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THE VENEER
As the industrial era drew near, craftsmen were looking to make
processes more efficient and to increase quality through the use
of machinery. In the early 19th century, a cabinetmaker by the name
of Mr.Cochot invented a water-powered veneer-sawing machine. Speed
was sacrificed for precision; this machine operated at a speed of
only up to 250 strokes per minute to ensure that the cutting remained
slow, and hence very consistent. Wood was clamped to a vertical
slide and was lowered into a 4 meter deep pit. As the saw's reciprocating
action was animated, each stroke of the saw raised the log gently
up into the cutting blade. In France, there are still a few of these
machines currently producing sawn veneers. Like these few, Aaron
Radelow has modified his band saw do to the same work with exceptional
results. Radelow has sawn thousands of sheets, of many different
woods, by utilizing carbide tipped band saw blades and a computer
that controls the motor's speed.
Most materials used in marquetry are stored in the workshop in
a raw form. Almost all need some kind of preparation before they
make their way into a veneer packet. For example, cow horn, and
turtle shell need to be flattened after a soaking in hot water.
Metals need to be scored on the gluing side and cleaned. In some
instances sheets of wood veneer need to be dyed with color - an
extensive soaking process that may take up to fifteen days. After
the preparation, which in and of itself requires considerable time
and expertise, veneers are usually cut to the specifications called
for in the marquetry drawings.
THE VENEER PRESS After the design has been cut, the counter veneers are discarded, revealing the pieces used to assemble the overall marquetry design. A majority of the veneer work done by Aaron Radelow is glued down using the veneer press, shown below. The veneer press is the best tool for gluing down marquetry work and veneers. This press is capable of gluing numerous panels simultaneously and even clamping on slight curves. The reason for this system being so good is control, one can start clamping at the center of a panel and work their way out radially allowing air and excess glue to easily escape. It is also the only way for cementing veneers when using animal glues.
When analyzing the facets of constructing a museum quality piece
of furniture, the most important facet of all, must be the type
of adhesive used in its construction. The specific types are: hide
glue, bone glue, fish glue, rabbit skin glue. Furniture pieces produced
by Aaron Radelow are only constructed using animal protein glues.
Protein based glues have a proven track record of success that goes
far back into, and beyond, recorded history. For example, furniture
crafted by Egyptians 5000 years ago, still stands in museums today
with their joinery tightly held together by animal protein-based
glues.
Reversibility is especially paramount when dealing with rare and valuable materials, or those materials that are no longer obtainable. For an example, let's say a conservator of antiquities was required to repair a Louis XIV lectern featuring ivory marquetry. The conservator will know that pre-industrial furniture was constructed using only animal glues. With this in mind, he or she would be able to remove any cracked or disintegrating ivory. The next step is to reconstitute the old glue with warm water, apply additional new glue, and clamp the new piece of ivory marquetry in place. What the above illustrates is; that fresh protein glue will reactivate the old protein glue and construct a new protein-linked bond. A more common scenario today is resetting a valuable piece of veneer that has slipped out of position during the gluing-up process. The craftsman would only need to reconstitute the glue, correctly position the veneer and re-clamp it. Money and materials saved! True collectors know the value placed upon a piece of furniture,
will in fact, be determined in large part by that pieces ability
to last the ages. Stay as close as possible to its original condition:
In other words. . . the condition when it left its makers workshop.With
today's finishes and glues that cure by irreversible chemical reactions,
how will it be possible to restore and refurbish the furniture of
tomorrow effectively having used those materials?
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Before
the advent of mechanization, veneers were cut by two man teams of
highly skilled veneer cutters, or sawyers, as shown above. These
teams were relied on to supply workshops with precious veneers.
To execute this feat of craftsmanship, the sawyers would start by
clamping a log vertically into a large vice. Then, guided only by
hand and eye, they would proceed to saw off slices of veneer that
measured anywhere from 1mm to 5mm in thickness. Although the thickness
was determined by what the veneer would ultimately be used for.
This hand-sawn veneer had subtle, unintentional variations (as would
be expected), which the skilled cabinet-maker, or marqueter could
easily scrape or plane smooth. 
