Tarsia Geometrica Part I

English Jeux de Fond Coffer

I remember clearly the first time I was in France and visiting an atelier where several ebenistes were working.  Looking at their work, I noticed some of the marquetry was very geometric.  In my efforts to impress them, I used the term "parquetry."  They looked at each other with obvious blank expressions, and then looked at me as if I had just fallen off the turnip truck.

"C'est du placage, pas du parquet. Nous ne sommes pas menuisiers, nous sommes ébénistes."

(Translation:  "That's veneer, not flooring.  We are not 'menuisiers', we are 'ebenistes'."  In point of fact the former works in solid wood, and the latter uses veneer.)  It turns out that it is common for English speaking woodworkers to confuse the term for geometric marquetry with the profession of laying solid wood flooring.

They were helping me to understand that using the English/British term "parquetry" is not correct when  discussing a form of marquetry generally known as "frisage" and in particular "tarsia geometrica."  Another term for a version of this type of decoration is "jeux de fond."  Pierre Ramond's book discusses these terms in great detail, but there is general confusion about what they mean exactly.

Simply put, the overall term for the process of making this work is "tarsia geometrica."  This term includes other specific terms for different patterns which all use repetitive patterns in wood to achieve a decorative surface.

"Frisage" is used to describe simple book matching of slip matching of larger veneer surfaces, usually to create a background.  Normally, frisage work involves using the same species of wood in a way that creates a pattern.

"Jeux de fond" is also referred to historically as mosaic work, as it involves much more complicated patterns of shaped elements, usually with different species of woods.  In many cases it creates a 3-D effect.  The most well known pattern is the cube, made up of three different pieces, each a different color density.  This pattern is also found in quilting and tile work.

Recently, I had the opportunity to restore several excellent examples of tarsia geometrica.  One was an Italian commode, made late in the 18th century.  The other was an English coffer, made early in the 19th century.  Each one needed extensive work in re gluing the marquetry and re polishing but in the end they looked magnificent.

I will discuss the commode in the next post, as it included a technique known as "tarsia a toppo" and I want to clarify why that is different, even though the final results are similar.

I want to start with the simple cube design:

Cube Design on Assembly Board

This is a rather common design and forms the basis for what follows in this discussion.  The cube is made of three elements, each one identical to the other in shape and size, but different in species.  By changing the wood species and grain direction of each piece, you can vary the effect.  I use a simple plywood cutting board, with a 60 degree slot for my back saw, which has little or no set to the teeth.

I will explain more about the cutting jig soon, but today I just want to discuss how this motif is used in a complicated jeux de fond pattern.  To illustrate further, consider if the cube elements were cut in one size and then also cut twice as long and combined.  This would be the result:

Large Cubes with Small Cube

Now if you take the same design and turn it 180 degrees it changes:

Large Cubes with missing Small Cube

This effect is an optical illusion that the brain automatically understands.  Since light naturally comes from above, the brain computes the top of some form as being lighter.  When the design is rotated 180 degrees the brain understands it as a completely different image.

I thought I would make a sample panel which incorporated both of these designs with a common joint in the center:

Compare Left side and Right side

Another experiment I tried was to make a three dimensional grid:

Experimental Grid design on Assembly board

There are lots of ways you can develop different designs with this idea.  The English coffer at the top of the post uses the cube in a very imaginative way.  There is a lighter grid floating in front of a darker grid, which in itself forms a cube space.  To add to that, there are three smaller cubes at the intersection.

It is a wonderful pattern:

How Many Cubes?

So, during restoration, I took the time to trace this pattern for future projects:

Tracing with Wood Species and Grain Direction

I began to wonder where this amazing pattern originated, so I picked up my copy of Roubo and started looking at the illustrations.  When in doubt, always start with the source reference material.  To my amazement, I found the direct source in Volume IV.  Here is the original Roubo design and after that my tracing of the pattern, showing it to be simply a repetition of the Roubo motif:

Roubo Volume IV

English Coffer derived directly from Roubl

Here is the top of the coffer with the nautical compass in the center:

Coopered oak top with jeux de fond marquetry

Next post will continue this analysis and compare with similar marquetry decoration.

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...

How To Veneer a Column

Damaged column with contact cement

I think it is probably obvious that I love antique furniture.  In particular, I am fascinated with the quality and variety of designs that were produced in Europe and America.  The high point of this period was during the 1820's and best represented by the Monroe Doctrine.  If you look at the furniture made in major American cities during that decade, you see rich Cuban mahogany, with highly figured veneers, and carved elements representing cornucopia, lion's heads and paws, stars, and other Egyptian, Roman and Greek motifs.  In addition to all this elaborate decoration one of the most common elements was the use of veneered columns, usually with a carved capital or imported gilt bronze mounts.

I was always fascinated with the veneered column as a form, and very early in my career as a furniture builder I did some research to try to duplicate it for my self.  I failed miserably.  Several times.

I began with hot animal glue and wet jute webbing.  I put the hot glue on the column, wrapped the veneer around and then added the webbing.  I tried to then heat the webbing on the theory that it would shrink and pull the veneer tight.  I remember reading something somewhere about this, and they suggested holding the column near the fire, but I live in San Diego, and it is not often that I have access to an open fire.

Next I tried to use bicycle tire tubes.  They were messy and applied uneven pressure, leaving marks.  Also, I couldn't work fast enough and the glue set before I was ready.  There was no way to add heat, since the tubes would distort and loose their stretch.

It was nearly 15 years after that when I was involved in a conservation group in Paris and discovered that I could modify the glue to give a longer open time.  I began experimenting with urea and, after 37 different formulas, found a mixture that worked.  That was the creation of Old Brown Glue.  It was designed to solve the problem I had struggled with all that time, and the first time I used it to veneer a column it was a success.

In December 2004 I wrote a column for Fine Woodworking (Issue Number 173) that was published in the Master Class area of the magazine, called "Low-tech method for veneered columns."  To go along with this article, they put one of my pieces on the back cover, the Bonheur du Jour.  This piece is one of my early favorites, and has large veneered columns on the base and small veneered columns on the top.  The veneer is some plum pudding Cuban mahogany I purchased years earlier in New York, and I didn't have enough to do the entire desk, so I used a contrasting Honduras ribbon mahogany in the upper section.  That meant that I had no surplus material if the veneering didn't work as planned.

I thought the article would create a bunch of interest and I expected a lot of phone calls about veneering columns.  The only phone call I got was from a person who wanted to know where I got the mounts and if I would sell him the blueprints to make the desk.  He was disappointed to learn that I don't use any plans or measured drawings when I build furniture, and the mounts were from Paris.

Recently a table came into the shop for restoration and it included a column which had been veneered using a cheap mahogany veneer and contact cement.  This table was English Regency and made with Brazilian rosewood.  The client agreed that I should remove the mahogany and use rosewood, which is now on the endangered species list.  However, I have a lot of rosewood, sliced very thick, which pre dates the ban.  Most of it was harvested over 50 years ago and the quality is amazing.  I purchased it from an old cabinet maker early in my career and have kept it for special projects.

As I began to do this job, it occurred to me that it would make a good video.  My partner, Patrice, has been successful at filming and editing videos here at work, and he set up two cameras to record the work.  Our videos can be seen on YouTube by searching for our channel.

The real breakthrough in my efforts to veneer columns was the direct result of my problems with my back.  All my life I lifted heavy objects and stressed my back without any problems.  However, when I was 48 I actually damaged my back and suffered a period of pain.  The doctor recommend that I use a stretchy band of rubber to exercise my muscles and rebuild my strength.  As he handed me a short piece of the stuff, my mind immediately realized this was the perfect solution to the problem I was having with inner tubes.  Sold as "Rep Band" (resistive exercise band for exercise, rehabilitation and conditioning) by Sammons Preston, it comes in different strengths.  The purple is the strongest (level 5), and a box has 50 yards.  Here is the link: Rep Band

Veneering a column actually is very simple with this process, but it takes a few days.  The reason is that the glue sets slowly, which is a good thing.  It allows time for the application of the glue, veneer and elastic bands.  Then, over night, the glue begins to set and the veneer shrinks to fit on the column.  The next day you can cut the overlap and make a joint, reheat the glue at the seam and wrap it up again.  One more day and it sets completely, even though if you have any problems you can simply reheat the area and fix it.

Sit down, get a cup of coffee and watch me veneer a column: Veneer a Column

I think if you watch the video you might be encouraged to try veneering a column yourself.  It is fun and rewarding and adds an element to your furniture design portfolio which you may not have considered previously.

Just don't call me and ask for plans to build the table.

Properly Restored with Hide Glue

Another Milestone for Old Brown Glue

Old Brown Glue Hard at Work

Brian Boggs is an amazing chairmaker.  His chairs are not only beautiful but I am sure they will last a lifetime of hard use.  To say Brian is obsessive about details is an understatement.  I remember in particular one long phone conversation with him about what dimension is best for a "tight" fit.  In my analog world, the proper "tight" fit is determined by how much force is required to push the spindle into the socket.  In Brian's mind, there needs to be an exact dimension, specific to each wood species and application.  We went back and forth, and I was never able to provide him with a number.

At some point, Brian discovered the liquid animal glue I was using every day, and told me he wanted to try it for his chairs.  He found out it worked great and insisted that I start putting it into a bottle so I could sell it.  Thanks to Brian, I decided to begin selling glue and came up with the basic name, Old Brown Glue.  I reasoned that woodworkers were used to calling their synthetic glue either yellow or white, so I went with brown.

I remember when I was asked by Joel at Tools For Working Wood to supply him with the liquid hide glue as a commercial distributor.  Before that, simple word of mouth about the glue meant that we would get a phone call from time to time asking if we could sell a bottle.  I guess we were selling about 3 or 4 bottles a week, on average.  Joel suggested that we make two sizes available, a 20 oz (net weight) and a 5 ounce.  I resisted putting the glue in smaller bottles, since I used it all the time and the larger bottles were fine.

In any event, for several years, Tools For Working Wood was the only place where you could buy the glue, outside of direct sales from my business.

Then the internet took over, and people who used it wrote nice things about it.  Cabinet makers, chair makers, luthiers, and even museum conservators all commented positively and the phone calls increased dramatically.

The next phase was when Lee Valley called and placed a large order, forcing us to design labels in both French and English, as well as convincing the Canadian government that our glue was not toxic or dangerous.  As soon as we finished with the paperwork, our glue was placed in stores across Canada.

Soon after, Rockler contacted us and began stocking our glue in their stores.  Between Rockler and Lee Valley, I was cooking glue every week, filling bottles and shipping out large boxes of product.

That meant I needed a cooking space in the business, as well as a bottling place, a labeling place, and a shipping department.  At that point, there was a fairly continuous flow of glue from one end of the business to the other.

We joked about contacting Home Depot and visualized seeing our product sitting on the end isles next to the infamous Gorilla.  Yeah, right...

However, last month we were contacted by Woodcraft Supply, and they placed a very large order!  In fact, they followed up that order with two more, even larger.  Now I am cooking glue every day, going through 50 pound bags of Milligan and Higgins glue as fast as I can open them.  We are needing to order bottles and labels all the time, and the glue is everywhere.

The other day, I searched on Google for "Old Brown Glue" and found the first ad for this was on Amazon!  Woodcraft is selling our glue on Amazon!!  Check it out.

Move over Gorilla, who needs Home Depot?

Got Glue?

Shop Tour!

Ring the Bell

The front door at my business used to have a stained glass transom window above it.  It was lovely, as it faced West and the setting sun would shine in through the glass.  My wife, Kristen made it, back in the "hippie" days and it really gave the front room class.

However, two things conspired to change that.  First of all, the transom was held in place with a chain, which allowed us to open it and let the air in.  One day that chain came loose and the window fell completely open, hitting me on the head.  Of course, I fixed it, but the bump left a mark.

The real reason was that KFC built a "restaurant" across the street, some 30 years ago, and connected their sewer line to the main line which runs directly in front of my shop.  Before KFC, my business was the first building on the end of the line, and there were no problems.  As soon as KFC began to operate, I found large quantities of "effluent" bubbling up out of my front toilet.  In fact the front room, which was full of antique furniture, had 6" of standing sewage when I arrived the next day.

Of course, KFC denied any involvement, and the city inspector accused me of putting "something" down the toilet, threatening to shut me down.  My damage claims were denied, and I had to clean up the mess.  The only good news was that KFC quietly relocated their drain to the larger commercial sewer directly in front of their store, instead of the smaller residential line in front of mine.

The city inspector determined that, since the sewer line had a very shallow slope, and that the front toilet was on a slab at ground level, it was easier for overflow to come out the toilet instead of lifting the manhole cover.  That was the news that signaled the end of the stained glass transom.

At that time there was news that a contractor in Los Angeles had laid a new basketball court improperly, and it had buckled severely and needed to be replaced.  This floor was made of 3/4" T/G hard maple, and finished with all the basketball lines and such.  The contractor had taken a saw and simply cut the floor into 12' x 8' chunks and piled them outside.  They were free for the taking.

Several of us guys (the ones with trucks) drove up there in a caravan and loaded up as much flooring as we could lift.  I remember my truck sitting on the axle, as I drove home with my headlights pointing to the sky.

Soon, I had a beautiful new hardwood floor in the front room, which raised the floor (and the toilet) over 6" (more than enough to solve the overflow problem).  The result was that I now hit my head on the transom window, which needed to be removed.  That meant I had to build a new front door, which ended up nearly 8 feet tall.

3815 Utah Street

That was over 35 years ago, and I still miss the light coming through the window.

The rest of the building has been changed and adapted to my uses over the years.  Thanks to Asa, at Fine Woodworking, I can invite you to take a tour.  This link will take you to a short presentation.

3815 Utah Street Shop Tour

I hope you enjoy it, and if you are ever in San Diego, please ring the bell and visit.

COPE'S Patent?

Who is Mr. COPE?

I have posted several times about the importance of identifying original hardware as a primary means of authenticating antique furniture.  See my recent post on "Respect the Screw."  It is always a moment requiring thoughtful consideration as I work on antiques, whether I should remove a screw or other metal element which has never been touched before.  It is easy to x-ray furniture, and in the future, as they search more and more for period furniture which has survived, it is obvious that they will resort to x-rays to see the type of screw thread under the wood, without disturbing it.

In addition, during the 19th century, there were numerous design patents issued in several countries which are a matter of record, and it is common that the owner of the patent would mark his hardware accordingly.

Undisturbed and Original from 1825

I found it interesting that two different pieces of furniture came in for restoration at the same time, each with plate castors marked "COPE'S PATENT."  I searched briefly on the web and found lots of English Regency and early Victorian furniture with the same castors, but could find no real reference to the patent or its dates.

Marquetry Chest

The first piece which came in was purchased in France, and is a very interesting marquetry chest.  The inside is upholstered in tufted, floral fabric, and there is a large engraved key plate, which is very unusual.  The hinges which fasten the top are fixed with blunt screws dating pre 1846, but the wheels, marked "COPE" are fastened with later pointed screws, so they may not be original.  It is possible the round feet were added at some point.

In any case, it is not clear if this chest is English or Continental in origin.  The highly developed marquetry surface is a unique form of "jeux de fond" which includes a 3 dimensional pattern incorporating the cube in a grid.  Really interesting and creative.  I know of no other pattern like this in my experience, and I am dying to copy it on something.  The main veneer is Brazilian rosewood, and I suspect the chest was made around mid century.

English Rosewood Tilt Table

The next week I picked up an English Regency tilt top center table.  I was pleased to note that it had its original castors, also marked "COPE" and each fastened with original screws which were untouched.  In fact, this table is in fairly original condition, also made of rosewood, with gilt trim.  It appears to be from around 1830 or so by its style.

I wanted to post this and ask if anyone reading this has more information about these castors.  It would be great if I could find out more about Mr. Cope and his wonderful wheels.

I Miss Posting On My Blog

I didn't understand the lasting effect it would have on me to actually "retire" from some long term activity, like I talked about in the last post.  That was in March, when I quit all my activities in historic commercial revitalization and non profit management boards to focus full time on my business.

Now, 3 months have passed and, although I have been very busy working on exciting projects, I have not had the urge to post anything on my blog.  I realized today that it is time to get back to work on keeping the blog up to date, as I appreciate the interest it has for other woodworkers.  Most of all, I look forward to the comments and feedback I receive when a post something.  It is rewarding to know that I can share my abilities with others in such an easy and practical system.

I have just completed an article for the Society of American Furniture Makers' Journal, which will be published at the end of this year.  As the SAPFM Cartouche Award winner, I get the pleasure to see my work on the cover of the Journal, as well as contribute something inside.  I wrote articles for each of the first three volumes of the Journal, when it started, and am pleased to see it has become one of the most impressive publications on American Furniture today.  Even if you can't make the SAPFM meetings in Williamsburg, getting the Journal in the mail justifies the membership dues completely.

I guess that now that I have the Cartouche, I am on the "A" list of woodworkers.  I will be speaking at the Woodworking in America conference in Winston-Salem in September.  I see my photo placed next to Frank, Roy, Phil, Peter and others who I deeply admire and respect, and find a real satisfaction that I have been accepted into that group.  These are the intellectual philosophers and technicians in our world that have chosen woodworking as a craft life.  In my mind, they are national treasures.

My talk will address the chevalet de marquetry and historic French marquetry processes.  I speak on Friday and Saturday.  Also, I will have a booth at the Marketplace for the American School of French Marquetry and be selling Old Brown Glue, if you need it.  There will be a show special price.  I hope to see you there.

Here is the link for the WIA Show:Woodworking in America Show

Last month Asa, past editor of Fine Woodworking magazine, arrived in San Diego to judge the Design in Wood show.  He took some time to visit me at work and put together a photo tour which will be posted online in a few days.  Also, we sat down for a one hour audio interview, which went really well.  Asa is a smart guy and a good friend.  While he was here, he picked up one of the guitars that Patrice had veneered with marquetry, plugged into the amp and rocked out some serious licks.

If you want to listen to the audio podcast, here are the links.  There are two segments, each 30 minutes long.  You will find them at the last half of each of the podcasts.  The podcast starts with the editors discussing different topics and ends with the interview.  I found it amusing that the first podcast begins with a talk about dumpster diving and junk finds.  When Asa asks me how I started, I talk about living next to the city dump when I was young, and bringing home all the things I found at the dump to repair.

On this link, my part starts at 34 minutes:  Fine Woodworking Podcast Interview Part I

On this link, my part starts at 45 minutes:  Fine Woodworking Podcast Interview Part II

I will let you know as soon as the video shop tour is working.

It's good to be back.  I will post again very soon.  It makes me happy.