Can you help title

This is a recently introduced new section of our web site where Marquetry Society members can display items of marquetry (both pictures and furniture) that they would like to find information on with the help of our web site visitors.
If any of you, our visitors, can supply any information on a displayed picture, could you click the "link" to the right of the picture and fill in the pre-addressed e-mail form that will appear on screen. Thanks for your help.

Bob Boyd is the lucky owner of these beautifully crafted marquetry pictures that were made in Germany by Buchschmid & Gretaux in approximately the late 1950's to early 1960's.

Bob has asked us if we can provide him with any information about Buchschmid & Gretaux, but, even though we have extensive archives and reference sources, we have to hold our collective hand up and say that Bob has beaten us with this enquiry!

If any of you out there have any knowledge of these talented German Marquetry artists would you mind getting in touch and give us some idea of what happened to this fine company.

The veneer selections used in these examples look to be nicely chosen and do complement their subjects rather well. The distant mountain range depicted in the Neuschwanstein Castle picture is very sublety convincing and fades into the background in a very naturalistic fashion.

The only references we have available on Buchschmid and Gretaux is that they refered to their work as "Wood Inlay Art of Heidelberg". Although we would term the method used for making the pictures as marquetry rather than wood inlay work. However, inlay work is an apt description of the window method we all seem to use these days!

From a close look at the supplied photos of these marquetry pictures we rather suspect that they have been "saw cut" rather than knife or blade cut.

We are assuming that these marquetry works were produced in reasonable quantities of say at least ten examples of each picture.

Such a level would be practical for saw cut pictures because, if they are cut with a fret or piercing saw using a standard veneer pack of ten sheets of veneer, it would be feasible to assume that ten identical marquetry pictures could be produced from such methods.

If Buchschmid and Gretaux were using some form of templates for their cutting, then it is conceivable that they may well have produced their pictures in series of hundreds, but this is just pure conjecture until any of you can put us wiser on this subject.

Unfortunately even that fount of all knowledge, Wikipedia, doesn't seem to have any information on Buchschmid and Gretaux!

We offer our grateful thanks to any of you who can help us to track down some information on these fascinating marquetry artists.

If you are able to help you can, (if you are using Outlook Express or Windows Mail), click the "Marquetry Enquiry Reply" box to the right of these pictures and fill in the pre-addressed Email form that will appear on screen.

Or, if you are using a different Email client just type the following address in to your 'send to' address bar (there are no gaps in the address, it's all one word. We have just split it up a little so that it does not spread too far across the page nudging the pictures to the right and thereby making you have to scroll to read everything!):



You could of course just copy and paste the above address, but if you do, make sure that you remove any spaces between the words and letters so that it makes one complete 'word'.

Thanks for your help.


Picture 1 of Bob Boyds B & G enquiry
Two connoisseur's sample the vintage claret


Bob Boyds B & G enquiry picture 2
Three more steins of your finest Landlord


Label from rear of a B & G picture
The label from the rear of the Neuschwanstein Castle picture


Label from rear of another B & G picture
The label from the rear of the Garmisch-Partenkirchen picture


German town by B & G
Garmisch - Partenkirchen. St. Florian's Square (Florians - Platz)


German Castle by B & G
Neuschwanstein Castle


Last Supper
The Last Supper

Kevin G. asks for some help and information concerning this marquetry and bone-inlaid picture of The Last Supper.

The picture was purchased by auction - but, alas, it had no verifiable provenance.

Kevin would very much like to find out some information on the picture's age and origins.

If you feel that you may be able to help Kevin, would you click the link to the right of the picture and send us your thoughts and ideas on the e-mail form that will appear on screen, thanks.


Marquetry Brooches
Marquetry Brooches

Does anybody remember making marquetry brooches similar to these two in the early days of the Marquetry Society?

Maggie Hart, whose Grandmother was a member of the Marquetry Society in those early days, kindly sent these brooches in to us for our researches.

Maggie has also very kindly sent us a magnificent amount of information about our early history for our archives, but if any of you, our web site visitors, can furnish us with any additional info about these type of designs and any other recollections from the early days we would be most grateful to receive them.

Thanks are also due to Mike Hayland of the Surrey & East Kent Group for all his help with our researches.

An answer to the above Brooches question

The component parts of the brooch press


The domed veneer oval removed from
the press


A view of the press in operation

The reverse view of the press

a reply

We have had a reply to the above enquiry sent in by Quentin Smith of Staffs who informs us that a brooch press (as seen in these photos) is the principal tool used in the construction of such brooches.

The moistened oval design is placed in the press and left for the requisite time for the dome effect to form.

The design would obviously be cut into the oval blank before the brooch veneer is placed in the press for the doming process.

Thanks for the info and photos Quentin, it adds an insight as to how these brooches were made.

Marquetry brooches have been a favourite project for Marquetarians since the formation of the society back in the early fifties.



Floyd (Trip) J. has asked for some help in identifying "the distinctive inlay on the case of this clock. The faceplate was made in Birmingham by Hipkiss and Harrold, working between 1797 and 1805. Does anyone recognise this style?

Floyd mentions the quality and excecution of the marquetry adorning the clock's quarter-column support as being extremely fine. The edge crenulations are also seen to be rather unique.

Any information to determine the maker or makers of this case would be most gratefully received.

If you can help Floyd to find the maker of his clock case - could you click the "marquetry enquiry reply" box on the right of these photos and send us a reply in the pre-addressed e-mail form that will appear on screen. Thanks for your help.

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Information on the valuation of Wood Inlay or Marquetry pieces

Please note that we (The Marquetry Society) are unable to give market reference valuations on any marquetry, or wood inlay works, or pieces of any kind.

Any such value information as we do give on this web site has been derived from references to published information made available by the appropriate auction houses.

If you wish to obtain an accurate valuation for your wood inlay or marquetry piece/s, we would recommend you approach a relevant auction house for an up to date and accurate current valuation assessment.

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If you are using a different E-mail system to the M/S Outlook Express that our link boxes are utilising and your e-mail client will not open when you click the box, just copy and paste the following address into your "send to" box:

or, if that is not possible, then just type it in as seen above, thanks.

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