Silvia Furmanovich wood marquetry, emerald and amethyst earrings, $2212,2967, bergdorfgoodman.com.
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Silvia Furmanovich wood marquetry, green tourmaline, tsavorite and diamond earrings, $14,103.
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Ludwig could do it all: engraving, upholstery, carving, marquetry, sculpture, intarsia, inlay.
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But with adult patients Deschamps-Braly aimed for something closer to marquetry.
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Alison Elizabeth Taylor's intricate marquetry yields uncanny scenes and complex visual effects.
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"It was a marquetry of 25 colors of feathers from four different species," he recalled.
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Left box, clockwise from left: Silvia Furmanovich wood marquetry, pink tourmaline and diamond earrings, $5703,2570.
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The walls are paneled in lacewood, and the floors are embellished with inlaid marquetry designs.
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As for watches, Piaget and Patek Philippe have introduced special watches with dials crafted in wood marquetry.
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On Mr. Olsen's walls, wood veneer wallcovering from Maya Romanoff mimics the straw marquetry favored by Frank.
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For La Montre Hermès, the watchmaking division of the luxury house, the idea to explore straw marquetry was born about 2010, around the same time that the house revisited Mr. Frank's design repertoire by producing some of the interior designer's straw marquetry furniture for its home furnishing line.
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The dining and bar cars are jaw-droppers, festooned with Art Deco stained glass, intricate marquetry and Lalique crystal.
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Beyond the magnificent marquetry and carved furniture, I noticed a gallery devoted to the Empire period of Napoléon Bonaparte.
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The woodworking aesthetic, and the skill sets like inlay and marquetry, which I picked up, hybridized into my painting practice.
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What was it about the specially commissioned 19th-century marquetry-inlaid Grohe Frères piano in the music room that attracted you?
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"Totomoxtle" (2017–ongoing), a marquetry material by Fernando Laposse, draws its hexagonal tiles from the husks of heirloom corn native to Mexico.
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Intricate marquetry throughout the room appears in geometric patterns and in representational motifs depicting objects like sewing tools, hairdressing implements and jewelry.
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The initial result was a collection in which the marquetry mimicked the geometric patterns and play of light found in cut gemstones.
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He works in marquetry and his sculpture — often figural at its root, no matter how distorted — shows exemplary technique, especially in Jesmonite.
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The sale's top lot, a Louis XV gilt bronze-mounted tulipwood, amaranth, and marquetry commode by Mathieu Criaerd, circa 1755, sold for $187,89793.
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It has a blue and green sun ray motif, a combination of straw and wood marquetry, set with a central 14-carat tourmaline.
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The sale's top lot, a Louis XVI Ormolu-mounted bois satine, amaranth, sycamore, and marquetry commode by Jean-Henri Riesener (1774), sold for $1,155,000.
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The timepieces featured two dials — an outer decorative one and an inner functional one — both in a marquetry of white agate and black onyx.
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Its exterior is painted lushly in its eponymous color; inside there is a lot of lacquered Italian birch and custom marquetry, and brass fittings galore.
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Rose Saneuil, who has specialized in marquetry for 17 years, has been combining straw with materials as diverse as wood, mother-of-pearl, metals, parchment and leather.
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Wrightsman shows a rail-thin woman of aristocratic bearing in a palatial salon, with a Louis XVI secretary of exquisite marquetry and chairs made for Marie Antoinette.
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Linley, the British furniture maker founded by David Linley Armstrong-Jones, the Earl of Snowdon and nephew to Queen Elizabeth II, offers boxes decorated with handcrafted marquetry.
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"Straw marquetry has always been a niche craft," Lison de Caunes, a state-certified specialist and teacher, said in an interview in her workshop in Paris's Sixth Arrondissement.
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The marquetry artist incorporates minute slivers of wood in many colors in his work, including native ones such as red muirapiranga, yellow tatajuba, purple roxinho and blue carvalho.
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In terms of craftsmanship, she said that creating a 3-D effect in marquetry, which is normally used on flat surfaces, was the greatest challenge of the collection.
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The rooms are sumptuous, with purple damask-covered walls, marquetry-inlaid furniture, parquet de Versailles floors and exquisitely carved boiseries, or wooden panels, depicting musical instruments and garden implements.
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He emblazoned the couple's initials and the year of their marriage on the doors of a series of marquetry cabinets, each of which was light enough to be moved easily.
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Goose feathers are rounded at the tip; turkey feathers are squared off—you can layer them like marquetry or glue them to a ribbon and gather them into a flower.
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By the entrance, the floor is a mosaic of hand-painted white-and-blue ceramic disks; deeper inside, the floor is maple marquetry recalling the layered feathers of a bird.
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It was that same poetic quality that Cartier sought to capture in 2012 in its Rotonde de Cartier model, when a freelance artisan created a koala motif in straw marquetry.
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Overseeing the restoration of an early 1900s townhouse on the Upper West Side, Ms. Worthy discovered that the detailed marquetry borders in the public rooms could withstand no additional sanding.
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British museums including the Wallace Collection, Waddesdon Manor and the Royal Collection are collaborating to create three-dimensional digital models of their Riesener furniture and to analyze the marquetry and metalwork.
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Plush red upholstery, a ceiling that replicates the marquetry flooring at Versailles, gilded mirrors, sconces and rococo flourishes create an indulgent setting for cocktails by Franky Marshall, formerly of the Dead Rabbit.
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In his own homes, Mr. Smith said, he has used low straw-marquetry screens to hide radiators and a taller screen by the artist Nancy Lorenz to obscure bookcases he didn't love.
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The sale's top lot, a pair of Louis XIV gilt-bronze mounted Boulle tortoiseshell, brass, mother-of-pearl and tin marquetry commodes, attributed to Nicolas Sageot, circa 1700, sold for €175,000 (~$197,000).
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The imposing block desks, swanky coffee tables and space-agey Le Satellite that houses a Bose sound system combine futurist forms, the highest quality wood and traditional woodworking techniques like marquetry and veneering.
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"Our clients appreciate certain crafts like enameling or marquetry of straw, wood or stones, applied to create beautiful and unique objects," Cyrille Vigneron, the house's chief executive, said in an interview in Paris.
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Scarpa's custom pieces — a long, low sofa upholstered in midnight blue hand-woven silk in the living room and a rectangular wood and marble marquetry dining-room table — remain in their original spots.
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Meanwhile, her father, Josef Hulac, a furniture restorer and farmer, and her brother, Jan Hulac, have done intarsia (a form of wood inlay similar to marquetry) work for a few of her installations.
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Although she has antique pieces, like a circa-1690 William and Mary seaweed marquetry cabinet from Holland, she never wants her three children to feel like they can't feel at home in a room.
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The bar itself — a zinc-topped three-meter-long counter with diamond-paneled teak marquetry — was made specially for the space by the London-based artist Charlie Froud, known for his surreal domestic sculptures.
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The layered elephant motif is built up with diamonds and white and black gold, using a technique Graff is calling "diamond-marquetry," in which individually cut and set diamonds combine to create an image.
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Straw marquetry, a rare tradition that goes back to the 214th century in Europe, has found new appeal among watch brands looking for novel ways of bringing color and sheen to a watch dial.
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It involved stripping the building to its skeleton and restoring silk trompe l'oeil paintings on the walls and ceilings of a private theater, as well as the intricate, threaded bamboo marquetry in a reception room.
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Taylor's practice typically uses marquetry, layering pieces of diversely colored wood that are combined in such a way as to give an image dimension and texture not quite achievable in the same way by painting.
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In 2017, Ms. Saneuil created the dial of Piaget's Aquatic Maze timepiece from wood and straw marquetry in gradients of blue and green chosen to evoke the shimmering waters off the Amalfi Coast of Italy (€52,000).
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During the summer, Patek Philippe showcased its latest venture into wood marquetry at an exhibition in New York, the most recent iteration of the pop-up museum that has visited Dubai, United Arab Emirates; Munich; and London.
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The artist, who declined to be named, was born in the rain forest but had learned the art of wood marquetry as a young man, having been sent to Germany by priests who recognized his artistic potential.
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Wood marquetry also lent an aptly rugged feel to the Portrait of an American Indian pocket watch, where the subject, in full fur and feather finery, came to life through 304 wood pieces from 20 species of tree.
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But you likely won't know until you are within striking distance (almost close enough to touch) of Alison Elizabeth Taylor's collages that the work is marquetry, a kind of rigorously illustrative technique consisting of layers of carved wood.
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The tones shift according to no discernible rule, giving the piece an unexpected rhythm, a word Saunders likes to use to describe the effect of the patterns created by the delicate marquetry, which is abundant in his designs.
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The piece debuted at Geneva Days, the LVMH Moët Hennessy Louis Vuitton exhibition concurrent with S.I.H.H. PIAGET ALTIPLANO MALACHITE MARQUETRY TOURBILLON Price on application This ultrathin watch, part of Piaget's S.I.H.H. 2018 Métiers d'Art collection, has a flying tourbillon.
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Interior indulgence comes courtesy of Aston's talented craftspeople, who create wood and composite marquetry, knurl metal knobs, and handily "brogue" leather — piercing it in a constellation pattern, as on a wingtip shoe, to allow subtle sub-dermal contrasting colors to come through.
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Maison Gerard A lavish sofa from 1984 by Pucci de Rossi, the Italian-born Postmodernist, harks back to 19th-century Orientalist art and design, with a mash-up of references and materials, including velvet, hidden compartments and marbled wood and inlaid marquetry.
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For example, the tortoiseshell, engraved brass and pewter marquetry were hallmarks of André-Charles Boulle, the king's cabinetmaker and sculptor, and the eight-day, spring-wound brass and steel movement most likely was the work of Isaac II Thuret, the royal clockmaker.
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Among them, a limited-edition sterling silver clock finished in palladium with iolite cabochon and the straw marquetry treatment on the dial and base was introduced two years ago, as was the Rotonde Lion watch with the lion motif created in straw.
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"Certain traditional crafts like straw marquetry are not integrated in-house in our watchmaking division so we looked for outside know-how for ways to apply straw on a watch dial," Philippe Delhotal, the division's creative director, said in an interview in Paris.
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The marquetry artist Rose Saneuil collaborated on the Green Aurora, another cuff in which slivers of straw, sycamore and hornbeam in turquoise and bottle green were dominated by a 260-carat green-blue tourmaline and 152 brilliant-cut diamonds forming a star.
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GALERIE J. KUGEL Furniture, porcelain, and other decorative arts have a prominent place at TEFAF, and among the most extraordinary objects here is a 17th-century table whose intricate floral surface is formed from dozens of colored stones, painstakingly cut and inlaid like marquetry.
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While some of the marquetry experts sit at long tables and make casts by hand, others are in a glassed-off room, using 3-D software programs and electronic sketchpads to create button casts and molds that then are printed out for use in manufacturing.
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The scale of a dial and the special tools needed to work on a small area make it difficult to experiment with straw marquetry in watches, but some artisans are pushing the boundaries, exploring ways of combining straw with other materials to create richer patterns.
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There are some truly masterful pieces, like an intricate marquetry table by James J. Crozier, yet for the most part, the artists remain unidentified and the closest an object gets to a precious material is in the application of some gold leaf on the edges.
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Rather than collaborate with someone from the design world, Loewe's creative director, Jonathan Anderson, reinterpreted the fashion brand's leather marquetry technique and applied carefully cut, puzzle-like leather pieces to form patterns (mostly taken from the Loewe archives) over the surfaces of early 20th-century British furniture.
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"We have had a long tradition in métiers d'art dials, but this was the first time we tried straw marquetry in one of our complicated watches," Augustin Nussbaum, the company's head of product development, said in a telephone interview from its headquarters in Le Locle, Switzerland.
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Among other brands, Cartier this year introduced its Rotonde de Cartier Mysterious Hour, in which for the first time a technique of hard stone marquetry was applied to set four different colored stones — lapis lazuli, agate, cacholong (a variety of opal) and obsidian — into a geometric pattern on the dial.
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In addition to the custom-designed marquetry Backgammon board which featured mother-of-pearl and onyx playing pieces engraved with special messages, the gift featured cigars, an Eli Bleu humidor that we imported from France, a vintage sterling silver tabletop cigar lighter from the year of the client's birth, and a very nice bottle of scotch.
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Also on view are works by Oscar Hadwiger (1891–1989), a carpenter, inventor and tool-and-die maker who, in his retirement, skillfully crafted ornate towers, churches and other structures using marquetry (inlaid wood) techniques, and a mixed-media painting, along with drawings in pencil, watercolor and charcoal on paper, by the Alabaman Thornton Dial (1928–2016).
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He taught himself gilding, egg tempera, sharkskin/shagreen, eggshell mosaic and marquetry in the style of European designers such as Jean Michel Frank (1895-1941) and Jean Dunand (1877-1942); metalworking and other techniques from the studios of the Bugatti dynasty (Rembrandt, Carlo, Ettore, and Jean); carving of ivory and wood, and painting in the style of illuminated manuscripts and Indian miniatures that he studied closely at the Metropolitan Museum.
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These fraternities often inspired labors of loving craftsmanship, like a folding table made in 1933 by James J. Crozier, a carpenter and high-ranking Odd Fellow from Islip, N.Y. One of the exhibition's most beautiful pieces, it has an intricately patterned marquetry top with rows of squares surrounding a striped shield, heart-in-hand, all-seeing eye and the letters F, L and T — for Friendship, Love and Truth — each within the link of a three-link chain.
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But if the euphoric, striking effect of his clothes felt in sync with the fervid electronic music scene of London in the early 2000s, the look of his glossy-but-restrained tables and seating is at once more abstract (the minimalist lines recall the Italian postmodernist Ettore Sottsass's knack for playing with pattern and hue) and down-to-earth (he manufactures all of his wooden marquetry pieces at a third-generation family-owned workshop in Valencia, Spain).
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The thought nagged at me throughout the first two days of shows here, when designers like Neil Barrett again offered a display of why he remains a durable presence in a fickle business with a typically disciplined collection of bomber jackets with diagonal inserts reminiscent of marquetry; mock turtlenecks; safari, field and bomber jackets in a palette inspired by American television shows popular throughout Britain in the '70s (YouTube almost any old Soul Train episode for a glimpse of those cognac, butterscotch, chocolate and gold hues), and slim, high-waist denim trousers.
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Inlay is thicker than marquetry, generally 1/8 to 5/8 inch thick, and is set within the material. Mosaics have a distinctly different appearance than intarsia or marquetry. Intarsia and marquetry can appear very similar, but marquetry is much more common when semiprecious, or precious materials are being used. Architects like Louis H. Sullivan used these to create unique centrepieces within spaces usually presenting an absence of detail.
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Some of the most spectacular works by Boulle are on display at the Large Drawing Room of the Wallace Collection: The Large Drawing Room with Boulle's works File:Example of Boulle Marquetry from the Wallace Collection in London 1.jpg File:Example of Boulle Marquetry from the Wallace Collection in London 2.jpg File:Example of Boulle Marquetry from the Wallace Collection in London 3.jpg File:Example of Boulle Marquetry from the Wallace Collection in London 4.
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There are accounts of nuns in France and Switzerland making a variety of items using straw marquetry. The most famous straw marquetry was practised by prisoners of war from the Napoleonic wars. Dartmoor and other prisons had been built for them; the prison most famous for straw marquetry was Norman Cross, Huntingdon. Easter eggs are decorated with straw applique, especially in Eastern European countries.
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They were made by laboriously assembling and gluing thin strips and shaped rods, which then could be sliced crossways to provide numerous mosaic panels all of the same design. Marquetry was a feature of some centers of German cabinet-making from c. 1710. The craft and artistry of David Roentgen, Neuwied, (and later at Paris as well) was unsurpassed, even in Paris, by any 18th-century marquetry craftsman. Marquetry was not a mainstream fashion in 18th-century Italy, but the neoclassical marquetry of Giuseppe Maggiolini, made in Milan at the end of the century is notable.
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The classic illustrated description of 18th century marquetry-making was contributed by Roubo to the Encyclopédie des Arts et Métiers, 1770. The most thorough and dependable 20th-century accounts of marquetry, in the context of Parisian cabinet-making, are by Pierre Verlet.
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The chair, made from elm, was inlaid in a form of marquetry with various other woods.
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The most famous royal French furniture veneered with marquetry are the pieces delivered by Jean Henri Riesener in the 1770s and 1780s. The Bureau du Roi was the most famous amongst these famous masterpieces. Marquetry was not ordinarily a feature of furniture made outside large urban centers. Nevertheless, marquetry was introduced into London furniture at the Restoration of Charles II in 1660, the product of immigrant Dutch 'inlayers', whose craft traditions owed a lot to Antwerp.
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The pieces are generally thicker that those used in marquetry, and often full thickness rather than being laminated. For flooring the pattern is generally created face down so that it remains level and then flipped over and transferred into the floor. Marquetry is often associated with woodworking, but can be done with any thin material. With marquetry very thin veneer, generally 1/16 inch or less and is cut to shape and then laminated over another surface.
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Early masters of French marquetry were the Fleming Pierre Golle and his son-in-law, André-Charles Boulle, who founded a dynasty of royal and Parisian cabinet-makers (ébénistes) and gave his name to a technique of marquetry employing tortoiseshell and brass with pewter in arabesque or intricately foliate designs. Boulle marquetry dropped out of favor in the 1720s, but was revived in the 1780s. In the decades between, carefully matched quarter-sawn veneers sawn from the same piece of timber were arranged symmetrically on case pieces and contrasted with gilt- bronze mounts. Floral marquetry came into favor in Parisian furniture in the 1750s, employed by cabinet-makers like Bernard van Risenbergh, Jean-Pierre Latz and Simon-François Oeben.
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Panels of elaborately scrolling "seaweed" marquetry of box or holly contrasting with walnut appeared on table tops, cabinets, and long-case clocks. At the end of the 17th century, a new influx of French Huguenot craftsmen went to London, but marquetry in England had little appeal in the anti-French, more Chinese- inspired high-style English furniture (mis-called 'Queen Anne') after ca 1720. Marquetry was revived as a vehicle of Neoclassicism and a 'French taste' in London furniture, starting in the late 1760s. Cabinet-makers associated with London-made marquetry furniture, 1765–1790, include Thomas Chippendale and less familiar names, like John Linnell, the French craftsman Pierre Langlois, and the firm of William Ince and John Mayhew.
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The leaves as well as the leaf midribs can be used to weave baskets and marquetry work in furniture.
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Oriental marquetry motif Straw marquetry is a craft very similar to that of wood marquetry, except that straw replaces the wood veneer. It is thought to have first been practised in the East; examples were brought to England in the 17th century. To mimic the varying shades of wood veneer, wheat or oat straw has to be split, then soaked in cold, warm, or hot water. The strips are then ironed, and there will be a variety of tones from pale gold to deepest dark brown.
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Lath art has a lot in common with marquetry and intarsia. They are all woodworking hobbies to make pictures out of sections of wood, but marquetry and intarsia use the wood grain as a design element, and lath art uses the direction of the lath stick and the colors of the stains as a design element.
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Alison Elizabeth Taylor (born 1972, Selma, Alabama) is an American artist based out of New York City. She is known for her marquetry hybrid work combining Renaissance-style marquetry with painting and collage to depict contemporary subject matter. Her work has been featured at a number of notable galleries and covered in The New York Times, The New Yorker, and The Village Voice.
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Modern marquetry: a tangram table by Silas Kopf, with trompe l'oeil images of paper and brush made entirely of different shades of flat veneer Although marquetry is a technique separate from inlay, English marquetry-makers were called "inlayers" throughout the 18th century. In Paris, before 1789, makers of veneered or marquetry furniture (ébénistes) belonged to a separate guild from chair-makers and other furniture craftsmen working in solid wood (menuisiers). Tiling patterning has been more highly developed in the Islamic world than anywhere else, and many extraordinary examples of inlay work have come from Middle Eastern countries such as Lebanon and Iran. At Tonbridge and Royal Tunbridge Wells, England, souvenir "Tunbridge wares"--small boxes and the like--made from the mid-18th century onwards, were veneered with panels of minute wood mosaics, usually geometric, but which could include complicated subjects like landscapes.
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Many of the extant watches retain their boxes and cases; some of the makers of these items can be identified. Gretton clocks were always of the highest quality, comparable to those of London's best makers. His early longcase clocks were housed in walnut cases. Later, the cases had parquetry decoration, followed by floral marquetry, arabesque and then seaweed marquetry, ebony-veneered cases, and lacquer-decorated cases.
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Squirtle Squirt was out of the mare Lost The Code, by multiple Grade I winner Lost Code. His sire was 1991 Hollywood Gold Cup winner Marquetry, who also sired the 1999 Breeders' Cup Sprint winner, Artax. Marquetry was a son of 1982 American Horse of the Year and Belmont Stakes winner Conquistador Cielo. Consigned to the 1998 Keeneland November sale, Squirtle Squirt was sold to Donna Wormser for $30,000.
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Decoration: marquetry antelope leaping between palm trees. ; Zena : First class parlour car, 24 seats, built 1928 by Metropolitan Cammell Carriage and Wagon Co. Ltd. Bournemouth Belle 1929–46.
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William Tunberg (born August 15, 1936 in Los Angeles, California) is an American artist specializing in marquetry, sculpture, drawing and assemblage (art). He lives and works in Venice, California.
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It produces a durable, black-striped heartwood that is locally used for cabinet making, furniture and marquetry. It was internationally traded, notably to produce guitar bodies and fingerboards, amongst others.
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Other notable pieces of furniture include a marquetry desk with a glass door for the Mirault family, and a mahogany guéridons with leg made of gilded bronze for the Sené family.
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Marquetry commode, mid-1770s, stamped F G Teuné (Walters Art Museum) François- Gaspard Teuné (1726 - after c 1788) was a Parisian ébéniste who was made master 19 March 1766.Henri Vial, Adrien Marcel, André Girodie, Les artistes décorateurs du bois, vol. 2 1922:164. His stamped works are in the Neoclassical style, sometimes, as in the marquetry commode at the Walters Art Museum (illustration) reflecting vestiges of the Rococo in stiffened cabriole legs and the softened transitions between planes.
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The signature and seal of Charles Gretton. A fine marquetry 8-day longcase clock with quarter striking movement. Circa 1690-95. An exceptional gilt double basket top spring clock engraved in Spanish.
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Commode by André-Charles Boulle, son of Jean Boulle: ( 1710–20). Walnut veneered with ebony, marquetry of engraved brass and tortoiseshell, gilt- bronze mounts, verd antique marble André-Charles Boulle (11 November 164229 February 1732), le joailler du meuble (the "furniture jeweller"), became the most famous French cabinetmaker and the preeminent artist in the field of marquetry, also known as "inlay". Boulle was "the most remarkable of all French cabinetmakers".Theodore Dell, The Frick Collection, V: Furniture in the Frick Collection (1992:187).
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Marquetry and tile- top table, 1560 Manuscript illumination was an important art, and Persian miniature painting flourished in the Persianate world. Calligraphy, an essential aspect of written Arabic, developed in manuscripts and architectural decoration.
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Acquired from the Birmingham Railway Museum, 1981. Decoration: Greek dancing girls marquetry. ; Ione : First class kitchen car, 20 seats, built 1928 by Metropolitan Cammell Carriage and Wagon Co. Ltd. for the Queen of Scots Pullman.
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André-Charles Boulle, circa 1690. Clock with Case and pedestal of oak with marquetry of tortoiseshell, engraved brass, and pewter; gilt bronze; dial of gilt brass with white enameled Arabic numerals; movement of brass and steell André-Charles Boulle circa 1690. Clock with pedestal. Case and pedestal of oak with marquetry of tortoiseshell, engraved brass, and pewter; gilt bronze; dial of gilt brass with white enameled Arabic numerals; movement of brass and steel André-Charles Boulle kept no accurate records of his prodigious output.
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Form follows function in that Taylor employs marquetry in the service of content. She subverts inlay's decorative status by constructing narratives that are neither decorative, nor memorial, nor facile, but rather freezing the abject, mundane and ordinary in time. Marquetry was first popularized under Louis XIV in the 17th century in the unprecedented luxury of Versailles. By portraying these subjects in a technique associated with opulence and privilege, the artist pays respect to the subject and challenges the expectations and connotations associated with the material.
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It presents temporary exhibitions of folk art, naive art, and outsider art. In 2008, its permanent collection held 629 works including 516 paintings, 13 works on paper, marquetry, 11 textile works, and 47 set under glass.
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Dashwood p 213. The Red Drawing Room is lined in crimson silk and is furnished with marquetry commodes.National Trust p 20. The relatively small study contains plans for the house and potential impressions for various elevations.
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Ince and Mayhew were also among the first London furniture-makers to exploit marquetry decoration when it became fashionable once again in the 1760s: in 1765 they provided for Croome Court a pair of uncompromisingly rectangular commodes with richly engraved neoclassical marquetry of satinwood and holly.The commodes have been returned to Croome Court; the original cost was £40.(Coleridge 1968:66 and pl 119; Colin Streeter, "Marquetry Furniture by a Brilliant London Master" The Metropolitan Museum of Art Bulletin New Series, 29.10, Part 1 [June 1971, pp. 418-429] p 428, fig 19.) Ince and Mayhew provided furniture for a number of Robert Adam's other patrons: Sir John Whitwell at Audley End (1767), the Duchess of Northumberland (from 1771)Streeter 1971:428 notes a reference in the Duchess's 1771-73 diary and a payment to Mayhew of £86 in February 1775.
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Casket, early 18th century, attributed to Andre-Charles Boulle, oak carcass veneered with tortoiseshell, gilt copper, pewter and ebony, in the Art Institute of Chicago Marquetry picture, Germany 1776 In contrast, this tilt- top table is veneered in a parquetry pattern by Isaac Leonard Wise, circa 1934. Marquetry (also spelled as marqueterie; from the French marqueter, to varigate) is the art and craft of applying pieces of veneer to a structure to form decorative patterns, designs or pictures. The technique may be applied to case furniture or even seat furniture, to decorative small objects with smooth, veneerable surfaces or to freestanding pictorial panels appreciated in their own right. Marquetry differs from the more ancient craft of inlay, or intarsia, in which a solid body of one material is cut out to receive sections of another to form the surface pattern.
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Jean-Michel Frank (28 February 1895 – 3 August 1941) was a French interior designer known for minimalist interiors decorated with plain-lined but sumptuous furniture made of luxury materials, such as shagreen, mica, and intricate straw marquetry.
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Tielke's existing oeuvre is therefore one of the most comprehensive and by number close to that of Stradivari and the other great Italian makers. Tielke's instruments are famous not only for their marquetry and carved heards but also for their tonal qualities. A much-debated question is that of the contribution Tielke himself made to the instruments signed with his name. The examination of his work leads to the idea that he engaged outside craftsmen and artists for the supply of carvings and marquetry, possibly even complete instruments.
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A simple Khatam marquetry box decorated with geometric patterns of triangles and 6-point stars on its sides, and a floral design on its lid The ornamentation of the doors of holy places predominantly consists of inlaid motifs. Samples of these can be observed in the cities of Mashhad, Qom, Shiraz and Rey. In the Safavid era, the art of marquetry flourished in the southern cities of Iran, especially in Isfahan, Shiraz and Kerman. The inlaid-ornamented rooms at the Saadabad Palace and the Marble Palace in Tehran are among masterpieces of this art.
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Early Parisian ébénistes often came from the Low Countries themselves; an outstanding example is Pierre Golle, who worked at the Gobelins manufactory making cabinets and table tops veneered with marquetry, the traditional enrichment of ébénisterie, or "cabinet-work".
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Geometric shapes, stars and flower motifs are the most common themes. There is a slight difference in the way the straw is prepared, however; for marquetry, the straws are soaked, split and ironed; for egg decoration the straw is not ironed.
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Gretton was, however, an early user of gilt basket-top cases. Most clocks originally stood on ebonized pad feet. Some peak-period spring clocks could be housed in a marquetry or kingwood case. Almost all spring clocks employed rack striking.
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The French cabinet maker Andre-Charles Boulle (1642–1732) specialized in furniture using metal and either wood or tortoiseshell together, the latter acting as the background. The simplest kind of marquetry uses only two sheets of veneer, which are temporarily glued together and cut with a fine saw, producing two contrasting panels of identical design, (in French called partie and contre-partie, "part" and "counterpart"). Two Lovers – example of sand-shading and shellac-inking Marquetry as a modern craft most commonly uses knife-cut veneers. However, the knife-cutting technique usually requires a lot of time.
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Furniture inlaid with precious woods, metals, glass and stones is known from the ancient world and Roman examples have been recovered from the first century sites of Pompeii and Herculaneum demonstrating that the technique was highly advanced. The revival of the technique of veneered marquetry had its inspiration in 16th century Florence and at Naples ultimately from classical inspiration. Marquetry elaborated upon Florentine techniques of inlaying solid marble slabs with designs formed of fitted marbles, jaspers and semi-precious stones. This work, called opere di commessi, has medieval parallels in Central Italian "Cosmati"-work of inlaid marble floors, altars and columns.
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Chest of drawers by Giuseppe Maggiolini Giuseppe Maggiolini (13 November 1738 – 16 November 1814), himself a marquetry-maker (intarsiatore), was the pre- eminent cabinet-maker (ebanista) in Milan in the later 18th century. Though some of his early work is Late Baroque in manner, his name is particularly associated with blocky neoclassical forms veneered with richly detailed marquetry vignettes, often within complicated borders. His workshop's output is somewhat repetitive, making attributions to Maggiolini a temptation. His clientele reached to AustriaThe desk sold from the collection of the earl of Bute, Christie's 3 July 1996, lot 10, made for an Austrian patron about 1784.
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Golle was the originator of marquetry of tortoiseshell and brass, named for André-Charles Boulle, as "Boulle marquetry". The Boulle dynasty of royal and Parisian cabinet-makers endured to the mid-18th century. Knee-Hole Desk attributed to Pierre Golle. Circa 1680 Detail of Knee-Hole Desk attributed to Pierre Golle. Circa 1680 Golle had been employed by Cardinal Mazarin before he was taken under royal protection; from 1656 onwards, Golle is described in documents as maître menuisier en ébène ordinaire du roi ("master ebony furniture maker-in-ordinary to the King"). By 1681 he had a workshop at the Gobelins Manufactory. From 1662 he supplied marquetry cabinets and numerous other pieces of case furniture for the use of the King and the Grand Dauphin at Versailles and other royal châteaux, the most expensive of which were several cabinets delivered over a span of years at the outstanding sum of 6000 livres apiece.
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Charles Spindler (date unknown) Charles Spindler (11 March 1865 in Bœrsch – 3 March 1938 in Bœrsch) was an Alsatian painter, marquetry inlayer, writer and photographer. He was also a supporter of Alsatian regionalism and founded several institutions for the promotion of Alsatian culture.
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Used in film Agatha about Agatha Christie, 1976. Acquired from T Robinson 1979. Decoration: Art Deco marquetry. A further seven unrestored carriages are stored for the train: four First (Phyllis, Agatha, Mona and Ruth) and three former Brighton Belle 5BEL Third carriages (No.
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These were subsequently replaced in 2009 with stud-framed plasterboard walls in a new configuration. The Limbless Soldiers offices changed only slightly from the original layout. The marquetry counter ran across the room and the entrance door was placed to the top of this room.
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Doll's head clocks, often known by their French name tête de poupée, were popular during the last quarter of the seventeenth century. They are named for their profile which resembles a head and shoulders. A doll's head clock is almost always ornamented with Boulle marquetry.
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The other surfaces of the minbar feature a variety of other motifs. Notably, the steps of the minbar are decorated with images of an arcade of Moorish (horseshoe) arches inside which are curving plant motifs, all made entirely in marquetry with different colored woods.
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Writing desk by Ferdinand Plitzner, c. 1715-1720 Ferdinand Plitzner (1678—1724) was a German cabinet maker, remembered for his elaborate furniture with Boulle marquetry, and the Spiegelkabinett, a mirrored porcelain room that he created in 1719 at Schloss Weissenstein for Lothar Franz von Schönborn.
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In Costa Rica and Panama, Purpleheart wood is an economically valuable tree, however its harvest is prohibited by law. The wood is commonly used for general carpentry, interior and exterior decoration, furniture, cabinet work, flooring, marquetry, stairways, wooden boat building & restoration, and luxury coffins.
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This was one of the private rooms used by Maria I during her time at Queluz. It is designed in the form of a bower, with a trellis pattern on the ceiling which is reflected in the design of the marquetry floor (illustrated below), giving the impression of being in a pergola rather than an interior. The marquetry floors of the private rooms distinguish these smaller more intimate rooms from the larger state rooms where such delicate features would have been damaged by more frequent use. The walls of the boudoir are heavily mirrored and contain overdoor and mirror carouches by José Conrado Rosa.
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Pantheon Theatre Memory Box In September 2011 the BBC highlighted a modern example of a particularly intricate memory box, in the form of a Pantheon Theatre, containing over 10,000 pieces of marquetry, taking 18 months to create.Memory Box Model Theatre, BBC East Midlands News (YouTube clip).
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Carvers and gilders worked directly for them. Ébénistes, who drew their name from the ebony that they worked into cabinets that were carved in shallow relief and incorporated veneers of tortoiseshell and ivory, a specialty of Paris furniture in the mid-seventeenth century, retained their control over all carcase furniture that was intended to be veneered, often with elaborate marquetry. The bronze mounts that decorated these high-style case-pieces, from the 1660s to the abolition of guilds in the French Revolution, was furnished, and even carried to the ébéniste's workshop by separate guilds of foundrymen. An encoignure by royal cabinetmaker Jean-Pierre Latz circa 1750 is richly ornamented with marquetry and ormolu.
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Les cabinets de Pierre Gole For the marquetry floor of the Cabinet Doré of the Grand Dauphin, he was paid 7500 livres; the dazzling interior was swept away in new redecorations after the Dauphin's death in 1711.A drawing for the floor is illustrated in Peter K. Thornton, 17th Century Interior Decoration in England, France and Holland, 1978:pl. 90. Lunsingh Scheurleer identified as Golle's a table and two guéridons en suite, veneered with pewter and brass marquetry, at Knole House, which were probably diplomatic gifts made by Louis XIV to Lord Sackville, English ambassador. He identified as from Golle's workshop a similarly decorated desk at Boughton.Lunsigh Scheuleer 1980: figs. 11-21.
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Named intarsiatore to the Habsburg granducal court, by 1780 Maggiolini in his turn was able to commission from Piermarini a new façade for the Church of Saints Gervasio and Protasio in his natal Parabiago, and from Albertolli its internal redecoration. Maggiolini's characteristic furniture consists of commodes and chests, coffers and writing-desks and tables, inlaid with a wide varietyEighty different woods is the conventionally quoted number. of European woods and exotic woods imported from abroad, used in their natural colors or tinted green, like blue or rose. Cartoons for execution in marquetry were provided by artists such as Levati and Appiani, and panels of pictorial marquetry were produced purely for displays as tours de force.
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The warm colors of the interior decoration with wooden beech and sycamore classic pilasters were chosen to evoke the furniture of marquetry or ancient musical instruments. For the tenth anniversary of the Arsenal's inauguration, the terrace was adorned with a sculpture, La Sentinaile, which is an artwork of Antoine Poncet.
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This resulted in an especially fine finish. In place of nails and screws, he used dowels and wedges in another kind of wood, creating special effects almost like marquetry. He only created some 30 to 40 pieces, but each one is quite distinctive.Gitte Just, "Peder Moos", Fri, 20 October 2007.
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Metropolitan Museum of Arts Commode by André-Charles Boulle, son of Jean Boulle: (ca. 1710–20). Walnut veneered with ebony, marquetry of engraved brass and tortoiseshell, gilt- bronze mounts, verd antique marble File:Small desk with folding top (bureau brisé) MET DP102696.jpg File:Cabinet MET DP117989.jpg File:Clock with pedestal MET DP214849.
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An overhead canopy is flanked by 34 children's stalls, seventeen on each side. The canopies and stalls are decoratively framed in an architectural style typical of the area. This includes a traditional iconographic motif of Renaissance marquetry. The seats are separated from each other by arm rests with plant motifs.
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Next to this hall is a small chapel or private oratory with a painting of the Virgin by Luca Giordano. The lamp hanging from ceiling is of La Granja de San Ildefonso' glass. The furniture is from the era of Charles IV, built at the Royal Workshop, highlighting in them fine marquetry work.
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Certosina is a decorative art technique used widely in the Italian Renaissance period. Similar to marquetry, it uses small pieces of wood, bone, metal, or mother-of-pearl to create inlaid geometric patterns on wood. The term comes from Certosa Church in Pavia, where the technique was used in ornamenting an altarpiece.
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He learned cabinet making from his father. At age 20, he traveled to Den Haag, Rotterdam and Amsterdam, learning from established cabinet makers. He became known for his marquetry work, and worked in London (in the workshop of William Gomm) until 1738. On 18 April 1739, he married Susanne Marie Bausch from Herrnhut.
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The painter Giuseppe Levati consigned to Maggiolini work for marchese Pompeo Litta at Villa Litta, Lainate, near Milan, to Levati's designs, with unexpectedly fine results. Maggiolini was invited to collaborate on designs for the wedding of Archduke Ferdinand of Austria, the Habsburg governor of Lombardy, with Maria Beatrice d'Este, initiating Maggiolini's work for the Habsburgs, rulers of Lombardy, for which he opened a second workshop, in Milan. In 1771 Maggiolini produced the marquetry flooring in the Palazzo di Corte in Milan, being rebuilt under the direction of Giuseppe Piermarini, which put Maggiolini in contact with a wider circle of artists and designers: the painter Andrea Appiani and the architect Giocondo Albertolli. In 1777 he produced marquetry floors and furniture for the royal villa near Monza.
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This enabled Spindler to establish a workshop in Saint- Léonard (a district of Bœrsch) in 1897. Next came the Revue Alsacienne Illustrée, published from 1898 to 1914. Both journals were influential in promoting Alsatian culture. Also in 1893, he discovered marquetry and strove to apply it as a painting technique, rather than decorative ornamentation.
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Design for a marquetry panel by Jean-Philippe Boulle, the Oldest Son of André-Charles Boulle. Boulle left four sons: Jean-Philippe(1678-1744), Pierre-Benoît (c.1683-1741), André-Charles II (1685–1749) and Charles-Joseph (1688–1754). They were handed over the contents and technology of his workshops as early as 1715.
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The once-thriving cities of the Bosporus left extensive architectural and sculptural remains, while the kurgans continue to yield spectacular Greco-Sarmatian objects, the best examples of which are now preserved in the Hermitage in St. Petersburg. These include gold work, vases imported from Athens, coarse terracottas, textile fragments, and specimens of carpentry and marquetry.
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The light they let in is supplemented by artificial light from hanging fixtures. A stairwell in the northwest corner of the vestibule leads to the choir loft. It has marquetry panels with Hungarian folk art motifs below the balustrade. The church's basement has been remodeled into an auditorium with paneled walls and a dropped acoustic-tile ceiling.
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Some of the cabinetmaking and marquetry in the Collections come from the Eger craftsmen who worked in Western Bohemia in the 17th century. Several Eger jewelry cabinets are considered among the finest ever produced. Other pieces include caskets, tables and games boards, which are lavishly inlaid with ivory, mother-of-pearl and tortoiseshell, depicting landscapes, animals and classical motifs.
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The Print Room is part of the 18th-century extension of the Lodge and has been renovated by the Museum to look like a typical Print Room of the period. The collection of tiles around the fireplace, examples of marquetry and parquetry in the furniture and the ‘japanned’ grandfather clock represent the fashion of the early eighteenth century.
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Federico commissioned for himself a studiolo (a small study or cabinet for contemplation) in both his palace at Urbino and that at Gubbio; both are celebrated for their trompe l'oeil decoration executed in marquetry. The former is still in situ, the latter was eventually purchased by and brought in its entirety to The Metropolitan Museum of Art.
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Viola caipira with fine marquetry work (Braz da Viola) He learned the craft of building viola caipira from Renato Vieira, factory of violas Xadrez. In 1994, deployed two lutenist of viola workshops in Sao Jose dos Campos and São Francisco Xavier. Currently he is building violas de cocho in his own atelier, a typical instrument of the Brazilian Pantanal.
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Watson 1966:557. At the time of his death, the inventory was compiled by a noted ébéniste, Jean-François Leleu and Jean-Baptiste Cochois. There were at least three workshops, a store-room (magasin) and a retail shop (boutique). A number of pieces were lacquered, and six lacquer panels and marquetry was mentioned, geometric, floral and landscape.
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A good deal of R.V.L.C.'s work seems to have been for Parisian marchands-merciers, who would supply him with designs and Chinese lacquer screens, to be cut up and applied in lieu of marquetry panels. For such decorator-dealers as Simon- Philippe Poirier he provided furniture mounted with Sèvres porcelain plaques, a luxury decor that Poirier had invented.
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The Vice Presidential Suite featured a dining room with furniture in the Sheraton and Hepplewhite styles. Dining room furniture in both suites was manufactured from satin-walnut, and featured painted decorations and marquetry. The bedrooms in both suites featured Louis XVI-, Adam-, and Federal-style furniture made of satinwood, walnut, and mahogany. Each piece was painted, lacquered, or marquetried.
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Mahogany and satinwoods were most common, occasionally inlaid with marquetry, or edged with boxwood which was resistant to chipping. These receptacles, often made in pairs, still exist in large numbers; they are often converted into stationery cabinets. Another version is an open tray or rack, usually with a handle, also for the storage of table cutlery.
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Portrait of Cesare Ripa in "Della novissima iconologia di Cesare Ripa perugino" (1624) Allegory on dignity. Sentences of the Iconologia illustrating the Bureau du Roi (King's Desk or Louis XV's roll-top secretary) marquetry in the Palace of Versailles Cesare Ripa (c. 1560, Perugia – c. 1622) was an Italian iconographer who worked for Cardinal Anton Maria Salviati as a cook and butler.
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For fixed inlay work on walls, ceilings, and pavements that do not meet the definition for mosaic, the terms intarsia or Cosmati work are better used. Similarly, for works that use larger pieces of stone (or tile), opus sectile may be used. Pietre dure is essentially stone marquetry. As a high expression of lapidary art, it is closely related to the jeweller's art.
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Art Nouveau furniture was particularly influenced by the British Arts and Crafts Movement, with its emphasis on fine craftsmanship. It also adapted certain features from earlier historical styles, particularly the curling lines of French Rocaille or Rococo. Another significant influence was Japanese furniture design, which featured light and fragile forms, and marquetry. The Japanesee style had become popular in Europe.
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The facade of Palazzo Barbarigo-Minotto on the Grand Canal of Venice. Three staterooms face the Grand Canal and another three face Rio Zaguri. In the first half of the 18th century frescoes and paintings by Giovanni Battista Tiepolo, Francesco Fontebasso and Carpoforo Tencalla were commissioned by Pietro Barbarigo. Its chapel has Louis XIV Style elm flooring inlaid with olive-root marquetry.
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Most of the refugees lived at three houses in Menai Bridge, with 12 housed at the Village Hall in Llandegfan. Most of the men were skilled in marquetry. On 12 November 1918, Major Thomas Elmhirst (later Air Marshal Sir Thomas Elmhirst), commanding officer of RNAS Anglesey, flew airship SSZ73 under the Menai Bridge following the armistice at the end of World War I.
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After Pierre Bardou-Job died in 1892 Pams commissioned the architect and designer Léopold Carlier to remodel the mansion to his taste. The renovation in 1894–97 added gold, marble and onyx throughout, with marquetry furniture. The paintings were by Paul Gervais, a fashionable artist at the time. Gervais decorated the casinos in Monaco and Nice and the Capitole in Toulouse.
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Detail of an Iranian jewel box decorated by khatam. Khātam () is an ancient Persian technique of inlaying. It is a version of marquetry where art forms are made by decorating the surface of wooden articles with delicate pieces of wood, bone and metal precisely-cut intricate geometric patterns. Khatam-kari () or khatam-bandi () refers to the art of crafting a khatam.
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The peculiarity of their works is characterized by adding natural details representing plants and animals and the marquetry technique. The collection also includes works of the famous Czech drawing-artist Alphons Mucha and decorative ironwork of the architect Hector Guimard. Both artists have played a significant role in shaping the stylistic features of art nouveau. Demetre Chiparus (1886-1947). Girls.
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Acquired from Lytham Creek Railway Museum 1981. Decoration: Edwardian-type marquetry. ; Perseus : First class parlour car, 26 seats, construction commenced 1938 but completion deferred until 1951 due to war. Builders were Birmingham Railway Carriage and Wagon Co. Used in the special Festival of Britain rake State; used in Winston Churchill's funeral train 1965; made last journey of Golden Arrow 1972.
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Sorrento (, ; ; ) is a town overlooking the Bay of Naples in Southern Italy. A popular tourist destination, Sorrento is located on the Amalfi Coast at the south-eastern terminus of the Circumvesuviana rail line, within easy access from Naples and Pompeii. The town is widely known for its small ceramics, lacework and marquetry (woodwork) shops. The Sorrentine Peninsula has views of Naples, Vesuvius and the Isle of Capri.
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It was usually reserved for frames and mountings. The decorative woods for marquetry were termed Bois des Indes and usually came from South America or the West Indies. They were often named by their color rather than botanical name; bois de rose, bois de violette, and bois d,amaranthe. The late Louis XVI period, and a passion for things English, brought an enthusiasm for mahogany.
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The farm is currently owned and run by Jose Luis Espinoza and was previously known as Gaillardia Farm. The farm has been home to a number of famous horses including 2007 American Champion Older Male Horse Lawyer Ron, 2005 American Champion Male Turf Horse Leroidesanimaux, and stakes winners A. P. Warrior, Marquetry, Doneraile Court, Da Stoops, and Medaglia d'Oro, who sired 2009 Preakness Stakes winner Rachel Alexandra.
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He also published books on fretwork, marquetry, paper mosaics and paper-rosette work. In 1870, he co- authored a book on Derbyshire pottery and then published his own works on Bow, Chelsea and Derby Porcelain and later Longton Hall Porcelain. Bemrose was an amateur painter and chaired the Derby Art Gallery committee. He collected art and pottery which he purchased during his wide travels.
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The minbar is essentially a triangular structure with the hypotenuse side occupied by a staircase with nine steps. It is long, wide, and tall. The main structure is made in North African cedar wood, although the steps were made of walnut tree wood and the minbar's base was made with fir tree wood. The surfaces are decorated through a mix of marquetry and inlaid sculpted pieces.
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Geometric figure (1537), intarsia by fra Damiano da Bergamo; Museum of the Basilica of Saint Dominic, Bologna, Italy Intarsia on the First aid kit of Alexander Karađorđević, Prince of Serbia, Historical Museum of Serbia Table with intarsia of Mihailo Obrenović, Prince of Serbia Intarsia is a form of wood inlaying that is similar to marquetry. The start of the practice dates from before the seventh century CE.
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Many of the furnishings are by Kempe and were taken from the chapel of Caldy Manor which was dismantled when the church was built. These include the choir stalls and the reredos. The reredos has panels of marquetry depicting the crucifixion. Some of the stained glass in the church is by Kempe and the southwest window is by A. J. Davies of the Bromsgrove Guild.
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Japanese puzzle box Japanese jewelry box (lit., "parquet work") is a type of traditional Japanese marquetry developed in Edo period Hakone, Japan. Resembling a type of mosaic, is created through the combination of fine oblong rods of wood chosen for their grain, texture and colour, and is well-known for its intricately patterned nature. A number of different types of wood are used in the creation of .
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This letter contained accusations particularly against Fry, criticising the workshop's products and ideology. This split led to the formation not only of the Rebel Art Centre, but also of the Vorticist movement. Most manufacturing for Omega was outsourced to professional craftsmen, such as J. Kallenborn & Sons of Stanhope Street, London, for marquetry furniture and Dryad Limited of Leicester for tall cane-seat chairs.Shone, p. 139.
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As with other areas of Greek thought maintained and enhanced by Islamic scholars, Western interest in polyhedra revived during the Italian Renaissance. Artists constructed skeletal polyhedra, depicting them from life as a part of their investigations into perspective. Several appear in marquetry panels of the period. Piero della Francesca gave the first written description of direct geometrical construction of such perspective views of polyhedra.
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Each suite also had a maid's room, with an attached bath. The furnishings of both suites were copies of museum pieces. The Presidential Suite featured a marquetry table with ormolu fittings; a Louis XVI cabinet with painted panels; Oriental rugs; bronze and marble urns in the Neoclassical style; drapes of silk damask; and underdrapes of silk taffeta. The suite's dining room featured Queen Anne style furniture.
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Hyatt, The Interpreter's Bible, 1951, volume V, p. 1067 It also finds use in wool dyeing as a mordant. Harewood, a material used in marquetry and parquetry since the 17th century, is also made using ferrous sulfate. Two different methods for the direct application of indigo dye were developed in England in the eighteenth century and remained in use well into the nineteenth century.
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Watson 1966. a centrally-located site where fashionable clients could find him, for he worked as a dealer in furniture as well as running his own workshop; as dealer, his stamp is often found on pieces made by other ébénistes.Watson 1966. His own furniture featured fine marquetry and lacquered furniture. In 1783 Delorme sold his remaining stock at public auction and retired from business.Watson 1966.
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His furniture is made of exotic hardwoods and inlays and his doors are covered in marquetry cut from wood veneer. In 1987, the 72 Market Street Oyster Bar and Grill in Venice commissioned Tunberg to create an inlaid sculptural railing that spanned the entire interior of the restaurant.Bonwitt, Eric. "The Art of the Craftsman and Thoughts of Leisure: Bill Tunberg at 72 Market Street".
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January 20, 1989. Santa Monica News, pp. 14-15. In 1989, the Maple Drive Restaurant in Beverly Hills commissioned Tunberg to create 52 one-of-a-kind inlaid sculptural tables and booths and a combination marquetry piano/room dividing screen. As a result of Tunberg's work for Maple Drive, he was awarded the 1990 Annual Design Award, Furniture Designer of the Year, by Angeles magazine.
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Curcio compared the elevators to the curtains of a Ziegfeld production, noting that each lobby contains lighting that peaks in the middle and slopes down on either side. The decoration of the cabs' interiors was also a nod to the Chrysler Corporation's vehicles: cars built during the building's early years had dashboards with wooden moldings. Both the doors and cab interiors were considered to be works of extraordinary marquetry.
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These are usually placed around a round table. Another producer is Jalostoltitlán, noted for its marquetry work to make furniture and lamps of high quality. However, production has diminished since it depends on sabina wood, which has become scarce. Teocaltiche is known for the production of small wood items, especially lathe-turned pieces, including miniatures, toys, and cooking utensils, especially molinillos, a beater used to make froth in hot chocolate.
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In the courtyard is a cannon from the Salis regiment from 1676. There are three highly decorated, 17th century furnished rooms in the castle. The Marschallstübli was built around 1633 and features richly carved paneling with inlaid marquetry and a carved wooden coffered ceiling. The cocklestove was built in 1638 by the Pfau workshop and the cabinets decorated with the alliance arms of Heinrich Hirzel-Yolanda von Salis are from 1674.
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Aimee Spencer Gorham (April 9, 1883 - November 29, 1973) was an artist known for wood marquetry murals and stained glass work in the northwestern United States. Her work was exhibited at the 1939 World's Fair and can be found at the Portland Art Museum, Oregon State University, Timberline Lodge, and numerous public buildings in Oregon. Gorham was also named an honorary member of the American Institute of Architects.
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Portrait of Roentgen Mahogany bureau with a figure of Apollo, Hermitage Museum Table by David Roentgen, circa 1780-1790. David RoentgenIn the eighteenth century sometimes called David De Lunéville (1743 in HerrnhaagFebruary 12, 1807), was a famous German cabinetmaker of the eighteenth century, famed throughout Europe for his marquetry and his secret drawers and poes and mechanical fittings. His work embraces the late Rococo and the Neoclassical styles.
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In the 1780s David Roentgen maintained a Parisian showroom. His furniture is in a fully developed rococo style, employing boldly sculptural gilt-bronze mounts complementing marquetry motifs of flowers and leafy sprays, in figured tropical veneers like tulipwood, amarante, purpleheart and rosewood, often featuring the distinctive end-grain cuts. He also produced lacquered pieces, most famously the slant-front desk in the collection of Stavros Niarchos, Paris.Watson 1966:552.
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The departure from Renaissance classicism has its own ways in each country. But a general feature is that everywhere the starting point is the ornamental elements introduced by the Renaissance. The classical repertoire is crowded, dense, overlapping, loaded, in order to provoke shock effects. New motifs introduced by Baroque are: the cartouche, trophies and weapons, baskets of fruit or flowers, and others, made in marquetry, stucco, or carved.
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The floors are of marquetry and the ceilings are sculptured. The two first floor rooms each have a monumental Gothic fireplace of gray marble and oak. The second floor was used as a bedroom of the imperial couple and has a small chapel with two beautiful stained glass windows. The upper floors were for the servants of higher rank, and the elliptical staircase inside the turret allows communication between all floors.
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Decoration: marquetry landscape panels and Art Deco strip lights. ; Cygnus : First class parlour car, 26 seats, construction commenced 1938 but completion deferred until 1951 due to war. Builders were Birmingham Railway Carriage and Wagon Co. Used in the special Festival of Britain rake in 1951; reserved for use by royalty and visiting heads of state; made last journey of Golden Arrow 1972. Acquired from North Yorkshire Moors Railway, 1977.
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Dell 1992:233-46 catalogues a very fine pair of 19th-century English copies in the Frick Collection. A series of grand armoires in the Louvre Museum and the Wallace Collection are also securely attributed to his workshop. Identification of some of Boulle's works based on the tell-tale refinements of the marquetry and the re-use of marquetry templates and characteristic boldly sculptured gilt-bronze mounts can at times be provenanced from three sets of images of furniture designs engraved by Boulle and published by his friend Pierre-Jean Mariette around 1720;Nouveaux Deisseins de Meubles et Ouvrages de Bronze et de Marqueterie Inventés et gravés par André Charles Boulle, n.d.. pieces depicted in a series of workshop drawings traditionally ascribed to Boulle in the Musée des Arts Décoratifs, Paris and private collections; and the descriptions in the inventory of works in progress made when Boulle transferred legal ownership of the workshops to his sons in 1715.
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His studies continued at the Academy of Fine Arts, München, where he studied under Nikolaos Gyzis. Jean-Baptiste Kléber (1908) He later moved back to Strasbourg and became a member of the Cercle de Saint-Léonard, where he learned marquetry from Charles Spindler and worked with a coterie of Alsatian artists, including Léon Hornecker, , Alfred Marzolff, , Joseph Sattler, Lothar von Seebach and Émile Schneider. He was heavily influenced by Art Nouveau and Medieval themes.
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Mantadia National Park and Analamazaotra Special Reserve, Birdlife International Historical sites can be found throughout the country, but mostly in the capital, such as the Royal Palace or Rova in Antananarivo or the sacred hill of Ambohimanga nearby, both Unesco world heritage listed sites. A popular route from Antananrivo to Tulear in the south passes through several towns noted for their handicraft: Ambatolampy (aluminium foundry), Antsirabé (gemstones, embroidery, toys), Ambositra (marquetry), and Fianarantsoa.
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If you stand in the middle of the yard, you will find yourself surrounded by fourteen columns, each one adorned with a unique and intricate pattern of brickwork. You might also be interested in the alabaster stonework which reflects sunlight throughout the basement. One of the most exquisite pieces of artwork inside the mosque is the wooden marquetry pulpit (Persian: menbar). The carpenter matched the wooden parts together like a pieces of a puzzle.
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The Basilica of San Nicandro was built atop Roman ruins on the eastern outskirts of the city, on the road to Isernia. The church has had many reconstructions and most recently restored in 2001. It features two naves and retains an altar in wood marquetry and pyrography. Under the altar is the crypt the tomb of St Nicandro was discovered, a spring called "Manna of St. Nicandro" also appears in the crypt.
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The Kimbolton Cabinet is an ornate wooden cabinet on a stand, designed by Robert Adam and completed in 1775. It is in the collection of the Victoria and Albert Museum. The cabinet is made from mahogany and oak, decorated with marquetry of satinwood and rosewood, with gilt-bronze ormolu mounts and inlaid with eleven Italian pietra dura plaques. It was made for the Dukes of Manchester and formerly displayed at their house at Kimbolton Castle.
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The Dining Room at Eltham Palace by Malacrida: Black marble and ebonised panels with geometric marquetry inlays. Marchese Piero Luigi Carlo Maria Malacrida de Saint-August (1889–22 April 1983) (also known as Pier or Peter Malacrida) was an Italian aristocrat, playboy and London-based interior designer. He and his first wife, the poet Nadja Malacrida, were prominent socialites in London in the late 1920s and early 1930s. Piero Malacrida is best known for his interiors at Eltham Palace.
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Among these the great master Gianbattista Tiepolo, Francesco Fontebasso, Gerolamo Mengozzi Colonna, and Carpoforo Mazzetti. In 1741 was hired the Ferrarese quadraturist Mengozzi Colonna, who painted the domestic chapel located in a recess of the building and hidden by two wooden leaves. Around it a Louis XIV elm flooring inlaid with olive-root and other prized wood marquetry. The following year Mengozzi Colonna intervenes also on the central hall (portego) designing the beautiful Venetian terrazzo pavings.
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Both Chippendale and Sheraton made or designed many bookcases, mostly glazed with little lozenges encased in fretwork frames, often of great charm and elegance. In the eyes of some, the grace of some of Sheraton's satinwood bookcases has rarely been equalled. The French cabinetmakers of the same period were also highly successful with small ornamental cases. Mahogany, rosewood satinwood and even choicer exotic timbers were used; they were often inlaid with marquetry and mounted with chased and gilded bronze.
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The ballroom comprises an eclectic mix of neo-classical, Deco and oriental motifs set within an exotic and luxuriant decorative scheme mainly dating from the 1950s. The main auditorium ceiling survives from the earlier cinema. From the off-street entrance steps a small foyer is reached featuring a raked floor and Deco-style marquetry panelling. The main motif is a geometric composition of intersecting curves in a shape with broad segmental top, tapering centre and curved base.
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At the most expensive level, all four walls of a room seem to have had panels fitted, which were richly decorated with carved wood, marquetry, and sometimes paintings inset into the wood. These paintings were usually much wider than tall, like the painted panels on cassoni. They seem often to have been made to celebrate a wedding, and fitted to the marital bedroom, though other important rooms also had them.Lightbown, Ronald, Sandro Botticelli: Life and Work, p.
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It is a heavy, hard wood with a somewhat coarse texture, often with an interlocked or wavy grain. The interlocked grain of this wood, like that of many tropical woods, can make it difficult to work. It is also a decorative exotic wood, used in a limited way for veneer, wall paneling, custom furniture, furniture trim, inlay bandings, marquetry, specialty items and turnery. It is also sometimes seen as stocks of shotguns and rifles or in exotic guitars.
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Born in Brussels in 1923, Somville lost his father, a worker in marquetry, at an early age. He and his mother faced a precarious material existence. His uncle, a lithographer and early Marxist, was a source of ideological influence. He took drawing lessons at the Académie Royale des Beaux-Arts in Brussels (1940–1942), and then went to The Higher National school for Architecture and the Decorative Arts of Brussels, (in the architect atelier Lucien François' atelier).
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A mechanical table with a nest of drawers that rise from the top on release of a spring At the Musée Nissim de Camondo, Paris. bears R.V.L.C.'s stamp and Poirier's name written in a drawer. R.V.L.C. often used marquetry designs and gilt-bronze mounts very similar to those used by his brother-in-law Oeben (Eriksen 1974:224) He even habitually supplied work that was delivered by the ageing ébéniste du Roi Gilles Joubert: the R.V.L.C. stamp appears on a commode in conservative neoclassical taste, with pictorial marquetry of vases and trophies of the arts, that was delivered in 1769 by Joubert for Madame Victoire at Château de Compiègne,Eriksen 1974:plate 119; the commode is in the Frick Collection, New York. on a commode for the comtesse de Provence at Fontainbleau in 1771, and on one of a pair of commodes delivered by Joubert for the Salon de Compagnie of Mme du Barry there in 1772One now at the Walker Art Gallery, Liverpool, ex- collection the Hon John JB Fermor-Hesketh .
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Retired to stud duty at Claiborne Farm in Paris, Kentucky, Conquistador Cielo didn't quite live up to expectations but nevertheless sired more than 60 stakes race winners. Among his progeny were stakes winners Marquetry, Forty Niner Days, Alannon, Mi Cielo, Wagon Limit, and Lexicon. At age 23, the horse suffered an injury to his knee that brought on an acute case of founder in his left front leg. The disease resulted in the veterinarian euthanizing him on December 17, 2002.
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Lady With Swans (marquetry screen, in the Musée d'Art Moderne et Contemporain de Strasbourg) His father was a notary. At the age of twelve, he was enrolled in drawing classes and received encouragement to make art a career from his uncle , a painter. A scholarship he received in 1882 enabled him to study in Düsseldorf, Munich and Berlin. While in Munich, he met Martin von Feuerstein, a painter of sacred art, who introduced him to the Ott Brothers (glass makers) in 1887.
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The other surfaces of the minbar feature a variety of different motifs. The steps of the minbar are decorated with images of an arcade of Moorish (horseshoe) arches inside which are curving plant motifs, all made entirely in marquetry with different colored woods. The inside of the staircase's balustrades were originally covered in panels of carved arabesques, but only one of these has survived. The bottom of the minbar's staircase is flanked by two much taller balustrades pierced with a horseshoe- arch frame.
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Previous to the construction of S. Peter's cemetery, corpses were buried around this church; it was enlarged and renovated in 1724 and furtherly improved in 1878. Some interesting works are preserved in its interior, such as the polychrome inlaid high altar and the splendid Rosary kaltar, with marble marquetry. Fusia's water mill and irrigation ditch represent a complex medieval achievement of hydraulic engineering; they favoured the development of commercial and market activities in Paratico. The surrounding hills offer some enchanting vistas.
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The former Sultan’s apartments are now used by the Museum of Moroccan Arts (Musée des Arts Marocains et des Antiquités), displaying works of art from all over Morocco, amongst which are firearms decorated with marquetry, carpets, silks from Fez, and manuscripts. The Museum of Antiquities now occupies the former kitchen. It houses finds from ancient Roman sites as Lixus, Cotta and Volubilis, as well as life-size Carthaginian tomb and finds from the Tangier region from prehistory until the Middle Ages.
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Egyptian records tell that animal glue would be made by melting it over a fire and then applied with a brush. Ancient Greeks and Romans later used animal and fish glue to develop veneering and marquetry, the bonding of thin sections or layers of wood. Animal glue, known as () in Greek and in Latin, were made from the skins of bulls in antiquity. Broken pottery might also be repaired with the use of animal glues, filling the cracks to hide imperfections.
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Most of his surviving clocks are high quality long-case clocks featuring long going and the use of deadbeat escapements, six spoke wheels, high count trains and repeating, enclosed movements. A year-going clock with a bolt-and-shutter maintaining power is in the Castle Museum York, together with four eight-day clocks. A further example, a Hindley movement of around 1740 fitted into a walnut marquetry case of ca. 1690, is at Temple Newsome House (Leeds)..Clocks magazine Jan 1985 pp.
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The upper walls and ceiling are sheeted with fibrous cement and stained timber cover strips. Inside the door on the right hand side there is a freestanding timber and glass reception office and a guests' telephone booth. The room has a large fireplace at the rear end and retains most of its original furniture including marquetry tables and firescreen. At the rear is the lounge bar, which is also panelled and retains the original horseshoe bar with glass and timber glass cabinets above.
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Composers and musicians such as Jean-Baptiste Lully, Jacques Champion de Chambonnières, and François Couperin thrived. In 1661, Louis founded the Académie Royale de Danse, and in 1669, the Académie d'Opéra, important driving events in the evolution of ballet. He also attracted, supported and patronized such artists as André Charles Boulle, who revolutionised marquetry with his art of inlay, today known as "Boulle Work". Over the course of four building campaigns, Louis converted a hunting lodge built by Louis XIII into the spectacular Palace of Versailles.
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19th-century English flute made of boxwood (detail) Slow growth of box renders the wood ("boxwood") very hard (possibly the hardest in Europe) and heavy, and free of grain produced by growth rings, making it ideal for cabinet-making, the crafting of flutes and oboes, engraving, marquetry, woodturning, tool handles, mallet heads and as a substitute for ivory. The British wood-engraver Thomas Bewick pioneered the use of boxwood blocks for wood-engraving.Pg.171, Lawrence, E., ed. (1985) The Illustrated Book of Trees & Shrubs.
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Upon graduation from Pratt in 1913, Gorham moved back to Portland and became a teacher in the Portland Public Schools, where she taught at Riverdale Elementary and later Washington High School. During the 1930s, she produced numerous wood marquetry works commissioned by the Works Progress Administration (WPA). Gorham went on to do stained glass work in several different companies and studios. She began at Povey Brothers, a company later owned by the Fuller Glass Company and then her co-workers Albert Gerlach and Bryce Anderson.
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Bedroom B was known as the "French cabin" because it was Louis XV-inspired, featuring varnished oak panelling and Cabriolet furniture.Beveridge 2008 p. 59-60 In the "special staterooms", there was a wide range of finely carved panelling, veneers, and marquetry made from exotic imported woods like Mahogany, Sycamore, Walnut, Oak and Satinwood. Such was the attention to historic detail that every piece of furniture, light fixture, upholstery, and woodwork was recreated with an obsessive care for accuracy by designers and master craftsmen at Harland and Wolff.
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The dining room in 2013 The Dutch government seized the manor house and its household contents in 1945 and, since then, many new trees have been planted and the wooded parkland is being returned to its earlier glory. Huis Doorn opened its doors as a historic house museum in 1956. It is presented just as Wilhelm left it, with marquetry commodes, tapestries, paintings by German court painters, porcelains and silver. The collection also includes Wilhelm's collections of snuffboxes and watches that had belonged to Frederick the Great.
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Much of the style was taken from the personality of the King himself. Unlike his Bourbon predecessors, he wore business dress, not formal robes, he lived in Paris, and he shunned ceremonies; he carried his own umbrella, and imposed no official styles. Louis Philippe furniture had the same types and forms as the earlier French Restoration style, but with less decoration; comfort was the primary consideration. The Louis Philippe commode, with a marble top and a marquetry covering, was a popular example of the style.
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A floor medallion is generally a centerpiece of flooring design that can be made with various flooring materials, including natural stone, wood, metal, tile, glass or a variety of other materials suitable for flooring. The pattern can be created using various methods such as mosaic, intarsia, and marquetry. Floor medallion using stone intarsia (full thickness puzzle piece assembly) With a mosaic, small pieces of flooring material are put together to develop a pattern. This can be done in a direct, indirect, or double indirect method.
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The adjoining saloon is slightly more restrained in its decoration. However the ornate carving continues into the dado rails, and onto the Corinthian columns supporting the huge Venetian window.. The third principal room was redecorated as a library by Parthenope, Lady Verney in 1860. The plaster rococo ceiling remains in all its splendour.. A staircase of inlaid ivory and marquetry leads to the first floor. The walls of the staircase hall are ornamented with medallions and carved garlands reflecting the theme established in the main reception rooms.
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For Lady Derby's Dressing Room at Derby House, London, they executed a demilune commode to Adam's design of October 1774, delivered in November 1775; it combined strongly contrasting richly engraved satinwood and harewood marquetry in an "Etruscan" taste with painted panels and gilt-bronze mounts; discovery of the commode enabled Hugh Roberts tentatively to identify a series of comparable demilune and serpentine-fronted marquetry commodes to the firm.Hugh Roberts, "The Derby House Commode", The Burlington Magazine 127 No. 986 (May 1985), pp. 275-283. Furnishings were also provided for the Duchess of Devonshire's private apartment at Chatsworth. Ince and Mayhew also provided furnishings for Humphry Sturt at Crichel House, Dorset, where James Wyatt was providing designs for the interiorsJohn Cornforth notes payments to Mayhew (£31, May 1768), Ince (£109, June 1776), Ince and Mayhew (£100, June 1778), Ince (£70, March 1780) (Cornforth, "The Building of Crichel" Architectural History 27, Design and Practice in British Architecture: Studies in Architectural History Presented to Howard Colvin [1984], pp. 268-269). Their furniture for Warren Hastings at Daylesford House, Worcestershire, amounted to £2187Lindsay Boynton, 'The Furniture of Warren Hastings" The Burlington Magazine 112 No. 809, ("British Art in the Eighteenth Century.
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The original Strong Room with its Chubb security door is still intact. The items displayed in the museum collection were donated by the public and they include personal letters, medals, books, diaries, uniforms, souvenirs, relics and banners relating to the various conflicts in which Australians were involved. In 2000 an Abloy anti-theft proof locking system was installed in the exhibition cases. To commemorate the 75th anniversary of the Memorial in 2009, the space was refurbished (for example the original marquetry counter was reused as the visitor's counter) and a new exhibition was installed.
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Wood veneer RCA Dimensia console TV set In woodworking, veneer refers to thin slices of wood and sometimes bark, usually thinner than 3 mm (1/8 inch), that typically are glued onto core panels (typically, wood, particle board or medium-density fiberboard) to produce flat panels such as doors, tops and panels for cabinets, parquet floors and parts of furniture. They are also used in marquetry. Plywood consists of three or more layers of veneer. Normally, each is glued with its grain at right angles to adjacent layers for strength.
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Commode decoration attributed to Charles Cressent (1745-49) The furniture of the Louis XV period (1715-1774) is characterized by curved forms, lightness, comfort and asymmetry; it replaced the more formal, boxlike and massive furniture of the Style Louis XIV. It employed marquetry, using inlays of exotic woods of different colors, as well as ivory and mother of pearl. The style had three distinct periods. During the early years (1715-1730), called the Regency, when the King was too young to rule, furniture followed the massive, geometric Style Louis XIV style.
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The late seventeenth-century marquetry and turned side-table at the side of the bed opens out to reveal a tapestry of ?. Over the door to the Bedroom Corridor is an early example of a "borrow" light window allowing natural light to reach the corridor which was probably formed as part of Lord Preston's alterations. The Bedroom Corridor leads to the Reading Room where visitors can stop for a rest. This room was used in later years as a dressing room for the next door room, the Panelled Bedroom.
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One of their celebrated private commissions was a suite of bedroom furniture for the late Sir Harold Augustus Wernher, 3rd Baronet at Luton Hoo. During the latter half of the 19th century, Holland and Sons also supplied furniture for such notable London clubs as the Reform Club and the Oxford and Cambridge Club. Along with Gillows they shared the commission for the new Palace of Westminster. A pair of Royal Victorian gilt-bronze mounted tulipwood, yewwood, amboyna, harewood, and ivory marquetry center tables sold for US$1,052,500 at Sotheby's in 2011.
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The indoor swimming pool was redesigned to resemble an ancient Roman bath and the front entrance was designed to highlight the enfilade that centres on a gazebo and waterfall in the gardens. A shell room was created with conches and cockle shells over a four-month period. An 18th-century orangery at the end of the drive was restored in the late 1990s. Viscount Linley designed a marquetry screen that surrounds the bed in the master bedroom, and a chest of drawers in which some of John's collection of hundreds of spectacles are kept.
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The veneers used are primarily woods, but may include bone, ivory, turtle-shell (conventionally called "tortoiseshell"), mother-of-pearl, pewter, brass or fine metals. Marquetry using colored straw was a specialty of some European spa resorts from the end of the 18th century. Many exotic woods as well as common European varieties can be employed, from the near-white of boxwoodBoxwood turns golden-tan as it ages. to the near-black of ebony, with veneers that retain stains well, like sycamore, dyed to provide colors not found in nature.
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The monastery church was built in classical orthodox style, though there are many special features inside in addition to the usual sumptuous decor of an Orthodox church. Many of the church's chairs, standing consoles, and other wooden items are decorated with elaborate marquetry, the inserts of which are made of ivory and mother-of-pearl. Next to a depiction of the resurrection of Jesus Christ is a little basket with notes and ball-point pens. Believers who want to make a request to Christ are encouraged to write on the notes.
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In the later period, thanks to the development of the craft of marquetry, the furniture was decorated with different colors and different woods. The most prominent creator of furniture in the later period was André Charles Boulle.Renault and Lazé, Les Styles de l'architecture et du mobilier (2006), Editions Jean-Paul Gisserot, Paris (in French), pg. 54–55. The final period of Louis XIV style, from about 1690 to 1715, is called the period of transition; it was influenced by Hardouin-Mansart and by the King's designer of fetes and ceremonies, Jean Bérain the Elder.
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The club's long history has enabled it to accumulate a unique heritage of artistic works. Many of its rooms are decorated in an Art Nouveau style. Four large windows in the low foyer serve as a testimony to the influence of Wagnerism in Catalan culture at the beginning of the 20th century. In addition to the furniture and decor, the club retains a collection of sculptures, marquetry, enamels, engravings, etchings and paintings by Catalan artists: Alexandre de Riquer, Santiago Rusiñol, Modest Urgell Inglada and Francesc Miralles, among others.
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Each of the position inlays was hand shaped from a mother-of-pearl button. May decided to position them in a personal way: two dots at the 7th and 19th fret and three at the 12th and 24th. The body was made from blockboard (strips of softwood sandwiched between two plywood skins) with oak inserts in the top and bottom layers sourced from an old table. It was covered with mahogany marquetry veneer on the top, bottom and side to give it the appearance of a solid-body guitar.
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Belmond British Pullman consists of Pullman coaches dating from the 1920s to 1950s. They were bought and restored between 1977 and 1982 and modern facilities such as electric heating and toughened glass installed. Original fittings such brass luggage racks were restored and furnishings sympathetic to the period, such as Art deco-style table lamps and armchairs, added. The carriage interiors are lined with wooden panels decorated with marquetry, which were restored by A Dunn and Son, a family firm that dates from 1895 and which created some of the originals.
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The Great Bed of Ware is an extremely large oak four poster bed, carved with marquetry, that was originally housed in the White Hart Inn in Ware, England. Built by Hertfordshire carpenter Jonas Fosbrooke about 1590, the bed measures 3.38m long and 3.26m wide (ten by eleven feet) and can 'reputedly... accommodate at least four couples'. Many of those who have used the bed have carved their names into its posts. Like many objects from that time, the bed is carved with patterns derived from European Renaissance ornament.
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Originally it would have been brightly painted, and traces of these colours can still be seen on the figures on the bed-head. The design of the marquetry panels is derived from the work of Dutch artist Hans Vredeman de Vries (1527–1604) and the panels were probably made by English craftsmen working in London in the late Elizabethan period. The bed-hangings are modern re-creations of fabrics of the period. By the 19th century, the bed had been moved from the White Hart Inn to the Saracen's Head, another Ware inn.
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Alexander Garden Grille The laurel wreath is a common motif in architecture, furniture, and textiles. The laurel wreath is seen carved in the stone and decorative plaster works of Robert Adam, and in Federal, Regency, Directoire, and Beaux-Arts periods of architecture. In decorative arts, especially during the Empire period, the laurel wreath is seen woven in textiles, inlaid in marquetry, and applied to furniture in the form of gilded brass mounts. Alfa Romeo added a laurel wreath to their logo after they won the inaugural Automobile World Championship in 1925 with the P2 racing car.
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An example of "khatam-kari" Delicate and meticulous marquetry, produced since the Safavid period: at this time, khatam was so popular in the court that princes learned this technique at the same level of music or painting. In the 18th and 19th centuries, katahm declined, before being stimulated under the reign of Reza Shah, with the creation of craft schools in Tehran, Isfahan, and Shiraz. "Khatam" means "incrustation", and "Khatam-kari" (), "incrustation work". This craft consists in the production of incrustation patterns (generally star shaped), with thin sticks of wood (ebony, teak, ziziphus, orange, rose), brass (for golden parts), camel bones (white parts).
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Engraving by André Jacob Roubo from encyclopaedia L'Art du Menuisier (1769) showing the construction of a coping saw (here: "marquetry saw") and its usage. A coping saw consists of a thin, hardened steel blade, stretched between the ends of a square, c shaped, springy-iron frame to which a handle is attached. The blade is easily removed from the frame so that the blade can be passed through a drilled hole in the middle of a piece of wood. The frame is then re-attached to the blade and the cut starts from the middle of the piece.
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Example of Boulle Work with tortoiseshell in mottled red, brass and pewter 'Boulle's inlay materials included tortoiseshell, brass, pewter and even animal horn. For contrasting woods, he often used rosewood, ebony, kingwood, and other dense, dark-toned tropical species. Boulle's marquetry technique was to make two contrasting sheets of intricate inlay that were cut from a single sandwich of materials. If the sandwich, or packet, contained two layers that were light and dark, the two finalproducts would be a sheet with a light pattern on a dark background, and a reversed sheet, with a dark pattern on a light background.
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Excerpts of the inventory are briefly interpreted by G. de Bellaigue 1974:864. Most of the refined furniture bearing his stamp is in Louis XV style, employing crossbanded veneers of tropical woods rather than marquetry, and with sensitively-integrated gilt-bronze mounts that betoken close collaboration with the fondeurs-ciseleurs who made them, rather than purchases of stock mounts on the wholesale market.G. be Bellaigue (Bellaigue 1974:863) tentatively identifies three bronziers among the creditors at Joseph's death. About 1745 he married Reine Chicot, of a family of Parisian menuisiers, makers of carved panelling and seat furniture.
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Commode by Jean-Pierre Latz, France, c. 1745, tulip wood, marqetry, breche d'Alep marble, Ormolu - Cincinnati Art Museum The son of a certain Walter Latz, Jean-Pierre was born near Cologne,Bellaigue 1974:876. where he must have received his training, for when he settled in Paris in 1719, where he was received into the cabinetmakers' guild, he was aged twenty-six.Gillian Wilson, Clocks: French eighteenth-century clocks in the J. Paul Getty Museum, 1976:41; a planisphere, formerly with works by Abraham Fortier, in a marquetry case by Latz, and two pairs of corner cabinets are in the Getty Museum collection.
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Marquetry was an old technique which was continued by Nye and Barton to create images such as birds or butterflies. 'Green Oak' as caused by the fungus Chlorociboria aeruginascens. Stickware and half-square mosaic was invented by James Burrows in about 1830: a bunch of wooden sticks of different colours, each having triangular or diamond-shaped cross section, were tightly glued together; in the case of stickware, the resulting block was dried, then turned to form an article such as the base of a pincushion. For half-square mosaic, thin slices were taken from the composite block, and applied to a surface.
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Hikayat Banjar, 6.2: "And that malangbang was adorned with marquetry of gold; its sails were of the finest cloth; the clew- lines, the stays and the sheets were of silk and had tassels of pearls; the rudder was of timbaga suasa (a copper and gold alloy), the oars of iron-wood with bands of gold and the anchor gear of undamascened steel. The ships sailing behind her were also fully dressed. and was a "medium-sized" ship, between the size of jong and kelulus, larger and faster than pilang (pelang).Hikayat Banjar, 1.2: "Then Ampu Djatmaka sailed with the same boat following it.
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Turquoise Mountain is supporting over 200 artisans from Jordan, Syria, Palestine and elsewhere, connecting them to markets and helping to preserve their traditions. The organisation works with artisans in their own workshops, in refugee camps, and in apprenticeship settings, insuring the transmission of heritage skills such as wood inlay, marquetry, carving, copper and brass, textiles, and more. Turquoise Mountain has also run training programmes with hundreds of children and families, engaging displaced groups and local communities in cultural heritage activities. Turquoise Mountain brought the work of Jordanian and Syrian artisans to the Buckingham Palace Summer Opening in 2018.
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More than 5000 stone objects of different kinds were found here, which testify to a regular mass production: besides plates and blocks of marble blanks, plates, pots, marquetry, mortars, pestles, relief plates and statuettes were produced here for everyday use as well as for export. Some of the ground shells had walls of only 2 millimeters in thickness.Friedrich Rakob – Theodor Kraus: Chemtou, Du. The Kunstzeitschrift 3, 1979, p55. The complex was built in the penultimate third of the 2nd century AD, and was not built until the turn of the century with its own water supply system inside.
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The festival lasts for the length of Ramadan and is composed of numerous programmes that are held all over the city. Open-air Iftar, the evening meal with which Muslims end their daily Ramadan fast at sunset, open to Muslims and non-Muslims alike, is organized every evening in the Žuta Tabija fortress that overlooks the city. Exhibitions of Islamic art, including calligraphy, paintings, pottery and marquetry are held in the Gazi Husrev-beg Library which also hosts readings of renowned Islamic poetry. A trade fair of book publishers on Islamic art is another of the numerous festival programmes.
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Wood generally came from Moroccan cedar trees, still highly valued today, which once grew abundantly on mountain slopes across the country but are now partly endangered and limited to forests of the Middle Atlas. Other types of wood were still occasionally used, however. The sculpted wood canopy of the Shrob ou Shouf Fountain in Marrakesh was made of palm wood, for example. The famous Minbar of the Kutubiyya Mosque, which was fabricated in Cordoba (Spain) before being shipped to Marrakesh, was made primarily of cedar wood but its marquetry decoration was enhanced with more exotic woods of different colors such as jujube and African blackwood.
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Estampille or signature mark under top of table by Bernard II van Risamburgh Louis XV furniture was created by the collaboration of complex network of designers and craftsmen. The Menuisier, made the wooden framework of the furniture, which was held together by its structure and wooden chevilles or dowels; the use of nails or glue was forbidden. The Ebenist then covered the frame and native woods with thin pieces of exotic woods, called marquetry. In the reign of Louis XIV ebony was most often used for this covering, but, beginning in 1675-80, more exotic and colorful woods were used, which could give more picturesque effects.
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The house, a magnificent example of Gilded Age architecture, sits on a landscaped site in Northern Baltimore and is on the National Register of Historic Places. The initial design was a more modest Italianate house but, with the Garretts, it became a 48-room mansion with a 23-karat gold plated bathroom, a 30,000-book library, and a theatre painted by famous Russian artist Léon Bakst. The abundant decorative items in the house reflect the Garretts' travels and interests, including a red Asian room displaying Japanese and Chinese items, works by Picasso, Modigliani, and Degas, glass by Tiffany or Dutch marquetry. Today, the university manages the museum and offers guided tours.
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Indeed, there are more than 20 surviving examples built in the UK (mostly in London) of which the large portion date between 1700 and 1800. The most complete British organised-harpsichord is that constructed for the Earl of Wemyss. The harpsichord is typical of the early and ornate work of Jacob Kirckman, with an organ case that matches the marquetry and elaborate figured veneer of the harpsichord. The harpsichord stop levers are laid out in the conventional fashion on either side of the name-board, with the organ stops being placed at either side of the keyboards with a coupling mechanism to the organ at the front of the harpsichord.
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The Bureau du Roi, from 1760; completed by Jean-Henri Riesener Though he had workshops under royal appointment, throughout his career the royal cabinet-maker, ébeniste du Roi, was Gilles Joubert. Oeben worked for the aristocracy sometimes through intermediary marchands-merciers, providing extremely refined case furnitureSeat furniture and other carved work was the province of a separate craft, the menuisiers. with marquetry of flowers that gave way, in the last years of his career, to sober geometrical tiled patterns. Oeben worked extensively for Madame de Pompadour: in the inventory drawn up after his death there were ten items awaiting delivery to Mme de Pompadour.
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As such, the House of Duvelleroy realized the fans given to the wives of foreign sovereigns and dignitaries coming to Paris for official visits, such as the Empress of Russia, the Queen of Sweden, the Queen of Denmark and the Queen of Bulgaria.The Fan Museum, Duvelleroy — King of Fans, Fanmaker to Kings, catalogue de l’exposition du 3 October 95 au 21 January 96 au Fan Museum Greenwich, Londres, 1995 Little by little, couture fans became it-fans: the leaves of such fans were made of tulle, silk gauze, lace or organza and embroidered with sequins; new shapes were born, and feathers worked into marquetry created new motives.
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1 is posted on the Traditional Fine Arts Organization website (). From 1911 to 1913 he produced most of the decorative interior designs – including paintings, stained glass, tiles, and marquetry – for the Peace Palace at The Hague; and while working there he met his future wife, Sophia Helena Luyt (1891–1982), a landscape architect who was responsible for the design of the formal gardens. After their marriage in London on 14 June 1913, they moved to Palo Alto, California, where Rosse was commissioned to design decorations for the Netherlands pavilion at the 1915 Panama-Pacific International Exposition in San Francisco. He received a medal of honor for this commission.
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Besides the various marbles and mosaics, gilt bronze was also used, and the last step of the altar platform is done in marquetry of precious woods and ivory. The Chapel of St. John the Baptist is an Italian (Roman) work of art, complete and uniform in its own specific style. Besides the architectural monument of the chapel itself, other pieces used in worship, with similar high technical and artistic quality, were created: church vestments, ornaments, lacework and books. The Museu de São Roque (Museum of St. Roch) houses the model for the chapel, as well as some examples of the clothing, books and metalwork associated with it.
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Tortoiseshell has been used since ancient times, and the ancient Greek chelys or lyre often used a whole shell to form its body. Inlaid veneers of tortoiseshell were popular with wealthy ancient Romans for furniture, especially couches for dining, and for small items.Transactions, 344 The Periplus of the Erythraean Sea, probably a work of the 1st century AD, distinguishes between shell from different species, with that regarded as the best probably the hawksbill.Casson, 205 André Charles Boulle (1642-1732), cabinetmaker to Louis XIV of France introduced or perfected marquetry combining thin inlays of tortoiseshell backed with metal, with woods and metal, a style still called after him.
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Early practitioners made money both by selling their art, and also selling patterns used to create intarsia. In France Georges Vriz proposed a new method which revolutionise the marquetry. Contrary to all the other techniques, based on the generally accepted idea of a decoration "flat" made of wood or other matters, George VRIZ brings an important innovation: Thanks to the superposition of the layers of wood, and with the possibility offered by plating to create "transparencies", these means make it possible to bring thus sometimes the light, the color, a veil, a depth. These made impossible to create with a traditional method are made using judicious but controlled sandpaperings.
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Sources note by Dell 1992:196 notes 13-15. A few of the more magnificent pedigree-pieces are among the worlds mobiliary treasures. There are, for instance, two famous armoires, which fetched 12,075 at the Hamilton Palace sale; the marquetry commodes, enriched with bronze mounts, formerly in the Bibliothèque Mazarine; various cabinets and commodes and tables in the Louvre, the Musée de Cluny and the Mobilier National; the marriage coffers of the dauphin which were in the San Donato collection. There are several fine authenticated pieces in the Wallace Collection at Hertford House, together with others consummately imitated, probably in the Louis Seize period.
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The technique is known in English as pietra dura, for the "hardstones" used: onyx, jasper, cornelian, lapis lazuli and colored marbles. In Florence, the Chapel of the Medici at San Lorenzo is completely covered in a colored marble facing using this demanding jig-sawn technique. Techniques of wood marquetry were developed in Antwerp and other Flemish centers of luxury cabinet-making during the early 16th century. The craft was imported full-blown to France after the mid-seventeenth century, to create furniture of unprecedented luxury being made at the royal manufactory of the Gobelins, charged with providing furnishings to decorate Versailles and the other royal residences of Louis XIV.
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The church was built of red-brick, a material long out of use in London, patterned with bands of black brick, the first use of polychrome brick in the city, with bands of stone on the spire. The interior was even more richly decorated, with marble and tile marquetry. In 1849, just before Butterfield designed the church, John Ruskin had published his Seven Lamps of Architecture, in which he had urged the study of Italian Gothic and the use of polychromy. Many contemporaries perceived All Saints' as Italian in character, though in fact it combines fourteenth century English details, with a German-style spire.
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Also in 1850 he designed, without polychromy, St Matthias' in Stoke Newington, with a bold gable-roofed tower. At St Bartholomew's, Yealmpton in the same year, Butterfield used a considerable amount of marquetry work for the interior, and built striped piers, using two colours of marble.Hitchcock 1977, pages 247–8 Blue plaque, 42 Bedford Square, London At Oxford, Butterfield designed Keble College, in a style radically divergent from the University's existing traditions of Gothic architecture, its walls boldly striped with various colours of brick. Intended for clerical students, it was largely built in 1868–70, on a fairly domestic scale, with a more monumental chapel of 1873–6.
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Virginal, probably English, late 17th century The harpsichord was important in England during the Renaissance for the large group of major composers who wrote for it, but apparently many of the instruments of the time were Italian imports. Harpsichord building in England only achieved great distinction in the 18th century with the work of two immigrant makers, Jacob Kirckman (from Alsace) and Burkat Shudi (from Switzerland). The harpsichords by these builders have been described by the famous builder-scholar Frank Hubbard as "possibly the culmination of the harpsichord maker's art".Hubbard (1966, 162) Visually, the instruments are considered very impressive, boasting a great deal of veneering and marquetry.
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Jacques-Philippe Carel (working c1723 — c1760) was a Parisian cabinet-maker (ébéniste), who was admitted to the cabinetmakers' guild in 1723 and specialized in rococo case pieces of high quality veneered in end-grain (bois de bout) floral marquetry. Two almost identical commodes made c 1755 at the Frick Collection, New York, are part of an unusually large group of commodes of almost identical shape, variously veneered but bearing the same mounts, apparently commissioned from numerous cabinetmakers by a single marchand- mercier, who originated the design and retained a monopoly of the mounts.The group was identified by Theodore Dell, The Frick Collection. V. Furniture 1992:270-281.
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The collection of decorative and applied arts includes a relatively large number of pieces, such as light fixtures, rugs, small statuettes, fireplace pediments, mirrors and decorative objects in general. There is a large collection of tableware, including porcelain (Sèvres, Limoges, Meissen) and crystal glassware (Baccarat, Bohemia). The furniture collection is mainly composed by Italian and French pieces, ranging from 16th to 19th century, including tables, cabinets and other items. The most important works in the collection, however, are those of Portuguese-Brazilian origin, produced with Jacaranda, being the most noticeable example a Portuguese games table desk with several ivory marquetry covers, commissioned by the Portuguese royalty.
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Hakone has a number of art museums, including the Hakone Open-Air Museum and Pola Museum of Art. Major events include the annual JLPGA CAT Ladies Golf tournament and the Hakone Ekiden, a long distance collegiate foot race, held at the New Year, which runs from Tokyo to Hakone and back over two days, partly in commemoration of the couriers who ran the Tōkaidō road. One famous hotel in Hakone is the historic Fujiya Hotel in Miyanoshita, which was patronized by noted literary figures, politicians and foreign dignitaries in the Meiji and Taishō and early Shōwa periods. A noted local handicraft is a kind of marquetry called Yosegi.
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The surfaces are decorated through a mix of marquetry and inlaid sculpted pieces. The large triangular faces of the minbar on either side are covered in an elaborate and creative motif centered around eight-pointed stars, from which decorative bands with ivory inlay then interweave and repeat the same pattern across the rest of the surface. The spaces between these bands form other geometric shapes which are filled with panels of deeply-carved arabesques, made from different coloured woods (boxwood, jujube, and blackwood). There is a wide band of Quranic inscriptions in Kufic script on blackwood and bone running along the top edge of the balustrades.
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Decoration: oval frames of marquetry flowers on American cherrywood. Vera ; Vera : First class kitchen car, 20 seats, built 1932 by Metropolitan Cammell Carriage and Wagon Co. Ltd for the Brighton Belle. Always paired with Audrey as a two-car unit. Directly hit in an air raid at Victoria Station in 1940. Roof extensively repaired, rejoined Brighton Belle in 1947. Used by royalty to review the Fleet in 1953 and for Prince Charles's and Princess Anne's first trip on an electric train in 1954. Brighton Belle service withdrawn in 1972. Preserved as a garden house in Suffolk. Acquired in 1985 and joined the British Pullman train in 1990.
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Furniture was mainly made out of wood, often walnut or willow, and was usually rich in style, with many inlays of ivory, gold, stone, marble or other precious materials, often decorated with marquetry. Much furniture was also relatively grotesque (a French variation of the Italian word grottesco), often creating sculpted odd-looking gargoyles and monsters to make these items seem more amusing. Caryatids became popular at the time, and were made out of marble (the rich people used them as legs to their dining tables). Chairs such as the sgabello were considered symbols of wealth, and the wealthiest families had them made very sumptuous and grand.
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These floor boards were lifted, patched, repaired and relaid as part of building works during 2009. Offices for the TB Soldiers and Limbless Soldiers Association The northern side of the ANZAC Memorial was originally designated for offices for the TB Soldiers Association and for the Limbless Soldiers Association with parquetry floors, marquetry counters and maple panelled timber partitions. The association's rooms are accessed by the public from the front vestibule via a tiled corridor with maple-framed clerestory windows glazed with obscured glass. The offices as built did not follow the original plan. The original partitions in the TB Soldiers Association were removed in 1986 and substituted with aluminium-framed timber panel and glass partitions.
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A cylinder desk bearing in the marquetry the arms of the comte d'Artois, and made in 1781-82,Francis J. B. Watson notes that the arms are encircled by the Order of the Golden Fleece, granted to the king's brother in 1781, but omits the Order of Saint Louis which he received in 1782 (Watson, Louis XVI Furniture 1960:7, illus. fig. 69). is in the Royal Collection, Windsor Castle.Noted by comte François de Salverte Les ébénistes du XVIIIe siècle: leurs œuvres et leurs marques, (reprinted 1962) s.v. "Teuné,François-Gaspard" A chaise en gondole from Fontainebleau, one of a suite delivered in 1811, bears an inked label "Teuné", doubtless a member of his family.
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The precious lacquer cabinets, the chandeliers and candelabra, the tables and cabinets in marquetry, the columns and vases in porphyry, jasper and choice marbles, the porcelains of China and Japan were nearly all mounted in bronze by him. More than fifty of these pieces bore Gouthière's signature. The duc d'Aumont's cabinet represented the high-water mark of the chasers art, and the great prices which were paid for Gouthière's work at this sale are the most conclusive criterion of the value set upon his achievement in his own day. Thus Marie Antoinette paid 12,000 livres for a red jasper bowl or br~~le-parfums mounted by him, which was then already famous.
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There are designs for clock cases veneered with Boulle marquetry of tortoiseshell and brass; a single signed drawing for a piece of furniture, a bureau plat in the manner of André Charles Boulle in red chalk, survives, in the Cooper-Hewitt Museum, New York; it is illustrated in Dell 1992: fig. 2 p.209; on the basis of the drawing, the design of the famous pair of commodes delivered for the Grand Trianon by Boulle in 1708 and 1709 (illustrated at André Charles Boulle) has been tentatively connected to Oppenordt by M.P. Eidelberg, "Watteau, Lancret, and the fountains of Oppenort", Burlington Magazine 110 (August 1968:448, fig. 23), noted by Dell 1992: 236 note 2.
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The use of double drums and corner squinches was commonly used to make the transition from square rooms to round domes. Decorations in Mamluk buildings concentrated on the most conspicuous areas of buildings: minarets, portals, windows, on the outside, and mihrab, qiblah wall, and floor on the inside. Decorations at the time may be subdivided into structural decoration (found outside the buildings and incorporate the medium of construction itself such as ablaq walls, plain or zigzag moldings, fishscale motifs, joggled lintels or voussoirs, inscriptions, and muqarnas) and applied decoration (found inside the buildings and include the use of marble marquetry, stucco, and glass mosaic). Mosques evenly spread with major concentration of madrasas around the Mansouri Great Mosque.
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The École Boulle was founded in 1886 and is named after the cabinetmaker André-Charles Boulle, who is generally considered to be the preeminent artist in the field of marquetry or inlay during the reign of Louis XIV (1643-1715), the Sun King. André-Charles Boulle's art is today known as "Boulle Work". The school trains students from the Applied Arts Baccalauréat (French national secondary-school diploma required to pursue university studies for 18-year-old students) to the DSAA (4-year degree in applied arts after the Baccalauréat, equivalent to a master's degree). There are three different DSAA (Diplôme Supérieur d'Arts Appliqués), relating to three different departments: Spatial Design, Communication Design and Product Design.
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Model of the Block House made by a French prisoner in 1801. Photographed in 1913. At the outbreak of the war, the Transport Board wrote that "the prisoners in all the depots in the country are at full liberty to exercise their industry within the prisons, in manufacturing and selling any articles they may think proper excepting those which would affect the Revenue in opposition to the Laws, obscene toys and drawings, or articles made either from their clothing or the prison stores". Doll house at Peterborough Museum Many prisoners at Norman Cross made artefacts such as toys, model ships and dominoes sets from carved wood or animal bone, and straw marquetry.
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It is another exceptional work of marquetry and woodcarving, decorated with geometric compositions, inlaid materials, and arabesque reliefs. Aside from the embellishments of the central nave, the rest of the mosque is architecturally quite uniform, but there are some minor irregularities in the floor plan. For example, the arches in the western half of the prayer hall are shorter than those of the eastern half, and some of the transverse aisles are slightly wider than others. These anomalies have not been fully explained but they appear to have been present since the early centuries of the mosque; they may be due to early reconstructions or alterations which have gone unrecorded in historical chronicles.
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'Most of the furniture in the Royal Collection made by, or attributed to, Boulle was acquired by George IV (1762–1830). A Francophile, the king furnished the royal palaces with large quantities of fashionable French furniture from the 1780s until his death in 1830. The lavish style and use of exotic materials accorded well with his extravagant taste. However, due to the volume of eighteenth- and nineteenth-century imitations, as well as the fact that Boulle did not sign his work, it can be difficult to definitively credit pieces to the maker. For this reason, many of the Boulle-marquetry pieces in the Royal Collection are recorded as ‘attributed to André-Charles Boulle’.
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Born in September 1888 in Swabia, Germany, Oskar Schlemmer was the youngest of six children. His parents, Carl Leonhard Schlemmer and Mina Neuhaus, both died around 1900 and the young Oskar lived with his sister and learned at an early age to provide for himself. By 1903 he was completely independent and supporting himself as an apprentice in an inlay workshop, moving on to another apprenticeship in marquetry from 1905 to 1909. Oskar Schlemmer studied at the Kunstgewerbeschule (School of Applied Arts) in Stuttgart and won a scholarship to attend the Akademie der Bildenden Künste (Stuttgart Academy of Fine Art), where he studied under the tutelage of landscape painters Christian Landenberger and Friedrich von Keller starting in 1906.
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Individual figures were re-engraved for Gentleman's Magazine and found their way into Neoclassical marquetry medallions on London- made furniture and other minor decorative arts. Among other elements in the dispersed collections, the Atlas--of 324 volumes-- in which Stosch kept his drawings, among other things the entire cache of drawings left by the Baroque architect Borromini, which Stosch acquired about 1730, before his withdrawal to Florence (ref. Connors), eventually went to Vienna. His considerable library, strong in "history, politics, diplomacy, conclaves, embassies and relazioni from distant parts" (Connors), was purchased in 1759 for the Vatican Library where it is housed with the then recently purchased Ottoboni library (and bear the shelfmarks Ottob.lat. 2565-3100).
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The compartments, all filled with fine rinceaux executed in clipped boxwood and colored gravels, were set in wide gravel walks.The design, with its semi- circular exedra at the top, provided a model for a standard type of marquetry mirror frame that was produced in Amsterdam and London, c. 1660–1680 (Percy Macquoid, Age of Walnut 1906) The design, likely executed sometime between 1615 and 1629,Hazlehurst 1966, p. 56, suggests that the parterre could have been executed anytime after 11 April 1615, when the first stone for the palace was set, and that the garden had probably reached its definitive form by 1629, when the palace was almost finished (see p. 50).
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Madame Jules Pams by Jacques-Émile Blanche In 1888 Jules Pams married Jeanne Bardou, one of the heiresses of the JOB cigarette paper company founded by Jean Bardou. Her father, Pierre Bardou, son of the founder, had bought several properties on the rue Saint-Sauveur (rue E. Zola) between 1852 and 1872 and built a town house on the site illuminated by a magnificent glass roof. Pams and his wife lived in this house, and after the death of Pierre Bardou in 1892 employed the architect and designer Léopold Carlier (1839–1922) to transform it. The renovation in 1894–97 added gold, marble and onyx throughout, with marquetry furniture and paintings by Paul Gervais.
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The minbar is smaller than its famous predecessor (measuring 2.87 meters high, 2.25 meters long, and 76 centimeters wide) but also displays remarkable artistic quality. The minbar is made of wood (including ebony and other expensive woods), is decorated via a mix of marquetry and inlaid carved decoration, just like its famous predecessor. The main decorative pattern along its major surfaces on either side is centered around eight-pointed stars, from which bands of decorated with ivory and bone inlay then interweave and repeat the same pattern across the rest of the surface. The spaces between these bands form other geometric shapes which are filled with wood panels of intricately carved arabesques.
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The marquetry is carved from > sycamore, boxwood, holly, ebony, boise satiné, casuarina wood and a burr > wood. The Campan marble top reveals areas of Rouge, Rosé and Vert. Bellaigue > again discusses the context around the commission of this commode, and > refers to "the change in status" of Madame Elisabeth, the youngest sister of > Louis XVI, when she is "formerly introduced to her new Household" on 17 May > 1778. As a result, "she was installed in a new apartment on the first floor > of the Aile du Midi overlooking the Orangerie and the Parterre du Midi" and > furnished by Riesener "which was of a quality befitting a Daughter of France > with an establishment of her own".
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He executed church repair work (Chalford, near Stroud, was re-ordered by him), and designs for memorials, inscriptions, headstones, and lettering; also for metalwork, as Gimson had done, including sconces, chimney furniture and gates, and architectural leadwork. He turned his hand to the woodcarving of details such as finials and newels for his houses. A number of furniture designs are strikingly successful, from the fine piano-case with marquetry inlay, made by Waals, which he designed for Mrs Clegg of Wormington Grange, to the sturdy child's chair with back splats showing humorous carvings of village characters which he made and painted himself, as well as a number of toys, for his daughters.
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His son Jacques III Thuret (1669–1738), was appointed clockmaker to Louis XIV of France in 1694. A perquisite of the royal appointment was the use of workshops in the Galeries du Louvre, where since the time of Henri IV, the outstanding artists, designers and craftsmen were granted workshop spaces, fostering cross- fertilisation among the arts. As one consequence there are numerous clocks by the Thuret dynasty in cases of rich tortoiseshell and brass marquetry designed by André Charles Boulle; one such remarkable clock by Jacques Thuret or his father is at the Metropolitan Museum of Art.Metropolitan Museum of Art: Clock with pedestal, Pendule sur gaine Another example, the Barometer Clock, is at the Frick Collection.
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The wood of this species has been much sought after since it was first introduced to the European and subsequently the world market, hundreds of years ago. Dalbergia nigra became popular in high grade furniture, such as that produced during the Regency period of late 18th and early 19th centuries—and more recently by Scandinavian makers, who produced furniture in the Danish Modern style. This species has also been used in various musical instruments, decorative wood-ware, knife handles and turnery. Much of the most highly figured material was sliced into veneers, which decorated items such as domestic and office furniture, wall panels, and piano cases; it was also a favourite of marquetry artists.
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In the meantime, through the medium of engravings the grotesque mode of surface ornament passed into the European artistic repertory of the 16th century, from Spain to Poland. A classic suite was that attributed to Enea Vico, published in 1540-41 under an evocative explanatory title, Leviores et extemporaneae picturae quas grotteschas vulgo vocant, "Light and extemporaneous pictures that are vulgarly called grotesques". Later Mannerist versions, especially in engraving, tended to lose that initial lightness and be much more densely filled than the airy well-spaced style used by the Romans and Raphael. Soon grottesche appeared in marquetry (fine woodwork), in maiolica produced above all at Urbino from the late 1520s, then in book illustration and in other decorative uses.
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Williams acquired the portraits at a sale of property from Belvedere House, Westmeath County, Ireland. Williams said: "The thought of owning nine works by America's first panelist and first woman artist kept me awake the rest of the night." The nine portraits were sold together and are estimated at $100–125,000. The study, where the shooting of Danny Hansford took place, is at the front left of the house, the side bounded by West Gordon Street to the south."A return trip to Savannah in honor of 25th anniversary of ‘Midnight in the Garden of Good and Evil’" - Palm Beach Daily News, March 23, 2019 A Louis XV ormolu-mounted Boulle marquetry bracket clock with conforming bracket hung on the wall of the study.
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Britannica Online Cobb was well known for his haughty disposition which did not always endear him to his customers, so it was no surprise that the Royal Warrant was awarded to two of their employees William France and John Bradburne instead of Cobb himself. Some of Cobb's work is in the Royal Collection at Buckingham Palace. Following Vile's retirement in 1764, Cobb carried on in business with the assistance of his foreman, Samuel Reynolds (fl 1751–85). He made furniture to very high standards and earned a reputation for exquisite marquetry: Hester Thrale, the writer and friend of Dr Johnson, compared the inlaid floors at Sceaux, France, to ‘the most high prized Cabinet which Mr Cobb can produce to captivate the Eyes of his Customers’.
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Nouveau Rat Trap by H. C. Westermann, 1965, birch plywood, rosewood, metal, rubber bumpers, Honolulu Museum of Art H. C. Westermann (Horace Clifford "Cliff" Westermann) (December 11, 1922 – November 3, 1981) was a highly influential and important American sculptor and printmaker whose art constituted a scathing commentary on militarism and materialism. His sculptures frequently incorporated traditional carpentry and marquetry techniques. From the late 1950s until his death in 1981, Westermann worked with a number of materials and formal devices to address a range of personal, literary, artistic, and pop-cultural references. The artist's sculptural oeuvre is distinguished by its intricate craftsmanship, in which wood, metal, glass, and other materials are laboriously hand-tooled, and by its ability to convey an offbeat, often humorous, individualistic sensibility.
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That minbar established a prestigious artistic tradition, originating from formerly Umayyad Al-Andalus, which was imitated and emulated in subsequent periods, though subsequent minbars varied in their exact form and in the choice of the decorative methods. Like the Kutubiyya minbar, the Bou Inania Minbar, made of wood (including ebony and other expensive woods), is decorated via a mix of marquetry and inlaid carved decoration. The main decorative pattern along its major surfaces on either side is centered around eight-pointed stars, from which bands of decorated with ivory inlay then interweave and repeat the same pattern across the rest of the surface. The spaces between these bands form other geometric shapes which are filled with wood panels of intricately carved arabesques.
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Millennium Biltmore Hotel Lobby The architectural firm Schultze & Weaver designed the Biltmore's exterior in a synthesis of the Spanish-Italian Renaissance Revival, Mediterranean Revival, and Beaux Arts styles, meant as an homage to the Castilian heritage of Los Angeles. The "Biltmore Angel" is heavily incorporated into the design—as a symbol of the city as well as the Biltmore itself. With a thick steel and concrete frame, the structure takes up half a city block and rises over 11 stories. The interiors of the Biltmore Hotel are decorated with: frescos and murals; carved marble fountains and columns; massive wood-beamed ceilings; travertine and oak paneled walls; lead crystal chandeliers; cast bronze stairwells and doorways; fine artisan marquetry and mill work; and heavily embroidered imported tapestries and draperies.
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The minbar (pulpit) of the mosque, kept next to the mihrab, follows in the artistic style and tradition of previous Almohad minbars and of the Almoravid-era Minbar of the Kutubiyya Mosque. Its form seems to be inspired in particular by the minbar of the Kasbah Mosque (a mosque which was also repaired and restored by Sultan Abdallah al-Ghalib). It is made of a combination of different-coloured woods including cedar and ebony, and its decoration mixes marquetry, ivory or bone inlay, and panels with sculpted reliefs to form both geometric and plant motifs. Scholars have argued that while the quality of its craftsmanship does not live to its predecessors, it does show originality and a continued effort to adopt new forms into the decorative schema.
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Gillows made in 1900 from a century old measured drawing Interest in the Adam style was revived in the late Victorian and Edwardian eras, initiated by a spectacular marquetry cabinet by Wright & Mansfield exhibited at the Paris Exposition of 1867. Reproduction furniture in the general "Regency Revival" style, to which the Adam revival was closely linked, was very popular with the expanding middle classes from circa 1880 to 1920. They were attracted to the light and elegant designs, as a contrast to the heavier and more cluttered interiors which had dominated their homes during the second half of the 19th century. The revival competed with the Arts and Crafts style, which continued to be popular in Britain up to the 1930s.
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Its mounts bear Pompadour's armorial bearing, a tower, and R.V.L.C.'s stamp shows that it was one of the pieces in the workshop that was left unfinished at the time of Oeben's death, completed and stamped by Roger Vandercruse. Oeben's distinguished marquetry appears at its most ambitious on the famous, minutely-documented roll-top Bureau du Roi, made for Louis XV, which was begun in 1760 and remained unfinished at his death; it was finished and delivered in 1769, signed by Jean Henri Riesener, but it was Oeben who devised its intricate mechanisms. The known work of Oeben possesses genuine grace and beauty; as craftsmanship it is of the first rank, and it is typically French in its fluent, idiomatic character. His furniture is found in all the great national collections of decorative arts.
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Although the diary explicitly notes that Pepys was paying him handsomely, it is probable that Simpson was working for Pepys instead of working on the interiors of warships. In the 17th century, a "joiner" built furniture out of frame-and- panel construction, a refined version of the techniques that were also used to frame up doors and for the panelling of rooms, while a "cabinet-maker" built furniture with flush surfaces suitable for veneers or marquetry, assembled using dovetails. The two trades were quite distinct, and for the fitting out of Royal Navy ships the services of a joiner would have been much more appropriate. Pepys' diary records that he used Simpson's services on several occasions to work on improvements for his office and his home in Seething Lane, London.
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The 'Pleasure Wherry' evolved as railways took on the cargo business that had supported the traders.Wherries: General History - Wherry Yacht Charter Charitable Trust Enterprising owners realised that conversion to carry passengers was a way to replace the lost income, especially as the Broads were at the same time being discovered as a destination for tourism and recreation. Early examples simply featured hammocks and a stove in the hold of a trader, but boatbuilders soon began to make craft specifically for pleasure sailing and holidays, using the same hull and rig design but incorporating living quarters instead of a cargo hold. Some were fitted out to a very high standard indeed; for example, Hathor, built for the Colman family (of mustard fame), features highly detailed marquetry in Egyptian designs below decks.
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The salient fact is that we only have André-Charles Boulle's word that he was born in Paris in 1642. Cabinet - Oak veneered with Macassar and Gabon ebony, ebonized fruitwood, burl wood, and marquetry of tortoiseshell and brass; gilt bronze André-Charles Boulle's Protestant family environment was a rich and artistic milieu totally consistent with the genius of the Art he was to produce in later years. His father, Jean Boulle (ca 1616-?),Alain Garric, "Essai de Genealogie sur André-Charles Boulle par Alain Garric" was cabinetmaker to the King, had been naturalised French in 1676 and lived in the Louvre, by Royal Decree. His grandfather, Pierre Boulle (ca 1595-1649), was naturalised French in 1675, had been cabinetmaker to Louis XIII and had also lived in the Louvre.
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Two tripod tea or coffee tables, in première and contre-partie, one in the Royal Collection, the other in the J. Paul Getty Museum,(Getty Museum) Pierre Golle: tripod tea or coffee table have been attributed to Golle by Gillian Wilson.Gillian Wilson, "Acquisitions made by the Department of Decorative Arts in 1982, J. Paul Getty Museum Journal 11 (1983:13-66) p. His son, Corneille Golle, emigrated after the Revocation of the Edict of Nantes (1685) and by 1689 was working with the London cabinetmaker Gerrit Jensen, supplying marquetry furniture in the latest Parisian taste to the court of William III and Mary II. There was some direct exchange with Jensen, for at his death Pierre Golle owed 400 livres to "Sieur Janson, ébéniste à Londres, for English glue.
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Older wood carving is typically relief or pierced work on flat objects for architectural use, such as screens, doors, roofs, beams and friezes. An important exception are the complex muqarnas and mocárabe designs giving roofs and other architectural elements a stalactite-like appearance. These are often in wood, sometimes painted on the wood but often plastered over before painting; the examples at the Alhambra in Granada, Spain are among the best known. Traditional Islamic furniture, except for chests, tended to be covered with cushions, with cupboards rather than cabinets for storage, but there are some pieces, including a low round (strictly twelve-sided) table of about 1560 from the Ottoman court, with marquetry inlays in light wood, and a single huge ceramic tile or plaque on the tabletop.
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82, a mechanical table with a case of drawers rising on a spring, ca 1755, stamped by Latz or his widow using his maindron and boldly restamped in a drawer by Denis Genty, apparently acting as a dealer; no. 88, a writing table (bureau plat) ca 1745, veneered with ebony and richly mounted with gilt-bronzes recognized on stamped pieces by Latz, some of those related mounts being stamped with the crowned c, providing the approximate date. In some cases, carcases by Latz were veneered with marquetry in the shop of Jean-François Oeben,For example the two pairs of corner cabinets (encoignures) in the J. Paul Getty Museum (Gillian Wilson, et al. Summary Catalogue of European decorative arts in the J. Paul Getty Museum, nos 36, 37).
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Certainly the demands of the marquetry technique ensured that Sueffert became an expert in the properties of New Zealand timber and it is likely he made detailed studies of native woods to maximise the impact of his intricate designs. His reputation as a cabinetmaker of international distinction was cemented when, in 1862, Sueffert received a lot of publicity for his work when he made a writing cabinet using New Zealand woods, 'consisting of 30,000 pieces, valued at 300 guineas, which was purchased and presented by the citizens of Auckland to her Majesty the Queen Victoria. The cabinet is still in the Royal Collection at Buckingham Palace. He also produced a series of up to nine writing cabinets also known as Louis XV escritoire or bonheur du jour cabinets.
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The technique of intarsia inlays sections of wood (at times with contrasting ivory or bone, or mother- of-pearl) within the solid stone matrix of floors and walls or of table tops and other furniture; by contrast marquetry assembles a pattern out of veneers glued upon the carcass. It is thought that the word 'intarsia' is derived from the Latin word 'interserere' which means "to insert". When Egypt came under Arab rule in the seventh century, indigenous arts of intarsia and wood inlay, which lent themselves to non-representational decors and tiling patterns, spread throughout the maghreb.MS Dimand, "An Egypto-Arabic Panel with Mosaic Decoration" The Metropolitan Museum of Art Bulletin, 33.3 (March 1938:78-79) The technique of intarsia was already perfected in Islamic North Africa before it was introduced into Christian Europe through Sicily and Andalusia.
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Andalusian, in "Majo" dress The Museum of Arts and Traditions of Sevilla has collected representative samples of a great deal of the history of Andalusian dress, including examples of such notable types of hat as the sombrero cordobés, sombrero calañés, sombrero de catite and the pavero, as well as the traje corto and traje de flamenca. Andalusia has a great artisan tradition in tile, leather (see Shell cordovan), weaving (especially of the heavy jarapa cloth), marquetry, and ceramics (especially in Jaén, Granada, and Almería), lace (especially Granada and Huelva), embroidery (in Andévalo), ironwork, woodworking, and basketry in wicker, many of these traditions a heritage of the long period of Muslim rule. Andalusia is also known for its dogs, particularly the Andalusian Hound, which was originally bred in the region. Dogs, not just andalusian hounds, are very popular in the region.
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French commode, by Gilles Joubert, circa 1735, made of oak and walnut, veneered with tulipwood, ebony, holly, other woods, gilt bronze and imitation marble, in the Museum of Fine Arts (Boston, United States) A British commode, circa 1772, marquetry of various woods, bronze and gilt-bronze mounts, overall: 95.9 × 145.1 × 51.9 cm, in the Metropolitan Museum of Art (New York City) A commode is any of many pieces of furniture. The Oxford English Dictionary has multiple meanings of "commode". The first relevant definition reads: "A piece of furniture with drawers and shelves; in the bedroom, a sort of elaborate chest of drawers (so in French); in the drawing room, a large (and generally old-fashioned) kind of chiffonier." The drawing room is itself a term for a formal reception room, and a chiffonier is, in this sense, a small sideboard dating from the early 19th century.
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Pellerin Sr. thus eventually became free to follow his true passion, which was the study of ancient (principally Greek) coins. Tradition has it that he encouraged the sailors of the French Mediterranean Fleet to buy up such ancient coins as they found on offer throughout their range, which he guaranteed to buy back from them at double the purchase price. In this way he gradually accumulated what became the largest and most valuable collection of ancient Greek coins ever to be held in private hands to that date, amounting to 33,500 coins which he ultimately sold to Louis XVI in 1776 for £300,000 . This notable collection, housed in massive original marquetry and ormolu cases in the Louis Quinze style, still forms a nucleus of the collection of the Bibliothèque Nationale de France and may be viewed in the old buildings on the Rue de Richelieu in Paris to this day.
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He always retained a certain German weightiness to his designs."A Germanic taste for plastic, three-dimensional forms", according to Sherman Lee (in The Cleveland Museum of Art 1973); When the practice of stamping the carcasses of furniture was introduced in Paris, Latz was already in full career. Nevertheless, his style is individual enough that a range of unstamped case furniture, writing tables and especially clock cases, his specialty,A cartel clock case with its matching wall bracket at the Art Institute of Chicago (acc. no. 1975.172 ab) was attributed to Latz and dated c 1735-40 by Henry Hawley; the Cleveland Museum of Art also has a longcase clock (acc. no. 49.200) veneered with tortoiseshell and brass marquetry, stamped by Latz and dated 1744 but completed after 1745, as not all its mounts are stamped with the crowned c (Hawley 1970; Bellaigue 1974).
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Marie- Antoinette is also known for her taste for fine things, and her commissions from famous craftsmen, such as Jean-Henri Riesener, suggest more about her enduring legacy as a woman of taste and patronage. For instance, a writing table attributed to Riesener, now located at Waddesdon Manor, bears witness to Marie-Antoinette's desire to escape the oppressive formality of court life, when she decided to move the table from the Queen's boudoir de la Meridienne at Versailles to her humble interior, the Petit Trianon. Her favourite objects filled her small, private chateau and reveal aspects of Marie-Antoinette's character that have been obscured by satirical political prints, such as those in Les Tableaux de la Révolution. Jean-Henri Riesener’s small writing table made for Marie-Antoinette – between 1780 and 1785, shows some of the queen's favorite flowers represented in the marquetry – including irises, lilacs, lilies, poppies, cornflower, and violets – species that she planted in the gardens of the Petit Trianon.
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Bonheur du jour mounted with Sevres plaques, stamped by Martin Carlin, commissioned by Poirier, the plaques dated 1766 (Musée Nissim de Camondo, Paris) The marchand-mercier Simon-Philippe Poirier had the idea of mounting bonheurs du jour with specially-made plaques of Sèvres porcelain that he commissioned and for which he had a monopoly; the earliest Sèvres-mounted bonheurs du jour are datable from the marks under their plaques to 1766-67 (illus.).Svend Eriksen, Early Neo-Classicism in France (London: Faber & Faber) 1974, plate 111, bonheur du jour stamped by Martin Carlin in the Musée Nissim de Camondo, Paris; another with plaques dated for 1766 is in the James A. de Rothschild collection, Waddesdon Manor. Other choice examples of the time are inlaid with marquetry or panels of Oriental lacquer, banded with exotic woods, with gilt-bronze mounts. By the mid-1770s the bonheur du jour was being made in London, where it was simply called a "lady's writing- desk".
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The inventory of the > furnishings of the crown mentions in the year 1695: "[n °] 1615 - An > upholstery [sic] of red and yellow satin velvet, embroidered and silver > lined, listed before No. 783, Which has been upgraded and furnished to serve > Monseigneur le Dauphin at Meudon, now consisting of a full bed, four > armchairs, eight folding seats, two panes, two doors, six sheets of screens, > a business chair and two tapestries". In addition, Monseigneur retrieved for his room the small ebony desk encrusted with copper and tortoiseshell which he had bought at Godron, which had a plateau supported by eight bronze caryatids, with, in the middle of the marquetry, one cupid on an escarpolette. In addition to this desk, the room included a table and two pedestals, the tablets of which were decorated with Chinese grotesques with figures and birds. Essai de restitution de la chambre of Monseigneur, in the "Grand Appartement" on the ground floor of the east wing of the château-vieux in Meudon.
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The house as constructed by the Morrisons is austerely neo-classical on the exterior, with a thirteen-bay façade broken by a portico with giant ionic columns. The Entrance Hall, enlivened with a richly-patterned Roman mosaic brought back from Italy in 1822, leads into the Grand Saloon in the centre of the house. Notable features of the interior include the richness of the stuccowork and the variety of scagliola deployed while the decoration is enhanced by the exotic marquetry of the floors. Design sources liberally plundered by the Morrisons include Percier and Fontaine’s Palais, Maisons et autres Edificies Modernes (1798) and Iberian Moorish designs collected by James Cavanagh- Murphy. The inlaid floor of the Rotonda is based on the Lion Court of the Alhambra Palace, Granada, while the ceiling of the Stair Hall is influenced by Coleshill, Berkshire, attributed to Inigo Jones, and included in Isaac Ware’s A Complete Body of Architecture (1756).
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The Mulsanne Mulliner Driving Specification is a special version of the Mulsanne with 21-inch light aluminium alloy wheels with race‑derived titanium fasteners, bright-finished wheels in painted and polished finishes, 265/40 ZR21 tyres, sweeping wing vents in cast polished stainless steel, Drive Dynamics Control system with 'Sport' setting, leather hide on the front and rear seats and door casings features an intricate Diamond Quilting pattern with indented leather headlining, cool-metal interior door handles with 'knurled' or 'coined' surface finish, 'Organ Stop' air ventilation controls and gear lever, leather gear lever with Baseball-style cross stitch, accelerator and brake pedals finished in drilled alloy, choice of over 100 exterior colours, unbleached premium quality veneers (with two marquetry options), choice of 22 leather hides. The Mulsanne Mulliner Driving Specification was unveiled at the 2012 Geneva Motor Show, followed by the 2012 New York International Auto Show, 2012 Goodwood Festival of Speed, and 2012 Los Angeles Auto Show.
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He designed furniture, mantelpieces, ceilings, chandeliers, doors and mural ornament with equal felicity, and as an artist in plaster work in low relief he was unapproached in his day. He delighted in urns and sphinxes and interlaced gryphons, in amorini with bows and torches, in trophies of musical instruments and martial weapons, and in flowering arabesques which were always graceful if sometimes rather thin. The centre panels of his walls and ceilings were often occupied by classical and pastoral subjects painted by Cipriani, Angelica Kauffman or her husband Antonio Zucchi, and sometimes by himself. These nymphs and amorini, with their disengaged and riant air and classic grace, were not infrequently used as copies for painting upon that satinwood furniture of the last quarter of the 18th century which has never been surpassed for dainty elegance, and for the popularity of which Pergolesi was in large measure responsible; they were even reproduced in marquetry.
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Güell's first task for Gaudí, that same year, was the design of the furniture for the pantheon chapel of the Palacio de Sobrellano in Comillas, which was then being constructed by Joan Martorell, Gaudí's teacher, at the request of the Marquis of Comillas, Güell's father in law. Gaudí designed a chair, a bench and a prayer stool: the chair was upholstered with velvet, finished with two eagles and the Marquis's coat of arms; the bench stands out with the motif of a dragon, designed by Llorenç Matamala; the prayer stool is decorated with plants. Also in 1878 he drew up the plans for a theatre in the former town of Sant Gervasi de Cassoles (now a district of Barcelona); Gaudí did not take part in the construction of the theatre, which no longer exists. The following year he designed the furniture and counter for the Gibert Pharmacy, with marquetry of Arab influence.
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In 1615–1920 the chapel was significantly enlarged to a hall construction with galleries and chapels, and windows in the Late Gothic style were added. In 1620 the new church, a mixture of Gothic and Renaissance styles, was erected by members of the Protestant sect Bohemian Brethren, was consecrated on July 14 of that year, and, after Battle of White Mountain, was (together with the adjoined St. Francis Hospital, Na Františku) entrusted as a Christmas gift by Emperor Ferdinand II to the Brothers Hospitallers of Saint John of God, who to this day own the complex. About a century later Sts. Simon and Jude was remodelled in the High Baroque style, apparent to this day in its interior decorations—altars, statues, the pulpit, tromp d’oeil murals and marquetry, and in the loft was installed a pipe organ by Andreas Wambetsser of north Bohemia, which in combination with the sanctuary's acoustics would attract W. A. Mozart and J. Haydn to perform there.
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West Cumberland Times, 23 July 1960 Although dealers attended from all over the country and from abroad the majority of the items went to local people. The highest price paid was £300 for an inlaid mahogany Hepplewhite break front bookcase, the top enclosed by two central and two side astragal glass doors. Other interesting prices are:- £10, a pair of Georgian salt cellars with spoons; £32, a Georgian lidded tankard; £60, a Georgian coffee pot and spirit lamp; £50, a Georgian snuff box with musical box fitting; £85, a Georgian three bottle inkstand; £22, a Georgian oval fluted teapot; £27, a Georgian oval matching tea caddy; £100, six Georgian shell pattern butter dishes; £92, a pair of Adam design Georgian design sauce boats. Furniture:- £52, a pair of Chinese Chippendale mahogany chairs; £70, a longcase clock in seaweed marquetry and walnut; £50, a Regency mahogany sideboard; £240, a rosewood writing table; £75, antique walnut chest of drawers; £80, pair of Hepplewhite mahogany armchairs; £140, antique rosewood sofa table; £180 antique mahogany Sheraton card table; £125, Georgian partners mahogany desk.
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This involved not only embellishing some of the arches with new forms but also adding a series of highly elaborate cupola ceilings composed in muqarnas (honeycomb or stalactite-like) sculpting and further decorated with intricate reliefs of arabesques and Kufic letters. Lastly, a new minbar (pulpit), in similar style and of similar artistic provenance as the famous (and slightly earlier) minbar of the Koutoubia Mosque, was completed and installed in 1144. Made of wood in an elaborate work of marquetry, decorated with inlaid materials and intricately carved arabesque reliefs, it marked another highly accomplished work in a style that was emulated for later Moroccan minbars Elsewhere, many of the mosque's main entrances were given doors made of wood overlaid with ornate bronze fittings, which today count among the oldest surviving bronze artworks in Moroccan/Andalusian architecture. Another interesting element added to the mosque was a small secondary oratory, known as the Jama' al-Gnaiz ("Funeral Mosque" or "Mosque of the Dead"), which was separated from the main prayer hall and dedicated to providing funerary rites for the deceased before their burial.
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Roussel's stamp, with its fleur-de-lis between the P and ROUSSEL, is often seen,Illustrated in James Parker, et al., Decorative Art from the Samuel H. Kress Collection at the Metropolitan Museum of Art, 1964:86 fig. 69, on a tall rectangular drop- front secretary desk, ca 1775-80, with panels of architectural marquetry derived from engravings and gilt-bronze moldings and mounts of generally current design. but such quantities of goods made by others, both new and old, passed through the shop, and so much cabinetwork from Roussel's workshop was sold and stamped by other marchands-ébénistes,For example, Roussel worked for Pierre II Migeon (Watson 1966:557). that it is not easy to recognize any consistent sequence of characteristic styles, characteristic constructions,Geoffrey de Bellaigue discusses a fitted drawer that does not function in the piece it has been incorporated into, a mechanical table stamped by Roussel at Waddesdon Manor (Bellaigue, The James A. de Rothschild Collection at Waddesdon Manor: II. Furniture, Clocks and Gilt Bronze, 1974:492-97, cat. no. 101).
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Kirkman harpsichord in Williamsburg Charles Burney wrote a good deal about Jacob Kirkman, and Fanny Burney described him as 'the first harpsichord maker of the times'; he and Burkat Shudi dominated the production of English harpsichords in the second half of the 18th century, and many of their instruments survive today, though more than twice as many Kirkmans remain, leading Frank Hubbard to describe them as being 'almost mass- produced'. Like Shudi, Kirkman built three models of harpsichord: single manual instruments with disposition 8' 8' or 8' 8' 4' and double manual instruments with disposition 8' 8' 4' and lute stop. The inner construction of Kirkman harpsichords was based on the Ruckers-type 17th-century Flemish harpsichord, though a distinctive outward appearance had been developed by English makers by the 1720s, featuring veneering inside and outside, detailed inlay and marquetry in the keywell. Key dip was stopped at the by a rail at the far end, which has led to English harpsichords having a reputation for the worst touch of any school of harpsichord building.
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David G. Marr and A. C. Milner. Singapore: Institute of Southeast Asian Studies, 1986. Quote from the Chronicle of Banjar: > He sailed in full state on board the yacht (original: malangbang) called > Prabajaksa, availing himself of the insignia of royalty left by his father > Ampu Jatmaka: two vertical streamers adorned with gold, two tasseled staves > adorned with gold, four pennons decorated with gold paint, a braided > streamer looking like a centipede embroidered with gold thread and twenty > pikes with tufts of red feathers adorned with spangles of gold; his lances > had biring blades inlaid with gold, their shafts where decorated with dark- > red and gold paint, not to mention two state sunshades decorated with gold > paint, two state lances shaped like frangipani buds, inlaid with gold and > with their shafts banded with gold. The yacht was adorned with marquetry of > gold; its sails were of the finest cloth; the clew-lines, the stays and the > sheets were of silk and had tassels of pearls ; the rudder was of timbaga > suasa (a copper and gold alloy), the oars of iron-wood with bands of gold > and the anchor gear of undamascened steel.
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Anton Seuffert (1815 – 6 August 1887) was born in Bohemia. He was a cabinetmaker with a particular expertise in the art of marquetry. Anton Seuffert, also known as Anton Seufert, learned his craft from his father, Anton Seufert senior, who was also a cabinetmaker. Seuffert worked in Vienna for the Austrian furniture manufacturing company Leistler, rising to the position of foreman. He was sent by his firm to England in order to assemble furniture for the royal places and also to set up the firm's large display of luxury wooden furniture for the Great Exhibition of 1851 in London. He stayed in England for several years and married Anna Piltz in 1855 or 1856. He emigrated to New Zealand from London on the ship Caduceus with his wife and two children, Josefieni, and William, and arrived in Auckland on 19 May 1859 (surname was spelt Senfick/Senfert). The family settled in Auckland and increased by a further five children. Juliena was born in September 1860, Augusta Amelia in August 1862, Albert in October 1864, Charles Antonis in March 1867 and the youngest Adolf Herman in October 1869.
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