The Creative Hand

The Grand Tour

In the 19th century, it was popular for educated

gentlemen to take a trip across Europe

The technique of “inlaid porcelain” was developed by Julien Nicolas Rivart, Parisian cabinetmaker and bronzier

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December 9, 2010

Porcelain inlay in furniture

The technique of “inlaid porcelain” was developed by Julien Nicolas Rivart, Parisian cabinetmaker and bronze, a process he laid in 1848 and which was at the time one of the most important innovations for decorating pieces of furniture.

Table top inlaid porcelain, 1860.
Julien Nicolas Rivart

(C) study Doutrebente

S technique was built-in wood, marble, velvet or leather, porcelain items. After drawing the patterns inlaid, Julien Nicolas Rivart in the class was wood and executed in porcelain pieces in porcelain paste was then replanies and standing on the side with great precision, then the cutting defects corrected by grinding. The pieces thus obtained were placed in a bath of enamel, once painted and finished, they were embedded in the wood, marble ….

Marquetry bouquet porcelain
Julien Nicolas Rivart

C porcelain inlays are very colorful style of Napoleon III often represented bouquets and garlands of flowers and fruit sets.

Furniture clamp jewelry Empress Eugenie, porcelain inlay
Charon brothers, cabinetmaker Emperor
(C) NMR

R ivart exhibited many pieces of furniture and objects decorated with his new invention of porcelain inlaid with Universal Exhibition of 1855 and 1862 and won numerous awards, and contributed notably to the furnishing of the Imperial French. This porcelain inlay disappear but after his death in 1867.

Furniture clamp jewelry Empress Eugenie, porcelain inlay
Charon brothers, cabinetmaker Emperor
(C) NMR

The Empress Eugenie had acquired during the Universal Exhibition of 1855, several furniture julien-Nicolas Rivart decorated with inlaid porcelain, including a clamp jewelry, currently at the Museum of Compiègne.

reading also look antique:

porcelain plates, accessories Luxury

Jean Le Pautre (Potre) Designer & Engraver

I have downloaded a free ebook

from http://digi.ub.uni-heidelberg.de/diglit/lepautre1751bd2

SAPFM – ORV scrapers

Anatomy of a tree / cellular structure/Hygroscopic

Cambium
Bark
Bast
Pith
Early wood
Late

wood

Bruce Hoadley – Understanding wood

18th Century French Timber framing and Roubo’s Atelier

Pietre Paesina

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February 9, 2012

Pietra paesina

By the late 1620s, is the use of “pietra paesina”, these limestones which evokes arborization natural landscapes and architecture. This material natural object of curiosity was used by Florentine artisans to decorate furniture and creating tables simulating a natural landscape without pictorial intervention. The fashion spread beyond the borders of the city of Florence in particular in Germany.

Pietra paesina

(C) Michel CORBOZ

L “paesine” called stone landscaping, grounds related proposes that refers to a stone formed in the mountains of Morello, Silla and Santa Fioria. Extracted in Tuscany and Lazio, it is also found in the northern Apennines – Alternating layers of limestone and clay determines the composition of the stone landscape. Its color range, the greenish-gray, yellow or red varies with the oxidation of iron. In some cases, the secretion of iron and manganese can draw trees or dendrites.

Table pietra paesina 18th century

(C) Christie’s

S Powers and polished, with successive tranches of different designs for each section, the paésine evoke landscapes ruiniformes. Green, blue or gray suggest the sky and the sea, the veins brown houses, castles, towers, dungeons and fortifications, churches and villages in ruins or shores, cliffs and caves.

The pietra paesina’re aroused the admiration of lovers natural curiosity cabinets of the Renaissance. The Medici decorated their offices Italians, were inclusions in gemstones inlays by Florentine artisans. The Paesine were sometimes

painted their fantastic decor background for these tables of stone seventeenth and eighteenth centuries, highly prized by collectors.

Wooden Old Technique Construction in Thailand

Le galuchat – shagreen

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April 21, 2009

shagreen

The stingray is a fish skin was stained grainy, it is used in furniture, for shine and corsetry. It now adorns various luxury items such as bracelets, watches, cigar humidors, furniture designer …

Objects covered Stingray (Case dice, watch stand,

scissor case, cigarette case)

There are two kinds of skin

1) The coarse shagreen which is a skin-tailed stingray particularly long, it comes from the Indo Pacific.

2) the small grains in shagreen (he served as abrasive cabinetmakers, formerly) is the dorsal skin of the dogfish “dogfish” shark is sin in the warm and temperate seas.

Before being exported to Europe in the seventeenth century, the stingray was very popular in the East for several centuries, the Japanese used for its strength (shagreen is made of dentin and enamel) and side slip. Shagreen adorned the Inros (small medicine boxes hung on the belt), the sleeves, the sleeves and the swords of the samurai armor.

Shagreen objects (various boxes, perfume case, a long view)

the stingray e tinted green was very popular in Europe in the eighteenth century, at that time, he covered the small precious objects (Madame de Pompadour was very fond) as snuff boxes,

sewing kits in the gilt, scent bottles, the opera glasses were used for making the stingray of cases for the silverware, the precision instruments such as telescopes boxes to store, dress trunks, chests, swords handles ….

O ublished in the nineteenth, shagreen reappears in the decorative arts in 1920, highlighted on the furniture by the great creator s “Art Deco” as Paul Iribe, or Jules André Groult leleu. favorite color skins Galuchat who were employed at the time were the cream, white, pink.

Furniture 1920 “Art Deco” covered Galuchat

The preparation technique and use of shagreen

The skin is thoroughly washed and salted to prevent rotting, then it must be scraped inside and outside the sand, then the hue of the color.

In the natural state of stingray skin is gray-beige and it is curved. To flatten the Stingray, it must be to press once it is dry, then it will be sanded.

Stingray skin toned in blue

The patina is to wax, varnish or left rough (for the ray skin) can also be lacquered shagreen by sanding just after painting to highlight the transparency of pearls. This technique comes from Japan is called the technique of same-muri.

For more information:

• Galuchat, Lison de Caunes and Jean Perfettini

Exhibition catalog Published by Forney library of amateur

• The Shagreen Jean Perfettini

Vial edition

Scrapers – SAPFM ORV

insert photos from

meeting