The Marquetry Donkey (Five of Five)
14 March 2008
A description of how a marquetry donkey is made and used goes beyond the scope of these blogs, but I did want to give some background into the methods used by those like Craig Thibodeau, who have decided to pursue the art of marquetry.
The problem, as stated in the previous blog, is that in order for the desired method of assembly to be used, marquetry designs must not only be cut on the “proper” side of a tenth of a millimeter wide line, but the saw blade itself must remain absolutely perpendicular at all times, because a blade that wanders will end up producing a kerf, and that, in turn, will result in a glue line.
The same French who worked on elaborate marquetry designs for the court of Louis XIV developed first the fretsaw and then, in the latter half of the 18th century, the Marquetry Donkey, which has become the preferred tool for those who are seriously pursuing the art of marquetry. Using it solves the problem of the saw blade angle. The other part I find intriguing is that it joins them with all those who went before with that humble tool, as do so many of the methods woodworkers employ in their art. Hand cut a dovetail joint and, in a sense, you’re one with the ancient Egyptians who first used that method for joining the sides of a box.
So first the serious student of marquetry accumulates the design and the materials and constructs for himself a
donkey, that he might precisely cut the pieces that go into his art. Then he studies the methodology, hones his craft, and sits for hour after hour in an isolated workshop, pursuing his muse. Centuries ago that is how eager apprentices eventually became guildsmen, and now in this modern live-life-at-the-speed-of-light world, the method is about the same.
And, finally, if such an artist is to succeed in this modern world, he must incorporate centuries-old methods into an integrated whole that brings the ancient into the modern with a flair.
I am in absolute awe of the amount of work that has gone into the development of a talent such as Craig’s, but I am even more in awe of the art his skills produces. His Blue Ulysses Sideboard with its marquetry imagery of gardenia flowers is just stunning. And his addition of a couple of blue butterflies was a crowning touch. His work is rather expensive. And should be. His art is very rare.
Joseph
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