Intarsia

No other word in the marquetry lexicon causes more confusion than that of "intarsia" and in some parts of the world it is a misnomer. Although the two share common characteristics they are dissimilar. The root of the problem is attribution. Intarsia created during the Renaissance is not the same as that made today in so far as surface treatment is concerned. Today, intarsia has a sculptured surface where quattrocento intarsia is flat. And marquetry is synonymous in this respect. In fact, to further blur its meaning marquetry is still called intarsia from Italy and Poland to Denmark because there is no distinction between marquetry and inlay work (intarsia) while in France, for example, marqueterie describes both techniques.

To understand older intarsia is to know that from a technical point it is inlayed into a solid substrate while marquetry is layed upon the surface. It was not until the 17th-Century that true marquetry came into being with the advent of sawn veneers. The photo below illustrates how this was done in a self portrait by Antonio Barili in 1502. A shoulder-knife is used alongside a chisel. The original in Vienna was destroyed during World War II.

The intarsiatori was often a woodcarver who expanded his repertoire by doing intarsia as both required the same tools and skills. An added benefit was those who were learned in the architectural arts to take advantage of executing work in perspective.

In the modern era intarsia is made using solid wood whereas marquetry uses veneer. In most instances the intarsia is not inlayed anymore. It is merely glued to a wood backing as an appliqué after it has been sculptured thus creating a 3D effect.

Below is an example in my collection of objet d'arts which originated in Eastern Europe. It is an intarsia representation of a Greek icon entitled 'Mater de Perpetuo Succursu' or 'Our Lady of Perpetual Help' now residing in a church in Rome and has since the Renaissance.

In this case, the main figure is inlayed while the angels and name plate are glued to the surface. The Madonna and Child vary in thickness from 1/4" - 1/2". Overall it measures 15" × 21" inches - nearly identical to the original. The name plate says 'Ave Maria'. 

It is a curious matter that most people do not know the difference between intarsia and marquetry let alone what the two words mean. Once a year, where I live, there is a juried competition of crafts which draws thousands of spectators. They are exposed to this ignorance by grouping marquetry and intarsia into the same class. After hearing of this injustice, I approached the judges with the intent of educating them. As a result there are now 2 distinct classes. I do not believe this was an isolated case. I can only hope others will take a proactive lead wherever possible.

Banned Materials

In August, Gibson Guitar Company was fined for illegally importing exotic wood. These were ebony from Madagascar and India, as well as rosewood from India reported to be worth $262,000 and confiscated by the government along with several guitars. A $300,000 fine was imposed. This is the same company that offered me a commission to produce marquetry for a line of banjos they were producing a few years ago. As it turned out I turned the offer down because I abhor production work. In reality they most likely resorted to harsh laser marquetry. Sometimes fate leads you into the right direction.

To understand the underlining problem it is best to remember that export and import of exotic timber and veneer comes under a collective agreement between member countries of CITES or Convention on International Trade of Endangered Species. In some cases the finished product is illegal if taken across international borders. In the U.S. enforcement is extended through the Lacey Act. Banned veneer is not problematic, however, for the individual craftsman if they were harvested or acquired before 1973, but exporting requires documentation and an export license. Brazilian rosewood is a good example. Some craftsmen, including myself, have this veneer in a small flitch which was obtained before 1992 when it was banned. In marquetry a little bit goes a long way. As long as I don't export any of it in a raw or finished product I am free of illegal trading.


Other banned materials of interest to those involved in marquetry are Tortoiseshell, Ivory and Mother of Pearl with the last less restricted in the raw form. Tortoiseshell has been banned since 1973 and is only available, if you can find it, from antique sources. Ivory, on the other hand, is generally prohibited especially Elephant ivory from Africa. An adult Elephant can yield about 100 pounds of Ivory. Small amounts of ivory can be obtained from reclamation dealers, but of little use in marquetry except for the smallest detail. I have a few pieces of ivory obtained from a Victorian piano, one of which is pictured below. Although these were given to me some time ago, I have yet to find a use for them.  Maybe I'll make a set of pens out of them.

Having an embargo on endangered woods and animals is a good thing. The down side is that poachers can ask and get higher prices for their efforts. And this in spite of the fact that there are substitutes for the above named materials that are less expensive. I can't help but wonder where all that ebony and rosewood from Gibson will end up. Will it be reduced to tinder (unlikely) or will it be exported by the government to another country like China which has a huge demand for it.