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MANUAL 
 
 BUHL-WORK AND MARQUETRY. 
 
MANUAL 
 
 OF 
 
 BUHL-WORK 
 
 AND 
 
 MARQUETRY 
 
 WITH 
 
 PRACTICAL INSTRUCTIONS FOR LEARNERS, 
 
 AND 
 
 NINETY COLOURED DESIGNS. 
 
 BY 
 
 WILLIAM BEMROSE, 
 
 AUTHOR OF “manual OF WOOD CARVING,” “FRET CUTTING,” ETC., ETC. 
 
 FOURTH EDITION. 
 
 XonC>on : 
 
 BEMROSE & SONS, 23. OLD BAILEY ; AND DERBY. 
 
 ENTERED AT STATIONERS’ HALL. 
 
INTRODUCTION. 
 
 “Patience and ingenuity 
 The want of natural gifts supply.” 
 
 S a sequel to the two works, “ Manual of Wood Carving ” and 
 “ Fret-cutting,” which have been so well received as to call for numerous 
 editions, the writer has been induced to add another Manual, for the 
 Sister Arts of Buhl-work and Marquetry. 
 
 Neither of these arts have been practised to any great extent by amateurs, 
 the class for whose instruction in particular the present volume is issued. Excellence 
 is obtainable in Buhl-work and Marquetry in no less degree than in Wood-carving 
 and Fret-cutting, and not only are they arts which are rapidly reviving as con- 
 tributing to the elegance and adornment of home, but they present openings for 
 remunerative employment which are so much needed for many who have cultivated 
 taste and leisure. 
 
 It has been the aim of the writer to give the instructions in clear and simple 
 language — free from trade technicalities and lectures on art matters — accompanied by 
 a series of progressive designs, which will guide the Student to the attainment of 
 considerable excellence in the art, and place him in a position to carry out larger 
 works, whether copies of well known examples from the museums (w private 
 collections, or from special designs. 
 
/ 
 
CONTENTS. 
 
 PAGE 
 
 Introduction ... ... ... ... ... ... ... ... ... ... ... ... 5 
 
 Tools, &c. .. ... 9 
 
 BUHL-WORK ... ... 13 
 
 How TO Cut Buhl-Work ... ... ... ... ... ... ... ... ... 14 
 
 How TO Engrave on Metal and Ivory ... ... ... ... ... ... ... 16 
 
 MARQUETRY ... 18 
 
 Woods ... ... ... ... ... ... ... ... ... 18 
 
 How TO Cut Marquetry ... ... .. ... ... ... ... ... ... 19 
 
 Shaded Marquetry ... ... ... ... ... ... ... ... ... ... 21 
 
 Designs and how to obtain them .. ... ... ... ... ... ... 22 
 
 Carved Marquetry ... ... ... ... ... ... ... ... ... ... 24 
 
 Imitation or Stencilled Marquetry ... ... ... ... ... ... ... 24 
 
 Stains ... .. ... ... ... ... .. ... .^. ... ... ... ... 26 
 
 How TO Polish ... ... ... ... ... ... ... ... ... ... ... 27 
 
 Explanation of Designs ... .. ... ... ... ... ... ... ... ... 27 
 
 ILLUSTRATIONS. 
 
 plate 
 
 Borders and Corners, Nos. i to 20 ... ... ... ... ... ... ... ... i 
 
 „ >. » 21 TO 31 II 
 
 Book Side, Alms Box, Drawer Front, Ivory Basket, &c.. Nos. 32 to 38 ... ... iii 
 
 Bed Pocket, a Fan, and Box Tops, Nos. 39 to 42 ... ... ... ... ... iv 
 
 Designs for Engraved Buhl-Work suitable for small objects, Nos. 43 to 56 ... v 
 
 Trinket Cupboard and Four Frames, Nos. 57 to 61 ... ... ... ... ... vi 
 
 Imitation Marquetry Borders. Corners, &c.. Nos. 62 to 69 ... ... ... ... vii 
 
 Hand Mirror— -Buhl- Work, No. 70 ... ... ... ... ... ... ... viii 
 
 Marquetry Borders, Corners, &c., Nos. 71 to 76 ... ... ... ... ... ... ix 
 
 Book Slide End, a Drawer Front, &c., in Marquetry, Drawer Front in Buhl-Work, 
 
 Nos. 77 to 81 ... ... ... ... ... ... ... ... ... ... X 
 
 Centre of a Panel, a Drawer Front, &c., in Coloured Marquetry, Nos. 82 to 86 ... xi 
 Lady’s and Gentleman’s Card Case, a Panel in Shaded Marquetry, Nos. 87 to 89 xii 
 Blotting Case Side in Shaded Marquetry, No. 90 ... ... ... ... ... ... xiii 
 
TOOLS. 
 
 HE tools required to cut Buhl-work or 
 and the same tools are also adapted 
 following : — 
 
 Marquetry are few and inexpensive, 
 for either arts, and consist of the 
 
 No. I is a steel saw frame. The saw is inserted first at the handle end, between 
 the clips, and screwed tight, then placed between the clips at the opposite end and 
 screwed up. The screw at the extreme end is then turned to tighten the saw, which 
 will bend or break unless properly tightened. 
 
 No. 2 shows the width of the saw blades, these can be had per post, qd. per 
 doz., post free. 
 
 Nos. 3 and 4 are Drills. No. 3 is best adapted for heavy work. No. 4 for 
 Buhl and Marquetry. 
 
 No. 5 is a holdfast, useful for fastening No. 6, the “horse,” to the table, and for 
 pressing work when glued together. 
 
 No. 6 is what is termed a “ horse,” and consists of a piece of wood half an inch 
 in thickness, a useful size is 15 by 20 inches ; with the saw cut out a piece near 
 
 2 
 
lO 
 
 BUHL-WORK AND MARQUETRY. 
 
 to one corner, the shape of the letter \f, one 
 inch at the wide end, and two and a half 
 inches deep at the point. The saw works in 
 this opening, the part not cut away acting as a 
 support. The “ Iiorse” should project over the 
 edge of the table, and be held firmly thereto by 
 a holdfast, No. 5. The illustration shows the 
 
 position of the hands and work. The right hand 
 moves the saw up and down, and turns it in the 
 required direction. The left hand presses the 
 
 wood veneers against the saw, and also turns the 
 wood to assist the saw in keeping on the line 
 
 of the design. 
 
 No. 7 is a toothing plane for roughing or “ toothing ” the work, so as to cause 
 it to adhere the better to the foundation. When the toothing iron requires sharpening 
 the bevelled side only must be ground or rubbed on the oil-stone, and be “ set,” or 
 project very little beyond the face of the plane. 
 
 No. 8 is a scraper, for cleaning off the toothing marks, before the work is 
 polished. The method of sharpening this tool is to hold the scraper in an upright 
 position, and rub the edge on the oil-stone, and then give a slight rub on each side. 
 Now take the steel sharpener, and, resting one corner of the scraper on the bench, rub 
 the steel up and down smartly, with pressure, until there is a burr on the edges of the 
 scraper, then rest the work against some object, as in planing, or fasten it to the table 
 by the holdfast, hold the scraper in both hands, the thumbs behind and the fingers 
 before the scraper, lean it forwards and scrape the surface from you, until all the 
 toothing marks are removed. 
 
 No. 9 is called a “ rooter,” from the fact that it roots up a narrow groove, in 
 which is inserted a “ string,” which consists of a narrow strip of wood cut from a veneer. 
 These strings can be purchased in lengths, of several colours, black, white, green, &c., at 
 a trifling cost, and add much to the appearance of the work as a border. The rooter 
 No. 9 is easily made, and consists of a piece of hard w'ood 2 inches by i inch and 
 3 inches long. Make a sawgate lengthways of the wood, in which insert tightly a 
 piece of broken saw, the width of the “ string,” letting it project exactly the depth of 
 the “ string ” beyond the face of the wood. The method of using it is as follows — get 
 a strip of wood planed true, fasten it on the work at each end by means of hand- 
 screws, at the exact distance the line is required, then move the “ rooter ” steadily 
 backwards and forwards as in planing, pressing the “rooter” against the strip of wood 
 until the “ rooter ” has cleared its way to the depth at which it is set. This applies 
 to tlie long ivay of the grain. In cutting across the grain a small steel cutter. No. 10, 
 must first be used in a similar manner, moving the strip of wood which acts as a gauge, to 
 
BUHL-WORK AND MARQUETRY. 
 
 No. IX. No. X2. 
 
 Illustration No. 1 1 shows a very good fret machine, which also answers the 
 purpose of a lathe. No. 12 represents a still cheaper fret machine, all iron.* 
 
 After describing the tools, a few words must be said on the subject of the bed 
 
 *No. 1 1 machine ... ... Price 25s. | These machines, carving and fret tools, may be obtained from 
 
 „ 12 ,, ... ... „ 2IS. I Messrs. Bemrose & Sons, 23, Old Bailey, London. 
 
 1 1 
 
 cut the second line exactly the same width as the “ rooter ” blade; the “ rooter ” is 
 then used as before, when the piece between the two lines made by the cutter will 
 be neatly removed without leaving a burr, which would not be the case if the “ rooter ” 
 was alone used across the grain. The cutter can be made in a similar manner to the 
 “ rooter” by inserting a flat-pointed piece of steel instead of the saw. 
 
 For cutting circles or ovals, a piece of wood cut to the required shape must be 
 used as the gauge, and rooter and cutter must also be made to fit the gauge ; the saw 
 will require bending to the same shape for the rooter. 
 
12 
 
 BUHL-WORK AND MARQUETRY. 
 
 or foundation on which the Buhl or Marquetry is to be laid. It is not supposed that the 
 amateur will prepare these, but will employ the cabinet maker. The material employed 
 for this purpose may be a cheaper wood, as it will be entirely covered, but must be well 
 seasoned. There arc in most houses work-boxes, small tables, cabinets, or other objects, 
 which have done good service and now look shabby. Providing they are otherwise in 
 good repair, nothing could be better on which to lay the Buhl or Marquetry. The only 
 preparation required being the application of the toothing plane. Care must always 
 be taken to remove all polish or varnish before overlaying old objects with new work, or 
 the new work will not properly adhere to the foundation. 
 
 It often occurs that a joint has to be made in laying down veneers, in such 
 woods as walnut, or other figured woods. The best method is to lay one piece on 
 the other in the position they are to occupy, and to run the saw in a wavy line across 
 the two pieces, so that when laid down the one piece fits close up to the other to the 
 greatest nicety. The joint is thus less perceptible than if cut straight across. 
 
BUHL-WORK. 
 
 called after Andre Ch. Boulle, a French carver in wood, born 1642, died 
 1732, who first brought this particular style of work to great perfection. 
 It consists of a design cut out in gold, silver, brass, or other metal, by 
 means of a very fine saw, and then let in, or inlaid into ebony, or other 
 wood, ivory, tortoiseshell, &c. The two materials of “veneer” thickness 
 are fastened together and cut at the same time, so that there are two complete 
 designs obtained, one being the reverse of the other. Thus — in one case the design 
 is in brass, and the ground-work ebony ; while in the reverse the design is in ebony, 
 and the ground-work brass. The metal is further improved by the aid of the graver. 
 A chapter is devoted to engraving, giving the necessary instructions for carrying this 
 part of the subject to a successful issue. But as considerable practice is required, 
 the beginner is recommended to go to a practical engraver for some instruction, as 
 indifferently executed engraving spoils the best Buhl cutting. 
 
 The designs mostly partake of a delicate and complicated character, and have a 
 rich and substantial appearance. It is only within the last few years that public taste 
 has revived for this neglected art, and its seat of manufacture has been hitherto confined 
 to the continent. The English manufacturer is now turning his attention to this branch 
 of art manufacture, with good results, but we are still in a great measure dependent 
 upon the foreign workman. This difficulty will soon be overcome by training the 
 English workman to this class of work. 
 
 The art is of considerable antiquity, and is supposed to have been brought from 
 the East by the Romans, and it attained considerable excellence in the 15th century 
 in Italy. 
 
 When tortoiseshell is used it is sometimes gilt, or coloured red, &c., at the back, 
 so that when laid down a richer effect is gained. In the one instance the gilder is 
 employed, in the other, vermilion, or some other colour is mixed with varnish and a 
 thin coat brushed on. Of course in both instances the gilt or coloured side is laid 
 downwards. 
 
14 
 
 BUHL-WORK AND MARQUETRY. 
 
 Tortoiseshell is not obtainable in very large pieces, so that it is often necessary 
 to join them together, thus : place the two pieces one on the other, and with a sharp 
 knife cut the edges even, then lay them flat, and put a strip of glued paper on the 
 joint, at the same time pressing the two edges together, place under a weight until dry. 
 
 HOW TO CUT BUHL-WORK. 
 
 H aving fixed upon a design, procure a piece of ebony or tortoiseshell and a 
 piece of brass of the same size as the design. A soft brass is specially prepared for 
 the purpose, and the wood veneer or tortoiseshell should be of the same thickness. Before 
 fastening the brass and wood together, they should be “toothed” over by Tool No. 7 on 
 both sides, they will then require less toothing when completed. This is accomplished in 
 the following manner. Place the brass or wood on a level surface, having previously 
 rubbed it over with chalk to prevent the brass slipping forwards. Now place the left 
 hand behind the toothing plane to hold the brass, use the tool as an ordinary plane, 
 until the surface is covered by the tooth marks, then turn it round and tooth the other 
 end. When all sides are toothed, warm the brass and glue it on one side, placing a 
 
 piece of newspaper on it, and rub well down, then glue the paper and place the wood 
 
 veneer on it, and rub down. Now glue the back of the design and place it upon the 
 brass, and put the glued pieces under a weight until dry. A copying press, if at hand, 
 will answer admirably to press the pieces together until dry. 
 
 With a drill as fine as the saw about to be used drill several holes, choosing a 
 
 spot where they will be least observed. Place the metal and wood, which are for the 
 
 present to be treated as if one piece, upon the “horse” or machine. If the design is 
 a continuous one, i.e., one that the saw can follow until completed, only one hole need 
 be drilled. If the design is one requiring openings inside, drill a hole in each of such 
 openings, so that the saw can make a start. In some designs where one part wraps over 
 another part and will require lines engraving, the saw may be run through on one of 
 those lines, and so economise time. The other line will be cut by the graver. See 
 design No. i as an example. 
 
 Having inserted and tightened the saw, which should be as fine as the thickness 
 of the material will allow to be used, proceed to saw out the design, turning the brass 
 .so as to assist the saw in keeping on the line of the design. A beginner should first 
 try on a bit of brass, without any design, merely turning the brass about at fancy, so 
 as to acquire steadiness and command of the saw, afterwards choose a simple design, 
 and try to follow it with the saw ; when coming to a sharp corner, shorten the strokes 
 
BUHL-WORK AND MARQUETRY. 
 
 15 
 
 of the saw-frame, so as to have it under perfect command, and ease the forward pressure 
 of the saw-frame, at the same time turn the brass round until the saw is in the required 
 new direction, then proceed as before. 
 
 Some little practice is required to accustom tlie saw in the right hand to act in 
 unison with the work in the left hand, so that they each help one another to keep the 
 saw on the design. 
 
 Another method adopted by some professional Buhl and Marquetry cutters is to 
 lay the printed design — which is in outline and often engraved on steel or copper-plate, 
 to ensure all the designs being exactly alike — on one or more thicknesses of the ground- 
 work, and cut carefully on the line of the design. Then one or more thicknesses of 
 the material to be inlaid are cut, a similar copy of the design being fastened on the 
 top, and the design cut just inside the line, so that when separated the design will fit 
 very accurately into the ground-work. To accomplish this successfully requires con- 
 siderable practice. 
 
 The splendid old Buhl-work still in existence was, no doubt, cut without the aid 
 of machinery, so that the amateur need not despair of producing good work, if skill, 
 perseverance, and aptitude, are combined. 
 
 But then comes the question whether those who can afford a machine for cutting 
 do not possess great advantages over 'those who use the hand saw-frame. 
 
 We will suppose the design is cut, the next operation is to separate the two 
 materials by carefully inserting a table knife blade between them ; on pressing it forward 
 the paper will be found to split. Lay the ground-work on a flat surface, and drop the 
 design therein, then glue a piece of newspaper, or other soft paper, and place the glued 
 side on to the Buhl-work, rubbing it well down with the hand, and place it under a 
 weight until dry, this will hold all the pieces in their places. 
 
 The next operation is to lay the Buhl-work on to its bed, or foundation. This 
 requires great care to ensure the Buhl-work adhering to the bed, and it will be a 
 question for the amateur to decide, whether this mechanical part of the process would 
 not be better done by a cabinet maker. However, for those who prefer to lay down 
 their own work, we give the following instructions.' 
 
 Having well “ toothed ” the foundation, warm it and the Buhl-work by repeatedly 
 passing a hot smoothing iron over them, to prevent the glue setting too quickly ; now 
 apply an even coat of well boiled glue to the unpapered side of the Buhl-work, working 
 the glue into the “sawgates” by giving a circular motion to the glue brush, and also 
 glue the foundation ; rub well down and place under heavy pressure, taking care to 
 place a board on the top of the work which has been slightly tallowed, or greased with 
 lard. This prevents the work from being injured by sticking to the board. 
 
i6 
 
 BUHL-WORK AND MARQUETRY. 
 
 In laying down larger works a “veneering hammer,” or a “caul,” would be used, 
 which latter consists of a piece of wood cut to the shape of the work, and being made 
 hot, applied with considerable pressure until the glue has set. The designs in this 
 volume being of small size, the method before described will suffice. 
 
 When the glue has thoroughly set (for which allow at least twenty-four hours), the 
 Buhl-work is ready for cleaning off. It is essential that the glue should be hot, of good 
 quality, not too thick, and only mixed in small quantities, as glue which has been 
 repeatedly warmed up loses its tenacity. The scraper will soon remove the paper, if a 
 damp sponge is previously passed over it. The surface now requires levelling ; this is done 
 by using a fine flat file, always in one direction, until the surface is perfectly even, and 
 free from all scratches, then examine the Buhl-work, to see if there are any “gapes” or 
 holes, if so they must be filled up with a stopping, made by mixing very fine sawdust 
 of the wood or other material with clear glue. When this stopping is thoroughly dry 
 clean off the excess with the scraper. Now put a piece of No. i emery cloth round 
 a flat piece of cork or wood, and rub the surface backwards and forwards, in the same 
 direction as the file marks ; then change the emery cloth for No. o, or the finest, and 
 use this until a smooth, level surface, free from scratches, is obtained. 
 
 The next process is to polish. Fine pumice-stone, ground to a level surface on 
 a piece of sand or gritstone, in the direction of its fibre, must be rubbed backwards and 
 forwards, with some pressure, on the Buhl-work, until all scratches have disappeared. 
 If an extra good surface is desired, procure a piece of stick charcoal, with a knife cut 
 the end on a bevel, put a few drops of oil on the Buhl-work, and rub the charcoal 
 backwards and forwards until a fine surface is obtained. Make a polishing-rubber by 
 rolling up tightly and evenly a strip of fine flannel or cloth three or four inches wide, 
 and two to three feet long, then secure it in the roll shape by stitching it. On one 
 end of the “rubber” apply a few drops of linseed oil, and sprinkle the surface of the 
 Buhl-work with tripoli powder, sold by most Ironmongers and Druggists ; rub the 
 Buhl-work, applying occasionally a fresh supply of oil and powder, until a fine polished 
 surface is obtained. If the materials being polished are ebony and brass, a still finer 
 polish is got by using finely-powdered charcoal. 
 
 Buhl-work is kept in a bright and good condition by being rubbed with a 
 clean wash-leather once or twice a week. 
 
 HOW TO ENGRAVE ON METAL AND IVORY. 
 
 L ittle instruction, but plenty of practice, and few tools, will enable the amateur 
 to add much to the appearance of his work. Ordinarily but two tools need be 
 used, an etching point and a square graver; the former to mark on the brass the 
 lines to be engraved, such as the curves in scrolls (Fig. i) and the veins in leaves, the 
 
BUHL-WORK AND MARQUETRY. 
 
 17 
 
 latter to cut them deeply into the brass. The work to be engraved must first be 
 sawn and then be glued firmly to a piece of wood, a piece of paper being between 
 the brass and the wood, so that it may be more easily removed when the engraving 
 is finished. The graver should not be held at any great angle, or else it will dig into 
 the brass and soon lose its point. The diagram will show how it should be held, the 
 handle being pressed forward by the palm of the hand, and the tool guided by the 
 first finger and the thumb (Fig. 2). The handle is represented here (Fig. 3), and the 
 
 best mode of sharpening is as follows : — The graver must be rubbed on its end until 
 the required sharpness is obtained, but it will be advisable not to make the angle too 
 great, as although by this means it will cut more easily, yet in the hands of one not 
 practised it would soon break and require to be again sharpened. It will be found 
 that the point will keep longer in good condition if the graver is ground to about 
 the angle shown in Fig. 4, which gives a section of the tool. Fig. 5 shows the angle 
 to be avoided until greater expertness has been acquired. The graver to be used 
 should be a square one, a lozenge being open to the same objection as a square one 
 sharpened at too great an angle. Gravers can be had of any thickness to suit work, 
 however large. The larger the graver, the coarser or thicker the line. To obtain the 
 gradually increased thickness in the curved lines, greater pressure must be used, and 
 the tool may be passed through those parts of a line requiring more breadth 
 several times, as it is not a good plan to get up the effect by crossing the lines, as is 
 done in etching. 
 
 When the engraving is completed, the lines require filling up with melted 
 mastich, to which is added black, vermilion, or other colour. This is rubbed carefully 
 in, and left to dry, then cleaned off. 
 
MARQUETRY, 
 
 ERIVED from the French ^narqiietcr, to checker, inlay ; from viarque, 
 mark, sign, is the term used to describe work inlaid with different pieces 
 of divers coloured woods, shells, ivory, &c. The ground-work is often 
 dark in colour, whilst the scroll or geometric designs, which are mostly 
 used, are of one or more lighter shades of wood, or other material. At 
 other times this order is reversed. Marquetry, unlike ordinary “fret-cutting,” throws 
 nothing away ; for in cutting a table top, for instance, two tops are obtained, the one 
 the reverse of the other, or to speak photographically, the result is a negative and a 
 positive. In the one instance the ground-work would be dark, and the design in lighter 
 colours; the other would have a light ground and the design in darker colours. The 
 examples below will best illustrate the subject, as it will be at once seen that the 
 second design is really what was cut away in forming the first. 
 
 Marquetry may be likened to a coat which a man puts on to clothe his body, for 
 marquetry is always put on to a body or foundation, be it a table, cabinet, or other 
 object. The body is mostly made of a cheaper wood, and the marquetry is glued on 
 to this foundation, the joints being cunningly put together, thus giving a solid appear- 
 ance to the work when completed. 
 
 WOOD. 
 
 V ENEERS vary in substance, and can be obtained from the thickness of a sheet 
 of paper upwards, of the width of the tree, and of considerable length. Many 
 woods are suitable for marquetry, and are always obtainable in veneers, such as walnut, 
 mahogany, sycamore, ebony, lime, oak, rosewood, and many other natural coloured 
 woods. The various fancy coloured woods are dyed, and are principally used to re- 
 present groups of flowers, &c. ; these are also to be met with in veneer thickness. 
 
BUHL-WORK AND MARQUETRY. 1 9 
 
 There are ordinarily two thicknesses of veneer kept by most dealers, the one 
 
 called “ knife-cut,” which is thinner than those which are “ saw-cut.” The latter give 
 
 more substance to work upon, but are necessarily slightly dearer in price. 
 
 Veneers being of a fragile nature are apt to split ; a good plan to prevent this 
 is to glue a narrow strip of calico, and place it across each end of the veneer, turning 
 
 it over to the back. Paper will do, but not so well as calico. The amateur must 
 not think that the veneer is ruined if it is cracked, or in some woods a small hole 
 or two, as in the former case the crack disappears when properly put down, and in the 
 latter case the holes are neatly stopped with a proper coloured cement, or a piece of 
 veneer is let in. 
 
 It is well to glue a strip of paper on a crack, as it prevents the crack extending 
 
 whilst the wood is being cut. If the veneer rolls up and seems likely to crack in 
 
 trying to lay it flat, place it on a damp floor for several hours, it will then lie flat 
 without splitting. Veneers should be kept between two pieces of wood, or inside a 
 large book. 
 
 In choosing woods a good contrast is wanted, suitable to the subject of the 
 design. The veneers should be all of the same thickness, so that when cut, and the 
 design fitted into the ground-work, the surface will be level, so as to facilitate its being 
 laid down. 
 
 HOW TO CUT MARQUETRY. 
 
 T he modus operandi of Marquetry is very similar to that of Buhl-work. Instead of 
 metal and wood, we have now to deal with other materials than metal. 
 
 Four or five veneers are often cut at one time, indeed it is well to have a few 
 pieces of common wood, to put with the work, when there are only two veneers, as it 
 helps to strengthen the. work whilst being cut, and for a beginner it steadies the saw 
 by not allowing it to cut too quickly. 
 
 Having decided upon a design, obtain pieces of wood of the required colours 
 and size, “tooth” these over on both sides with Tool No. 7, place them one upon another, 
 pasting or glueing the design on to the top one. Insert at each corner a pin, and bend 
 it down at each end ; some prefer to file off the ends level with the veneer. These pins 
 can be made by filing the heads off some ordinary pins. 
 
 If the design is very elaborate, it will be best to fasten all the veneers together, 
 by pieces of soft newspaper, glued or pasted on both sides, laying the veneers one 011 
 the other, and the design on the top one, the whole will then feel like a thick veneer ; 
 then place under a weight until quite dry, otherwise the damp glue will prevent the 
 
20 
 
 BUHL-WORK AND MARQUETRY. 
 
 saw working properly ; the delicate parts of the design will not be so liable to break 
 as they would be if they were in single veneers. 
 
 Now drill one or more holes as required, or if there are only two or three veneers, 
 with the point of a penknife make a small nick or cut on the line of the design, 
 always cutting across the grain, or the veneers might split ; this latter method is superior 
 to the round hole made by the drill, as the nick made by the penknife is about the 
 width of the saw blade, and is almost imperceptible when the work is made up. Place 
 the veneers upon the “ horse " or machine, insert the saw blade, and having tightened 
 it proceed to cut out the design. As each part is cut and falls out, lay it on one 
 side until the whole design is cut. Then separate the various colours by the insertion of a 
 penknife blade between the veneers, gently pressing it forward, laying each colour by itself. 
 Then lay the ground-work on a flat surface, and fit into it the various pieces according 
 to the colour of the design. Now glue a piece of soft paper and lay it on the com- 
 pleted work, rubbing it down, and put under a weight until dry, placing a greased 
 board between it and the weight. We will suppose that four different coloured woods 
 have been used, namely, black, green, white, and red. At present only the black 
 ground-work and portions of each of the other colours have been used. We had a 
 ground-work and a complete design of each colour to start with, so that we can now 
 use for the second, the white ground and black design. The third can be green ground 
 and red design. The fourth, the red ground and green design, except where some of 
 the pieces were used in the first design, these can be changed about so as to form 
 four complete designs. In some instances it will not be advisable to attempt to make 
 four complete designs ; much depends upon the colours used and the nature of the 
 design. 
 
 If the design is a floral one in natural colours, or any design composed of several 
 colours, providing the paper designs are exactly alike, i.e., either printed designs or 
 the requisite number of designs have been drawn at one operation, so as to ensure their 
 being fac-similes one of the other, the ground-work is cut by itself. Then the various 
 different colours are cut separately, using another or two of the designs as required to 
 cut up for fastening on to the different colours, taking care to cut the ground-work 
 on the line of the design, and the inlaid parts just inside the line, so that the latter 
 will fit into the former. In cutting the parts that are to be inlaid, no holes need, be 
 drilled, as the saw can be run up to the part of the design required from the edge 
 of the material. 
 
 The Marquetry, when laid down and the glue thoroughly dry, sometimes requires 
 again toothing over, this occurs when all the veneers have not been of the same thick- 
 ness. Marquetry is laid down in a similar manner to Buhl-work (see page 15,) with 
 the exception that no file is required, the toothing plane and scraper removing any 
 inequalities of the surface (see page 16). The scraper. No. 8, must now be used 
 
BUHL-WORK AND MARQUETRY. 21 
 
 after the work is laid down on the foundation ; then apply No. 2 glass cloth, and 
 finish off with the finest, placing the cloth round a piece of cork as before described. 
 Pumice stone is often used for this purpose. It should be rubbed to a flat surface on 
 a piece of sandstone, in the same direction as the fibre. The Marquetry is then read)^ 
 for polishing. See chapter on Polishing. 
 
 SHADED MARQUETRY. 
 
 A GOOD effect is easily produced by artistically browning or shading a light 
 coloured wood ; for instance, the round part of a musical instrument forming 
 part of a design (see Plate XL), if carefully browned by the following simple process, 
 will give it a rounded appearance. 
 
 A design consisting of white wood can thus be sawn out, and certain parts 
 requiring shade can then be treated so as to obtain the most delicate gradations of 
 light and shade. 
 
 In treating a group of flowers on this method, the centre 01 a rose would be 
 of the darkest shade, therefore the pieces forming the centre would require browning 
 the most, those next would require a degree less shade, and in some leaves where 
 the high lights are required, as in the case of a curled leaf, the curl would be left of 
 the natural colour, whilst the part immediately underneath the curl would require 
 shading. 
 
 Those who possess correct ideas of light and shade would be able to produce 
 capital effects by this simple process. Holly and box wood are well adapted for 
 shaded Marquetry. Better results are obtained if the wood is well baked or dried 
 before it is sawn. This is done by placing the veneer between two pieces of sheet 
 
 iron, and binding them together; expose them to heat, either in an oven or before 
 
 the fire. It will prevent shrinking when undergoing the shading process. 
 
 We will now describe the process of shading. Procure a piece of sheet iron 
 
 about 18 by 12 inches, bend up the sides about one inch, to form a tray or dish, 
 or a small old iron tray will answer the purpose well. Put some dry sand into the 
 tray, and place it upon the fire or stove. When the sand is sufficiently heated, with 
 a pair of pliers take hold of the part of the design which requires shading, placing 
 the edge requiring the deepest shade downwards, pressing it gently into the hot sand, 
 withdrawing it repeatedly to watch the effect, so as not to overdo it. The heat of 
 
 the sand is tested by inserting a bit of thin waste wood into it. 
 
 A little practice is required to enable the amateur to know the proper place 
 in which to dip the piece of wood into the sand. If for a dark shade, the wood 
 
 must be placed in the hottest part of the sand, and remain there until the desired 
 
22 
 
 BUHL-WORK AND MARQUETRY. 
 
 shade is obtained. For the lighter shades the sides or cooler parts of the sand must 
 be used, and in both cases the wood must be repeatedly examined. This method will 
 not burn but char the wood, the outer edge being the darkest, with a delicate gradation 
 of shade fading away to the natural colour of the wood. It is then laid down as 
 described on page 15. Plates XII. and XIII. contain examples of this process. 
 
 DESIGNS, AND HOW TO OBTAIN THEM. 
 
 W E have given designs which are of a simple character and easily worked ; more 
 elaborate ones would be out of place in a manual for a beginner. After an 
 amateur has executed most of these, he will be in a position to attempt more difficult 
 examples, designs for which are easily to be met with. 
 
 Nearly all the following designs are equally adapted to either Buhl or Marquetry. 
 
 It was thought desirable to give designs in such a form as would be most useful 
 and interesting to the amateur; viz., a series of borders applicable to many purposes, 
 as, for instance, borders to drawers, tables, picture frames, boxes, cabinets, mirrors, ink- 
 stands, watch-stands, and numberless small objects of ornament and utility. Again, 
 drawer fronts, centres of panels, and various made up designs are given ; so that a 
 great variety is obtained by changing the borders, the amateur thus having some choice 
 rather than a stereotyped pattern for one and all. 
 
 In choosing colours for a design much discretion is often required, care being 
 taken not to have the changes of colour too abrupt. Two or three shades of a similar 
 colour, with border lines of a more decided colour, will be more agreeable than two or 
 three gaudy and ill-assorted colours. 
 
 The remarks do not apply to such designs as flowers, &c., where the only true 
 guide as to colour is nature, which may be followed as closely as possible. 
 
 Supposing the amateur has not obtained a loose copy of the design to fasten on 
 the work, which can be bought for the purpose for a trifle, a copy of the one chosen 
 must be made. There are several methods for accomplishing this, and we must leave 
 the choice with the amateur. 
 
 One is to trace the design from the original on tracing paper, in pencil or ink, 
 and fasten the tracing on to the top veneer. 
 
 Another method, by which several designs exactly alike can be produced at one 
 operation is the following : — Obtain several sheets of carbonic paper, to be had from any 
 stationer, place two or three pieces of white paper, the size of the design, and upon each of 
 them put a piece of carbonic paper, then lay the design on the top and pin all together 
 
BUHL-WORK AND MARQUETRY 
 
 at the two top corners, then with a piece of pointed hard wood, or steel point, trace 
 over the whole of the design, putting enough pressure on to ensure the transfer of the 
 design on to the bottom sheet of plain paper. Designs thus produced are very useful 
 where many colours are used, as only that part of the design wanted for a particular 
 colour is cut out and fastened to the veneer, and cut separately ; the other parts of the 
 design being used in a similar manner for other colours, the ground-work being cut 
 by itself. 
 
 If the wood is not too dark in colour to show the pencil marks, the design may 
 be pinned upon the wood ; having previously placed a piece of carbonic paper under- 
 neath, proceed to trace over the design with a steel point, or piece of hard wood 
 sharpened to a point. On removing the design and carbonic paper, a duplicate design 
 will be found upon the wood. This method avoids the use of glue or paste, and also 
 the extra trouble of removing the paper when the work is cut. 
 
 The Pentagraph will be a most useful adjunct 
 to the amateur, in producing working drawings, as 
 by this useful instrument any design can be 
 drawn the same size as the original, or larger 
 or smaller, as desired. It is purely a mechanical 
 operation, so that no artistic knowledge is re- 
 quired. 
 
 The method of using the pentagraph is as 
 follows ; — Pin the copy and a sheet of paper on 
 to a drawing board. If an enlargement is desired, 
 insert the pivot in the hole at C, and press the 
 point into the drawing board. Insert the tracing 
 point in the hole at B, and the pencil over the blank sheet of paper in the hole at A. 
 With the fingers of the right hand on the tracing point, move it carefully over the 
 design, at the same time place the fingers of the left hand on the pencil, merely putting 
 enough pressure on to ensure the marking of the pencil on the blank paper, taking 
 care to let the pencil move along as directed by the right hand. If the design is 
 required to be reduced, place the pivot at A (see illustration), the pencil at B, and the 
 tracing point at C, over the design, and proceed as before described. The drawing can 
 be done to scale by moving the slider to the proper position for the tracing point and 
 pencil marked on the gauge. The pivot always remains at either A or C. 
 
 There are numbers of suitable designs to be seen on all sides now, since art has 
 been so extensively introduced into manufactures. Many pretty borders are also to be 
 found in the illustrated books of the present day. 
 
24 
 
 BUHL-WORK AND MARQUETRY. 
 
 CARVED MARQUETRY. 
 
 HIS term is applied when one material is let into another and afterwards 
 
 carved. It is altogether a higher branch of art than is likely to be attained 
 by most amateurs, yet a few words may be said on the subject. We will suppose 
 
 the two materials about to be operated upon are ebony and ivory. The ivory will be 
 two or three times as thick as the ebony, they will be sawn together, and when the 
 ivory design is inserted in the ebony ground it will project. With a fine pointed pencil 
 or steel point mark how high the ebony comes up the ivory, then glue the ivory on to 
 a rough piece of wood with paper between, and proceed to carve the ivory, taking 
 care not to cut lower than the pencil mark. For instructions in wood carving we must 
 refer our readers to the Manual* on that subject. Ivory carving is principally done 
 by a scraping and filing process rather than a cutting one. 
 
 IMITATION OR STENCILLED MARQUETRY. 
 
 HERE are some persons who would object to the introduction of a spurious 
 
 style of Marquetry in this volume. Our plea is, that genuine Marquetry is 
 necessarily expensive, and therefore beyond the reach of many. Further, why not 
 improve upon the present style of “ cheap furniture,” oftener than not painted stone 
 colour, when with but little additional cost an artistic effect is produced, that is un- 
 doubtedly far preferable, and is of a character to promote a taste for something better 
 than the present tasteless style of moden “ cheap furniture.” 
 
 Manufacturers use what is called a stencil plate, which consists of a thin piece 
 of soft metal in which the design is cut out, so that when placed upon the wood, 
 and the stain carefully applied by a short stiff brush, called a stencil brush, only 
 that part where the metal has been removed to form the design receives the stain.’f' 
 
 Before applying the stain, the wood should be brushed over with size, made in 
 the following manner ; — Procure a few parchment cuttings from a stationer’s, and boil 
 them in a little water. This size must be used thin, and applied with a brush, evenly 
 and lightly, and will prevent the stain from running into the grain of the wood beyond 
 the edge of the stencil plate. 
 
 * Manual of Wood Carving, with designs and full instructions, 4to., 5/- ; Bemrose & Sons, London and Derby. 
 
 + See Chapter on Stains. 
 
BUHL-WORK AND MARQUETRY. 25 
 
 A cheap substitute for the stencil plate can be made by drawing or pasting 
 the design upon a thin cardboard, and with a sharp knife (or, where curves occur, with 
 a gouge) removing the design, according to the colour desired. This will require a 
 little practice to accomplish neatly, but when the stencil card is once cut, and has 
 received a thin coat of varnish on both sides, it will, with care, be available for some 
 time. 
 
 In the case of a white border line, a simple plan is to cut a strip of paper 
 the width of the required line, and, fixing it with paste in its position, applying the 
 stain and removing the paper. If a black line is wanted, cut two strips and fix them 
 with a space the width of the required line between them, then apply the stain and 
 remove the paper. 
 
 The great art in stencilling is to press the stencil plate close to the work with 
 the fingers of the left hand, the brush to be in the right hand. Put a few drops of 
 the stain on a spare piece of clean wood, rubbing the brush round on it until nearly 
 dry, pass it over the plate with a circular motion, until sufficiently stained. The brush 
 should never be used when very moist, and the smaller the quantity of stain used the 
 clearer and more perfect will be the result. 
 
 The metal plates, after use, should be immediately steeped in a solution of 
 equal parts of warm water and vinegar, and allowed to remain several minutes, then 
 taken out and rinsed with cold water, and placed to dry between blotting paper. 
 
 The stencil cards should be wiped clean and put between blotting paper 
 
 to dry. 
 
 It is much the fashion now to stain the floors of rooms for about two feet round 
 the outside of the carpet. A good effect is produced by stencilling a bold design 
 which serves as a border to the carpet. For this purpose cut out the design in paper, 
 and paste it in its position on the floor, apply the stain, and lift up the paper design ; 
 the ground will be stained, and the pattern in the natural colour of the wood. The 
 same design can be used several times, when a fresh one must be used. 
 
 All work for stencilling must be scraped and finished off with glass cloth before 
 the stain is applied. 
 
 When dry, the work may be bees-waxed or varnished. 
 
 Designs specially adapted for this process are on Plate VII. 
 
 4 
 
26 
 
 BUHL-WORK AND MARQUETRY, 
 
 STAINS, 
 
 A lthough woods can be obtained of almost any colour, it is useful at times 
 to be able to stain any desired colour. For instance, there may be only several 
 red berries wanted in a design, and it is a pity to cut a few holes in a large piece of 
 red wood to obtain them, when they can be so readily produced by staining the white 
 wood, which is generally one of the colours used in a design. 
 
 The stained woods obtained from the veneer dealers are stained throughout by 
 a process that cannot be followed by the amateur. All amateur staining penetrates 
 but little below the surface, therefore the stain must be applied when the Marquetry 
 has been scraped and cleaned off, and before is is finally put together, otherwise one 
 stain would run into another. Where possible, finish the work off before the Marquetry 
 is cut when any staining has to be done. If not, the work must be laid on glued 
 paper, and then on a rough piece of wood, whilst it is being cleaned off. Afterwards 
 separate the pieces to stain them, and lay them down on the unstained side on glued 
 paper, and proceed as before directed. 
 
 Oak and many other stains can be bought at most colourmen’s, but for the 
 brighter colours we recommend Judson’s dyes, which are kept by most druggists. 
 If a lighter shade is desired, pour a few drops of the dye into a saucer and add a 
 drop or two of hot water until the shade is attained. 
 
 As black and a few other colours may be required in rather large quantities 
 for ground-work, we give a few recipes to enable those who wish to make their own 
 stains ; — 
 
 Black . — Boil a half-pennyworth of logwood chips in six ounces of soft water ; when 
 cold put into a bottle. Into another bottle put some iron filings, to be 
 obtained at any whitesmith’s, fill up the bottle with vinegar, let it stand for 
 several days before it is used. Brush the wood over first with the logwood 
 decoction, and afterwards with the vinegar solution ; if a very dark stain is 
 required apply two coats of each. 
 
 G reen . — Dissolve verdigris in vinegar, and brush over with hot solution until a 
 
 o o J 
 
 proper colour is obtained. 
 
 Red . — Boil half-a-pound of Brasil wood, and half-an-ounce of pearlash in half-a-gallon 
 of water and while hot, brush over the work until a proper colour. Dis- 
 solve one ounce of alum in a pint of water and brush the solution over the 
 work before it dries. 
 
 Yellozv . — Brush over with the tincture of turmeric. 
 
 Blue . — Boil two ounces of indigo, quarter of a pound of woad, and half-an-ounce of 
 alum in a pint of water, brush well over until thoroughly stained. 
 
BUHL-WORK AND MARQUETRY. 
 
 27 
 
 POLISHING. 
 
 T o polish well requires considerable practice, and, as the operation is neither clean 
 nor pleasant, the amateur is recommended to employ a polisher. However, if he 
 desires to polish his own work, the method is as follows ; — In the first place see that 
 the flat surfaces are perfectly smooth ; if not sufficiently so the glass-paper must be 
 again applied, as it is impossible to polish on a rough surface. Having obtained the 
 polish — light or dark, according to the colour of the wood — soak a small bit of tow, or 
 cotton wool, in the polish, and apply it, evenly, to the wood ; then add more polish 
 to the cotton wool, but before applying it to the wood, place it inside a piece of linen 
 rag, on which put a drop or two of sweet oil — this prevents the rag from sticking — then 
 rub the wood, giving a circular motion to the rag, and repeat the supply of polish and 
 oil as required, until the whole surface is uniformly polished. As little oil as possible 
 
 must be used ; the exact quantity can only be learnt by experience. As a rule, the 
 
 rag should feel slightly “ tacky,” or sticky, when touched by the finger in applying the 
 oil. Some woods receive the polish better by applying it at two or three different times, 
 allowing some hours to intervene between each application. As only flat or other 
 
 surfaces which can be got at freely can be French polished, the other parts must be 
 
 “ brush polished,” that is, have what is called brush polish applied with a camel hair 
 brush, as thin and evenly as possible ; care must be taken to avoid the application of 
 this polish on the French polish already on the flat parts of the work. 
 
 EXPLANATION OF DESIGNS. 
 
 T hese designs are mostly adapted for either Buhl or Marquetry, and being of simple 
 characters are easily enlarged or reduced if the size given is not suitable. Borders are 
 improved by the addition of the “ string ” on one or both sides, as shown on Plate I. Any of 
 the designs in this book can be obtained from the Publishers, ready for fastening down on to 
 the material, at 6d., pd., or is. each, according to size. 
 
 PLATE I. 
 
 No. I, is a border in which there are inside pieces which require sawing ; it is not requisite 
 to drill holes in each of the inside pieces, but run the saw through on one of the stalks where 
 it crosses the other, and so gain access to the interior of the design. The other line in each 
 case is cut with the graver in Buhl-work, in Marquetry the lines are cut by the saw. 
 
 Nos. 2, 3, 4, 5, and 6, need no special remarks, except the latter, which is a double 
 design ; either can be used independently. 
 
 No. 7 shows the same design in Buhl and Marquetry ; the latter being in ebony on a 
 white ground. Two different coloured woods may be used with good effect in this design, by 
 putting the part that overlaps in a different colour to the running part of the design. 
 
28 
 
 BUHL- WORK AND MARQUETRY. 
 
 No. 8 is best adapted for Buhl-work, as the graver adds to the good effect. 
 
 Nos. 9, 10, 12, 13, and 16, being leaf designs, look well if cut in green wood, black 
 • or walnut ground, and white “ string j ” they are also adapted for Buhl-work. 
 
 Nos. II and 13 are best adapted for Buhl- work, although very pretty in Marquetry if 
 the centre bar is of a different colour. No. 13 is still further improved if the back of the band 
 is of a darker colour than the front. 
 
 Nos. 16, 17, 18, 19, and 20, are suitable as corners to many of the borders, as they are 
 not adapted to join, but look better if run up to a square placed at the corner. If for Buhl 
 they will be cut in brass, and if for Marquetry, in some colour to suit the border. 
 
 PLATE II. 
 
 No. 21. Corner, suitable for many purposes, the opposite corners being connected by 
 a “ string.” 
 
 No. 22. A frame for picture or mirror in Buhl, which requires very careful engraving; 
 would look well in coloured Marquetry. 
 
 Nos. 23 and 24. Corners for small articles, improved by a “ string ” running from one 
 corner to the other. 
 
 Nos. 25, 26, 27, and 28. Borders of a simple character adapted for both Buhl and 
 Marquetry. 
 
 No. 29. Corner for a table or box top, easily enlarged if required. 
 
 No. 30 Centre for a box top, if enlarged adapted for a centre of a small table or panel. 
 
 The two centre pieces, if in Marquetry, may be in a different colour to the other four. 
 
 No. 31. Suitable for a miniature frame, it is laid on a foundation of about a quarter-of-an- 
 
 inch in thickness; if a glass is required, a hole a quarter-of-an-inch wider in diameter than the 
 centre of frame should be bored out of the foundation for the reception of glass and picture. 
 If enlarged it will make a very neat watch-stand. In this case it would want supporting at 
 the back by two small struts or legs, or by cutting the foundation to that shape. 
 
 PLATE III. 
 
 No. 32 is a design for a book-side suitable for a Bible or Prayer Book. A monogram 
 might be substituted for the cross if desired. The design looks very intricate, but is not really 
 so if the saw is run through where shown, as it would require a line engraving, and the saw gate 
 answers the same purpose. 
 
 When cut, the Buhl-work should be laid on a foundation of some hard wood that will not 
 warp, and the edge bevelled or moulded and stained. 
 
 A neat rim and clasps would add much to the appearance. A bookbinder will easily 
 attach the sides to the book, which should have a leather back of a suitable colour. 
 
BUHL-WORK AND MARQUETRY. 29 
 
 This design looks very well if cut in Marquetry, or ivory and ebony. 
 
 No. 34 is an example of a fretted ivory basket of eight sides, No. 35 forming the bottom ; 
 it is put together by narrow ribbon being passed through the holes made for the purpose, and . 
 tied in neat bows. The ivory should be of veneer thickness, and two sides might be cut 
 at one time. 
 
 Nos. 33 and 36 are borders suitable alike for either Buhl or Marquetry. 
 
 No. 37 is suitable for a cabinet drawer front, or lid of a box, &c., and looks well in 
 either Buhl or Marquetry ; if the latter, the leaves might be green, stalks brown, and grapes 
 purple, with a white border line. 
 
 No. 38. Alms box. If an ordinary monogram is used instead of the sacred monogram, 
 it is adapted for a letter box, to be hung up in an entrance hall ; in this case, the slit in the 
 lid would require lengthening, and a little more depth obtained by giving more margin round 
 the panels. 
 
 Two designs for panels are given ; whichever is chosen the other panel must correspond. 
 The small perspective view shows how the box is put together. The foundation should be about 
 a quarter-of-an-inch in thickness. ' Buhl-work will be best adapted for an alms box. 
 
 PLATE IV. 
 
 No. 39. Bed and watch pocket, a useful and ornamental article of bed furniture. The 
 hook is for the purpose of hanging the watch upon ; the box beneath for the reception of the 
 chain, pocket handkerchief, or medicine, &c., that may be required during the night. 
 
 The drawing is of full size. Two designs for side panels are shown ; whichever is chosen 
 the other one must correspond. The centre panel can be filled with either monogram or crest. 
 
 The design is suitable for either Buhl or Marquetry, and in both cases the veneers would 
 be laid on to the separate pieces of foundation before they are put together. The foundation 
 should be of some hard wood that will not easily warp or bend, and be about a quarter-of-an- 
 inch thick. When the pocket is completed, the edge of the foundation should be stained black, 
 or left the natural colour according to the material used. It is a good plan to insert a string 
 on the edge of the foundation when in sight, as it gives a finished appearance to the work. 
 
 As this article requires carefully putting together, a cabinet-maker should get out the 
 pieces for the foundation, and put them together when the design is cut. 
 
 Nos. 40 and 41 are suitable for tops of boxes, or for corners of larger articles, and are 
 equally applicable to Buhl or Marquetry. 
 
 No. 42. A Fan. In getting out material for a fan, it is well to have the two outside 
 pieces somewhat thicker than the pieces used for the inside. Several veneers can be cut at 
 one time. 
 
 Some persons may prefer to have the outside solid, either in Buhl or Marquetry, and 
 
30 
 
 BUHL-WORK AND MARQUETRY. 
 
 the interior pieces fretted or open work. Or a paper inside to the fan can be used, and only 
 the two outside pieces cut. It is well adapted for being cut in either bone or ivory. 
 
 PLATE V. 
 
 The whole of the designs on this plate are shown for Buhl-work, but many of them look 
 remarkably well when cut in coloured Marquetry. They are well adapted for centres of small 
 boxes, sides of books, card cases, jewel boxes, cigar cases, and a variety of purposes. If let 
 in on the lid of small turned boxes they look well; in this case they are faced up and polished 
 in the lathe. 
 
 As an application of Marquetry, we might instance No. 44. The coat might be green, 
 waistcoat scarlet, black hat, white stockings, walnut ground, &c. The saw should run round the 
 arm and hand and on the flap of the pocket. By so doing, a better effect is produced, as it 
 breaks up the otherwise dead effect of one level colour. 
 
 No. 55. The boy in similar colours to above, the stalk of grass green, snail black, and 
 shell another colour. Several good complete designs can be obtained from four or five different 
 colours being used, in this and some of the other designs. 
 
 PLATE VI. 
 
 No. 57 is suitable for several purposes, viz., a frame for a portrait or picture, with two 
 doors. If to stand on a table it will require a support at the back. Whether for wall or table 
 use, provision has to be made at the back for holding the picture and glass. 
 
 As a key and trinket-cupboard, with lock on doors. In this case a box-like part has to 
 be fastened to the front about inches deep, and a little larger than the square opening of the 
 doors. The interior should be lined with velvet, and fitted up with small hooks on which to 
 hang keys, &c. The cupboard is intended to hang against the wall. 
 
 Nos. 58, 59, 60, and 61, are frames for carte-de-visite photographs, one half of the design 
 is shown. The sections given with each frame will explain the shape of the foundation. These 
 are alike applicable to either Buhl-work or Marquetry. 
 
 PLATE VII. 
 
 Nos. 62 to 69 are designs specially adapted for Imitation Marquetry; full instructions are 
 
 given on page 24 for the successful carrying out of this pleasing style of decoration. 
 
 Some of these designs are readily adapted for Marquetry. 
 
 PLATE VIII. 
 
 No. 70. A hand mirror, as shown for Buhl-work, brass and ebony. The section shows 
 
 the thickness of the foundation, and it should be cut out of well-seasoned wood ; when the 
 
 mirror is inserted a thin polished back-board should be screwed to the frame, and the handle 
 screwed on to this, so as to make all strong and secure. 
 
 Would look well if cut in ebony and ivory, or coloured Marquetry. 
 
BUHL-WORK AND MARQUETRY. 
 
 PLATE IX. 
 
 31 
 
 No. 71 is a design for Marquetry border for larger objects, and requires to be repeated. 
 
 No. 72 is a Marquetry border in colours for a table top. The ground need not be 
 black, but of some colour that will show up the leaves and flowers, such as figured walnut. 
 
 No. 73. Border for a table top, the design being repeated. 
 
 Nos. 74 and 75. Corners to borders, look best if connected by “ strings.” 
 
 No. 76. Marquetry borders in colours, for small objects. 
 
 PLATE X. 
 
 No. 77. Design for a pilaster in Marquetry for a cabinet or chiffonier, or, if repeated and 
 reversed, for a long drawer front. Pilasters are seldom less than 4^ inches in width, and have 
 3 or 4 inches of plain wood above and below the design. This pilaster is meant to be used 
 with Nos. 82 and 83. Pilasters should project ^ an inch to i inch beyond the panels. 
 
 No. 78. End for a book-slide, in coloured Marquetry. For strength, size, and mode ot 
 putting together, see some existing example, now to be found in most houses, or purchase a 
 plain one and use it as the foundation for the Buhl-work or Marquetry to be put upon. 
 
 No. 79. Corner design for Marquetry, adapted for small objects. 
 
 No. 80. Half of design for small cabinet drawer front, in coloured Marquetry. 
 
 No. 8r. Drawer front or top of box, in brass and tortoiseshell. These materials are cut 
 and polished in the same manner as Buhl-work ; and the reverse will be liked in some instances 
 better than the design shown. If for a box lid or drawer front a neat moulding placed round adds 
 much to the effect. 
 
 PLATE XL 
 
 No. 82 is half of the design for drawer front, to be used with No. 77 and 83. 
 
 No. 83 is for a panel for cabinet or chiffonier, the border line shown should be placed 
 several inches further from the design, and i to 2 inches of plain wood outside it ; there are 
 nine colours of wood used in this design. The shading on the musical instrument and on 
 the leaves is obtained by shaded Marquetry, for instructions see page 21. A good ground- 
 work for this and 77 is walnut. 
 
 Nos. 84, 85, and 86 are suitable for various small objects, as centres of box tops, table 
 mats, &c. 
 
 PLATE XII. 
 
 No. 87. A Lady’s Card Case, in three colours of wood ; the monogram can be replaced by 
 crest if desired. The foundation can either be an old case, or be purchased ready for laying 
 on the Marquetry. The saw must be used to divide the design at the proper distance, so that 
 the lid can be pulled off; the top and sides may be ebony. 
 
BUHL-WORK AND MARQUETRY. 
 
 32 
 
 The design is also well adapted for ebony and brass, or ebony and German silver or ivory, 
 mother of pearl, &c. 
 
 No. 88. Gentleman’s card case. The particulars for 87 are equally applicable to 88. 
 The difference being in the size. 
 
 No. 89 is an example of shaded or burnt Marquetry ; a figured walnut wood ground 
 would look well. As shown, the design is meant for a panel to a small cabinet, with and with- 
 out a neat moulding round it. Other designs, shown in several colours, are well adapted for 
 shaded Marquetry. See Instructions on page 21. 
 
 PLATE XII r. 
 
 No. 90, is for a blotting-case side in shaded Marquetry ; it should be laid on a 
 well-seasoned board, and the foundation to have a mould worked round, thus — 
 which can be stained black, the veneer being cut square and laid on the foundation 
 as shown above. The bookbinder will add the back and pockets and insert the blotting-paper. 
 
BUHL, WORK 
 
 A 
 
 
 15 
 
BUHL WORK 
 
 PLATE II 
 

 
1 
 
BACK OF ALMS BOX. 
 
4.2 
 
BUHL WORK 
 
 PLATE V 
 
MARQUETRY 
 
 PLATE VI 
 
IMITATION MARQUETRY 
 
, 1 - 
 
PLATE Vin 
 
MARQUE THY 8 
 

MARO 
 
ETRY 
 
 PLATE XL 
 
gHADED MARQUETRY 
 
 PLATE XII 
 
 LADYS CARD CASE 
 
 GENTLEMANS CARO CASE 
 
 PANEL SHADED MARQUETRY. 
 
SHADED MARQUETRY 
 
 PLATE XIII 
 
 90 
 

LIST OF WORKS 
 
 PUBLISHED BY 
 
 BEMROSE & SONS. 
 
 A MANUAL OF WOOD CARVING, 
 
 Containing upwards of 130 Original and Selected Designs for the Guidance of Amateurs, 
 and imparting all necessary information to Beginners in this Useful Art. By W. Bemrose ; 
 
 with Introduction, by Llewellynn Jewitt, F.S.A., &c. , &c., &c. Sixteenth Edition, 
 Enlarged. Illustrated, Crown 4to, Price 5s. cloth. 
 
 FRET CUTTING AND PERFORATED CARVING, 
 
 With Practical Instructions. By W. Bemrose, Author of “ Manual of Wood 
 
 Carving.” With Fifty-Four Designs suitable for every description of useful and orna- 
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 Fourteenth Edition. Demy 410, Neatly bound in cloth. Price 5s. 
 
 BEMROSE’S GUIDE TO FRET CUTTING, WOOD CARVING, BUHL- 
 WORK, AND MARQUETRY. 
 
 Being a List of Tools and their Uses. Post free for one stamp. 
 
 MANUAL OF BUHL-WORK AND MARQUETRY, 
 
 With Ninety Coloured Designs and Practical Instructions for Learners in these Arts. By 
 W. Bemrose, Author of “ Manual of Wood Carving,” &c. Third Edition. Demy 4to. 
 Cloth, price 6s 
 
 “ This is a sequel by W. Bemrose to his two popular books on Wood Carving and Fret-Cutting. The present, 
 like its predecessors, is written fur amateurs, but trained workmen would find in it not a few useful hints, 
 as well as a collection of beautiful designs. Buhl-work and Marquetry have not hitherto been considered 
 within the province of amateurs, nor have they been classed amongst amusements and pastimes ; but so 
 concise and sufficient, and apparently so easy of execution, are Mr. Bemrose’s instructions, that we should 
 not be surprised to find these beautiful arts become popular. 1 he illustrations are both numerous and 
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 THE SCHOOLMASTER’S DRILL ASSISTANT. 
 
 A Manual of Drill for Elementary Schools, by aid of which any Master may easily teach 
 his boys the simplest and most useful parts of Military Drill, and other Useful Exercises. 
 By Commander F. M Norman, R.N. With numerous Explanatory Plates. Fourth 
 Edition. Demy lamo. Cloth, price is. 6d. 
 
 5 
 
 Bemrose Sr Sons, 23, Old Bailey, London ; and Derby. 
 
THE ART OF THE OLD ENGLISH POTTER. 
 
 By L. M. Solon. Illustrated with Fifty Etchings by the Author. Imperial 4to. Cloth, 
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 The Edition of this Work was limited to 250 copies, and 20 copies upon Japan paper. There are very few 
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 CHEAP EDITION, with an Appendix on Foreign Imitations of English Earthenware, 
 and New Illustrations. Demy 8vo. Cloth, price los. 6d. Large paper, 31s. 6d. 
 
 THE LIFE AND WORKS OF JOSEPH WRIGHT, A.R.A,, 
 COMMONLY CALLED “WRIGHT OF DERBY.” 
 
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 HOW TO WRITE THE HISTORY OF A PARISH. 
 
 By Rev. J. Charles Cox, LL.D., F.S A. Third Edition. Enlarged and Re-written. 
 Crown 8vo. Cloth, 2s. 6d. * \^Just Published. 
 
 A HISTORY OF THE ANCIENT PARISH OF LEEK, IN 
 STAFFORDSHIRE, INCLUDING HORTON, CHEDDLE- 
 TON, AND IPSTONES. 
 
 By John Sleigh, of the Inner Temple, Barrister-at-Law. Imperial 4to. Cloth, ^^3 3s, 
 Large jiaper copies, ^4 4s. This work was issued by Subscription, There are only a 
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 A HISTORICAL SKETCH OF THE PARISH OF CROXALL, 
 
 In the County of Derby ; containing the Townships of Catton and Oakley, with full 
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 Albini, Saint Amand, and Horton ; Maps of the Townships with their Field Names ; 
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 THE CHRONICLES OF THE COLLEGIATE CHURCH OR 
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 By the Rev. J Charles Cox, LL.D., Author of “ Notes on the Churches of Derbyshire,” 
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 In the County of Nottingham. By John Thomas Godfrey, F.R.H. Society. Royal 
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 MARMADUKE MERRY, THE MIDSHIPMAN. 
 
 By W. H. G. Kingston. Second Edition. Small qto., cloth gilt, price 5s. ; gilt edges, 
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 contains a number of spirited engravings, and is altogether about the handsomest and cheapest boy’s book we have seen 
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 GEORGE BIRKBECK. 
 
 The Pioneer of Popular Education. A Memoir and a Review. By John George 
 Godard, with a portrait reproduced in fac-simile from a beautiful mezzotint engraving. 
 Crown 8vo., cloth, price 5s. 
 
 “Mr. Godard has told the suggestive story tersely and well, giving prominence to the main incidents, and presenting 
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 20 pages 4to. Beautifully Illustrated in Pictorial Cover. 4<1. each. 
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 WORKS BY MRS. 
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 Two Tales in one Vol. Royal i6mo., cloth 
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 Sketches of the Life of Mr. Samuel Budgett, late of Kingswood Hill. By William 
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 Bound for Presentation, half calf, gilt, 6s. 6d. ; calf, extra, 9s. 6d. 
 
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 THE CHILDREN. 
 
 By John Colwell. Crown 8vo., price 2s. 6d. 
 
 “ The contents are very good indeed, and will be very helpful to mothers who are striving to bring up their children 
 in the love of God and of Christ .”- — Church Bells. 
 
 THE LADY’S EVERY-DAY BOOK. 
 
 A Practical Guide in the Elegant Arts and Daily Difficulties of Domestic Life. By the Author 
 of “ Enquire Within.” Large Post 8vo. , handsomely bound in cloth gilt, price 2s. 6d. 
 
 Bemrose & Sons, 23 , 0 /d Bailey, London ; and Derly. 
 
BEMROSE AND SONS, 
 
 23, OLD BAILEY, LONDON; and DERBY, 
 
 Beg to inform Ladies and Gentlemen, that as there is often great difficulty in the country 
 in procuring Carving and Fretwork Tools, they have become Agents to some of the best 
 makers. All orders accompanied with a Post Office Order will receive prompt attention. 
 
 CARVING AND FRETWORK TOOLS, &C. 
 
 No. 3. No. 8. No. 7. 
 
 No. I. — Bemroses Improved Carving and Fret-Cutting Bench is strongly recommended 
 for Amateurs, as the work is held so firmly whilst being carved. It is fitted with 
 a Drawer for Tools, Oilstones, &c. Price £\ 17s. Size, 36 by 22 inches. 
 
 No. 2. — Fret-Saw Steel Frame, 12 inches, at 1/6, 3/-, 4/-, 4/6, 5/6, 7/6. 
 
 Fret-Saw Wood Frame, 12 inches, Polished Birchwood, at 3/6; Rosewood, 4/6. 
 No. 3. — Fret-Saw Blades. It is necessary to give the number in ordering, or what is 
 better, send a piece of an old saw as a pattern, o to 4, 4d. per doz., 3/6 per gross ; 
 5 and 6, 3d. per doz., 4s. 6d. per gross, postage extra. 
 
 No. 4. — Holdfast, for holding wood whilst being carved, 8z;c., as shown on No. i, at 7/6 each. 
 No. 5. — Holdfast, for use on an ordinary table, from i/- each. 
 
 Do. (Weston’s Patent), 3/6. 
 
 No. 6. — Awl and Handle, for Fret-boring, at 2d. 
 
 No. 7. — Archimedian Drill, for Fret-boring ; large size, with Drills, at 2/6 ; smaller 
 size, 2/-. . 
 
 No. 8. — Improved Drill Tool, for Fret-boring, strongly recommended, at 3/6, including set 
 of Drills. 
 
 Any of the Designs in this Book can be had, ready for fastening to the wood, by 
 giving the number of the design, at 2d., 3d., and 4b. each, according to size, and may 
 be ordered through any Bookseller. 
 
 Bemrose & So?is, 23, Old Bailey, London ; and Det'by. 
 
LIST OF CARVING TOOLS AND THEIR USES. 
 
 Entering Chisel (Spoon Shape). — For levelling the ground-work in confined spaces, or 
 wliere a flat chisel cannot be used. 
 
 Entering Gouge (Spoon Shape). — For hollowing out the undulations in foliage, &c. 
 
 Parting Tool. — For the veining of leaves, or cutting the outline of a design. (No. 6.) 
 
 Bent Parting Tool.~Yox the above purposes where a straight tool cannot be used, as in 
 the hollow of a leaf, &c. 
 
 Macaroni Tool. — For removing wood on each side of a stalk or vein of a leaf, &c. (No. 7.) 
 
 Skew or Corner Chisel. — For removing wood out of the corner of a design, where an 
 ordinary chisel would be useless. (No. 5.) 
 
 Carving Chisel. — For cutting round the design on commencing to carve, and also for 
 removing the superfluous wood and grounding. (No. l.) 
 
 Carving Gouge. — For cutting the curves and removing the superfluous wood. (Nos. 2, 
 
 3 , 4 -) 
 
 Dotible Bent Fluting Gouge. — For removing wood from the hollows of leaves, &c., where 
 a straight gouge cannot be used. 
 
 A Set of Carving Tools, with Handles, as under, for 12/-:— 
 
 Three Carving Chisels. 
 
 „ „ Gouges. 
 
 One Parting Tool. 
 
 Odd Carving Tools, is. each, with Handles. 
 Macaroni Tools, Handled, 1/6 each. 
 
 One Entering Chisel. 
 Two Entering Gouges. 
 Oil Stone. 
 
 MISCELLANEOUS ARTICLES. 
 
 Mallets, pd. Punches of various patterns, at l/- each. Oil Stones, from i/-. Wood 
 Files, from 8d. Brass Hinges, for Brackets, &c., from id. per pair. Varnish, in bottles, 
 
 6d., I/-. 
 
 BREAD AND BUTTER PLATTERS 
 
 Are kept in Stock, ready for being Carved, of the following sizes, viz. ; — 
 
 Bread Platters, 10 in. diameter, at 2/6 each. 
 
 >> ^3 11 >) 3 /” » 
 
 Butter Platters, with Glass Dish, 7 in. diameter, at 2/- each. 
 
 » >! 8 ,, ,, 2/6 ,, 
 
 Designs for the above, full size, at 2d. each. 
 
 Bemrose & Sons, 23, Old Bailey, London ; and Derby. 
 
BEMROSE & SONS, 
 
 23, OLD BAILEY, LONDON; and DERBY. 
 
 
 Haqiielrg anti |^n|l-®lork g^signs. 
 
 Any of the Designs in the Manual of Buhl-Work and Mar- 
 quetry can be had ready for fastening down on the material to 
 be cut, at the following prices r- 
 
 Plates I, 2, 3, 4, 5, 6, 7, 8, 9, 12, 13, at Sixpence each. 
 
 „ 10, 1 1, at One Shilling each. 
 
 New Designs are continually being brought out. 
 
 @loob-0cnccrs for P^arqu^trg. 
 
 Veneers in lengths equal to about one super- 
 ficial foot, as follows. Larger pieces on applica- 
 
 tion. 
 
 White Wood. 
 
 Red ,, 
 
 Blue ,, 
 
 Green ,, 
 
 Black ,5 
 
 ^American Walnut Wood. 
 ^Italian Walnut ,, 
 
 "^Oak 
 
 ^Mahogany ,, 
 
 *TuIip ,, 
 
 ■’‘Rose ,, 
 
 ■*Cedar ,, 
 
 ■’‘Satin ,, 
 
 *Maple ,, 
 
 “Sycamore ,, 
 
 Snake ,, 
 
 Partridge ,, 
 
 “Ebony ,, 
 
 > IS. 6d. each. 
 
 ) 
 
 V 2S, each. 
 
 3s. each. 
 
 These Veneers are 
 seldom above 3 in. wide. 
 
 Ambrosia in pieces at is. each. 
 
 Those marked with an asterisk (*) may be had 
 in J-inch thick at about the same rates, suitable 
 for Fretwork. 
 
 Veneers are sent on a roller per post. They 
 should be unrolled carefully on receipt, and put 
 on a damp floor j in 3 or 4 hours they can be laid 
 out flat. If they should crack, glue a piece of 
 paper and put at the back. Veneers should be 
 kept flat under a weight. 
 
 Brass, Tortoiseshell, and Ivory Mate- 
 rials FOR Buhl-Work to size. Prices on 
 ajDplication. 
 
 Sato (ifraims anb Sato ^labes. 
 
 Steel Fret-Saw Frames, 12 inches, at 1/6, 
 3 /-, 4/6, 5 /-- 
 
 Fret-Saw Frame, Polished Birchwood, 
 3/6 ; Rosewood, 4/6. 
 
 I ^ 
 
 3 
 
 4 
 
 5 IMU^4Ui4t40*mt 
 
 Fret-Saw Blades. It is necessary to give the 
 number in ordering, or what is better, send 
 a piece of an old saw as a pattern. 
 
 o to 4 inclusive, 4d. per doz , 3/6 per gross. 
 
 5 and 6 ,, Sd. ,, 4/6 ,, 
 
 Postage extra. 
 
 Bemrose & Sons, 23, Oid Bailey, London ; and Derby. 
 
DBSI6IJS EO^ ^ OTOOD gJlWW 
 
 List of Fret-work Designs. 
 
 N EW “S H E ET” SERIES. 
 
 6 
 
 
 
 SIZE. 
 
 V 
 
 0 
 
 0 
 
 
 
 SIZE. 
 
 
 
 
 
 INCHES. 
 
 O. 
 
 cn 
 
 
 
 INCHES. 
 
 £ 
 
 
 
 
 
 
 j 
 
 Bracket 
 
 D ig & Ivy 
 
 13 by gi 
 
 
 
 
 
 
 2d. 
 
 
 
 
 
 f4^ 
 
 
 
 
 
 2d. 
 
 
 
 
 
 4d 
 
 
 
 Do. 
 
 
 
 ( 
 
 
 
 
 
 
 Do 
 
 
 
 
 
 
 
 j-4d 
 
 
 Table Easel or Bookrest.. 
 
 Floral 
 
 8J by loj 
 
 3d. 
 
 ( 
 
 
 Geometric 
 
 II by 9 V 
 
 ) 
 
 6 
 
 Table Mat or Panel for 
 
 
 
 
 
 ,, 
 
 Foliage 
 
 12 by 0^ 
 
 hd 
 
 
 
 
 
 3d. 
 
 ( 
 
 
 
 
 j 
 
 7 
 
 Bracket 
 
 Fuchsia 
 
 9i by 13 
 
 3d. 
 
 5 
 
 Circular Mat for Table 
 
 Flowers, &c. 
 
 16 diam. 
 
 4d 
 
 8 
 
 
 
 
 
 6 
 
 
 
 Do 
 
 4d 
 
 9 
 
 Hand-Mirror Frame 
 
 Scroll 
 
 14 by 8 
 
 3d. 
 
 7 
 
 Six Floral Designs for 
 
 
 
 lO 
 
 Card Tray, four different 
 
 
 
 
 
 sidesofsmallbaskets, 
 
 
 
 
 
 designs, octagon 
 
 Do. 
 
 6 by 6 
 
 3d. 
 
 
 book slides, single 
 
 
 
 
 •w J 
 
 
 Floral 
 
 
 
 
 
 Floral 
 
 
 
 12 
 
 Card Tray, 4 diff. designs 
 
 Floral & Scroll 
 
 6 by 6 
 
 3d- 
 
 8 
 
 Six ,, ,, 
 
 Do. 
 
 
 4d 
 
 ^3 
 
 Blotting Book or Album 
 
 
 
 
 ( 
 
 Three Floral Designs 
 
 
 
 
 
 Side 
 
 Foliage 
 
 12 by 9 
 
 3d. 
 
 
 for larger single 
 
 
 
 
 
 Paper and Envelope Box 
 
 
 
 
 9< 
 
 flower pot boxes .... 
 
 Do. 
 
 
 1 
 
 
 End 
 
 Do 
 
 
 
 
 
 Do. 
 
 
 |4d 
 
 16 
 
 Ditto ditto lid 
 
 Do. 
 
 6| by 1 1 
 
 id. 
 
 { 
 
 Five Paper Knives . . 
 
 Do. 
 
 
 20 
 
 Ditto ditto front 
 
 Do. 
 
 II by 
 
 3d. 
 
 10 
 
 Oval Frame, suitable 
 
 
 
 
 15 
 
 Thermometer Plate, or 
 
 
 
 
 
 for Mirror or picture 
 
 Jessamine 
 
 15 by 14 
 
 4d 
 
 
 Finger Plate f *r Door 
 
 Geometric 
 
 11 by 3 J 
 
 2d. 
 
 II 
 
 Frame for five oval 
 
 
 
 
 17 
 
 Ornamental Top for Wire 
 
 
 
 
 
 Carte-de-Visite Photos 
 
 Holly 
 
 15 by 10 
 
 4d 
 
 
 Window Blind 
 
 Foliage 
 
 loi by 2^ 
 
 2d. 
 
 
 Frame with seven ovals 
 
 Floral 
 
 8 by 10 
 
 
 i 3 
 
 Picture or Mirror Frame 
 
 Convolvulus 
 
 lof by 8 
 
 3d. 
 
 12 1 
 
 Frame for larger Photo 
 
 Do. 
 
 11 by gi 
 
 j- 4 Q 
 
 19 
 
 Book Side 
 
 Geometric 
 
 6| by 
 
 2d 
 
 13 
 
 Card Basket with 
 
 
 
 
 21 
 
 Ornamental Top for Wire 
 
 
 
 
 
 word “ Visites** wor- 
 
 
 12 in. long 
 
 
 
 Window Blind 
 
 Foliage 
 
 ib by 3i 
 
 7 d. 
 
 
 ked in with leaves. . 
 
 Do. 
 
 by 4 wide 
 
 4d 
 
 22 
 
 Mirror Frame, Oval 
 
 Water Lily 
 
 10 by 7 
 
 3d. 
 
 14 i 
 
 Panel for Cabinet .... 
 
 Maple. 
 
 16 by 10 
 
 bd 
 
 23 
 
 Panel for Chiffonier or 
 
 
 
 
 14 1 
 
 The Royal Bracket .. 
 
 Rose & Thistle 
 
 Do. 
 
 
 
 Cabinet 
 
 Scroll 
 
 loi by 17 
 
 3d. 
 
 15 
 
 LioniS: Unicorn 
 
 12J by isi 
 
 4d 
 
 24 
 
 Frame, Carte - de- Visite 
 
 
 
 
 16 
 
 Light C.-de-V. Frames 
 
 Scroll 
 
 
 4d 
 
 
 size 
 
 Foliage 
 
 si by 4 
 
 2d. 
 
 17 
 
 Mirror on a Stand, 
 
 
 
 
 
 
 Do 
 
 
 
 
 
 
 ^7 by 13 
 
 4d 
 
 26 
 
 Table Easel 
 
 Do. 
 
 11 by 10 
 
 3d. 
 
 18 
 
 Work Basket, Bonnet 
 
 
 27 
 
 Table Mat, Circular 
 
 Do. 
 
 7 in. dia. 
 
 3d. 
 
 
 Stand, 2 Frames, & 
 
 
 
 
 28 
 
 
 Floral & Scroll 
 
 15 by 10. 
 
 3d. 
 
 
 
 
 
 4d 
 
 29 
 
 1 Reading Desk, with wood 
 
 19 
 
 Five Single, Double, & 
 
 Foliage and 
 
 
 30 
 
 A hinge cut out of the 
 
 
 
 
 
 I'rebleC-de-V. Frames 
 
 Scroll 
 
 
 4d 
 
 
 ( solid 
 
 Scroll 
 
 14 by 9I 
 
 6d. 
 
 
 h our Designs for large 
 
 Leaves and 
 
 
 
 
 
 
 
 
 ) 
 
 
 
 
 \ 
 
 32 
 
 Ditro 
 
 Foliage 
 
 g\ by 3 
 
 2d. 
 
 20 4 
 
 Six Designs for small 
 
 
 
 bd 
 
 
 
 
 
 
 f 
 
 
 Floral 
 
 
 ) 
 
 
 
 
 
 
 ( 
 
 
 
 
 
 35 
 
 
 
 
 
 
 
 
 
 ) 
 
 size 
 
 Geometric 
 
 5 by 3i 
 
 2d. 
 
 
 Six Designs for small 
 
 
 
 Ud 
 
 30 
 
 
 
 
 2CL 
 
 t 
 
 
 
 
 ) 
 
 37 
 
 
 
 
 
 
 
 
 
 
 38 
 
 Hanging Book-shelves . . 
 
 Foliage 
 
 
 3d. 
 
 
 Table. Also adapted 
 
 Figure and 
 
 
 
 
 
 Do 
 
 I9i by 
 
 rd 
 
 
 
 
 
 4d 
 
 
 
 
 
 2d. 
 
 23 
 
 
 
 
 
 Picture Frame or Table 
 
 
 
 ditto forthree Photos 
 
 
 
 
 
 Mat 
 
 Geometric 
 
 7 by 8 
 
 2d. 
 
 
 and one Carte-de- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Do"" 
 
 8iby sidi. 
 
 
 24 
 
 
 
 
 4d 
 
 
 
 
 
 
 
 
 8^ byi^i 
 
 4S 
 
 
 Do. 
 
 
 2d. 
 
 j 
 
 
 
 by i| 
 
 |4d 
 
 46 
 
 Border for insertion in 
 
 
 
 
 ^Work or Glove Box . . 
 
 Scroll 
 
 84 by 4^ by 
 
 
 Picture Frame 
 
 Ivy 
 
 
 2d. 
 
 1 
 
 
 
 deep. 
 
 
 47 
 
 Corner Bracket 
 
 Scroll 
 
 6 by 4i- 
 
 2d. 
 
 26 
 
 *Work or Glove Box . . 
 
 Gnthns, Dol- 
 
 lii by 6.1 
 
 
 48 
 
 
 
 
 2d 
 
 
 
 
 by 4I deep 
 
 
 
 
 
 
 
 27 
 
 
 
 4d 
 
 \ 
 
 
 
 
 
 2d 
 
 
 
 
 51 
 
 Frame, Carte-de- Visite. 
 
 Do. 
 
 
 
 J 
 
 
 Ground Ivy 
 
 Do. 
 
 Ud 
 
 
 
 Do. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 j 
 
 54 
 
 Bracket for thirteen keys 
 
 Foliage 
 
 12 by 8 
 
 3d. 
 
 I 
 
 *Eight Knife and Fork 
 
 
 
 
 
 
 Do 
 
 10^ by 10^ 
 
 3d. 
 
 
 
 
 
 
 56 
 
 
 
 29 1 
 
 
 
 
 4d 
 
 Monogram 
 
 Geometric 
 
 16 by 10 
 
 3d 
 
 30 
 
 *Hanging Work Basket 
 
 Scroll 
 
 
 4d 
 
 57 
 
 , Dif.o Ditto 
 
 Foliage 
 
 iji by 9 
 
 3d. 
 
 
 *Bread Basket, with 
 
 
 
 
 
 
 
 
 
 
 motto 
 
 Wheat 
 
 
 4d 
 
 
 
 
 
 
 
 Iwo Cabinet & Three 
 
 Scroll and 
 
 
 
 
 
 C,-de-V. Frames .. 
 
 
 
 4d 
 
 
 New Designs are continually being brought out. 
 
 
 
 
 
 Beinrose & Sons, 23, 0 /B Bailey, London; and Derby. 
 
New Sheet*' Series — continued. 
 
 36 1 
 
 37- 
 
 38 
 
 39 
 
 44 
 
 45 
 
 46 
 
 47 
 
 48 
 
 DESCRIPTION. 
 
 56 
 
 57 
 5B 
 
 *Card Basket on Stand, 
 or for centre dish 
 for fruit, flowers, &c. 
 *Two ‘'Amphorae” 
 (Vase) Stands 
 Blotting Case, 4to., 
 ditto, 8vo., and 
 Prayer Book Side . . 
 ■"■pipe Rack, for Wall 
 " ,, Stand, for Table 
 Comer Bracket and 
 Wall Text, “ Walk in 
 the Light, ”on ribbon 
 Ditto, “ Aim at a sure 
 
 end ” 
 
 Ditto, “Deeds, not 
 Words,” on a ribbon 
 Ditto, “ I hope for bet 
 ter things, ”on ribbon 
 Ditto, “ Christ died for 
 all,” on a cross. .... 
 Flower Stand, for 
 Nautilus Shell .... 
 
 Bracket 
 
 Bracket 
 
 Ditto, Corner 
 
 Six Watch Holders 
 Five ,, ,, 
 
 Six ,, ,, 
 
 Three Single Carte- 
 de " Visite Frames, 
 and one double ditto 
 Three frames for three 
 Carte-de-Visites and 
 one single one 
 One frame for three 
 Carte-de-Visites. . 
 One do. for two do. 
 Three do. for one do. 
 *Two round stands for 
 table, on feet — self 
 
 fitting 
 
 *Two Brackets . 
 
 Long Flower Box for 
 Window, inside a room 
 Ditto ............... 
 
 Two Key or Trinket 
 Cupboards, to hang 
 on wall. . ....... 
 
 "^Two Wheelbarrows, 
 for Lady’s Work, or 
 Trinket Basket. . 
 *Two Brackets .... 
 
 Comer Bracket . . 
 *Two Comer Brackets 
 
 Foliage and 
 Figure 
 Foliage and 
 Figure 
 Grotesque 
 Figures 
 .and Foliage 
 Grotesque 
 Figures 
 Figures, &c 
 Surrounded by 
 Crown & Lilies 
 
 Foliage 
 
 Foliage 
 Anchor and 
 Chain 
 Vine leaves 
 and Grapes 
 Dolphin and 
 Seaweed 
 Foliage 
 Leaf and Scroll 
 Leaf and Berry 
 Foliage 
 Foliage and 
 Scroll 
 Foliage 
 
 Do. 
 
 Do- 
 
 Foliage and 
 Scroll 
 
 Do. 
 
 Do. 
 
 Rose buds 
 and leaves 
 Foliage 
 
 Birds and 
 Foliage 
 
 Floral 
 
 Foliage 
 
 Scroll 
 
 Foliage 
 
 SIZE. 
 
 INCHES 
 
 20 by 9 
 
 21 by 8 
 23 by 18 
 
 22 by 9 
 
 20 by 7 
 
 22 by 10 
 14^ by II 
 13 by 8 
 5 by s 
 
 diam. 
 s| diam. 
 7 by 7^ 
 8 by 13^ 
 
 loj by iij 
 
 16 by loj^ 
 
 I 10^ by 
 I »3 by 13 
 
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 " 4d 
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 New Sheet” SeTdes — continued. 
 
 87 
 
 DESCRIPTION. 
 
 Bracket 
 Carte de- Visite Frames 
 "Flower Stand for 
 centre of Table 
 
 Two Brackets . . 
 
 Frame for five Photos 
 and frame for one. 
 Do. three do. do. for two 
 Do. Stand for centre 
 
 of Table 
 
 Do do. 
 
 *Two Wheelbarrows . . 
 
 ^Centre Flower Stand 
 
 ^Bracket . . 
 
 ’"Two small Brackets, 
 one Flower or Trin- 
 ket Box 
 
 Foliage 
 
 Do. 
 
 Scroll 
 
 Animals and 
 Foliage 
 Foliage 
 
 Scroll 
 
 ■^Doll’s Bed 
 Small Wall Bracket 
 with shelf. . . . . . . . 
 
 *Wall Letter Box . . . 
 ^Centre Table Stand . . 
 Wall Bracket, three 
 
 Scroll 
 
 Scroll 
 
 Foliage 
 
 Griffins 
 
 Geometric 
 
 Foliage 
 Four Figures 
 
 ^Corner Bracket, two 
 shelves 
 
 *Four Circular Table 
 
 
 Figures and 
 Animals 
 
 
 Screen for Empty 
 
 Circular Top 
 Foliage and 
 Scroll 
 
 
 
 ^Strawberry Bracket 
 and two Trinket 
 Stands, six sided . . 
 Two Perambulator 
 Work Baskets .... 
 
 Circular Bracket 
 
 Trefoil ,, .... 
 
 Card Tray 
 
 Screen for empty Fire- 
 grate, circular top . . 
 Screen for empty Fire- 
 grate, square or 
 
 circular top 
 
 Window Screen 
 
 Do. do 
 
 Do. do 
 
 Do. do. 
 
 ‘ Queen’s Well ” .... 
 The “Cairo ” Bracket 
 
 Scroll 
 
 Foliage 
 
 Scroll 
 
 Geometric 
 
 Geometric 
 
 Foliage 
 
 Do. 
 
 Geometric 
 Flower Stand 
 Geometric 
 
 SIZE. 
 
 INCHES. 
 
 11 by 10 
 
 10 by 9^ & 
 10 by 7 
 
 10 by 7 
 
 9 i by 6J 
 
 by gi 
 15 by IS 
 
 6 by 6 
 lii by 6 
 
 10 by 6 
 T2 by sj 
 
 11 by II 
 
 16 by 16 
 16 by 7 
 
 7 and 8 
 13 by 15 
 
 13 by 18 
 
 T7 
 
 12^ by 9^ 
 
 7 h in. 
 
 6 by 7^ 
 fby s 
 
 19 by 16 
 
 17 
 
 17 
 
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 Bemrose & Sons, 23, Old Bailey, London ; a?id Derby. 
 
3 3125 00017 3910