#marqueterie

[philoursmars]

Je reviens ENCORE une fois à mon projet de présenter la plupart de mes 55800 photos (environ).  On est en 2017 et comme ce blog est né en 2017, j’arriverai donc au bout de cette présentation.  

Marseille en juillet. Au MuCEM, il y a l’expo “Aventuriers des Mers” :

- “Le Bon Pasteur" en ivoire - Goa, XVIIe s.

- bézoard (concrétion animale) sur filigrane d'or - Goa, XVIIe s.

- les 2 suivantes : table de communion en bois de rose et ébène - Gujarat, 1600

- les 3 dernières : “Arrivée de Vasco de Gama à Calicut" - soie et laine - Tournai, XVIe s. (des chameaux, des autruches, une licorne ?!)

[foxyou-too]

Lison de Caunes marquetery 

[aladin-shop-01]

Assiette marocaine en marqueterie de nacre orientale milieu du XXe en bois.

Cette magnifique assiette marocaine, fabriquée au milieu du XXe siècle, est un chef-d'œuvre d'artisanat oriental. Elle est réalisée en bois noble et ornée d'une marqueterie de nacre finement travaillée, typique du savoir-faire marocain. Le design raffiné et l'assemblage précis des pièces de nacre créent des motifs géométriques et floraux, apportant une touche d’élégance et de tradition à cet objet unique. L’assiette est idéale pour les collectionneurs d’artisanat traditionnel ou pour ceux qui souhaitent ajouter une touche d'authenticité marocaine à leur intérieur. Son état est excellent, et elle conserve toute la beauté de l'artisanat ancien. Cette pièce de collection s'inscrit parfaitement dans un cadre décoratif oriental ou peut être un cadeau précieux pour un amateur d'art traditionnel.

[elinkling]

Living Room Library

Example of a large, modern, enclosed living room with a wood floor, beige walls, a stone fireplace in the corner, and a television stand.

[watchilove]

Louis Erard Excellence Marqueterie

Louis Erard continues to enliven métiers d’art with a contemporary perspective and an impossible challenge: to make the most exclusive craftsmanship accessible, this time with the extreme practice of miniature marquetry featured on the dial – Louis Erard Excellence Marqueterie. Each dial is handmade, piece by piece, by an independent artisan, Bastien Chevalier, based in Sainte-Croix. (more…) “”

[camisoledadparis]

Meubles de Pietro Piffetti (1700 - 1777).

Pietro Piffetti, ébéniste en chef du royaume sarde, était considéré comme le maître italien le plus sophistiqué du XVIIIe siècle. Il est devenu célèbre pour ses meubles formels. Le travail de Piffetti était célèbre pour sa finition extrêmement soignée des détails et sa qualité, rivalisant avec les réalisations des grands maîtres français. Les meubles Piffetti se caractérisent par des motifs de marqueterie complexes faits de bois exotiques et de matériaux précieux : plaques d'écaille de tortue, nacre et ivoire gravé.

[detournementsmineurs]

Boîte "Gen" de Van Cleef & Arpels en marqueterie de nacre, bois de palmier, ébène et yuzen à l'exposition "Van Cleef & Arpels et le Japon : Une Rencontre Artistique" à la “Galerie du Patrimoine” de la boutique Van Cleef & Arpels, Place Vendôme, Paris, avril 2024.

[wickedslip]

To mirror the absolute masterpiece that mi amor has written, I couldn’t help but to write a mirroring piece that could only further reciprocate it. This is a drabble about the very first time Kol Mikaelson + Nausicaä Thorn met at Harvard, featuring dark academia vibes and heavy telepathic influences.

Draping her bag over her right shoulder, and when paired with the largest to-go cup of steaming hot Chiapas coffee, sweet and dark, she then and only then could be prepared for her set of autumn classes. The leaves that had fallen from the sugar maples and ginkgo trees of bright reds and golds blazed colors that this side of the hemisphere only saw within one season per year. If autumn was a year-round enterprise, she wouldn’t have been disgruntled over it. Living in Massachusetts, in the haunted harbor city of New Salem, it was more than just the scenery. More than her house, which ghosts had long stalked its lengthy corridors. She was able to step out of the shadows, long ostracized for being what she was. This was the city of las brujas, where they could easily be out on the streets to familiarize themselves and blend in with the rest of the civilians. And with All Saints drawing near, it was deemed to be even more so.

There was a faceted connotation to the air, steeped in the rich history of New Salem and its surrounding cities and suburbs. There was something coming, something on the rise, and she could feel it as it served to form robust horripilation along her sensitive flesh. Dressed to the nines in a button down tucked into a plaid skirt and chocolate vegan leather ankle boots, she chose to adorn her legs with floral tights to accentuate her oliveness. She was glad she didn’t dress too warmly, as it felt almost humid for this time of year. Her cheeks flushed from the elements, but possibly something else which could only prove that there was a difference here. Driving to Cambridge, she took route one, and the curving highway with forest on one side and the cliff overlooking the cresting, white-laced waves of the Atlantic on the opposite side.  

She loved this city. This school. She chose this school, and its rich, ancient history was only what could culminate in the rising dawn of witches and humanity alike. She could have gone anywhere in the world, but she chose to stay close to home. She could be introverted by nature, but not when it came to her craft. Not when it came to the overwhelming sensation of sinking in every bit of knowledge, she could get her clutches around. The thirst for knowledge was adept to an insatiable power, a power that she homed into, that she undoubtedly wanted.

She could feel the attractive smile as he entered the room, passing by the ceiling to floor marquetery of slender windows engraved into the walls and crown moldings that led to the long corridor of Harvard’s most prestigious halls. Slowly crossing one shapely, slender leg over the other, she sat regal and poised, her raven-hued French braid became loose, wisps of hair to frame her visage. She could feel tremors of conversation, the brush of so many minds in such a constricted space, but there was one mind that stood out to her. As though there was a halo of unfiltered, vivid light around it, showing the depth of his mystifying aura. She also had picked up how he thought of himself, and while she always found her own body, charm and charisma to be top notch, she had nothing on the overinflated ego that she was dealing with. She could only smile into the surge of thought that it invoked, going past her normal vision into that of her Third Eye, using another form of her aptitude for magic to home in on this one mind that seemed to want to be grasped.

She had felt him long before she saw him, and when she finally was able to connect the form to the mind, she was taken aback, all thought spiraling out of herself until she reinforced it, grasping with imperceptible hands at the pull to him. She was fascinated, seized and knifed to the hilt with fate of that which she didn’t fully understand nor comprehend. Feeling a cool brush of air akin to someone walking over her undisclosed grave, her eyes locked onto him, knowing that it was the connection that was forming. Not a red string, no. Nothing that feeble. It was a silver cord and once constructed it couldn’t be broken. She hadn’t ever felt anything like it, not had she anything to remotely compare it to. She had delved into strong minds before, even minds of supernatural entities with far more experience and prestige. But this, she had to admit, was a first. Her eyes trained to his every movement, watching as he delved into the messenger bag for a pen. She squeezed her legs more firmly together, feeling the sensation all the way to her poised hips.

She didn’t know him, but that didn’t stop the slow captivation to lend sway to the morbid fascination she had over him. His eyes bore holes into hers, and she locked onto them, instantly forgetting how to breathe. Perhaps she didn’t know this physical form, but she somehow knew him. Knew his soul, his spirit, his energy. It wasn’t so different than that of her own. She might as well have been in her room, bodies locked together, hovering over him. That was the kind of temptation that had manifested to take root.

Kol.

She whispered, yet no sound had escaped her plush lips, coated with a shade akin to crimson. She was luring him to her, without so much as meaning to. But the intent was there, all the same. Her eyes closed to half mast, heavy-lidded and full of a desire that she didn’t realize she had been showing. She wanted him to see her as she was seeing him, the connection blossomed a weaving so palpable that she almost wondered if lookers-on had picked up on it.

Reality had indeed set in that she had fallen under the influence of him, and he was bound to her now, body and soul. Two witches possessed, and nobody was safe until they set one another free. Shaking out of her reverie, the last bell chimed, indicating that class had started. Opening the textbook, she tried her best to focus on the words, but they appeared in elusive jumbles of cacophony. Every particle of her atoms craved his, with an intensity that shook her to her core. Breathing heavily, it was taking all she could to not bolt out of the room, to run some water over her visage.

Eyes focused straight ahead; she did her best to not home in on the man that would peer at her. Other eyes did, of course, do the same, but it wasn’t in any way the same kind of influence. She didn’t care about anyone else watching her. She was aware of the only person in the room that she wanted; with eyes locking onto her body, she couldn’t help but become frustrated with the thick unbridled emotion that was claiming her.   When the bell rang for departure, it was all she could do but to bolt out in a wave of students and staff alike.

[subiysu-chan]

Furniture

Now, we are looking at a semi-aristocratic household with plenty of money, so nice is our goal, but not overly luxurious. We are also looking at furniture purchased in the early XVIIIth century, maybe made in the late 1690. So, 1690-1710 is our overal date range.

Not sure what I exactly want...So I will get a few references to pick and choose from.

I will look at my documents and my own reconstructed layout for more details.

Now...Here are just, aesthetic guides, and possibly I will try and emulate some of the details.

Ostentation beds did exist at the time, but...I don't know how willing the Sansons would be to sleep in a way so accessible to potencial threats.

Now, I don't think I will draw something this fancy...One, lack of time, two...I kind of need to make it look like it belongs to a family of executioners, wealthy ones yes, but I don't think they would be able to get their hands on something this ostentacious, and I am pretty sure this is a royal item anyways. But the silouette and arrangement of turns and handles could be a very good reference. The date range is ideal, same for place of origin, hence I could use it as silhouette reference. The Louvre also offers a good close up of the locks, so, that's nice.

I'll also look at things from the Hermitage museum of Saint-Petersburg...

The rest are things I don't want to include in this scene...

Also, the characters would likely be holding a cup of hot tea or a blanket, since they would be shown cuddling after getting birched naked, in February, during the little ice age, in an unheated room. So yeah, cold !

Bed curtains and such can be from the 1720s, no problem. I just...Struggle to find good references. Same for cups. Like in 27 years of owner ship of the home, they would have needed to replace some.

Some help from the MET museum :

Something inspired by this as decoration.

It's 5.7 cm high...TIny ! And cute ! I won't copy it, mearly use it as reference for shape. It's very early XVIIIth century, like we want ! 1715-1730s date range. It matches what we are looking for.

A nice 1725-1730 pommade jar.

Late XVIIth century France according to the MET museum. I think it still fits our vague date range, and looks so good. I think I might copy the ornementation or silhouette.

Overall, a nice little library of references. For now.

[codumofr]

Le Niellage, technique d’orfèvrerie qui consiste à appliquer ce qu’on appelle le “Nielle” ou “Niello” (du Latin Nigellus, signifiant “Noirci”). Le Nielle est un sulfure métallique de couleur noire qui est composé de cuivre, d’argent et souvent de plomb ou de borax. Employé comme une matière pour remplir la marqueterie (décor réalisé par un placage fait dans un matériau tel que le bois ou autres). Ainsi, la marqueterie de métal est remplie avec cet alliage fondu, la surface dite “Niellée” est polie pour éliminer le dépassement de métal qui a été ajouté. Il ne faut toutefois pas confondre le Niellage avec les émaux ou le damasquinage.

Parlons maintenant de l’histoire de la technique du Niellage. Inventée par les Égyptiens, elle est reprise par les Romains et se diffuse dans l’Europe à partir de ses derniers. Ce sont par la suite les orfèvres de la Renaissance en Italie et en Allemagne qui reprennent le Niellage comme une technique luxueuse et délicate pour embellir des objets précieux, des objets de cultes ou de la vaisselle d’apparat. La technique restera pratiquée jusqu’à l’apparition de l’Aquatinte au 18e siècle. On peut effectivement lire dans la Revue de Paris de 1835 que la Niellure n’est plus en usage depuis que Benvenuto Cellina tentera de créer de nouveaux objets d’orfèvrerie niellés, mais du fait de la grande complexité du procédé et de son faible taux de réussite lors de leurs productions, ne donnera rien de concluant. Elle nous parle aussi de deux orfèvres du nom de Mention et de Wagner qui remettent au XIXe, l’art de nieller au goût du jour grâce aux procédés russes qu’ils ont appris à réaliser dans l’atelier de l’orfèvre P.W.Beuth. Ce dernier la recette d’un moine du nom de Théophile qu’il explicite dans un article qu’il écrit en 1828, le nom de cet écrit est “Sur le nielle et l’art de le préparer.” Mention et Wagner iront jusqu’à perfectionner et mécaniser le procédé de niellage en 1829 et déposeront ainsi un brevet. La technique, comme on peut le voir, sera perfectionnée sans que son principe n'ait fondamentalement changé. Notamment, la quantité de métaux à utiliser sera perfectionnée pour favoriser une production de chaînes d’objets niellés et ainsi réduire les ratés. Toutefois, malgré ce perfectionnement et les améliorations apportées ne permettent pas au niellage de surpasser le procédé de gravure en taille-douce qui sera plus rentable et préféré de par la simplicité de sa réalisation.

Après ce passage sur l’histoire, nous allons pouvoir parler des différentes œuvres effectuées avec le niellage ou en ayant essayé de faire du niellage. Nous avons par exemple Maso Finiguerra, un nielleur de Florence qui en voulant contrôler son Triomphe et le Couronnement de la Vierge, créant la Taille-Douce. Au XVIIe siècle, la technique n’est plus utilisée que par les pays orientaux avec les Arabesques ou par les Russes avec Veliki Oustioug. Elle ne reprendra de la vigueur qu’avec le Damasquineur André Colomb au XIXe siècle dans une utilisation bien plus commune et à large échelle, notamment sur des objets de la vie courante comme des boîtiers de montre de poche de la fin des années 1800 jusqu’au début des années 1900.

[philoursmars]

Deuxième étape de mon périple dans l'Ouest pour retrouver des ami(e)s lointain(e)s , Brigitte et Sylviane à La Rochelle.

La Rochelle : l'Hôtel de la Bourse, avec ses curieuses poupes de galions sortant des murs et sa rose des vents.

[itsthechair]

Georges Rey

Le Jour et la Nuit

Entre 1900 et 1906

Fauteuil : érable et sycomore ; marqueterie de bois variés : amarante, bossé, bois de rose, ébène de Macassar, gaïac, ipé, padouk d'Asie, palissandre du Brésil, pernambouc, saint-martin et sycomore

[rayondelun3]

« La seule figure heureuse et caressante de ce groupe, c'était celle d'un beau chien de chasse de la grande espèce des griffons, qui avait allongé sa tête sur les genoux de l'homme assis. [...] Ces yeux de chien courant, si sanglants et si sombres dans l'ardeur de la chasse, avaient alors un sentiment de mélancolie et de tendresse indéfinissable ; et, lorsque le maître, objet de tout cet amour d'instinct, si supérieur parfois aux affections raisonnées de l'homme, promenait ses doigts dans les soies argentées du beau griffon, les yeux de l'animal étincelaient de plaisir, tandis que sa longue queue balayait l'âtre en cadence, et en éparpillait la cendre du marqueterie du parquet. »

George Sand, in Indiana

[duncantraveldiary]

- L’intérieur des églises font vraiment penser à un salon d‘apparat de chateau. De grandes fenêtres claires (pas de vitraux) des loggias en hauteur avec leurs rideaux pour les familles nobles, des plafonds peints, des planchers en marqueterie de bois exotiques et des decorations toutes plus exubérantes de richesse.

- A l’entrée de chaque église il y a une porte intérieure comme un decor de théâtre. Elle sert d’anti courant d ‘air.

[indegazettevanindegazettepuntbe]

De unieke kunstprojecten van de 92-jarige Maurice Vanden Eede uit Gistel: Echte meesterwerken in marqueterie en puzzels https://www.indegazette.be/de-unieke-kunstprojecten-van-de-92-jarige-maurice-vanden-eede-uit-gistel-echte-meesterwerken-in-marqueterie-en-puzzels/?utm_source=dlvr.it&utm_medium=tumblr