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he Hirschhorn
Foundation has
given t h e
Museum
o f
Amer i c a n Folk
Art five
o u t s t a n d i n g
examples of American f o l k
m a r q u e t r y ,
t h e f i r s t t o e n t e r t h e Museum's
permanen t c o l l e c t i o n .
Marquetry i s
an
a n c i e n t
t e c h n i q u e o f
rnamenting
f u r n i t u r e
or
o t h e r wo o d s u r f a c e s
w i t h an o v e r l a y o f
wo o d v e n e e r s
a r r a n g e d
i n
p a t t e r n s . Color s
a c h i e v e d
by u s i n g a v a r i e t y o f
w o o d s
or by s t a i n i n g . Marquetry reached a high
p o i n t
i n
I t a l y
i n
the
f i f t e e n t h
century w h e n i t
w a s
described
as
p a i n t i n g i n wood.
During
t h e e i g h t e e n t h
c e n t u r y ,
a t
V e r s a i l l e s
a nd
o t h e r
r o y a l
c e n t e r s ,
m a r q u e t r y
f u r n i t u r e
wa s
G i f t s
o f Marquetry
no
p r e f e r r e d above l l o t h e r
k i n d s , and German
c r a f t s m e n
l e d
t h e f i e l d .
Their d e s c e n d a n t s
brought t h e
t e c h n i q u e t o
t h e
United S t a t e s , where t became p o p u l a r a f t e r t h e
s t a r t o f
t h e
I n d u s t r i a l
R e v o l u t i o n .
T h e
H i r s c h h o r n gi f t s d a t e from
t h e l a s t two decades
of
h e
n i n e t e e n t h
c e n t u r y and t h e f i r s t
two
o f
h e
t w e n t i e t h ,
a p e r i o d
t h a t has been dubbed T h e
Golden Age of America n C a r p e n t r y .
Marquetry s t o o d
i n
o p p o s i t i o n t o
t h e
n ew
i n d u s t r i a l
p r o c e s s e s
o f
h e
n i n e t e e n t h c e n t u r y .
Machines
d i d not a i d
t h e
l a b o r - i n t e n s i v e p r o c e s s ;
t h e m a r q u e t e r
used
o n l y a
s aw
a nd glue t o achieve
h i s stunning r e s u l t s . Patience
wa s
a n o t h e r n e c e s s a r y
i n g r e d i e n t .
This
c r a f t
r e p r e s e n t e d
a
cot-
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American
Folk
Art
tage
industry o f the p a s t . Beca use
marquetry
making
r e q u i r e d
g r e a t
expanses
o f r e e
time i n which
t o f i t
t h e
m a n y
hours o f l a b o r needed t o f i n i s h a
p i e c e
the cost
exceeded
what anyone
c o u l d
pay
f o r
i t . A s a r e s u l t w he n
t h e
a r t wa s y o u ng i n Europe
only
m o n k s
c o u l d
a f f o r d t o
p r a c t i c e
i t and
s o
marquetry became t h e p r o p e r t y
of
t h e
Church. L a t e r and
f o r s i m i l a r economic r e a s o n s t
f e l l
under h e
l u x u r i o u s
a u s p i c e s of
h e
r o y a l s
w h o o u l d
a f f o r d
t o commission a r t i s a n s .
In
America marquetry wa s r a r e
even
i n
c o s m o p o l i t a n c e n t e r s
where
h e r e
w a s r e a t w e a l t h
and so
h o s e
who
a d e t
always had
t o
have
means
of
u p -
p o r t o t h e r t h a n t h e s e l l i n g of
h e i r
fancy woodwor k;
h e y
By ichard
M i i h l b e r g e r
l i v e d
o f f
t h e
l a n d
or t h e
s e a worked a s
c a b i n e t m a k e r s or
h ad
o t h e r o r d i n a r y
j o b s . Marquetry
a p p e a l e d
t o them
i n
p a r t
b e c a u s e
i t w a s
not
o s t - e f f e c t i v e .
W h a t
e t t e r
g i f t
f o r s o me-
one s p e c i a l
t h a n something
t h a t
could
never
be
a f f o r d e d ?
Indeed t
wa s
a g i f t t h a t exceeded
t h e
mo d e s t f i n a n c i a l
means of t h e
g i v e r
h i m s e l f .
He o u l d
a f f o r d
t o
m a k e t h e
g i f t
b u t
n o t t o p u r c h a s e t from
a n o t h e r c r a f t s m a n .
R e c e n t l y
f i v e
g i f t s have c o m e t o t h e Museum
of
American
F o l k A r t t h r o u g h the
generosity
o f The
H i r s c h h o r n
F o u n d a t i o n . The y a r e an e l e g a n t
s i d e b o a r d t wo
symbolic p l a q u e s a
unique a l l c l o c k
and an
e x c e p t i o n a l l y
e x u b e r a n t c a b i n e t .
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Sideboard
with
Three
Drawers
over
Two abinets
This s i d e b o a r d comes from n o r t h e r n
Vermont,
rom a camp
c a l l e d I s l e
La
otte, f t e r
t h e
l a r g e s t i s l a n d i n Lake
Cham-
p l a i n . Since 1882,
h e
i s l a n d had been
l i n k e d t o t h e
nearby
c i t y of
Burlington by a b r i d g e and causeways,
making
t
e a s i l y a c c e s s i b l e .
There were
h u n t i n g ,
f i s h i n g ,
and
r e c r e -
a t i o n a l
camps
on h e i s l a n d
and a l l
along t h e
s h o r e s
of
Lake
Champlain, man y of
them
c a t e r i n g
t o a
s u b s t a n t i a l
middle-
c l a s s c l i e n t e l e . To
s s u r e
an a u t h e n t i c atmosphere, t w a s a
u s u a l
p r a c t i c e
f o r camps t o conunission l o c a l craftsmen t o
f a b r i c a t e f u r n i t u r e
f o r
t h e i r lodges and guest rooms.
T h e
I s l e
La Motte s i d e b o a r d i s
d i s t i n g u i s h e d by
i t s
rounded and peaked
backboard,
r a d i a t i n g rhomboids on
drawers and
c a b i n e t
doors, h e o v e r a l l openness
of
t s o r n a -
mental design, and the blond pigmentation of
i t s
woods.
The maker's name has not
y e t been
uncovered, but
the
p i e c e
i s s i m i l a r
t o
Canadian
p a r q u e t r y
(a
form
of marquetry
using
only
s t r a i g h t l i n e s )
of
the
same
period, w h ic h
i s
around 1915.
Masonic
Plaque i n the Form of a aster's Chart
T h e
y e a r 1899 s
w r i t t e n
o n t h e
back
of h i s e x p e r t l y
c r a f t e d
marquetry
p i e c e ; a
c a l e n d a r i s a l s o glued t h e r e .
P r i n t e d on
t h e
c a l e n d a r i s
J.M.
Forbush&
o.,
h e name of an n s u r -
ance agency t h a t
was
n b u s i n e s s i n N a t i c k , M a s s a c h u s e t t s ,
near
Boston, from about
1882
to
some
ime
a f t e r
1905.
James M.
orbush, who worked
f o r t h e
I n t e r n a l
Reven ue
S e r v i c e b e f o r e h e became
an i n s u r a n c e
a g e n t , w a s i s t e d i n
t h e
1890
Natick d i r e c t o r y as
v i c e
p r e s i d e n t
of
h e Natick
Five
Cents Savings
Bank. ason, he e n t e r e d N a t i c k s
Meridian Lodge i n 1871, but withdrew
i n
1894. t
i s
no t
d e f i n i t e l y k n o w n
t h a t
h e w a s t h e maker
of
h e p l a q u e , bu t
h i s i s t h e
only
n am e s s o c i a t e d w i t h
i t
Freemasonry began
i n the Middle
Ages
w h e n
t h e
b u i l d e r s of a t h e d r a l s formed s e c r e t s o c i e t i e s . By h e e a r l y
s e v e n t e e n t h c e n t u r y , they were opened
t o men
not
i n t h e
b u i l d i n g
t r a d e s
who were t a u g h t t h e s e c r e t
s i g n s and l e g -
ends
of
masonry,
nd
took p a r t
i n
i n i t i a t i o n s
and o t h e r g a t h -
e r i n g s . To h i s
day,
Masonry
emphasizes
t h e
e d u c a t i o n of
SIDEBOARD WITH THREE
DRAWERS VER TWO
CABINETS
Maker u n i d e n t i f i e d
Northwestern Vermont
1900-1915
Parquetry
551
0
221
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MASONIC PLAQUE N THE
FORM OF A MASTER'S
CHART
Maker
n i d e n t i f i e d
Probably
N a t i c k ,
Massachusetts
1899
Marquetry,
a r q u e t r y , p r i n t e d
and
p a i n t e d paper
18
3/
1
t s
members
and
uses
symbols and
r i t u a l s
t o impart h e
humanistic
i d e a l s o f h e
f r a t e r n a l o r d e r . Large p a i n t i n g s
c a l l e d
M a s t e r ' s
c h a r t s
i l l u s t r a t e d
t h e
e s o t e r i c
symbolism
of
t h e o r g a n i z a t i o n t o n e o p h y t e s .
By
h e
end
of h e n i n e t e e n t h
c e n t u r y ,
l i t h o g r a p h y
made t p o s s i b l e
t o
produce
and
d i s -
t r i b u t e
t h e s e
c h a r t s
t o
l o d g e s
a c r o s s
t h e
c o u n t r y .
The
a t i c k
m a r q u e t r y
p l a q u e was n s p i r e d b y a a s t e r ' s c h a r t ,
b u t
t
i s
not
of h e t y p e t h a t would be
used
i n a
o d g e .
I n s t e a d , t
p r o b a b l y was
hung i n a
p l a c e of
honor i n t h e hom e of a
Freemason
as a
i g n of r e s t i g e and r i d e .
The
l a b o r a t e
r i t e s and ceremonies
of Freemasonry
u t i l i z e the
t o o l s
o f h e stonemason—the
plumb, e v e l ,
s q u a r e ,
compass, h i s e l , and
m a l l e t ,
n p a r t i c u l a r — w i t h i n a
symbolic s e t t i n g
t h a t r e e n a c t s
t h e
b u i l d i n g of King
S o l o -
mon's Temple
and
h e d e a t h
and
r e s u r r e c t i o n
of
t s
m a s t e r
b u i l d e r , Hiram. Tools r e p i c t u r e d i n t h e r i g h t p a n e l of h e
p l a q u e a l o n g
w i t h
a
e e h i v e , a
symbol of
n d u s t r y and r e -
g e n e r a t i o n , and an h o u r g l a s s .
The
p l a q u e ' s c e n t r a l t a b l e a u
represents
Solomon's Temple b y
the arch
and t wo
columns. i t u a l s were n a c t e d on a
checkered a r p e t ,
s e e n
r e c e d i n g
t o a door h a t opens and
c l o s e s on a
m a l l draw-
i n g of two men.
Gazing
d ow n o n t h i s
i s
t h e All- s e e i n g
Eye, an
emblem
of h e Master
Mason.
A
i e c e
of t o n e was n t r o d u c e d
t o
t h e l e f t middle
p a n e l ,
a
r e f e r e n c e t o
rough
a s h l a r .
D i r e c t l y
below
t
i s
i t s corresponding
p e r f e c t
a s h l a r .
The
s ym b o l
o n th e
o t h e r
s i d e of
h e open
B i b l e d e m o n s t r a t e s
t h e 47th
p r o b -
lem of u c l i d ,
h a t
t h e s q u a r e of h e hypotenuse of a
i g h t
t r i a n g l e
e q u a l s
t h e s u m of h e
s q u a r e s
of h e o t h e r
two
s i d e s .
The
numbers
of
hecks
a c r o s s
each s q u a r e demon-
s t r a t e t h i s
l e s s o n i n geometry
and
a r e
a
reminder
t h a t
t h e
Grand
r c h i t e c t of h e
Universe
made
h e
world c c o r d i n g
t o
p l a n s . The e t t e r G,
i t h t h e f a m i l i a r Masonic
symbol
of
h e compass and q u a r e ,
i s
a n o t h e r
r e f e r e n c e t o geome-
t r y .
These, and t h e o t h e r
symbols
shown
i n t h e
p l a q u e ,
have various l e v e l s of meaning, for
Masonic c u l t u r e
embraced not only everyday
men
but
a l s o those
drawn
from
y s t i c a l c i r c l e s .
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The o u t e r frame of
h e
p l a q u e
i s a
e m o n s t r a t i o n of
t h e marquetry
maker's
independent v i s i o n . None of t h e
m o t i f s
a r e
d e r i v e d
from e i t h e r t r a d i t i o n a l
or
contemporane-
ous frames, nor d o t h e y r e l a t e t o Masonic
symbolism.
The
side
uprights resemble Crazy Quilt p a t t e r n s , but the
primary d e s i g n source seems
t o be
t h e maker's s t o c k
of
handsome woods
and i s
c r e a t i v e workmanship.
Cenotaph to
Three
Martyred Presidents
This
plaque
commemorates
t h e d e a t h s
of
Abraham Lin-
c o l n , James A.
a r f i e l d ,
and
William
McKinley.
A n i q u e ,
jagged
o u t e r
frame
resembles a u r e o l e s t h a t surround t h e
b o d i e s of a i n t s i n r e l i g i o u s
a r t C o n s i d e r a b l y more down-
t o - e a r t h a r e
t h e
American
l a g s
a t
t h e
peak of
h e
frame and
t h e
m a n y
i n l a i d
block l e t t e r s
t h a t ac company
t h e
p r i n t e d
images of h e s e t h r e e
American p r e s i d e n t s .
Above them i s
w r i t t e n , OURTHREEMARTYRED
RESIDENTS,
nd
below
each p i c t u r e , n crowded columns, r e t h e
p r e s i d e n t s
names
G a r f i e l d
s p e l l e d
w i t h o u t
an e)
a t e s of
h e i r b i r t h s ,
d a t e s
when
t h e y
were
s h o t ,
and
t h e
d a t e s of h e i r d e a t h s .
The p l a q u e u s e s o n l y
t h r e e k i n d s of wood, o n s i s t e n t w i t h
i t s
s i m p l i c i t y
and
t r a i g h t f o r w a r d n e s s .
McKinley
was
a p o p u l a r
p r e s i d e n t , and h i s
d e a t h i n
1901
brought about an u n u s u a l l y g r e a t
o u t p o u r i n g of r i e f .
Since L i n c o l n ,
p r e s i d e n t s were
being
s l a i n a t t h e r a t e of
about
one
e v e r y twenty
y e a r s .
Monuments
a c r o s s t h e l a n d
t o McKinley's
m e m o r y
were
more e l a b o r a t e than t h o s e
c o m m e m o r a t i n g
former
n a t i o n a l
f i g u r e s .
Their e r e c t i o n
seems t o have been
m o t i v a t e d a s m u ch
b y
a d e s i r e t o en d
t h e a s s a s s i n a t i o n s
as
t o
express
sorrow a t
a
p r e s i d e n t s
p a s s i n g .
Although
t h i s
cenotaph
i s
not
d a t e d ,
t
a p p e a r s
t o
be
a
u r a l
e x p r e s s i o n
of n g u i s h
from
t h e
p e r i o d soon
a f t e r
McKinley's e a t h .
Needlework
memorials of e a t h s form a
s t r o n g t r a d i t i o n
i n
American f o l k a r t .
This i s
the
only
known memorial b y a
a r q u e t r y
maker.
T i e r e d
T a l l
Clock
T h i s
i m i t a t i o n
b r i c k t a l l
c l o c k
makes a n o t h e r k i n d
of
om-
ment on m o r t a l i t y . t r e f e r s t o
e a r l i e r
d e s i g n s
of
r a n d f a t h e r
clocks
i n
t h e s c r o l l w o r k of t s bonnet,
but
otherwise i s
e n t i r e l y u n c o n v e n t i o n a l .
American
a l l c a s e
c l o c k s ,
k n o w n
a s g r a n d f a t h e r c l o c k s , were i r s t m a d e n
P e n n s y l v a n i a
and
M a s s a c h u s e t t s around 1695, o l l o w i n g t h e f a m i l i a r
form of
E n g l i s h
models of
1658 and
l a t e r .
They
were produced
i n
CENOTAPH TO
THREE
MARTYRED
PRESIDENTS
Maker u n i d e n t i f i e d
U n i t e d
States
A f t e r 1901
Parquetry,
n l a y ,
an d
photographic
images
p r i n t e d on paper
38 31%4 13
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TIERED
TALL
CLOCK
Maker u n i d e n t i f i e d
U n i t e d S t a t e s
c . 1880
P a r q u e t r y ,
m a r q u e t r y ,
and j i g s a w - c u t
openwork
91
25% 14%
( i n c l u d i n g
p i n n a c l e s )
q u a n t i t y d u r i n g t h e e i g h t e e n t h
c e n t u r y and ceased t o be
made
by about
1840. The form was e v i s e d around h e time
of h e C e n t e n n i a l .
This brick
clock d a t e s from
around 1890. The
e n t i r e
case i s covered
i n
w o o d parquetry t h a t i m i t a t e s
b r i c k s
and
h e cement o i n t s between them.
This a b r i c a t i o n
may have been an a c t of
c c e n t r i c i t y o n t h e p a r t of t h e
woodworker,
b ut
i t may
also
have been
intended
t o
enhance
t h e symbolism—he
might have
wished t o l i n k
b r i c k s
w i t h
t h e n o t i o n of
time and
t s
p a s s i n g , i l l u s t r a t e d i n
f i g u r e s on
h e
f r o n t and i d e s
of
h e s t a c k e d
c a s e .
B r i c k i s a
v e r y
d u r a b l e b u i l d i n g m a t e r i a l , a s c h i l d r e n
and
a d u l t s
a l i k e a r e reminded i n t h e
s t o r y
The Three
i t t l e
P i g s , a t a l e t h a t
was c u r r e n t
i n t h e
n i n e t e e n t h c e n t u r y .
I n
t h i s s t o r y ,
only
t h e
b r i c k
house
withstood t h e Big Bad
Wolf's h u f f i n g and puffmg.
The p a r q u e t r y b r i c k s a r e
com-
b i n e d
w i t h l a r g e i n l a i d
c u t o u t s
of
F a t h e r Time,
a
w a r r i o r
goddess w i t h
an
h o u r g l a s s on h e r
s h i e l d ,
a
d a n c i n g
f i g u r e ,
and a
r u n n i n g
c h i l d wh o
s
p r o b a b l y
F a t h e r
Time's h e l p e r .
The
o m b i n a t i o n
c o n t r a s t s f l e e t i n g
time
w i t h
permanence.
The l o c k was u i l t i n f i v e
s e c t i o n s :
a a s e , h r e e c a b -
i n e t s , and
a
c l o c k crowned by
s c r o l l w o r k
i n l a i d i n t o
a d a r k
background
s o t h a t
i t a p p e a r s t o
be openwork.
The c l o c k i s
crowned i t h
f o u r
t u r n e d-wood i n n a c l e s a t t h e v e r y t o p .
Statue of
i b e r t y Cabinet
This
e l a b o r a t e
c a b i n e t w i t h m i r r o r
combines
marquetry,
carved and p a i n t e d
wood, and
a p p l i e d jigsaw
c u t o u t s
s o
i n t r i c a t e
t h a t they might be c a l l e d w o o d
f i l i g r e e . Tidus
Albrech i s t h e maker's
name
a s
i t a p p e a r s on
an o l d hand-
l e t t e r e d l a b e l
w i t h
a
p h o t o g r a p h
of
h e
c a b i n e t . Because
h e
p r i n t i n g on t h e l a b e l
i s
not r e l a t e d t o German s c r i p t ,
we
might surmise t h a t
i t was
w r i t t e n by
someone
o t h e r
t h a n
Albrech. This could
e x p l a i n what
i s
l i k e l y an
a b e r r a n t
s p e l l i n g , based on p h o n e t i c s , of h e name
T i t u s w i t h a d
used
i n
p l a c e
of
a
t ( t h e r e i s n o Tidus i n German). We
might h e n assume
h a t t h e l a s t
name
was a l s o
m i s s p e l l e d ,
and
s h o u l d be A l b r e c h t .
The c a b i n e t c o n s i s t s of
a
carved and p a i n t e d base
and a
t wo
- d o o r
s t o r a g e
a r e a w i t h
t w o
drawers
above
t
The
upper
s e c t i o n ,
s e t
back above
t h e drawers,
c o n s i s t s
of a
m i r r o r
w i t h
an
a r c h e d t o p .
Cutout f i g u r e s ,
s p i n d l e s , b a l l s ,
and d a n g l i n g
c a r v e d-wood p e n d a n t s s u p p o rt
and
frame t h e
m i r r o r , g i v i n g t h i s
u n u s u a l p i e c e of
u r n i t u r e
an a i r of e l e -
b r a t i o n .
I n d e e d ,
t h e p i c t o r i a l
e l e m e n t s of h e p i e c e a r e a l l
s y m b o l i c a l l y c o n n e c t e d t o
t h e
topmost cutou t—the
S t a t u e
of Liberty—and an American e a g l e e x e c u t e d i n m a r q u e t r y
on
h e
t o p
s u r f a c e
of
h e c a b i n e t .
The
b a s e ,
which e x t e n d s
beyond
t h e
f r o n t and back
of t h e c a b i n e t , f e a t u r e s t h r e e - d i m e n s i o n a l ,
r e a l i s t i c a l l y
p a i n t e d carvings of undulating
leaves and c l u s t e r s
of
b e r r i e s . Four s n a k e s a r e p a r t of h e c o m p o s i t i o n , h e i r
heads
emerging
from
t h e
l e a v e s .
The
o n l y
o t h e r
c a r v e d
p a r t s
of
t h e
c a b i n e t a r e
t h e drawer p u l l s ,
which a r e shaped t o look
l i k e oak
e a v e s and a c o r n s ; t h e y
a r e
u n p a i n t e d .
The s i d e s of h e c a b i n e t a r e masked w i t h
c u t o u t s
of
dancing
women, h i l e
each c a b i n e t door
shows a d e s i g n
t h a t f e a t u r e s a
mandolin
and b i r d s
c u t
from
s h e e t s
of i g h t -
c o l o r e d wood. Each
d a n c i n g w oman b a l a n c e s on
one
o o t ,
her arms
and
hands
h e l d h i g h ,
very mu ch l i k e dancing
bacchantes from
wall
paintings i n Herculaneum,
the
Roman e s o r t t own t h a t was d e s t r o y e d ,
w i t h
Pompeii,
by
t h e e r u p t i o n
of Mt . Vesuvius n A.D.
9.
n
t h e e a r l y
n i n e -
t e e n t h c e n t u r y , t h e r e was g r e a t i n t e r e s t i n t h e a r t
t h a t
was
e x c a v a t e d from t h e s e r i c h
communities
Roman r c h i t e c -
t u r e , f u r n i t u r e ,
and
fashion were
regarded
by many
as
a p p r o p r i a t e models f o r t h e
new
American
R e p u b l i c . The
d a n c i n g
b a c c h a n t e s
were
i r s t
engraved i n 1757 and were
m u c h copied
a f t e r about
1770.
Though
t h e c a b i n e t
d a t e s
from t h e
end
of h e n i n e t e e n t h
c e n t u r y
and not from t h e
p e r i o d when
n e o c l a s s i c a l d e s i g n s were most
p o p u l a r ,
t h e s e
m o t i f s were
everywhere o be
e e n
and
o p i e d .
In t h e hands of T i t u s
A l b r e c h t ,
a n a t o m i c a l , f a c i a l ,
and costume d e t a i l s
of
h e b a c c h a n t e s were s i m p l i f i e d , f o r
he was n t e r e s t e d p r i m a r i l y
i n b e i n g a b l e
t o
saw t h e o v e r a l l
p r o f i l e out of
w o o d
i n
a
s i n g l e
p i e c e . The few d e t a i l s he
gave
t o t h e
f a c e , body,
and
costu me were burned i n t o
t h e
wood
n
narrow l i n e s .
The mandolin p a n e l s , i n c o n t r a s t ,
a r e
not c l a s s i c a l
i n
o r i g i n .
The
i g h t
- s t r i n g
i n s t r u m e n t ,
an
e a r l y e i g h t e e n t h -
FALL 998
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c e n t u r y
v e r s i o n
of
h e
l u t e ,
was p o p u l a r mainly
i n
s o u t h -
e r n
I t a l y , n e a r t h e l e g e n d a r y
home of
h e b a c c h a n t e s .
The
mandolins
a r e shown
w i t h v i n e s ,
f l o w e r s , and f l y i n g b i r d s
and
b u t t e r f l i e s , l l
of which
symbolize
t h e
joy of i f e
Foot
-powered
jigsaws,
which had been
i n
use
i n
America
s i n c e
t h e
m i d
- 1 8 3 0 s ,
e x p e r i e n c e d g r e a t advances
b y
t h e
e a r l y
1 8 7 0 s ,
when
t h e
Trump
r o t h e r s '
Fleetwood
s c r o l l
saw
competed
w i t h t h e S i n g e r
sewing
machine f o r
p r i d e
of
p l a c e i n
t h e American
home. The jigsaw c u t o u t s
used
t h r o u g h o u t t h i s c a b i n e t seem t o
have c e l e b r a t e d
t h e
l a t e s t technology,
while the
marquetry emble m of t h e
American e a g l e
on
t h e c a b i n e t t o p
depended on
t r a d i t i o n a l
t e c h n i q u e s .
The
e a g l e ,
s u r r o u n d e d b y
a
f i e l d of
diamonds
and s t a r s , f o l l o w s a f a m i l i a r ,
t r a d i t i o n a l f o r m a t . I t s wings
a r e
o u t s p r e a d , t s head s t u r n e d t o
one i d e , and t g r a s p s
an
American
f l a g ,
an
o l i v e b r a n c h , and t h r e e a r r o w s .
I t i s t h e
o n l y
d e s i g n on
t h e
c a b i n e t
t h a t
c o v e r s a
h o r i z o n t a l
p l a n e ;
a l l
t h e
o t h e r s
i l l
v e r t i c a l
s p a c e s .
The
upper
p o r t i o n of h e
c a b i n e t
i s
a s
p e r f e c t l y sym-
m e t r i c a l
a s t h e
lower p a r t .
There
a r e f o u r
p a i r s of d e n t i c a l
f i g u r e s ,
c u t
b y a jigsaw from t h i n
s l a b s of wood. n each
c a s e , one c u t o u t
i s
f l i p p e d over so t h a t t h e
p a i r s
a r e
p r e -
s e n t e d
a s
m i r r o r images.
There
i s a woman
n
a
c l a s s i c a l
g o w n , t a n d i n g on t i p t o e t o
r e a c h
t h e
branch
of
a t r e e , a
nude f a i r y ,
a
t r u m p e t i n g
woman
n
c l a s s i c a l
g a r b ,
and
a
howling dog—a
umorous n s e r t i o n .
S t a r s a r e i n c o r p o r a t e d
i n t o
t h e d e s i g n s , and more
s t a r s a p p e a r a t t h e v e r y t o p of
t h e p i e c e . There,
a
h a l o of
them s p r i n g s from a r i a n g u l a r
f o l i a t e
d e s i g n t h a t
r i s e s
from
t h e
c e n t e r of
h e c a b i n e t
l i k e a Tree of
i f e .
This c i r c l e
of
s t a r s
s e t s
o f f
a
u t o u t f i g u r e of
h e
S t a t u e of
i b e r t y .
Under
h e r
f e e t i s
a
c r e s c e n t m o o n
w i t h
a s t a r i n
i t s
c e n t e r .
The
o v e r a l l image i s not u n l i k e t h e
d e s c r i p t i o n
penned
b y S t .
John t h e Divine i n
Chapter 12 of h e Book
of
e v e l a t i o n :
a woman l o t h e d w i t h t h e
s u n , w i t h t h e m o o n under h e r
f e e t
and
t w e l v e
s t a r s
a t
h e r h e a d .
The
m o o n
and
s t a r i s
a l s o
D e t a i l
of
STATUE
OF IBERTY
CABINET
Marquetry
is
l i m i t e d
to the top
surface of the c a b i n e t , where
an American
eagle is shown
against a f i e l d of d iamon ds
an d
s t a r s .
The
eagle
is
de-
p i c t e d as n the
o f f i c i a l
design
f o r
the Great
Seal o f the
n a t i o n since 1782: ts
wings
are outspread and t clutches
an
American
l a g , three
arrows, and an l i v e branch.
8
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D e t a i l o f
STATUE OF LIBERTY
CABINET
The
dancing
bacchante,
f i g u r e borrowed
from
an
a n c i e n t s o u r c e , s
s y m b o l i -
c a l l y l i n k e d
t o
t h e S t a t u e
o f
L i b e r t y
a t the top
f
t h e c a b i -
n e t . The dancer
e l e b r a t e s
t h e d e d i c a t i o n o f t h e
m on u men t.
STATUE
OF
LIBERTY CABINET
T i d u s
A l b r e c h
I c o r T i t u s
A l b r e c h t )
V i c i n i t y o f S t . L o u i s ,
M i s s o u r i
c .
1886-1890
M a r q u e t r y , c a r v e d an d
p a i n t e d w o o d , n d
i g s a w
w o o d
c u t o u t s
77
3
0
3
1
a
symbol of s l a m ,
b u t h e r e
i t i s
l i k e l y
t h e
symbol
of h e
E a s t e r n S t a r ,
t h e women's branch of
Masonry—Albrecht
m a y have
m a d e h e
c a b i n e t f o r a w o m a n
who elonged t o
t h i s a u x i l i a r y .
The t a t u e o f i b e r t y w as e d i c a t e d i n 1886, u t h e r
image w as w e l l k n o w n a
dozen
y e a r s or m o r e
b e f o r e
t h e n
t h r o u g h
f u n d - r a i s i n g
e f f o r t s .
The
French pledged
t o
g i v e
t h e
s t a t u e
t o t h e U n i t e d
S t a t e s ,
and t h e
p e o p l e
o f
America
took
o n t h e
r e s p o n s i b i l i t y
f o r t h e m o n u m e n t a l
base
o n
which i t
w o uld
s t a n d .
In
1871, the s c u l p t o r Frederic-
Auguste a r t h o l d i
b r o u g h t
a
model
of h e work and
a
c o m -
p l e t e d a r m of i b e r t y t o
America
and t o u r e d them a c r o s s
t h e
n a t i o n
as a
w a y t o
g e n e r a t e i n t e r e s t i n t h e
c o l o s s u s .
By
h e e a r l y 1880s, i x - a n d twelve
- i n c h
r e p l i c a s o f h e
s t a t u e were s o l d
t o
r a i s e
c o n s t r u c t i o n f u n d s .
E v e n t u a l l y ,
121,000
Americans c o n t r i b u t e d
t o
t h e
Franco
-American
f r i e n d s h i p p r o j e c t .
The l a s s i c a l costumes
w o r n
b y h e s i x w o m e n who
g r a c e t h e c a b i n e t seem t o
have
been
s e l e c t e d
a s
a
comple-
m e n t o L a dy L i b e r t y ' s
costume,
which i s d e r i v e d f r o m
a n c i e n t
images
o f Athena,
h e a n c i e n t
Greek goddess
of
w isdo m and t h e a r t s .
Snakes were
s a c r e d t o Athena,
so
h e
p r e s e n c e
o f o u r of hem i n
t h e b a s e of
h e c a b i n e t
m a y be
p a r t
of a a r g e r
i c o n o g r a p h y
scheme
e v o l v i n g
around L a d y
Liberty.
Early
o n , the
s t a t u e
w a s
known as Liberty
E n l i g h t e n i n g
t h e World,
m aking her t h e
Athena of
h e
New orld.
The dancing
g i r l s
a l s o have an i n t e r e s t i n g c l a s s i ca l
pedigree.
They are b acch antes , revelers dev o ted t o
Bacchus, h e g o d
o f
h e
grape. Their a s s o c i a t i o n with
Bacchus, owever, a s o s t
t h e
day
h e y
were copied fr om
t h e w a l l s of a
v i l l a
i n
Herculaneum, engraved, and i n c o r -
p o r a t e d
i n t o t e x t i l e s a n d o t h e r f o r ms o f ornamentation.
T i t u s Albrecht,
i k e
o t h e r s
who
we re
f a m i l i a r
w i t h t h e
d e s i g n , n o
doubt
saw them
a s
c l a s s i c a l d a n c e r s , joyously
c e l e b r a t i n g l i f e or
o ne of
t s s p e c i a l o c c a s i o n s .
This p e r -
c e p t i o n
o f
h e dancing g i r l s i s m o r e i m p o r t a n t t h a n t h e i r
a c t u a l
symb ol ism,
u s t as t h e
Athena
connection t o t h e
S t a t u e
o f
L i b e r t y
i s secondary
t o t h e
c l e a r
c e l e b r a t o r y
n a t u r e
o f
h e c a b i n e t i t s e l f
Under h e
w a t c h f u l
eyes of h e
f a i r i e s ,
i t
combines
t h e
American
e a g l e
and
t h e S t a t u e
o f
L i b e r t y
w i t h
mandolins,
i r d s , d a n c e r s , and
m u s i c i a n s
i n a
paean
t o
p a t r i o t i s m .
T i t u s A l b r e c h t
went even u r t h e r
t h a n
t h a t . With h i s f i l i g r e e and d a n g l e s , he caused t h e c a b i n e t
i t s e l f t o dance n c e l e b r a t i o n of Freedom.
These
w o o d
o b j e c t s were g i f t e d b e f o r e . Each o ne
w a s n j o y e d and
c a r e f u l l y
c a r e d f o r . Bu t h i s g i v i n g i s t h e
g r e a t e s t
one.
These
x t r a o r d i n a r y
examples o f
o l k c a r p e n -
t r y , t h r o u g h t h e Museum of American Folk A r t ' s s t e w a r d -
s h i p , n o w b e l o n g
t o
e v e r y o n e .
R i c h a r d M i i h l b e r g e r h a s
w r i t t e n
t h i r t e e n b o o k s
n
t h e l a s t i v e
y e a r s , e l e v e n
of
h e m
i n
c o l l a b o r a t i o n w i t h
T h e
M e t r o p o l i t a n
Museum of r t . H e s c u r a t o r of
M a s t e r p i e c e s
n
Wood:
m e r i c a n
F o l k M a r q u e t r y rom T h e H i r s c h h o r n F o u n d a t i o n ,
o n
v i e w a t
t h e
Museum
of
m e r i c a n F o l k
A r t
rom
O c t o b e r 3 ,
1 9 9 8 , t o
J a n u a r y
1 0 , 1 9 9 9 , and
h e
a u t h o r of
h e
a c c o m p a n y i n g
e x h i b i t i o n c a t a l o g .