice hot cup of Peet's coffee, black, made with a French press. I have not yet eaten. Fortunately, food has not spoiled my taste for the coffee!

Pink Floyd Teaches French

When I first entered ecole Boulle, my professor, Dr. Pierre Ramond, did not speak any English except for the phrase, "Is Good" and "Is Bad." It all depended on those two statements. In other words, my work was Pass/Fail. To make the situation worse, I did not speak any French.

We had quite an experience at first, with lots of hand gestures, and a lot of confusion. Fortunately, I was familiar with all the tools and materials that were being used in the workshop, so I was able to start learning the basic words for things. One of the methods I used to learn the language was to use a pocket cassette recorder and record the entire day. Each evening, as I sat in my hotel room, I would play back the recording and try to associate the phrases with what I remembered happening at that time.

As I was not able to ask detailed questions or even understand the answers, I did not understand fully the significance of the teacher's choice of design. The first thing Dr. Ramond did was show me three different marquetry designs. He indicated that I should choose the design that I wanted to do during my Stage. There was a very simple design, a second which was intermediate and the third would have taken me the full three months I was planning to stay at the school.

I had done complicated designs before, so I was not concerned with the degree of difficulty. I did not want to spend all my time working on only one project, so I picked the most simple design. Pierre was surprised and amused. He said something which I did not understand. One of the students told me he had asked why I would pick such a simple design.

I said, "If you want me to cut circles or squares, I will do that. I am not here to impress you with my talent. I am here to learn exactly how the French method works, and I want to do as many projects as I can. So I picked the easy design."

When the student translated that to Pierre, I saw his expression change. He smiled.

After spending 4 years at ecole Boulle, with Pierre, I learned that his most important goal was providing the best design for the student to grow and learn properly. The design needs to be slightly more advanced than the level the student is comfortable with, to encourage him to get to the next level. By selecting the basic design, Pierre understood that I wanted to start at the beginning, even after 20 years of working in the business of marquetry production.

During the third year, soon after I arrived, Pierre walked up to me and handed me a design with the title "C.A.P." I had no idea what that meant, but, one by one, each of the other students in the class came over to me and shook my hand. By then my French was much better, and as they congratulated me they explained that I was given a design which was a test. The "Certificate of Aptitude Professional" or C.A.P. indicated that the worker was competent in the professional skills of the trade.

I need to explain that I was not a full time student. I was taking a 3 month "Stage" each year. To be a full time student and pass the C.A.P. is very difficult. I was only given a design, which is just a small part of the C.A.P. test. Still, it was an indication of the confidence that Pierre had in my work that he decided I should execute that particular design. I was very proud.

When I opened the American School of French Marquetry, I asked Pierre if I could use his designs for my students. He supported me in every way, and encouraged me to follow in his footsteps. I also decided that it would be best for the Stage I students to do three exercises in the first week. Three simple exercises, which would reinforce the process by repetition.

The third exercise has several degrees of complexity. I look at each student during the week and decide how well he or she is cutting and at what speed. Then I select the proper variation of the third exercise that will allow the student to complete on time and still challenge their abilities. So far, it has been very successful.

By the way, I eventually learned French from the students, who discovered that I knew all the lyrics to all the Pink Floyd songs, as well as what Roger Waters was thinking when he wrote them. We made an agreement: if they could teach me French, I would be able to explain what the songs meant. Just try to explain the lyrics to "Comfortably Numb" in French.

What is Marquetry?

The history of furniture surface decoration is full of examples where complex designs were created using exotic materials. For thousands of years artisan woodworkers used their creativity to add value and style with simple methods and simple tools. The language of the trade varies from period to period and country to country. That is why, when Americans ask me, "What is marquetry?", I often use the short answer: "inlay". However, that is the short answer.

I was invited to study the craft of marquetry at ecole Boulle, in Paris, by Dr. Pierre Ramond. You may find a copy of his thesis, "Marquetry", by using any book search. I recommend it as the authoritative dissertation on the subject. His book defines the various methods used in history and creates terms which I use to define each process that has been used to date.

The problem with using the English term, "inlay", is that it is both a verb and a noun, and, depending on how it is used, can be confusing. The term "marquetry" can be further subdivided into 5 historic processes, which can be used to clearly define what you are looking at.

TARSIA CERTOSINA: The first method used since ancient times, involves carving a cavity into a solid wood background and inserting a contrasting material. A knife or chisel is usually used and the inlaid elements are glued into place and smoothed down after.

TARSIA GEOMETRICA: This method uses patterns often found in tile work or quilts, and creates repetitive geometric patterns (like the cube) which are combined in an overall surface covering. The tools are usually a knife or veneer saw, with a straight edge or jig. In France, there are subsets of this method, with names like "frisage" and "jeux de fond".

TARSIA A TOPPO: This method produces the decorative inlay banding strips. The worker creates the pattern by gluing together a large block of different elements of wood, which create the desired pattern. Then he simply cuts off strips of this block to create the banding strips. In England, during the 19th century, a specific type of this method was popular, "Tunbridge Ware".

TARSIA A INCASTRO: This is the most popular method used to create marquetry. It was developed during the Renaissance, in Italy, and made possible by the creation of the fret saw blade. In this method, two or more materials are cut at the same time, using a fret saw blade. The result is a positive (premiere partie) and a negative (contre partie). The great cabinetmaker, Boulle, made this method famous, and he is honored by calling this method "Boulle". Another variation of this method is called "Painting in Wood", which is my favorite process. The American bevel cutting method is another variation of this process.

PIECE BY PIECE: During the 18th century the French evolved a new process, which they called "element par element". This new process was made possible by the invention and use of two new tools, the picking machine and the chevalet. The picking machine made it possible to create multiple copies of the design exactly. The chevalet allowed the worker to cut with great precision and make multiple copies of the marquetry with ease. This method was not exported and remained a speciality of the Parsian workshops.