Amanda Burgess on May 26, Sign Up to Answer. Suggested Project Book. View Project Book. Related Discussions. What to do with on empty top bunk? Joanna Wylie on Nov 17, Ideas on how to build a mid century modern bench with shoe storage? Trish on Aug 24, Looking for rings around 27 inches in diameter that can hold weight Beyond millwork, veneers are also required for certain special techniques: Book-matched wood doors or book-matched wood anything would have to be fashioned using veneers because you'd never find wood planks with grains that perfectly match—it's necessary instead to have a series of veneers cut from the same log.
Then there are labor-intensive inlay arts like marquetry and parquetry, which require veneers cut to certain sizes and shapes that are then fit into the top of a structure. A far cry from laminate surfaces, right? Veneer technology was developed around BC in Egypt. In a land that is awash with desert and sand and where precious woods were priced as rarity. That fact made it necessary to utilise supplies in the most economic manner.
No wonder the idea of cutting precious wood in thin sheets in order to cover less precious surfaces with them was born right here. Wood was scarce in Old Egypt, it was a rarity and valued as much as precious gems that were used to artistically adorn furniture. Veneers were created in environs whose landscape is not characterised by lush vegetation, but rather where wood was valued as a rare resource and people were aware of the significance of its optimal use.
At first, veneers were handcrafted, by cutting wood from the stem, which was an extremely demanding and time consuming task. Records of objects and images displayed on tombs and ceramics, document the path of veneers from Egypt, to Greece and the Roman Empire, up to our modern age. Veneer production disappeared almost altogether during the early middle ages and was only rekindled during the gothic period. In Germany it was discovered at a time where the rest of Europe used almost exclusively massive wood.
Denis E. For the cultural valuation of trees across the long eighteenth century, see Laura Auricchio, Elizabeth Heckendorn Cook, and Giulia Pacini, eds. Jennifer L. Carter ed. I thank Levi Prombaum for directing me to this article and helping me think through this issue. Cite this article as: Jennifer Y.
Use of any content published in Journal18 must be for non-commercial purposes and appropriate credit must be given to the author of the content. Details for appropriate citation appear above. John Davey, Desk and Bookcase, Mahogany, satinwood veneer with white pine, yellow poplar, Purchase, Fletcher and Rogers Funds, Mrs. Interior of Fig. Unidentified Maker, Sideboard , Mahogany, marquetry and brass. Bequeathed by Lady B.
Bensley, Engraving, book height 27 cm. Hand-colored mezzotint engraving, book height Unidentified Maker, Side Chair one of a pair , ca. Mahogany; tent stitch embroidery on canvas, Gift of Irwin Untermyer, Ward for J. Dodsley… [and 4 others], [] Hand-colored engraving, book height 31cm.
Paul Sandby, Ancient Beech Tree , Bodycolor on paper, mm x mm. Purchased before Mahogany, satinwood veneer, maple veneer, pine; Museum of Fine Arts, Boston. Bequest of Charles Hitchcock Tyler. Mahogany, mahogany veneer, white pine, tulip poplar; Winterthur Museum, Delaware.
Bequest of Henry Francis du Pont.
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