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Although marquetry is a technique separate from inlay, English marquetry-makers were called "inlayers" throughout the 18th century. In Paris, before 1789, makers of veneered or marquetry furniture (ébénistes) belonged to a separate guild from chair-makers and other furniture craftsmen working in solid wood (menuisiers).
Boulle work [1] (also known as buhl work) is a type of rich marquetry [2] process or inlay perfected by the French cabinetmaker André-Charles Boulle (1642–1732). [3] It involves veneering furniture with tortoiseshell inlaid primarily with brass and pewter in elaborate designs, often incorporating arabesques.
Intarsia inlay in wood furniture differs from marquetry, a similar technique that largely replaced it in high-style European furniture during the 17th century, [2] in that marquetry is an assembly of veneers applied over the entire surface of an object, whereas inlay consists of small pieces inserted on the bed of cut spaces in the base ...
Boulle's inlay materials included tortoiseshell, brass, pewter and even animal horn. For contrasting woods, he often used rosewood, ebony, kingwood, and other dense, dark-toned tropical species. Boulle's marquetry technique was to make two contrasting sheets of intricate inlay that were cut from a single sandwich of materials.
In the later Louis XIV period, under the influence of Boulle, marquetry became the dominant decoration of tables. A particularly fine example is a table by André-Charles Boulle , from 1670–80, which features marquetry made with an assortment of woods, plus pewter, brass, copper, horn, and tortoiseshell; it is now in the California Palace of ...
It was designed to stand against a wall, and appeared in about 1750. It often featured a marquetry in a geometric pattern resembling cubes of dark and light wood, a design very popular in the last years of the Louis XV period. The Bonheur-du-jour was a small desk with cabinet which appeared in about 1760. Following the new style of the late ...