King wood
is a classic furniture wood, almost exclusively used for inlays on very fine furniture. Occasionally it is used in the solid for small items and turned work, including parts of billiard cues, e.g., those made by John Parris. It is brownish-purple with many fine darker stripes and occasional irregular swirls. Occasionally it contains pale streaks of a similar colour to sapwood.
The wood is very dense and hard and can be brought to a spectacular finish. it turns well but due to its density and hardness can be difficult to work with hand tools. It also has a tendency to blunt the tools due to its abrasive properties.
Gonçalo Alves is a hardwood (from the Portuguese name, Gonçalo Alves). It is sometimes referred to as tigerwood — a name that underscore the wood’s often dramatic, contrasting color scheme.
While the sapwood is very light in color, the heartwood is a sombre brown, with dark streaks that give it a unique look. The wood’s color deepens with exposure and age and even the plainer-looking wood has a natural luster.
Two species are usually listed as sources for gonçalo alves: Astronium fraxinifolium and Astronium graveolens, although other species in the genus may yield similar wood; the amount of striping that is present may vary.
In the high tropical forests of Central and South America, well-drained soils furnish nutrients for a variety of dense, durable hardwoods sought for maritime use, heavyconstruction, and furniture. The Spanish began harvesting in Latin American forests in the early 1500s to provide timber for boatbuilding and repair. By the early 1900s, however, steel ships had replaced wooden ones, and the interest in tropical forests by both Europeans and Americans shifted to appearance-grade woods for furniture.
Although history fails to provide us with a shopping list of species from either harvest period, it's probable that the wood we know today as goncalo alves has always been sought. That's because goncalo alves, considered one of the most beautiful of tropical woods, has a tough reputation, too. Strong and durable, it's used for construction in its homeland and secondarily for fine furniture. Woodworkers elsewhere treasure the wood for decorative items and veneer accents.
Ormolu - Gilt Bronze (from French 'or moulu', signifying ground or pounded gold) is an 18th-century English term for applying finely ground, high-carat gold in a mercury amalgam to an object of bronze.The mercury is driven off in a kiln leaving behind a gold-coloured veneer known as 'gilt bronze'.
The manufacture of true ormolu employs a process known as mercury-gilding or fire-gilding, in which a solution of nitrate of mercury is applied to a piece of copper, brass, or bronze, followed by the application of an amalgam of gold and mercury. The item was then exposed to extreme heat until the mercury burned off and the gold remained, adhered to the metal object.
After around 1830 because legislation had outlawed the use of mercury other techniques were used instead. Electroplating is the most common modern technique. Ormolu techniques are essentially the same as those used on silver, to produce silver-gilt.
Sevres Porcelain
traces its roots in France to early craftsmen who had small manufacturing operations in such places as Lille, Rouen. St. Cloud, and most notably Chantilly. It is from Chantilly that a cadre of workers migrated to the Chateau de Vincennes near Paris to form a larger porcelain manufactory in 1738.
French King Louis XV, perhaps inspired by his rumoured relationship with mistress Madame de Pompadour, took an intense interest in porcelain and moved the operation in 1756 to even larger quarters in the Paris suburb of Sevres. Sevres was also conveniently near the home of Madame de Pompadour and the King's own Palace at Versailles.
From the outset the king's clear aim was to produce Sevres Porcelain that surpassed the established Saxony works of Meissen and Dresden. Though the French lacked an ample supply of kaolin, a required ingredient for hard-paste porcelain (pate dure), their soft-paste porcelain (pate tendre) was fired at a lower temperature and was thus compatible with a wider variety of colours and glazes that in many cases were also richer and more vivid. Unglazed white Sevres Porcelain "biscuit" figurines were also a great success. However, soft-paste Sevres Porcelain was more easily broken. Therefore, early pieces of Sevres Porcelain that remain intact have become rare indeed.
The Sevres Porcelain manufactory always seemed to be in dire financial straits despite the incredibly fine works it produced. In fact, the king's insistence that only the finest items be created may have contributed to the difficulties. Only a limited number of European nobility could afford the extravagant prices demanded for such works. King Louis XV and eventually his heir, the ill-fated Louis XVI, were obliged to invest heavily in the enterprise. Ultimately, the Sevres Porcelain Factory produced items under the name of "Royal" and thus the well-known Sevres mark was born. King Louis XV even mandated laws that severely restricted other porcelain production in France so as to retain a near monopoly for his Sevres Porcelain. The king even willingly became chief salesman for the finest of his products, hosting an annual New Year's Day showing for French nobility in his private quarters at Versailles. He eagerly circulated among potential buyers, pitching the merits of ownership and policing the occasional light-fingered guest.
Sevres Porcelain may have indeed given the makers of Meissen and Dresden a run for their money by the end of the 18th Century but for the French Revolution. By 1800, the Sevres Porcelain Works were practically out of business due to the economic devastation of the new French Republic.
About the time when Napoleon Bonaparte named himself Emperor of France (1804), a new director was named for the Sevres Porcelain Manufactory. Alexandre Brongniart, highly educated in many fields, resurrected Sevres Porcelain. Soft-paste porcelain was eliminated altogether thanks to the earlier discovery of kaolin near Limoges. For four decades until his death, Brongniart presided over monumental progress for Sevres Porcelain, catering not only to Napoleon himself, but at last to include the more financially profitable mid-priced market in the emerging middle class.
