Greek Key

We are building a large Italian Empire Dining table for a client, along with 8 chairs. The wood we are using is genuine Honduras mahogany, which was purchased over 35 years ago.

I clearly remember buying the wood. The lumber yard at that time was downtown, in a run down industrial district, near the harbor and on the railroad line. Today the same site is the location for a tourist attraction, Seaport Village. Where I remember walking dusty isles of rich hardwood lumber, now kids are buying candy and balloons and tourists are taking pictures of the palm trees by the water.

The reason I remember that particular purchase is that the good mahogany was kept on the second level, under the skylights. The trucks could pull up in the alley and you just slid the lumber from the stack down over the edge of the walkway onto the top of the lumber rack on the truck. On this particular day another truck was in the way, so I slid the boards down on the side, leaving them standing vertical against the rail.

There was some particularly wide and figured mahogany planks in the stack, and I picked out three that looked special. When I reached the ground and turned around to examine my selection, the image of such wonderful wood, nearly 30 inches wide, a full inch thick and over 16 feet in length took my breath away. I remember the price was less than $3 a foot, and I barely had enough money to pay for it, or I would have gotten more.

Needless to say, those trees are gone and the price on similar material today approaches $20 a foot.

This table project is using the last of those boards, and the top of the table, which is 1 meter wide by 2.5 meters long is made from one piece of wood, hand planed and jointed. The picture shows it laying on its side next to my bench, waiting for the greek key banding around the top to be finished.

We needed to produce 7 meters of a complicated Greek key in sawn ebony and mahogany for the band, so we purchased a saw guide for the japanese saw that allowed us to make the elements. A total of 1,696 elements were needed to make the pattern, and the parts are sorted into a tray for assembly. We are making the band using hot glue and Kraft paper on an assembly board. One of the photos shows Patrice working with the tray, checking the design. The elements must be cut to a very high degree of accuracy or the pattern will change over the length of the table.

The use of the saw guide as well as the japanese saw made this part of the project much more efficient, and all the parts were cut out in one day. There was a lot more time spent in design and material preparation, but when it came time to saw everything worked well. Spacers were used on the jig to adjust the length of the part, and the angles were either 45 or 90 degrees.

I will let you know more about this project as we put it together.

PS: The Greek key pattern is the same pattern as you see in the Senate chambers in Congress.

PS2: Note the special veneer saw with different blades in the first photo. This saw is being manufactured by Gramercy Tools and distributed by Tools For Working Wood. It is a wonderful design and I will discuss it more later. See the link posted on this site.

Toothing Planes and Glue Pots

I started the American School of French Marquetry to introduce woodworkers (who were not fortunate enough to have been born in France) to a tool that is amazing: the chevalet de marqueterie. Unfortunately, the British translated the name to "donkey" and the aversion to the tool has persisted for centuries. I say, unfortunately, since I think the chevalet is the neatest tool since the one made to slice bread.

In my 40+ years of collecting woodworking tools (that do not require electricity), I think I have read most of the books and visited many of the sales and collections, so that I can usually recognize what a tool is designed to do. Sometimes I find a special purpose plane or tool which becomes the subject of speculation, as it might not be obvious to the first glance what it does. One of the fun pastimes for tool collectors is to share such tools among themselves to create intelligent speculation and form opinions, often not even close to the actual truth.

This has been going on for years.

One of my favorite books is the 50th anniversary publication of "The Chronicle of the Early American Industries Association", volumes 12-26, March, 1959 to December, 1973. It is nearly 1000 pages in one book which comprises all the newsletters of EAIA during those years. It is very interesting to read the questions raised and follow the responses during the following issues, as members add to the collective knowledge of some obscure aspect of the trades.

I noticed early in reading this book a question about a toothing plane. Something like "what is the purpose?" As I followed the train of thought through pages and pages of information, it became clear to me that the toothing plane was a common tool that had lost its importance in the trade by the middle of the 20th century. So I immediately started collecting toothing planes.

I found out a lot about the tool, some of which I discovered through research, some from European masters and some from direct experience. One of the first things I was told was the toothing plane proved the "truth" of the work. By that I mean that when you hand surface wood, and then veneer it, you need to know it is flat. Any imperfections created by hand planing will be transmitted through the veneer, as the hot glue cures and pulls down the veneer tightly onto the surface. By running the toothing plane at an angle to the grain, first in one direction and then in the opposite direction, you create a cross hatching of tooth marks which will not appear on any slight depression. Therefore, an even pattern of tooth marks on the entire surface proves it is flat, or the "truth" of your work.

In researching early veneer methods in France, I learned that before 1800 all veneer was sawn by hand from logs. This process left rather rough saw marks on the veneer and the material was obviously thick, about 3-4mm. Such veneer would be hard to bend onto the shapes of the furniture made during the Baroque and Rococo periods. Therefore, a toothing plane was developed, with rather fine teeth, to work the veneer, removing the saw marks and making the veneer thinner without creating tearout. The toothing plane has a steep angle to the blade, between 85-100 degrees, like a scraper.

Another plane with much larger teeth was made for the carcase. Usually the carcase was made of oak or beech and hand surfaced, so it needed to be toothed to guarantee a flat surface.

After 1800 the French created a mechanical saw which made veneer much neater, usually 1.2-2mm in thickness, and with regular saw marks. Therefore the toothing plane with the fine teeth was no longer necessary, but the other plane remained in the shop for the carcase. As steam power became popular, slicing veneer machinery replaced the saw (except in France) and the use of power tools in general made toothing unnecessary. However, in traditional workshops where hot glue was used, evidence of toothing plane marks remained until the middle 20th century.

The survival of the toothing plane is due to other reasons it was used. It creates a larger glue surface area. It reduces the chance of glue starvation when the joint is under pressure. It removes dirt, old glue, and oxidation, creating a fresh wood surface. It is essential in applying rubbed glue joints and hammer veneering. Most importantly, when the surface is hand planed, it proves the ""truth" of the work.

The first tool I made when I started my career was a toothing plane, shown in the left of the photo. Note the variation in the tooth spacing on the irons, which range from an 18th century iron on the left to a 20th century iron on the right.

More on glue pots tomorrow. I'll also talk about how to sharpen toothing plane irons.

I've Been Busy...

You may have noticed that the last few months I have neglected posting on my blog. I have been working on projects and busy with my diverse (volunteer) civic activities, and just didn't have the surplus creative energy to sit down and write something. So today, I just sat down and decided to start contributing again.

I am amazed at the stats for this blog, even though I have not posted anything for some time, I still get thousands of visits each month. I am encouraged and flattered that others think my blog has value. I am motivated to continue, and I have new topics to discuss which will expand the focus of this site. I want to talk about traditional period upholstery conservation and the philosophy of non interventive upholstery which has become all too acceptable in museums today. I also want to talk about developing and marketing my Old Brown Glue, which has become very much in demand over the past decade.

I also intend on discussing the issue of authenticating antique furniture. I am presenting my annual lecture at the University of California at Irvine, in association with the American Society of Appraisers, in June and my mind is full of talking points which are of value to both furniture conservators and collectors.

I value comments and would appreciate any input from you, dear reader. Please send me questions or comments and I will direct the content of this blog in that direction. I am more interested in having a conversation than just hearing myself think.

So, every few days now I will sit down and work on this site. But right now I need to finish restoring the nice Boston Sheraton mahogany card table which stands on the bench.

Thank you for your interest.

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.