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Jean-Claude DEVEAUX
MARQUETRIES
the technique of marquetry
It
all begins with a drawing which will serve as a model-pattern for the
marquetry to be realised. This is a very important stage because the
"esthetic" success of the marquetry will entirely depend on its
quality.
This technique for the realisation of a marquetry can be resumed in few words, even if many intermediate operations (some very long and not detailed here) are necessary....
The basic material is veneer (more or less 1mm thick) which can be bought in specialized firms. These veneers are obtained by cutting or wood-peeling boles of different native or exotic species of trees. Each process gives for the same wood a different texture and aspect.
The model-pattern ("carton") as for stained glass or tapestry, determines the different surfaces of the drawing to be cut later. For each different colour and a correct reproduction, each small outlined surface is numbered, and according to these two imperatives, a natural or stained veneer is chosen.
There is an infinite variety of species of wood which gives an infinite range of colours and textures for veneers that marquetry makers used for their creations since the 15th century. However, as bright yellows or reds or deep greens and blues don't naturally exist, staining the veneers was invented to enable marquetry makers to make use of a more complete scale of colours ("palette de couleurs"). Contrarily to painting, staining doesn't crust the wood's grain and vein.
At all times stained veneers were used by marquetry makers but unfortunately the ancient dyes were not stable enough and old marquetries with bright colours are exceedingly rare nowadays..
The cutting of each piece of veneer according to its previously outlined numbered surface is executed with a very fine jig-saw or cutter. As a gigantic puzzle the initial drawing will then come out by the gathering of all these elements.
For this cutting operation, J-Cl.Deveaux refuses the modern electric saws and, for his personal pleasure, prefers "his" saw-horse ("chevalet de marqueteur" - see above photograph) a beautiful copy of an antique saw. His gigantic puzzles are all hand cut as to, he says, "keep an intimate touch with the material".
The gathering and gluing of all these elements are then done (on the reverse) on a temporary support before being glued again and pressed on the final and permanent support (pannel or furniture).
After a short stay under press to secure and fix the final gluing, a good pumicing or sandpapering will get rid of all the imperfections and achieve a smooth finishing of the surface.
Varnishing will then let all the shimmering colours appear and also insure their permanent protection.
No doubt that this very concise summary passes over many intermediate operations essential for the realisation and the finishing of a good marquetry.
J-Cl.Deveaux's workshop, with its materials, technical equipments and way of working, looks a lot like some of the 18th century workshops as represented in ancient engravings. As to respect a certain continuity with the elder masters, he makes his best to apply their good old tried technical tricks, and likes to be surrounded with old tools.However he makes two concessions to modernity in the process of making : Glue and Varnish. The only purpose of this decision is to produce marquetries less fragile than the ones realised by his predecessors : modern glues contrarily to traditional ones, are less sensitive to hygrometric variations and as for modern varnishes, they turn less easily to yellow, are more resistant and of a greater and secure confort in their utilization for contemporary furniture bound to be daily manipulated.
If you are interested by marquetry making, you have to know that, contrarily to other methods relating to crafts, there are no hidden or secret "tricks" jealously kept by professionals or "initiates" ( see J-Cl Deveaux's training courses) .
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