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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).
The start of the practice dates from before the seventh century AD. The technique of intarsia inlays sections of wood (at times with contrasting ivory or bone, or mother-of-pearl) within the solid wood matrix of floors and walls or of tabletops and other furniture; by contrast marquetry assembles a pattern out of veneers glued upon the carcass.
Detail of an Iranian jewel box decorated by khatam. Khātam (Persian: خاتم) 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.
Inlay (ivory, red sandalwood, copper) on wooden casket. In a wood matrix, inlays commonly use wood veneers, but other materials like shells, mother-of-pearl, horn or ivory may also be used. Pietre dure, or coloured stones inlaid in white or black marbles, and inlays of precious metals in a base metal matrix, are other forms of inlay. Master ...
Brass Inlay is on the right and left. Tortoiseshell was used in thin sliced inlays onto wood and is today an important reference with regard to Boulle work. Despite tortoiseshell's rarity and cost, its durability, organic warmth and mottled-red aesthetics made it particularly apt for exotic wood such as ebony.
Pietra dura developed from the ancient Roman opus sectile, which at least in terms of surviving examples, was architectural, used on floors and walls, with both geometric and figurative designs. In the Middle Ages cosmatesque floors and small columns, etc. on tombs and altars continued to use inlays of different colours in geometric patterns.
Boulle work [1] (also known as buhl work) is a type of rich marquetry [2] process or inlay perfected by the French cabinetmaker André-Charles Boulle (1642–1732). [3] It involves veneering furniture with tortoiseshell inlaid primarily with brass and pewter in elaborate designs, often incorporating arabesques.
Shaped rods and slivers of wood were first carefully glued together, then cut into many thin slices of identical pictorial veneer with a fine saw. Elaborately striped and feathered bandings for framing were pre-formed in a similar fashion. There is a collection of Tunbridge ware in the Tunbridge Wells Museum and Art Gallery in Tunbridge Wells. [1]