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Antique marquetry on Edwardian parlour chairs, featuring ivory and fine grained blonde boxwood set into beautifully rich, red-brown Rosewood.

Veneering Marquetry
Hide Glue – a lost craft

Timber veneers are widely used in antique furniture. Highly figured, burled, and exotic woods are often applied in thin veneers. This method is not only economical but also structurally advantageous, as highly figured woods tend to be less strong and stable than traditional cabinet-making timbers. Veneers of varying colors and textures can be cut and assembled to create decorative patterns or pictorial displays, a technique known as marquetry.

Background

Veneering, in some form, is as old as furniture itself. There are early examples of Roman veneering from the first century, including artefacts from Herculaneum and Pompeii. In modern Europe, marquetry has its origins in the classically inspired 16th-century cities of Florence and Naples. Marquetry is somewhat of an elaboration of the Florentine technique of Pietra Dura, where marble and semi-precious stones are cut and fitted together to create intricate designs. By the mid-17th century, marquetry developed rapidly in France as King Louis XIV commissioned the Palace of Versailles, demanding unprecedented luxury.

The door off a Georgian longcase clock, in the process of fitting with pinkish-brown tulipwood crossbanding, combined with ebony and blonde boxwood string inlay.

A door from a longcase clock, featuring Tulipwood crossbanding with Boxwood and Ebony string inlay. The main veneer is burl Walnut.

The drawer fronts off an Australian davenport, featuring geometric marquetry made from numerous small pieces of Australian timbers, including muskwood, blackwood and a grevillea species.

An Australian davenport, possibly from Tasmania, featuring a striking geometric marquetry pattern on the drawer fronts.

Process and Techniques

Marquetry, inlay, and veneering techniques are both fascinating and diverse. Originally, all veneers were cut by hand with a saw and were relatively thick, typically 1 to 3 mm. Modern veneers, however, are sliced and much thinner, around 0.6 mm.

  • There are many different techniques used to glue veneer to a substrate. Crafts people of early centuries were masters of veneering using hide glue.

  • The introduction of modern adhesives, used for speed and convenience has gradually diminished the traditional methods of veneering using hide. 

  • Frank is very experienced and skilled with traditional veneering techniques. Hammer veneering is a fascinating technique where hide glue is used in conjunction with a squeegee type tool called a veneer hammer. This tool is used to flatten the veneer squeezing out air and excess glue from underneath the veneer. It relies on atmospheric pressure alone to hold the veneer in place 

  • Frank has extensive stocks of veneer, both new and old of the correct species and type used on antique furniture, including sliced and sawn veneers.

  • As well as veneering on flat surfaces Frank can also veneer columns, as well as concave and convex curves. There are a number of different techniques to do this, using heated sand bags as well as shaped cauls.

  • Frank can replicate, repair and reglue marquetry. Hide glue can be injected under loose veneer and the old glue reactivated with heat and then pressed flat.

  • String inlays and bandings can be specially made as needed to replicate existing ones.

A moulding with a large, sweeping curve that has been veneered with burl walnut.

Veneering a curved surface involves pressing Walnut onto the substrate using specially made cauls. Cauls are solid timber forms designed to perfectly match and fit the surface to be veneered.

An exquisitely crafted antique writing slope made of rich red-brown rosewood inlayed with brass.

An exquisite writing slope of the highest quality, made from Brazilian Rosewood and brass. Some of the veneers were loose, so a thin mixture of hide glue was injected underneath the veneer before reattaching it.

A door from the hood of a longcase clock that has been re-veneered with burl walnut and features tulipwood crossbanding.

Reproducing and replicating crossbanding on a door veneered with burl Walnut involves using Tulipwood for the crossbanding, which is bordered with Ebony and Boxwood. The pieces are secured with hide glue.

Neo-classical Sheraton revival style marquetry featuring fine grained blond boxwood set into a dark Cuban Mahogany background off an Edwards and Roberts Wardrobe.

A door off a classically inspired Sheraton revival wardrobe. The Marquetry on this piece is exquisitely executed. Precisely cut and finely grained English Boxwood is set into figured Cuban Mahogany.

Work in progress: traditional hammer veneering with hide glue on a cornice from an antique Georgian bookcase.

Hammer veneering: This photo shows veneering in progress on a cornice molding from a William IV bookcase. This piece suffered water damage, causing the face veneer to come completely off. Hide glue and a veneer hammer were used to resecure the original veneer in place.

Outcome 

Hide glue, a fully reversible collagen-based adhesive, has been used for centuries. Its versatility makes it an excellent choice for veneer work. As a water-based, natural product, it does not chemically crosslink, making it ideal for conservation.

If you would like to discuss commissioning a piece of furniture, contact Frank by making an inquiry...
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