The creative process by which marquetry is made starts with an idea and this can come from many different sources. What inspires us can come from a photo, a postcard, the newspaper, magazine or some other source. Many visual aids are available in our mass media society. The possibilities are really endless. This was not the case two-centuries ago for designers of marquetry.
For instance, in Paris, as in other European cities during the second half of the Eighteenth-Century, cabinetmakers of modest means had to rely on engravings sold by print sellers throughout the city. These could be portraits, religious, historical or mythological subjects. Botanical arrangements were very popular. Books containing plates of ornaments, vases and trophies intended for designers were also available. The more successful furniture-makers would buy one-of-a-kind paintings for their exclusive use. Jean Francois Oeben, a Master in 1761, had a large collection of paintings at the time of his death of which his favorite artist was the floral painter, Louis Tessier. David Roentgen employed the German painter Januarius Zick for his allegory designs.
The secretaire pictured below has marquetry derived from the engravings of
L'Art du Menuisier by Andre Jacob Roubo published in 1774. By looking at the photos one can tell it was made by a minor-craftman for personal use and most likely exempt from the Paris Guild,
Corporation des Menuisiers-ebenistes. It was made in about 1775. Notice that the doors overlap the exterior surface of the desk. This feature was not used by the major craftsmen of the time who took special care in concealing hinges. I guess marquetry inspiration is where you find it and this craftsman had not far to look.
