{"id":2320,"date":"2020-02-22T18:41:31","date_gmt":"2020-02-22T17:41:31","guid":{"rendered":"https:\/\/ebenisterie-mathieuvath.fr\/?p=2320"},"modified":"2021-05-31T09:18:22","modified_gmt":"2021-05-31T07:18:22","slug":"cartel-signe-louis-david-carre-a-paris","status":"publish","type":"post","link":"https:\/\/ebenisterie-mathieuvath.fr\/en\/2020\/02\/22\/cartel-signe-louis-david-carre-a-paris\/","title":{"rendered":"Label signed "Louis David Carr\u00e9 in Paris"\u00ab"},"content":{"rendered":"

After several weeks of work, the restoration of this sign is finally complete.<\/p>\n\n\n\n

\"Eb\u00e9nisterie
Before restoration<\/figcaption><\/figure>\n\n\n\n

This is a Louis XV period cartel clock in brown tortoiseshell and brass marquetry, with rosewood restorations. The dial is by Louis David Carr\u00e9, nephew of Jullien le Roy, who became a master craftsman on December 31, 1748. Lodged at the Louvre from 1744, he was elected a juror in 1775.<\/p>\n\n\n\n

  • \"Eb\u00e9nisterie
    Louis David Carr\u00e9 in Paris<\/figcaption><\/figure><\/li>
  • \"Eb\u00e9nisterie
    Signature of Louis David Carr\u00e9<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n

    The greatest asset of this cartel clock lies in its bronze mounts. They are truly magnificent, and above all, they are in very good condition. There are very few areas where the gilding is missing, as we can see in the photos of its arrival at the workshop.<\/p>\n\n\n\n

    • \"Eb\u00e9nisterie
      Before restoration<\/figcaption><\/figure><\/li>
    • \"Eb\u00e9nisterie
      Right side before restoration<\/figcaption><\/figure><\/li>
    • \"Eb\u00e9nisterie
      Left side before restoration<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n

      Some elements are veneered with rosewood. Is this a restoration or is it original? I would lean towards restoration. The 19th-century restorer, lacking ebony or tortoiseshell, chose rosewood, a wood which, when new, is very dark.<\/p>\n\n\n\n

      However, since it could not be proven that it was indeed a restoration, it was decided to keep it and lightly tint it, in order to restore its original color and better harmonize it with the rest of the marquetry.<\/p>\n\n\n\n

      \"Eb\u00e9nisterie
      Rosewood veneer <\/figcaption><\/figure>\n\n\n\n

      The oak frame is in rather poor condition. All the joints are coming apart. <\/p>\n\n\n\n

      So I had to glue them back together with fish glue, or hot glue when possible. Furthermore, the core is cracked in several places. And there, it's impossible to tighten and reattach with a clamp. Because the wood has shrunk but the brass hasn't. So I reinforced and filled the cracks so that the marquetry could be returned to its original position, without altering the sides and structure of the clock.<\/p>\n\n\n\n

      • \"Eb\u00e9nisterie
        Split soul<\/figcaption><\/figure><\/li>
      • \"Eb\u00e9nisterie
        Split soul<\/figcaption><\/figure><\/li>
      • \"Eb\u00e9nisterie
        Split soul<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n

        Unfortunately, the bulk of the restoration work lies in the tortoiseshell and brass marquetry. Like many pieces of furniture, this clock has been excessively sanded. This was done for convenience and to save time, but despite the engraving on the brass. On this clock, there is practically no trace of the engraving left, and the marquetry is as thin as cigarette paper.<\/p>\n\n\n\n

        • \"Eb\u00e9nisterie
          Remnants of engraving and traces of glue<\/figcaption><\/figure><\/li>
        • \"Eb\u00e9nisterie
          Remains of engraving <\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n

          So I had to find thin sheets of brass to fill in the gaps in the plating. <\/p>\n\n\n\n

          \"Eb\u00e9nisterie
          Pierces the tortoiseshell and brass <\/figcaption><\/figure>\n\n\n\n

          Another major and widespread problem with Boulle marquetry furniture is the use of superglue (cyanoacrylate glue). The brass detaches and fails to hold, but the glue remains stuck on top and is impossible to remove. Only mechanical action (with a chisel) is effective, which necessitates removing the brass.<\/p>\n\n\n\n

          • \"Eb\u00e9nisterie
            Glue<\/figcaption><\/figure><\/li>
          • \"Eb\u00e9nisterie
            The devastating effects of cyanoacrylate glue <\/figcaption><\/figure><\/li>
          • \"Eb\u00e9nisterie
            And more glue<\/figcaption><\/figure><\/li>
          • \"Eb\u00e9nisterie
            The devastating effects of cyanoacrylate glue <\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n

            Apart from these major flaws, the restorations involved routine repairs to missing marquetry. These were cut from a very thin sheet of brass (0.2 mm), then glued in place under vacuum and held under pressure for five days. Afterward, the marquetry was cleaned (without sanding), and the joints were filled with Roubo putty. <\/p>\n\n\n\n

            • \"Eb\u00e9nisterie
              Lack of scales<\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Veneer missing and traces of glue <\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Lack of scales <\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Missing brass and scale on the right side<\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Missing brass on the right side<\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Marquetry defects<\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Brass lifting<\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Missing brass and tortoiseshell<\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Brass shortages<\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Brass detachment<\/figcaption><\/figure><\/li>
            • \"Eb\u00e9nisterie
              Brass shortages<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n
              \"Eb\u00e9nisterie
              Brass part in the wrong place<\/figcaption><\/figure>\n\n\n\n
              • \"Eb\u00e9nisterie
                Veneer detached<\/figcaption><\/figure><\/li>
              • \"Eb\u00e9nisterie
                Lack of veneer<\/figcaption><\/figure><\/li>
              • \"Eb\u00e9nisterie
                Lack of veneer<\/figcaption><\/figure><\/li>
              • \"Eb\u00e9nisterie
                Background before restoration <\/figcaption><\/figure><\/li>
              • \"Eb\u00e9nisterie
                Marquetry defects<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n
                \"Eb\u00e9nisterie
                Brass parts missing from cutting<\/figcaption><\/figure>\n\n\n\n
                \"Eb\u00e9nisterie
                Vacuum bonding<\/figcaption><\/figure>\n\n\n\n

                To harmonize the color of the brass with the gilded bronzes, I diffused a potassium sulfide solution, more commonly known as "bar\u00e8ge," under a tent. Then, a finish of colorless French polish was applied.<\/p>\n\n\n\n

                \"Eb\u00e9nisterie
                French polish <\/figcaption><\/figure>\n\n\n\n
                \"Eb\u00e9nisterie
                Cleaning bronzes with Panama wood<\/figcaption><\/figure>\n\n\n\n
                • \"Eb\u00e9nisterie
                  A closer look at the gilding<\/figcaption><\/figure><\/li>
                • \"Eb\u00e9nisterie
                  Traces of gilding on the back of the bronzes<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n
                  • \"Eb\u00e9nisterie
                    After restoration <\/figcaption><\/figure><\/li>
                  • \"Eb\u00e9nisterie
                    After restoration <\/figcaption><\/figure><\/li>
                  • \"Eb\u00e9nisterie
                    After restoration <\/figcaption><\/figure><\/li>
                  • \"Eb\u00e9nisterie
                    After restoration <\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n
                    \"Eb\u00e9nisterie
                    After restoration <\/figcaption><\/figure>\n\n\n\n
                    • \"Eb\u00e9nisterie
                      After restoration<\/figcaption><\/figure><\/li>
                    • \"Eb\u00e9nisterie
                      After restoration <\/figcaption><\/figure><\/li>
                    • \"Eb\u00e9nisterie
                      After restoration <\/figcaption><\/figure><\/li>
                    • \"Eb\u00e9nisterie
                      After restoration <\/figcaption><\/figure><\/li>
                    • \"Eb\u00e9nisterie
                      After restoration <\/figcaption><\/figure><\/li>
                    • \"Eb\u00e9nisterie
                      After restoration <\/figcaption><\/figure><\/li>
                    • \"Eb\u00e9nisterie
                      After restoration <\/figcaption><\/figure><\/li><\/ul><\/figure>","protected":false},"excerpt":{"rendered":"

                      Apr\u00e8s plusieurs semaines de travail, la restauration de ce cartel est enfin termin\u00e9e. C’est un cartel d’\u00e9poque Louis XV en marqueterie d’\u00e9caille de tortue brune et de laiton, avec des restaurations en palissandre. Le cadran est de Louis David Carr\u00e9, neveu de Jullien le Roy, re\u00e7u ma\u00eetre le 31 d\u00e9cembre 1748. Log\u00e9 au Louvre d\u00e8s 1744, il fut \u00e9lu jur\u00e9 en 1775. La plus grande richesse sur ce cartel se trouve dans ses bronzes. Ils sont vraiment magnifiques, et surtout, ils sont en tr\u00e8s bon \u00e9tat. Il n’y a que […]<\/p>\n","protected":false},"author":1,"featured_media":2263,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[108,152,106,78,103,98,77,67,84],"tags":[69,82,80,72,95,16,3,15,70,71,76,64,38,37,36],"class_list":["post-2320","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bronzes","category-cartel","category-chene","category-collage-sous-vide","category-greffe","category-laiton","category-marqueterie-boulle","category-restauration-de-mobilier","category-vernis-au-tampon","tag-cartel","tag-collage-sous-vide","tag-colle-animale","tag-colle-de-poisson","tag-colle-infiltrante","tag-conde-sur-huisne","tag-conservation-restauration","tag-ebenisterie-mathieu-vath","tag-ecaille-de-tortue","tag-laiton","tag-marqueterie-boulle","tag-palissandre","tag-restaurateur","tag-restauration-de-meubles","tag-restauration-de-mobilier","clearfix"],"acf":[],"yoast_head":"\nCartel sign\u00e9 "Louis David Carr\u00e9 \u00e0 Paris" • \u00c9b\u00e9nisterie Mathieu Vath<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ebenisterie-mathieuvath.fr\/en\/2020\/02\/22\/cartel-signe-louis-david-carre-a-paris\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cartel sign\u00e9 "Louis David Carr\u00e9 \u00e0 Paris" • \u00c9b\u00e9nisterie Mathieu Vath\" \/>\n<meta property=\"og:description\" content=\"Apr\u00e8s plusieurs semaines de travail, la restauration de ce cartel est enfin termin\u00e9e. C’est un cartel d’\u00e9poque Louis XV en marqueterie d’\u00e9caille de tortue brune et de laiton, avec des restaurations en palissandre. Le cadran est de Louis David Carr\u00e9, neveu de Jullien le Roy, re\u00e7u ma\u00eetre le 31 d\u00e9cembre 1748. Log\u00e9 au Louvre d\u00e8s 1744, il fut \u00e9lu jur\u00e9 en 1775. La plus grande richesse sur ce cartel se trouve dans ses bronzes. Ils sont vraiment magnifiques, et surtout, ils sont en tr\u00e8s bon \u00e9tat. 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C’est un cartel d’\u00e9poque Louis XV en marqueterie d’\u00e9caille de tortue brune et de laiton, avec des restaurations en palissandre. Le cadran est de Louis David Carr\u00e9, neveu de Jullien le Roy, re\u00e7u ma\u00eetre le 31 d\u00e9cembre 1748. Log\u00e9 au Louvre d\u00e8s 1744, il fut \u00e9lu jur\u00e9 en 1775. La plus grande richesse sur ce cartel se trouve dans ses bronzes. Ils sont vraiment magnifiques, et surtout, ils sont en tr\u00e8s bon \u00e9tat. 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