A REMARKABLE CARVING 



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Artistic Wood Carving 



Mr. and ilrs. C. L. Willey of i?-")!) Grand boulevard, Chicago, who 

 returned recently from a tour abroad, brought with them as artistic a 

 piece of ■svood carving as can be found anywhere. It is cut in a 

 block of pear wood, thirty inches long, eighteen inches wide, and 

 four inches thick. It was purchased in Luzerne, Switzerland. The 

 accompanying reproduction of the carving is as accurate as can be 

 made on a flat surface. The picture brought out by the carver's 

 skill tells its own story. There is room, however, for individual inter- 

 pretation. It is evident to anyone that the dignified old gentleman 

 has brought his bashful son to ask for the hand of one of the three 

 charming young ladies, but which one? They understand the pur- 

 pose of the ^-isit, but is it dear to them which one is to be chosen? 

 Does the expression on the face of any one of them tell the story? 

 How far has the negotiation progressed at the moment caught by 

 the artist for his picture? There is room for difference of opinion 

 on several points, but none as to the excellence of the art displayed. 



An artist will find all he wants to know in this picture itself, but 

 the woodworker is interested in certain things which cannot be found 

 out from an inspection of the carving alone. For instance, why was 

 pearwood selected for the carving? There are a few other woods whicli 

 may answer as well, as far as grain and texture are concerned. Ebony 

 and boxwood might do it, but ebony is very black, and it is doubtful 

 if it would have afforded means of bringing out the high lights and 

 the shadows which add so much to this jiicture; and boxwood is light 



in color, and the deep shadows might have been impossible if it had 

 been used. Besides, it would be almost impossible, if the whole 

 world were searched, to find a piece of perfect boxwood as large 

 as that employed for this work by the Luzerne carver. The well- 

 known Chinese blackwood is employed for some of the finest carved 

 furniture in the Orient, but it is good for form, and not for feature, 

 because it changes color too much with age. ' ' Features ' ' which the 

 carver puts into figures might not remain after a complete change in 

 color had taken place. 



But pearwood remains as it is finished. It is rich in tone and 

 fine in texture. The most minute details can be worked out, pro- 

 vided the carver possesses the skill to do it; and in the present 

 instance there is no question as to his skill. It is, therefore, of 

 interest to say a word regarding the man who did the work — E. 

 Zeiner of Luzerne, Switzerland. He is ninety years old, and puts 

 into his work a richness of experience possessed by few. This carving 

 represents six months of labor. The old man makes two carvings a 

 year — not duplicates, of course, but each original. Although he long 

 ago passed the stipulated three score and ten allotted to the life of 

 man, he has planned two more carvings, and is at work on them. 



Mr. Willey is to be congratulated on his acquisition. He is a 

 manufacturer of fancy woods and veneers and knows what fine 

 pieces are worth. He and Mrs. Willey have decorated and fur- 

 nished their beautiful home with works of art which they have col- 



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