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MAROUETRY
COURS-.E
JACK METCALFE f6 JOHN APPS
A complete course on the art of marquetry for
those wanting a full introduction to the craft.
Illustrated throughout with 300 photographs,
including step-by-steps for the techniques.
Working through the book, the reader learns
how to use tools and materials by carrying out
basic exercises aimed at developing techniques.
This leads to the main content of the book:
exercises with step-by-step illustrations and
instructions on the ten designs considered
to be the 'classical marquetry standards',
including the compass rose, floral design,
shells, the chess board and the Louis cube.
The final section of the book has four
furniture projects incorporating marquetry:
the oval gallery tray, pier table, jewellery box,
and fire screen.
Some of the latest and innovative marquetry
techniques are included, such as the 'template
method' for making the fans; the method of
pressing veneers in t\''10 stages; and chevron
parquetr y design.
\X1ritt en by two expert teachers, this is an ideal
book for students of furniture making and
furniture restoration as well as hobbyists.
18.99
US$19.95
CAN$29.95
THE
MARQUETRY CC)UH.SE
To Uncle Tommy (late Tommy Limmer)
and
to Dad, my mentor and a good friend (late Stanley Apps),
we dedicate this book
THE
MARQUETRY COURSE
JACK METCALFE &JOHN Art-s
B T BATSFORD
First published 2003
Text, diagrams and photographs (except Chapter 6)
Jack Metcalfe and John Apps
The right ofJack Metcalfe andJohn Apps to be identified
as Authors of this work has been asserted by them in
accordance with the Copyright, Designs and Patents Act
19R8.
Volume B T Batsford Ltd
ISBN 0 7134 RWiO 6
A CIP catalogue record lor this book is available from the
British I .ibrary,
All rights reserved. No part of this publication may be
reproduced in any form or by any means without
permission from the publisher.
Printed in Singapore
for the publishers
B T Batsford
64 Brewery Road
London N7 9NT
England
www.batsford.corn
A member of ChrysalifBOokspic
Distributed in the United States and Canada by Sterling
Publishing Co., 387 Park Avenue South, New York, 'NY
10016, USA
ACKNOWLEDGEMENTS
What started out as a small idea involving two kccn
woodworkers, developed into a major undertaking affecting
a host of skilful and dedicated people and organisations.
Without their support, professional advice, technical input
and most of all-their presence, this book would not 'have
emerged.
We would likc to thank the City & Guild of London Institute
for providing the need for this book, members of the Leeds
Marquetry Group, studcnts and staff of the York College and
the Leeds College of Art & Design; Stephen Hall for
producing the professional furniture plans/drawings and 3D-
CAD illustrations; Jcfhey Glyn (English master) whose 'red
pen' kept our writings legible; Lorraine Trickett for the hours
of typing; Ron Hudson-photography technician for the
pictures in Chapter 5;James Lomax-Curator to The
Chippendale Society and Temple Newsam House; David
Stockdale-Registrar and Collections Manager at the The
Harewood House Trust; Adam Bowett-wood and furniture
historian; ALPI Reconstructed real-wood vcneers; Ian
Frazer-Conservator, and Kitty Ross-Curator lor the Leeds
Museums and Galleries; Brian Day for allowing his late
grandfather's work to be shown; Giuseppe Rocco (Sorrento)
for his 'mtarsia' work, which is a constant inspiration; Gordon
Wight (furniture maker) for permission to use his fire screen
design; David Hawkins, furniture restorer; plus the following
students and hobbyists who kindly allowed us to photograph
their furniture: Tony Thorpe, Alan Rollinson, Tomoko Hasua,
Margaret Capitano, Charles Kerr and Jenny Grout.
Last, but by no means least, to Gloria and Chrysa, our wives,
for their constant support and encouragement-thank you.
H.\PT ER ONE
_ - h TRODC CT ION TO
_ L\RQUETRY 6
".3OU TIllS BOOK 6
W TO USE THI S BOOK 7
LS ....ND EQUll' \ IENT 8
\ IIR<2n : m y FOR P IIH.2I'ETRY
.. \Lw(2I 'E lRY
I S, 1.\])1:,\( ; KIT
_HERIAU; 15
_ ... . .\ I HIF SI\ 'ES : \ BR.\ SI\ "ES
I' I IES
O" I TREE TO VE:'IJEER 22
xr, l .oc.s IXTO \'EXEER Cl'!{J..
,( II OR FL1\11': VEXEER CROll X Ci ' l
j \ RY ( : t"l' \RTEH ( :l "'j'
e>: 1I I,YIX( : TIlE 'FlU: ' SJJ) E
I (J II X(; LL\n:s VEXEER S,\ \ IPI.ES
RR,/ BI ' RI. S
rrCIl -"I QL'ES 26
( , I i n: KX IFE \\' IX!H)II' \IEI'II O])
! h ' FRETS,I\I' IX(;' 'I'm: PIll
_ . i! O]) : \ FEll ' S,\I\'IX( ; TIPs'
I " I LI IH:\<; II AREI \' OO]) I'EXI\'ORJ;.
Cf L-\PTER TWO
TLT ORI AI.'i 42
HI STORI CAL BACKGROUKD 42
.. - "[ " m U NG M .. '.;S BY THE
TD IPLAT E METHOD 43
, llRLI I. -"0, I : Coxvrx CORXER F Ix'
:- , <l Ri.11. N o , 2: Fl n :-Fu'n: Co xc.w
, ' J-f{ hx '1'1'TORLII. -"0 , ,J:
_ Fu ' II': 0",11. FIx
CONTENTS
TIlE WINDOW METHOD 57
T noRLII. :-.io , -1: CO\IP,I SS R osE'
T I' TORLI I. :\0 , ;,: A S IX( ;I}: ROSE
TIlE FRETSAW METIIOD ss
T l 'TORLl1. "0, ii: SI WI. 1. TI 'TORLII. :\0,
7: P.\TER \
PARQUETRY 74
T I "LOR I.II. :\0, 8: C Il ESS Bo,w])
T I 'TORLII. :\0, 9: l .otrs Ci ' BE '
T I ' TORLI I. :\0, J0: B,I SKET \\' LI" E -
RI'STIC Ii'TORL II. N o, I I : RISKET
\\'E, ln : - I', IXEI.I.I:\( ; T I "I ORLI I. N o , J2:
C m :"Rox
CJ IAPTJm, TJ-IlUm
MOlJKTING, PRESSING
AND BORDERIKG 91
MOUNTING 91
COI ' XTF,RB,I L IX<:IX( : \ ' EXEE R' S TRIX<:I:\C,
B,IX IlIX(; ,I X]) BOR]) ERI X(; STRIX( ;IX(;
B.\ :\ llIX( ; BOl{ ])E RI:\(; :\RR.I X<:DiFXTS
TWO-STAGE PRESSING 94
BORDERING STYLES 95
' l k I Dl TIO :\ AI. ' Ix-I.I :\ I:' BORIlER BOOK-
\1,IT<:I IEIl CROSSB,I XllI X(; <'LI'.IRTERE])
CORXERS .I X]) ( :ROSS Il.I:\IHX(; R \])lI's
CROSSIl,IXIlI X( ;
CHAJ'TER 1"0 UR
SANDING
AND FIKISHING 102
CLEANIKG 103
RE\IOI'AI. OF \ 'EX EER TII'I': Ci': I.I .1'l .OSE
S\XDlX(; S E,II.ER
SANDING 104
.\lETlIOIl I: RI"])O\ I OJ<lm:\l ,
S,IX Il]:\<; \IETllO]) 2: H .IXIl S,IXIl IX(;
FIKISHIKG 106
1_I ( :(21' FRS
NOTES ON SANDIKG 1\...'\ID
FINISrnXG THE PROJECTS 108
0",11. C,II.I.ERY TR. IY' PI ER T II\ I.F
,/I :m :I.I .I':RY Box' FIRF SCREEX
CHAPTER FIVE
PROJECTS 111
OVAL GALLERY TRAY II I
( :EX'I REI' IECE
PIER TABLE I 18
\'I,:'FFRIX(; ,I XI) \I.\RQI 'FTRY
JEWELLERY BOX 131
. .
Coxxn ' t: I'IX<; 'n u: Box' Box 1.11>
Illx<:I':s' lx I ER:\ ,I L COXSTRI 'CI'IO X Tm:
T iny' .\1.IKJX<; rur EJ<; JJT DI\'ISIO:\S
\'F:\EERI Xt: ,IX \) DECOR.\1'1:\<: 'III F Box
FIRE SCREEK 143
COXSTIU ' ( T IOX D I\Il,:x SIO :\ S Till',
\ IAR(21' ET RY DESI(;XS
CHAPTER SIX
FURNITURE-MAKER'S
GALLERY 148
ApPENDIX 161
TEMPLATES FOR DESIGNS IK
CHAPTER 2
DRAWIKGS FOR PROJECTS IN
CHAPTER !i
GLOSSARY 174
SUPPLIERS AND REFERENCES
]75
INDEX 176
CHAPTER ONE
AN INTRODUCTION
TO MARQUETRY
ABOUT THIS BOOK
T
his book is designed to meet the needs of the
hobbyist or student of marquetry, as well as
the professional furniture maker or restorer.
Previous experience in the craft is not necessary
since you will be guided through each technique
with the help of step-by-step illustrations, showing
actual 'work in progress ' pictures for each design.
In this way, we hope to provide full tuition of the
various techniques involved in this ancient craft.
Marquetry can be described as the art and craft
of making pictures and decorating furniture using
exotic wood veneers. Occasionally, materials such
as brass, ivory or mother-of-pearl can be used.
Marquetry usually requires designs to be built up .
in veneer form (slices of wood cut from a log, thin
enough to be cut with a craft. knife), with the
/
6
whole assembly glued and 'overlaid' onto a
baseboard. Alternatively, marquetry designs can
be assembled and then 'inlaid'. The latter requires
the baseboard to be chased or routed out to a
depth suitable to accommodate the inlaid design.
Our combined experience of teaching
marquetry and furnitnrc making spans over thirty
years. 'Ne particularly admire the beautiful
marquetry designs the master of
the lSth century included in their work, and it is
for this reason that we: have decided to give
designs of this period the most detailed
treatment, including fans, shells, paterae, husk
swags and floral work, as well as a range of
parquetry patterns.
The marquetry techniques detailed in this book
provide the nucleus for the City and
Guilds' qualification in 'marquetry and
veneering' , which in turn contributes to
the Progression Award course
syllabus in furniture making
and restoration. The marquetry
topics included in the
Progression Awards stemmed from
marquetry courses taught over a
five-year period in two furniture-
making workshops at colleges in
Leeds and York. Consequently,
students wishing to include
marquetry in their course
studies should find in the
following pages the
relevant theoretical
references to the craft,
accompanied by a range of
practical exercises in the form of tutorials.
ABOl 'T TIllS BOOK e::
HOW TO USE THIS BOOK
T
he book's primary aim is to teach marquetry
to students, furniture makers and restorers,
.HI hobbyists who arc new to th e craft, With that
mind, we have arranged the contents in a
pr ogressive, educational order. Chapter I takes
ou through the necessary but all-important steps
o lear n the basic techniques. The cha pter also
"xplains, in detail, how to construc.t a fe\\' simple
'ct necessaryj igs, as well as listing and advising on
'ht" pros and cons of materials such as adhesives,
"hrasive papers, polishes and, of course, the most
import ant materials for this craft-the veneers.
Reading, understanding and completing chapter
provides a fou ndation success. Aft er
mastering t he essen tial cutt ing exercises, you will
quickly become familiar with the scalpel . allowing
\OU to advance through the first few designs
included in the marqne t ry t.utoria Is given in
chapter 2.
En :r)' design is dearl y illustrated in colour and
expla ined in detail, mak ing const ruction a
rewarding experience. The designs arc in
order of the level of skill required, always with the
assumption that yo u arc sla rti ng o nt as a
beginner. Our experi cnce has shown that the
demands o r each tutorial arc achievable without
previous experience .
Chapter :1 offers the di scerning cabinetmaker
an opportunit y to make practical and challenging
lurniuuc items., Full step-by-step pl an s, pi ctures
and instruc tions lead yon through eac h stage of
construction. The furniuire and marquetry decor
arc a mi x of period and modern taste. A gallery
tray and pier /;J hie take yon back to that in id-l Hth
century nco-classical period of English furniture
making, while the jewellery bo x and Iires crccn
provide more rec ent construction lines. Each of
tho four projects provides the ult im.uc ch allenge
of mix ing furniture making and wood-surface
decoration , with eye-catching resul ts to grace any
home.
Practising marquetry and making Iurn iture is
an enjoyable experience. We trust you will gain
immense sati sfaction building th e patterns and
proj ect s contained in this book.
If you do, your successes will be our rewards.
7
<:3..) CI-L\PTER O:-\F I 1\:-.: ]:-\TROllLiCTIOi\ TO :V/.\RQl i ETRY
TOOLS AND EQUIPMENT
T
h.e tools and equipment needed. in marquetry
arc few and inexpensive. In fact, there is only
one item whi ch costs a substantial amount-a
press-and even that outlay can be greatly reduced
bv making your own . Bot h home-made and
commercial arc detailed in this section,
togetherwi th the remaining off-the-shellitems that
form the marqnotour' s kit. A list of suppliers of tools
and equipment is given ncar the end of the book.
FOR MARQUETRY
Cutting Mat A self-healing cutting mat offers the
perfect surfac e lor cutting veneer. The so-ca lled
1\3 size is ideal for marquetry work (150 x :100
111111/18 x J2 in) . Mats arc available in sizes A:\ 1\3,
1\2 and AI (the largest) . Where large-sized veneers
are to be worked on, it's preferable to tape two A:i
mats together rather than purchase the larger 1\2
hecause two 1\:1 mats placed end-on to each other
are considerably longer than one 1\2.
Steel Rule A 305-mm (l2-in) steel rule is essenti al
when cutting st raight lines on veneers. To prevent
the rule slipping, glne a strip of sandpaper (about
240 grit) to one side of the rule. Usc contact
adhesive to glue the paper in place.
Geometry Tools 1\ geometry set consisting of a
small school compass and protractor, plus a :\0",
1!J
G
a nd 50" angle set. The lauer need not hI:
expensive items. The plastic sets found in most
stationery stores are perfectly adequate .
Scalpels and Blades Figme 1 shows, from left to
right, a Swann Molton 'retractable' with a 1\0
101\; a -l-jaw chuck craft knife with 10/\ blade: an
Ernie lves craft knife with No I I blade; and a
Swann Morton No :I handle with lOA blade.
Sharpening Stone A small craft stone used to
regrind the back of scalpel blades. An essential
tool item. See Techniques, p. 27.
FigWf I: Basi: mll rqlletry tools
Circle Cutter For cutting perfect circle s III
venelTS I would recommend the heavy-duty steel
circle cuucr. Because both compass poi nt and
cutter attachments clamp onto any st eel stTaight
edge, the radius it can cut is limitless. Sec ."lll!J!Jlien
and References, p. 175.
Steel Straight Edge A suitable 1 metre (39 in)
steel straight edge will be needed for preparing
ven eers when making some or th e furniture
projects.
Steel 900 Square Tr y to obtain one that has two
arms, wh ich measure at least 305 x 155 nun (12 x
18 in )-the larger the better, It will be usee!
extensi vel y in ve n e e r in g work, for cutting
material square.
Domestic Iron A domestic iron is an essential item
of equipment lor veneering and wo rk .
Cutting Gauge Sallie as a marking gauge, but
instead of a pin to mark th e wood, the cuttjng
gange has a small blade, wh ich cuts through the
veneer, Used fo r maki ng a uniform border
around assembl ed marquetry work, it will be'
needed to com p le te some or the furn iture
proj ects, sec step 2, p. 94 .
TOOLS .vxn EQUII''.IE:\T CI.')
Palm Sander A palm sander preferably with a
vncuum attachment is an essential item. A '/, sheet
is the ideal size ('/1 r Ai, or lOLl x 1'19 mm /
x (j in). The sander shown in Figure 1. page II) is
- th sheet size . Note the plastic skirt SlllTollJJ<ling
ihc sanding area. ;\ vacuum hose plugged in at
the back provides dust-free sanding.
FOR PARQUETRY
Parquetry, the technique of building geollletric
pa tt er ns, requires dedicated equipment to ensure
accuracy of construction. A simple yet effective
means of Clluing- repeat angles is achieved after
making a small jig. This and other tools arc
detailed in the following section.
Sliding Bevel Iisc this for setting the angles on the
mitre box.
Tenon Saw C\S well as the padsaw, the tenon saw is
required fi)r sawing the first angle on the mitre box.
Mitre Box A miniature mitre box, which Gnl be
simplv made 1.0 accommodate the ultra thin gents
padsaw, is detailed ill Figllre
/o,}fltniallllPPdn!: softtoooil 75 x 25 x 225 mm (3 x 1 x
9 in) with plant! SUlj(/CI'S to both sides: 2 strips of
hnrdtooot! beading I) x /2 x 225 mm (1, x '/J x 9 in) .
The; must bejJl'lpctly./la! find sljl/{ur.
Gents Padsaw This ultra-thin blade, 0.20 mm
I .OOS in) thick, :>2 teeth per inch C! 'Pl) , 12.7 mm
('/, in) cutting depth, will saw veneers without
leaving ragged edges. Used in conjunction with
the mitre hox (see Figure 2), this padsaw becomes
an essential item for making the parquetry
designs detailed in this hook. See .<';1I1J1J!iers on
page 17S.
Secure the first beading along one eage of the
sofiwood base using PVA gllle and fix one panel
pill in each end. Set the second beading SO mm
(2 in) away from the ' first, making sure the
distance is accurately maintained along its length
(cut two wood blocks :")0 rnrn /2 in wide to usc as
spacers) and glue and pin into place. The mitre
box is now ready for use on a n umber of
parquetry
Safety To protect yom hand, place the mitre box
into a bench vice before sawing cuts.
Using a GOO g-colJlctry square, set the sliding
bevel to GO. Recheck it for accuracy after
tightcning the bcve! np-accuracy is paramoullt.
230mm
(9 in)
2Smm (I in)
thick
End view
p 0
IOmm ('!s in) high
hardwood beading
7Smm (3 in) x 2Smm
(I in) softwood
SOmm (2 in) gapbetween
beadings
Front view
(3 in)
2: Parqurtr: mitre box and S(/W hglur 3: ;\litre box dimensions
9
c.:. ...:; CHAPTER O :\E I A:\ I :\TROll['CTIO:\ TO ]'v!:\ RQlJ ET RY
Place the sliding bevel alongsidc the firs t beading,
and using th e te non or dovet ail saw with the blade
resting against the sliding bevel , saw th rough both
beadings and abour z mm ( in) into th e mitre
box base. The reason for using th e tenon or
dovetail saw for the first cut is that the gents
padsaw blade is not thi ck enough to allow a venee r
to be inserted in to the cut to form the ' gate ' ,
Place a strip of 'vcnecr into th e cut made with th e
tenon saw so that it protrudes above the two raised
beadings. This veneer strip forms the ' gate'. To
make ih miue cu t, you need to know th e
distance between the first and second cuts. In th e
case of the Louis Cube design (see p. 78) this is
determined by the size yo u have cut the veneer
strips. Using one of the strips, place it alongside the
' gate' , Using the padsaw, p lace the saw alongside
the veneer strip and place the sliding bevel up to
the saw blade, trapping the blad e between the
veneer and th e bevel. Keeping th e saw blade
vertical, make a cut through both hardwood
bead ings, cutti ng all the way through to the base
of the box. The box is now ready to cut GO"
diamonds Irom your pre-prepared veneer strip>
FRETSAWING
The hand fretsaw and it s blades, together with a
fretsaw table, form the basic requirements for
constructing the designs give n in t his book.
Alternatively, an electrically dri ven Irets.uv can be
used if you have exper ience of thi s type of
machine. Bo th the hand-held version and the
Hegner power fretsaws a re used for t he exercises
carried out in chapter 2.
Hand Fretsaw Consists of a If-shaped neck, called
the throat, with winged clamps for holding the
blade at each end. A simple handle provides a
means to support the tool during use. The th roat
distance, measured from the bl ade to the turn of
the neck, determines t he size of veneer that can
be cut. The fr etsaw shown in Figure 1 has a throat
depth of I 0 mm (just over I::' in).
Blades Sizes are numbered by a strange method.
If you remember that a number 6 is the thi ckest
10
l'igIlJl' 4: Iltuulj iy!tSflWshowinglength0/ throat
blade and a number fi/O is the thinnest, th en the
following table list s the range : G, S, 1, g, ::' , I , 0,
2/0, g/ O, 1/0, 5/0, 6/0. For marquetry purposes,
only th e 2/0 to 6/0 range is needed. Most
students advance to cutting with 6/0 bl ades afte r
onl y <I lew practice sessions with t he thicker
blades. The gap made by a 6/0 blade is
undetectable when glue is appli ed to the
asscrnbled j oin ts.
Type of Blade Eq ua lly important <IS the srze .
Fretsaw blades fall into two categories, wood
cutting and metal cutting. We have tried and
tested both types over the last ten years and it
might surprise you to know that the teeth on the
wood-cutting bl ades are too coarse for marquetry
Sw: TIIIClC,ESS (MM) WmTII T EETH PER l"lC:H
li/O O. IH 0,% 32
--- - - -
:i/O 0.2 (H 2H
I/ O 0.22 (l.'!' l 2G.;'
:0;0 0,21 OAH 2:\,;'
2! O O.2li 0_,,2 22
0 O.2R O,,,R 20.;;
0.'\ O.li3 19
2 031 0.7 17,,,
--- -
3 O.:Hi 0,74- IG
O.3R O.H
1"
:> 0.-1 OX) 1<1
G (HI 0.94 13,,,
5: Swiss [ietsaio blades
wor k. The metal-cutting blades, however,
prod uce a fine, smooth cut wh ile giving better
th a n blade life. The blades our students
have used exclusively for t he past five yea rs are
\,"iss made, of hardened a nd tempered steel ,
su itable for sawing metal and other hard
ma te r ials, and for use on line ve n ee r s and
ma rquetr y (manufacturers' claim which we full y
en dorse ) . The dimensions of the Razor brand
\,iss piercing saw blades mack by Zona are given
in figure S. Fo r stockist details see Suppliers' list
I n page 17S.
\ l aking a Fretsaw Table Us ing 12 mm (if" in) :VIDF
o r plywood , construct the table in Figure ti .
The table is d esigned to be held in a
woodworking vice. The first th ing that becomes
appar en t when usin g the table is .that th e table
op. with its cut-outs, becomes invisible to the user
because the vcncerfs) being sawn cover lip the
-:ming area. Therefore, keeping the saw blade
with in t he cut-out area is achieved by feel. The
cut-outs consist of a 2S mm (J in) diameter hole
or cu ttin g out large pieces of a pattern, whi le a
bandsaw cut made eit h e r sid/ of this hole allows
tinv pieces to be cut without them fal ling through
he ta ble and onto th e workshop floor. Los ing small
pieces after cutting th em out is very frustrating:
To learn how to load and use a fretsaw and th e
table, tu rn to the Techn iques sec tion of this chapter
pp. 34- 3S) .
TOOLS .\:\ 1) EQl ill'\IEi\;T C::.-.
Office Stapler Used for stapling veneers together
when making a fretsawing ' pad'. A standard off ice
paper stapler is quite adequate.
Paper Adhesive A suitable paper adhesive used
for sticking paper designs to a veneer. Mos:
st at ionery stores sell ' the Slick-type, rub-o n
adhesive, which adheres to wood as well as paper.
This will be needed wh e n making up a veneer
pad.
Mini Bradawl A means of piercing tiny pin holes
into the veneer pad for inserting the fretsaw blade.
A standard sewing needle placed into the end of a
4:jaw chuck craft-knife hol der makes an ideal
min iature bradawl. If you do adopt thi s method,
then for safety's sake make su re you push the
needle in to a cork when the tool is not in usc.
Hammer and Screwdriver A small pin hammer
will be needed to hammer th e office staples fla t
against the ven ee rs after fixin g them th rough the
veneer pad. To remove th e staples after fret
sawing, use a small electric screwdriver to prise
them fr ee of the pad.
MARQUETRY CUITING BOARD
An ess ential piece of equipment. for all marquetry
and parquctry work. It is very simple to construct
and, once made, the board wil l serve you for years
to come. ItBpurpose is to provide a simple means
i
t band-saw cuts
\
230mm
300mm
(9 in)
(12 in)
;'
5 Notice the two wedges, laid head-to-tail to each other, at
the far end of the jig. These make sure the timbers are
heldtight duringrouting, to prevent any movement and
possible accident or damage to you or the timbers.
7 Make a simple jig (as illustrated) to enableyou to clamp
the screens together.The jig is shaped to the angle of the
top rail, with the top edge parallel to the bottom rail when in
use.The angle of the top rail changes slightly with each panel,
so the angle of the jig needs adjusting to suit.The profiled rail
is fastened to a flat MDF or plywood board the width of one
screen.
6 The groove in the rails can be cut using a hand plough
plane, a small portable router or spindle moulder.
Whichever apparatus you have, the width of the groove must
matchthe thickness of the panel so the panel is held firm, but
not too tight. Remember that the panels must be sanded prior
to fitting in the frame,and if possible a coat of sealer applied.
The depth of the groove inthis instance should be 10mm
('/8 in).When using solidtimbers, slight movement of the
timber is quite probable. Coatingthe panel with scaler will
helpto prevent a visible line appearing as the frame starts very
slightly to shrink.
8 Practiseassembling the frame without glueto makesure
all the parts fit together,then take it apart and re-
assemble using glue. Onlythe mortises and tenons require a
thin coat of glue; the panels relysolely on the groove to keep
them in place.Asash clamp and the jig made at the previous
step allow the frame to be glued and clamped together.Two 'G'
clamps prevent the frame slipping fromthe jigas the sash
clamp is tightened. For illustration purposes the marquetry
panels are not shown here, but clearly you will have inserted
them prior to assembly.
9 Once the glue has dried, the shaping of the top rail can
begin. The most straightforward wayto achieve this is by
using a flat-bottomed and a round-bottomed spokeshave,
working with the grain.The profile shape of the top rail needs
to be semi-circular at the top. Drawa line parallel to the top, 8
mm ('I" in) down from the top edge at both sides, and another
line on the top of the rail, lengthways in the middle.These lines
will act as a guidewhen you spokeshave the profile. Once you
have adopted a satisfactory profile, abrasive paper should be
used to smooth the finished shape.
Fitting the individual sections together is a task done with a
large plane, suchas a fore plane or a jack plane. The edgesshould
fit snugly together with no gaps, ready for fitting the hinges.
TIlE MARQUETRY DESIGN
Mcmbel's of the Leeds Marquetry (;roup constructed
the marquetry shown on the t.\I"O sides of the screeu. It
took approximately four months to compl ete with
members of all ages and skill -levels laking part,
including a fourteen-year-old junior.
Two themes were selected: one Oriental ,
representing' koi carp and buuc rf lic-s with bamboo
plants, and th e other heralding the first flush of an
English spring, showing spring flowers , rolling hills
and th e arrival of swallows. A group member and
artist Elizabeth Dorrcc drew the designs to scale and
purposefull y chose vibrant colours to e ncOllrage the
use of many dyed woods. All the panels have binI's-
eye maple as the main ba ckground ven eer, which
complements the ch erry frame. Ls ing Elizabeth's
10 The specialist hinges used for the screen are called either
soss or zysa hinges, and conveniently fit directly into the
edge of each panel. Make sure that when fitting the hinges,
accurate marking-out is achieved by using a craft knife, or
utility knife, to mark out the positions in pairs. Drill the
appropriate size of hole, both for the barrel of the hinge and
the depth, as instructed bythe manufacturer.
As a finish, the panels were first sealed on both sides with
two coats of cellulose sanding sealer,prior to installing them in
their respectiveframes. Finally, the frames and panelswere
sprayed with cellulose lacquer to give a satin finish.
line drawings, each member cut. his or her chosen
marquetry in to eith er a venee r or cardboard waster.
On completion, the work was back-cut into the
maple, using the reverse window method.
Should you wish to make this item of Iurni turc, we
think it. would probably be done with a specific
purpose in mind and the refore YOU would want. to
design your own decoration. Because of this, w do
not. intend to illu strate how the Leeds design was put
t.ogether. Suffi ce it. to say that the project gave the
group members great fun and satisfaction, working
t.ogether towards a common goal. \Ve are very
gratelitl lor their support, skill and achievement,
which th is highly imaginati ve and unique piece of
furniture re-presents.
147
CIIAPTER SIX
FURNITURE MAKERS'
GALLERY
,.. ... .
. "
"
I
r
Fun: SCREEN
\1.\I)E 111'.1 onx i \ I' I' S .\:\'ll 'n n:
LEEllS \'!.\RQUETRY CROUI'
IIi, 11I1I1i tlt bold dl'(isilllljililll the11111,11'1111 im'lIlvl' as man;
jJelljJl1' asi)()ssihll' ill its ronstnution.[ohn\ slylisli {ramI'
iJlY!l'idl's thejJl'l!IYI surround 10 mll/jJll'lI/l'/Il1I marqurir; theme.
,\[1'11/ /)(/:1 o/Ilil' IfI'd.I ,\Il/rlJ l/l'l n Grou], mrh mllirilmll'd 10 the
{I'll jJlllil'ls uihich 1/1111i1' Iii ! ih tioosided .11'/ i' 1'!I. fl rl isl II/III
grolljJ mnnber FIi:llhl'lli Donr 1'I1'1l11'l111i1' line dmwillgl' to
smleF)/, earhiJlIlId. IJYl'd ,'1'/11'1'1:\' Wi'll' used wlil'WON
jJlIssiiJIl' -1I hold, hili correct, decision.
hll'\I'/Y'1'1I - side I: An ()ri(JI11I1 Wmll'll
---
, .
,.. ,
' -c, .1
, I
' v
Ft R:\ I T I ' RE \L\KERS G\U .ERY C ....
Fire screen - side 2: An garden andthe/in/arrival o/ swlIl/mi's
,. -
,-,
0.) CIL\I'TER SIX I F liR:\"ITURE NL\KERS C .\LLERY
ORIENTAL VASE
;\tI.\IlE gy FRED l)\y (I H77-1 q00)
This amllzill g I'xlll lljJll' o/ <fOodcmJi WIIS donated10 the
Abbl')' ll ouse"IUSI'IIIII, Knkstall. lreils ill 11111' 2002 by the
jiilllil)' ojthe11111' Fred !JII)' o/ Anllll')', lreds. "Iii/ring nine
)'I'al:\ 10 complet, iheuase, SllIlIdi llg 380 111111 (/ 5 ill ) high
1'II({)IIIjJIISSI'S lIi1lrljUl'tl)', fllll'l/ul'll), lll lll i ll il l i llg,
tooodcaroing. tooodturning; and workillg ill nnniaturejonn.
The rabriole ll'gs, dmgoll s lind shoulders on th rorurrs are
Ill! builtjnnn solidioood 111111 ill atioIII', each I'OlIsislillg 0/
esuaovdinar; parqunr: arrangements. Thrkn IIIi ll ial IllY'
marquelr; .1'1'1'111'.1' suggl'sl I'OIIStI'l/C!iOIl by the window
method, dl'.I!)ill' tlu:[at! that the jJil'l'I' WIISIIIl1dl' bejill'l'
/930-.1'01111' twmtY1ilJl' )' 1'111:1 blj iJl'l' Ihl' method isjirst
recorded as bl'illg uSI'II. A lion\' tuhiskersli nd a sflidl'l'\' ueh,
uihrn examined under th microscope, show thatfine-line
slioers o/woodWi'll' inserted into the IIIill iat urized pictures
with predsion cuuing.
l . ~ ( )
Ft Ri'\ ITL RE M AKERS (;,\ LLERY ::.
Each fool, less than 2511/ 11/ (I i ll ) ill dimnetet; consists of 01l1'f
no section oj wood with til l' patterns mnning 10 the ( 1' II tH' of
1111' uooden balls. 0 1/ 1' ball ums broke, showing evidence of the
laminations inside.
r: ,
15 1
CII :\I'TER SIX I Fl :R:\ ITl JRE M AKERS G ALLERY
Oriental vase lion panel
Oriental uase j)(!({(()(1! j)([rte!
152
Onenial uase rhurdi panel
15,\
G:; CIIAPTER SIX I FI'Rl\ ITC RE MAKERS GALLERY
OCTAGONAL PEDESTAL TABLE
M ADE BYJ ACK:Y! ETCALFE
'litesegmenled jlutes were constructed b)' th l!'Injilale method,
usinga modified circle C1!uertoji! thetrllge radius. Each jliue
comprises alternating segmmls oioal: and oak bun; separated
from al1jacent.!lules b)' It boxwood slringa The auraaioe
shajJe and size-88G 111m (31'/2 in) in dial/wier-make this the
jmlect breakjflst table.
L ION I N CAGE
lV!ADE BYFRED DAY (IR77-J9!>5)
CarvedJromoneblock 11 wood, measuring onI)' 50 x 75 x 75
mm(2 x 3 x 3 in), the 'lion in a car;e' sitson a chassis muli a
lurninr;axle Suliliorlal b)' [ourwiJolvinr; toheels and a cage
doorthat swings open. Evl'l)' aspect ofFred lJa)'\ miniature
CIlTving remains captioe 10 thewood it originaledjimn.
()r:lagmwl pedestal table
Iion in cage aim rli.ljila),ed in reeds museum
15'1
Trolle; with side doion
SOFA TABLE
Toxioko Hxsuo, F O R ~ I E R STUDE'.,!TOF LEEDS COLLECE
OF Axr A:\D D ES]C:\ ,\ :\D L EEDS ivlARQCETRY GR()\ jp
,Hade by a marquet)} student, the table demonstrates 'JiJ1110/W\
marquet})' and mbinetmaking skills as well as heraitention to
detail. Earl: lell/o/the elegant underjrame {I' hand carved and
jointed into the ujJrights, JJaving completed hercourse,
'lomothasgained oll/!loJillent ill Yod!
with a high!;y res/Juted
[umiture maim:
F lJRr\TITRE MAKERS GALLERY 0
ITALIAN DRINKS T ROLLEY
M.-\DE BY}\CK METCALFE
All Italian-made tmlley, umeeied in 1996and decorated with
marquetry set intobook-matched blal'!i /vmrrican walnut burr.
holleydetail
155
c : : . ~ CHAPTER SI X I F CR:'\ ITCRE M .\ KERS C .\LLERY
---- '"--=--
Sewing box open
ISti
SEWING Box
M.\ DF. BYAU); Rou .rxsox
TI,e suttulurdof marquetr; aut]parquetr: shoum hnr belies th
shorttimeAllali had been SllUI)'ili [; it. AlaIi \- ajJini/), wi/h
II/fIIY/lle/IJ rontinnes, as hecommences a tioo-xear course II/
YOI f! Col1ege.
Sewing box closer!
F UR:\ ITl jRE JVfAKFRS C ,\LLERY C.!..)
J
Sheraum desk
CARLTOl\" HOUSE D ESK
~ V f A l l E By JOI-I:\ An-s
TIll' semi-circular back is cast in one piece by laminating several
sheets oj 1.5 mmIlIHJ iJl)" around a profiled/onnn: Traditional
mortise and tenon jointsamused whim' the curved andfront
mils meet. The drawer construction was traditionally made
usingcedar linings and the dovetails WClt" cut by hand. 1I1e
solid timber and most ojthoeneer was French chen)', as the
desl: was to look as near asiJossiblptosatinwood, a timber very
difficult toobtain in the sizes required. Decorationwas achieved
withnuticlus! mahogany cur/toprovide a vel)' impressive
contrast. A V(II:UUlIl iilY'sS was used tosecure the ueneets tothe
curved S111JflCPS. JI sjJel:ialist loclismith solved the /Jroblem ol
/mJViding ,1!'cwityj illillg1tothe two curveddoors, which hadto
meetthefi'IJIltjill'CI' at an angle of l?". Thesecond pictwI'
reveals one oj the twosectc! compartments that emrrge a/ier
releasing tin locliing mechanism imidethe curved r!OlJ1: Sheraton desk secret companments
1:-; 7
(::': CIL\PTER SIX I F UR:\ ITlI RE MAKERS GALLERY
Anthemion box
A NTHEMlON Box
.vIADE By JACK .vl ETCALFE
Jln Italian-made box decorated with the anihemion
(honeysuckle) 11.1'([,'71 much evident in theneo-classicalperiod,
both in Robert Adam\' plaster casts and in
furniture. Note theblue bordaveneer- a produri of illjPl:tilig a'
beech tree, as discussed in Chapter 1:
Anthemion box detail
PARQUETRY GALLERY TRAY
.vIADE BY Toxv T HORPE
Jl n impressiue and eye-CIl trhingjlllrlJllell), desi{,17/, oJFsl'l with
traditional cornerfuns, makes this toott: unique. Note the
jJattern repeated around thegalla), rim. 11m)' wonthejohn
noddy '!i'ojJh),/or the best ajljJlied enir ill thewoujJ 20()f
Seaton (;ujl mmjlldition.
Parquetl), gaUel), tray
I SH
:Vl. -\KERS CALLERY (':,.')
Rectrmgu{ar galln)' tmy
RECTAl,\,GULAR GALLERY TRAY
:VIADE BYJEN'\'\' GROOT
jennmade this tmyJor herDukeof bronzeamard
scheme when she teasjust 15, duringhertear'sstay with the
Leeds iVI arqlletryCroujl. This was herlirsi marquet l), w01k
Thescallopedpanelof oal: burrrompleme.us the ovalJan and
demonstrateshercreativequalities.
ClIlNESE FIRE SCREEN
MADE BY iVL\RGARET CAI' I"I:\:\O
The Chinese lad; provides aj itting putureJvr this simple Jet
roloUl ful fi re .loren. 1\ hingedstay brtuke!at the bacli liee/Is the
screen ujlright. Mmgaret, a tailoressifJ trade, selectedthe woods
Jorthe clothing and matching ensemble, making; a delightful
rmnj)(}sitiol1.
i 5D
(7., CIL\PTER SIX I F UR' d T l ' RE l'VL\KERS G\LLERY
LONG C ASE CLOCK
:YL\IJE BYCI t\RLES KERR
ntis delightful(\' decorated rlocl: dnnonstrates both marquetr;
and ('([billetll/aking skills, and took jirs! prize (It the2002
/ixminsterShou:
G REAT WALL OF C HINA SCREEN
!vIAIlE BYj:\CK \ 'I ET<:' \ LFE
il beech hanhoood[uuu with decoraiio inlayed bill/ding;
and (I .Iculptured top SWT01.mr!.1 a marquetl), piaure of China:'
(;rl'l/t Wal!. The pall' morning sky is welllYjm'smtPlI by
lemon WOOl!.
' r-- "I
~
I
Grea! mill oj China screen
160
Long case dock
ApPENDIX
TEMPLATES FOR DESIGNS IN CHAPTER TWO
- - - - ----- - - - - - -
ROSE, SHELL AL'IID CONCAVE CORJ'IER FAN
161
TEMPLATES FOR O VAL }<'A:-.:
T E.\l I'I. ATES FOR D ESIG:\S C::.
COMPASS R OSE
Outer circle
Second circle
Third circle
Inner circle
80 mm
55 mm
35 mm
25 mm
0
90
IG:l
PATERA
!G1
HALF-ROU!\D .FA1\"
T nI PL \ TES FOR Dr sn.xs r .....
"'-"'
PIER TABLE TEMPLATES
(2) A p P E ~ D l X
lG6
)
-r:
;,-:
;::)
:.:
""
::::
.:J
r 9I Smm (36 in) I
I SOmm
-
-I --
-.L
t
+-
2Smm l in)
IOOmm (4 in) OAKCROSS BEAM
"'-'1"-
.
tSOrr m (2 in)
l
I I i j
.J___ 1.. _L__L
C ::J
f
BOTTLEJACKS
I
I
I
A
IOOmm (4 in) ,.. '- rW-...,
i
N
1
I
c:!... I
E
I E
.
'"
U'l ,
I
(
2 PLATENS40mm (1 '1, in) "KITCHEN TOP" BOARD
700mm (28 in)
,---r- .,---r
rsmk
(3 in)
c.. J. _"'- ...._3-_
1-" -1'""-
-r
'1' -.-8-
i ..
H
38mm( I 'hin)
I
SOmT (2 in)
I--
:=
'-'---'-t
._. _._..- -
- - -- -
- - - -
._.._...-.._.
- --- -
I S4mm(6in)
1-+--+- 1 I
I 1-+--+-1 I
I i I -+--+ I i I
'J)
'J)
e,
;.;
Z
;..<
;>-
SOmm
(2 in) All bolts are M12 screwed rod with nuts and washers.
Dimension'A' should be the height of the bottl e jack when extended.
I . 400mm ( 16 in)
C::'" ApPE:\DIX
DRAWINGS FOR PROJECTS IN CHAPTER FIVE
- - - - - - - - - - - - - - - - - - _ . _ - - - ~ - - - -
PIER TABLE (TBl)
89mm (3
1
/2 in)
,
!
114mm (4
1
/2 in)
V
845mm (33
1
/4 in)
168
664mm (26
1
/8 in)
r 787mm (31 in) I
DR.\\\"I i\(;S FOR P ROJ ECTS c::.
PIER TABLE (TB2)
right leg
left leg
664mm (26
'
/8in)
18 m (" /16in)
1125mm (1 in)
L
,--
m (3
'
/, in)
-
--<:>
44 mm
fe>-
(2'/, in)
(1'/, in)
-
41mm
~
(1
5
/8 in)
~
39m
'J4mm
front leg
lG9
J EWELLERY Box (JBI)
1- . r. 44mm(1 -t, .n) somrn (? In)
r- --.1.
51rrrn (2 im
1
???r. m
(8 ''1, n)
I
45
y
L
131T1 r:l Chin)
-
zssmm
(1 1 "I, in)
n
14 in) f--- -+-- --- - ---j- - -- j
L ---=:rn (2 /., in)
I
164mm
(6 I e in)
I
8811m (3'1" in)
--l
170
J)R\\\T\(;S FOR PROJECTS 0
JEWELLERY Box
GB2)
194mm
(7' /, in)
(1 in
J
I I
]
I
Em (I,in) I
I. .1
t 10
270mm
(10'/, in)
152rnm .....
(6 in)
171
c:; A pPENDIX
FIRE SCREEN (SCI)
oJ
-:::,
,G:
~ ~ .
~
3
3
co
'"
2:
en
en
3
3
ro
"
~
--- --- ---
( ~
-
I
T
\ \'
OJ
'"
Q.
~
we
eo
uo"'
...
'0:.: ---
Co
:3
=>0
:J
~ - ~ 0
.-----
'-J
(0
3
::'
"
~ ~
~
::'. '1
..:..:.. 3
~
..-'-
.i->
\
~
,-
rn
~ .
"
.,.
3'
3
"
..,.
...
co
~
"
3
In
DR\WI "C ' S J' C) P , . , ,, < R ROJECTS c;:;
FIRE S C R E E ~ (SC2)
E
E
C\J
?.
E
E
C\J
C\J
E
E
C\J
C\J
E
E
C\J
(')
CD
c
CIl
0..
E
E
a
x
E
E
a
~
.2
CD
>
o
e
OJ
~
--
E
E
co
C\J
E
E
C\J
(')
173
GLOSSARY
Abrade to remove with abrasive material.
Abrasive the scouring action of sandpaper, emery
paper or wirewool.
Adhesive glue used for sticking veneers to each other
or to a baseboard. Sticky gum used on tape.
Aluminium oxide an abrasive, hardwearing mineral
applied to the surface of sandpaper.
Anthemion the honeysuckle ornament much used in
plaster work and furniture during the neo-classical
period.
Burr or Burl the abnormal growth at the base of trees
and around the root system. Called Burr in UK and
Burl in the USA.
Cross-banding the laying of a veneer such that the
grain lays at 900 to its adjacent veneer. Often used
to border veneered panels and make decorative
bandings.
Cupping timber that distorts in shape, producing a
hollowed surface.
Cure the drying time necessary for water-based glues.
Cutting gauge a tool with a sliding fence used to make
measured cuts into veneers from the sides of a board.
Fence a guide, either fixed or adjustable, used on
machines and handtools to cut straight lines at a
pre-set distance.
Fiddleback the rippled maple veneer traditionally
used to decorate the backs of violins.
Flute one segment of a marquetry fan.
French polish a generic name given to a polish made
from shellac and spirit.
'G' Clamp small steel hand clamp for holding woods
together. Its profile forms a shape like the letter G,
hence its name.
Grain filler a coloured or transparent liquid used to
fill the grain of wood, or gaps in fretsaw work, prior
to sanding and finishing.
Groundwork a wood board or panel to which
decorative veneer and marquetry is glued.
Harewood the mineral process used to create a
chemical colour change to certain wood veneers.
Husk the seed pot of corn, used extensively in 18th-
century decor on both plasterwork and furniture.
Inlay a thin strip of wood let into a prepared channel.
Jig an appliance for guiding or positioning a tool, to
make a task easier to manage.
Lacquer modern cellulose-based finishing material
that depends on an additive (catalyst) to kick-start
the hardening process.
Laminate bonding together thin layers of wood to
form thicker material.
174
Lipping a thin strip of decorative wood used usually as
a contrasting edge or top of other woods.
MDF medium-density fibreboard. A man-made flat
board, ideal for veneering work.
Neo-classical a name given to an historic period in
furniture and architecture. In Britain the period
was about 1770-1800.
Parquetry cutting pieces of wood or veneer into
geometric shapes to make a uniform repeating
pattern.
Patera a rosette design found in bas-relief in friezes
and repeated in marquetry work (plural paterae).
Pigment a powdered substance used to impart colour,
used with grain fillers and finishing materials.
PVA (poly-vinyl acetate) a modem water-based
transparent adhesive.
Quartered corner A 9Cr corner broken by an inward-
curving quarter-circle radius.
Rebate a recess cut into wood. Also called a rabbit.
Rubber a pad made from cotton wool and wrapped in
cotton cloth to apply French polish.
Sandshading a process of scorching wood veneers in
hot silver sand to create a dark shadow, for artistic
effect in marquetry.
Sanding sealer a methylated spirit or cellulose-based
sealant applied prior to finishing polish.
Sandwich a multi-veneered pack, nailed or pinned
together prior to fretsawing a pattern.
Sash-clamp A clamp with a long bar used originally for
gluing the frames of sash windows.
Scallop the curved ends of flutes used on marquetry
fans.
Shellac resin secreted by the lac beetle and dissolved
in spirit to make French polish.
Silicon carbide a self-lubricating paper that prevents
clogging; mineral substance used to coat fine
abrasive finishing paper.
Sliding bevel a tool with a handle and sliding steel
arm that can be set to any angle to aid precise
cutting and sawing.
Stringing a thin strip of wood used for decoration in
furniture and marquetry work.
Swag decor that droops like curtains across a window
frame. Used in Robert Adam designs and in 18th-
century marquetry.
Template (or templet) a guide used to cut shapes of
wood and veneers. Usually used for repeating
patterns to ensure uniformity.
Wet or dry an abrasive finishing paper for polishes
and paints. Can be used wet or dry.
SUPPLIERS
AND REFERENCES
UKSUPPLIERS
Art Veneers
Chiswick Avenue Industrial Estate
Mildenhall
Suffolk
lP287AY
website: www.artveneers.co.uk
(veneers, marquetry tools and equipment, marquetry
kits)
John Boddy Timber Ltd
Riverside Sawmills
Boroughbridge
North Yorkshire
Y059LJ
email: info@john-boddys-fwts.co.uk
(veneers, marquetry tools and equipment, timber
suppliers)
Shesto Ltd
Unit 2 Sapcote Trading Estate
374 High Street
Willesden
London
NWI02DH
website: www.shesto.corn
(Zona fretsaw blades, gents paclsaw, marquetry tools
and equipment)
Optimum Brasses
Castle Street
Bampton, Near Tiverton
Devon
EX169NS
website: www.obida.corn
(brass gallery tray handles. brass hinges etc.)
The Air Press Company Ltd
Units 5-6, Scott's Close
Downton Business Centre
Downton
Willshire
SP53RA
website: www.airpress.uk.com
(vacuum presses)
M-Power Tools Ltd
Manor Farm
Newton Tony
Salisbury
Wiltshire
United Kingdom
SP40HA
website: wwwm-powcrtools.coin
(circle cutter, tri-scribe and tri-blade)
W. H. Smiths
Stationery shops located throughout the country
(bookbinding film)
REFERENCES
Art Veneers Manual and Catalogue, available from
www.artveneers.co.uk
Hawkins, David, Wood Surface Decoration, London:
Batsford, 1986
Lincoln, William A., World Woods in Colour, London:
Stobart, and New York: Macmillan, 1986
Lincoln, William A., Marquetry Manual, London:
Stobart, 1989
Middleton, David, and Alan Townsend, Marquetry
Techniques, London: Batsford, 1993
Leeds Marquetry Group: www.leedsmarquetry.org.uk
Harewood House Trust, Harewood, Leeds LS17 9LQ:
www.harewood.org
Temple Newsam House Leeds LS15 OAE:
www.Iceds.gov.uk/ templenewsam/
Newby Hall and Gardens, Ripon, HG4 5AE:
www.newbyhall.com
175
INDEX
Abrasives 18, 104-105
Adam (Robert) 42
Adhesives 15-18
American walnut 23
Animal glue (see scotch
glue)
Back cutting 65
Band saw 114,122
Basket weave 81-85
Birch masur 75
Birds-eye maple 23, 148-9
Black spot 16
Blade sharpening 8, 27
Blades, fretsaw 10
Blades, scalpel 8, 26-27
Block plane 133, 137
Book matching 25
Borders 93, 95-101
Boxes 58, 78, 81, 131
Bradawl 11, 33
Burr (Burl) 16,25,
138-142
Carbon paper 62
Cellulose sealer 18, 108,
110
Cherry 143
Chessboard 74-77,95,
103
Chevron parquetry
86-90,111
Chippendale 118
Circle cutters 8
College courses 6
Compass rose 58-61
Concave corner fan
48-50
Contact adhesive 17-18
Convex corner fan 44-47
Crossbanding 97-101
Crown cut 22-23
Curl 22
Cutting board 11-12
Cutting exercises 28-31
Cutting gauge 8, 94, 126
Disc sander 114
Donkey 66
176
Dyed veneers 148-149
Ebony 103
Ellipse 112
Fans 6, 42-56
Fine lines 40-41,148
Finishing 106
Firescreen 143-149
Floral 62-65, 149
Flutes (see fans)
French polish 19,
106-107,109-110
Fretsaw, electric 33,71
Fretsaw, hand 10,34-35,
69
Gallery tray 111-117
Gents padsaw 9,79,88,
90
Geometry set 8, 44-45
Glue (see adhesives)
Hammer veneering 17
Harewood 37-39
Harewood house 42
Heater (sand) 12
Husks 123-129
Inlay 92
Inlay motif 6, 43, 67
Jewellery box 131-142
Jigs 114,120-122,
145-146
Kevasinga 97
Khaya 21
Lacquer 106, 110
Lath 115, 118
Lines 92
Louis Cube 78-80
Madrona burr 25
Magnolia 24, 123, 126-9
Mahogany 21
Maple 24
Maple, birds-eye 23
Marquetry cutting board
11-12
Masking tape 15
Materials 15
MDF 174
Mitre 96-99
Mitre box 9-10,79,88,90
Mop 107
Mounting 91
Neo-classical 42, 174
Obeche 19,24
Orbital sander 9, 104-10:')
Oval fan 51
Oval gallery tray III
Pad method 30-35
Paper glue 32
Parcel tape 32, 68
Parquetry 74-90
Patera 70,73,111,114
Penwork 39-40, 123
Pier table 118-130
Polishes 106-110
Pommelle 24
Poplar 24
Poplar burr 25
Press and pressing
13-14,94,129
PVA (see adhesives)
Quarter matching 25
Reconstructed veneers
19-20
Rock maple 24
Rose 62-65
Rosewood 65, 78, 97
Router 121,145
Rubber 107, 109
Safety 9, 13, 33, 36
Sandpaper (see abrasives)
Sanding block 105, 129
Sanding sealer 102-103,
107-110
Sandshading 12-13, 36-37
Satinwood 30, 123
Scallops 46-47,49-50,
55-56
Scalpel 8, 26-27
Scotch glue 17
Scraper 73
Sepele 24
Set-square 8, 59, 77
Shell 67-69
Shellac 109
Silicon carbide paper
18, 105
Silver sand 12-13,36-37
Spindle moulder 120
Stapler 11, 32-33
Steel rule 8, 12, 40
Straight edge 8, 76-77, 87
Stringer, stringing
92-93,95-101
Sulphate of iron 37-39
Suppliers 175
Swags 123-130
Sycamore 24
Table 118, 130
Techniques 26-41
Template method 43-56
Tools 8-14
Tracing paper 67
Try-square 8
Tulipwood 33
Tutorials 42-90
Tweezers 13
Veneer 19-25
Veneer albums 21
Veneer hammer 17
Wallpaper roller 16
Walnut 23
Waster 30-32
Wet and dry paper 18, 105
Window method 57-65
Wirewool18, 107, 109, 110
Workshop 6, 119
Yew 19
Yewburr 138-142
Zebrano 23,87, III
Zona tools 9-11, 175
Jack Metcalfe sta rt ed his working life tuning and
renovati ng church organs. He later rurncd to upholstering
per iod furniture. He learned ma ny more of his woodcraft
ski lls fro m his late un cle d ur ing an eight-year ap prentic eshi p.
Using tha t foun dati on, Jack taught marquet ry to stu de nt s
studying fu rniture-making and restorat ion, Erst at the Leeds
College of Art & De sign, th en York Coll ege . He is currently
Chairman of the Leeds Marquetry Croup where he teaches
and demonstrat es the craf ts man y tec hniques.
lIe is a great admirer of rhc nco-clas sic period of English
furn iture, which he believes shows the finest examples of
applied marquerr y.
John ApI'S is a fourth-generat ion woodworker and was an
app rentice cabi ne t ma ker to the Robert 'mousy' Thompson
wo rkshops in Kilbur n. He gain ed a full rechnical ccrtificare
in cabi net maki ng, Certi fi cace of Ed ucation and degre c in
fu rn iture stu di es from Buckingharnshirc C hi lrern University at
Basford Hall, i'-JO! I ingham.
Jo hn has worked in the fu rniture industr y ar ' l reskc in Tli irsk
and as a self-employed lurni rurc maker and restorer. He has
lect ure d in furnitu re st udies at York College since 1986 and
became head of rhe depart mc nr in 1993.
John's main interests in furni rurc are design, wood surface
decoration, conservat ion and the his to ry of [urnii urc.
Other woodworking books by BT B"rsfllrll,
Decorating Wood
Miro, Armcnoo] Fan/
0 7 134 R73 ! -'
French Polishing
AI'III W'Ui'lJ., ow/, 111/(1 /'f,i lipplI Barstoio
o7 LH R261 3
Technique of furniture Making
Ernestjovc
0 7154 HHl<i X
For more into rmario OIl
woodworking boo ks, write to :
B T Batsford
The Chrysalis Building
Bramk-y Road
London \X!1() 6SP
www, batsfo rd.com
Series of tutorials to give a complete course on the art, craft
and techniques of marquetry with over 300 step-by-step
photographs and instructions
Ideal book for students of marquetry and furniture making
Covers a number of marquetry patterns, including fans,
shells, chess board, Louis cube, parcrae, husk swags and
compass rosc, as well as a range of parquctry patterns.
Full project details for making an oval gallery tray, pier table,
jewellery box and fire screen
Written by two expert teachers with over 30 years' experience.
ISBN 0-7134-8850-6