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Papier mâché two compartment tea caddy  exquisitely decorated with oriental scenes in mother of pearl and gilding, the inside with supplementary lids.  The lock stamped with "VR" for Victoria Regina. This is one of the few examples of this decorative style to survive. It points to the work of Alsager, first employed by Jennens and Bettridge and later in his own company Alsager & Neville. He was one of the principle exponents of chinoiserie decoration.  Circa 1845.  
There are further images of this tea caddy at: http://hygra.com/uk/tc2/TC339-Papier_mache_caddy_circa_1845D/ 

Origin: ;  Circa: 1845; Materials: Papier mâché.
Size: It measures  8.1 inches wide  by  5.5 inches deep and it is  5.3 inches  high including feet: 20.6 cm wide by 14 cm deep by 13.5 cm high.
Condition: good overall,  working lock and key,  There is some cracking of the papier mâchè near the hinges.  See images.
As each person has different criteria and antiques by their very nature have wear  please enlarge the images and ask for extra information as needed. 

Keywords: tea caddy, Victorian,  papier mâché,  mother of pearl inlay, gilded, japanned,  Chinoiserie, Alsager, Alsager & Neville,

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The style of the caddy points to it being the work of Alsager. 

Alsager seems to have been one of the few crafts men to  attempt marquetry in mother of pearl 

Another box in the same style is at:  Antique Antique Box with Mother of Pearl Marquetry Circa 1850

See page 177 plate 179 of Japanned Papier Mâché and Tinware c.1740-1940, Yvonne Jones.  
www.amazon.com/ASIN/1851496866

www.amazon.co.uk/ASIN/1851496866

This is one of the few examples of this decorative style to survive. It points to the work of Alsager, first employed by Jennens and Bettridge and later in his own company Alsager & Neville. He was one of the principle exponents of chinoiserie decoration in papier mâché The method he used was distinctive in that he utilized the natural colour and iridescence of the shell without altering it with coloured varnish. This process was time-consuming and required great artistic sensitivity and skill. Alsager was virtuoso of this technique of   mother of pearl inlay.

Papier mâché was the result of attempts made by European craftsmen to produce a material with distinctive qualities: it could be carved and worked like wood, be durable and malleable and take a finish to at least rival oriental lacquer.

The oriental scenes are executed with inlaid mother of pearl and gold paint. 

The shell is carefully chosen and cut so that both its translucency and striation contribute to the luminescent quality of the scene. 

The island theme is continued this time with a larger boat, the sales of which are made with white shell. The extra flower between the palm trees delineated in gold is a delight. It looks as if someone has made it out of gold ribbon. 

Side 2: Another theme favored both by the real Chinese and the western exponents of Chinoiserie was the bridge. The shell used to depict the bridge is a stroke of genius; not only does the shell colour go from pink to turquoise, the way the pies of shell are shaped mimics the illusion of large  stones. The rocks on this side as on the other side are depicted with care. The contrasting colours and striations convey realistic differences and avoid a dull conglomerate. 

Side 1: Beautifully executed building with wonderful minaret pointing to the heavens and fine gold birds flying all around.

Back The scene on this side is the most wind-swept suggested  by both the the sailing boat complete with sales bellowing in the wind and the undulating stems of the trees and plants. 

The back of the caddy gives the impression of a small boat gliding . The sheen of the mother of pearl and the fine gold strokes, suggest a moonlit night.

 

The top is an example  of the virtuosity of mother of pearl inlay. Shell of different colours and striations are used so that the the light plays and moves, gives the picture a shimmering live quality. The exoticism is  further accented by the fine gilded lines. Fine lines are drawn on the central oriental building suggesting elaborate structures, but keeping the whole composition light and magical. The small boat with figures is rooted in the Chinoiserie tradition alluding to the gardens of Cathay where beautiful islands complete the picture with depictions of exotic plants and fantastical trees.  The tiny figures in the boat in the foreground look as if they are talking to each other.The fact that no tree could be supported on such a slender stem is part of the illusion of magical world of Cathay which was hardly understood but wishfully yearned for.

The painting and composition is of exceptionally fine quality, which suggests the work of the artist Alsager or another one of the trained artists who decorated important pieces. Alsager developed a reputation for utilising the quality of mother of pearl to maximum effect both by choosing pieces for their exceptional sheen value and cutting them at angles to produce shade and shade for dramatic results. 

 Inside there are two  lidded  compartments .

The caddy retains much of its original leading within the tea compartments.

The shell used to depict the bridge is a stroke of genius; not only does the shell colour go from pink to turquoise, the way the pies of shell are shaped mimics the illusion of large  stones. The rocks on this side as on the other side are depicted with care. The contrasting colours and striations convey realistic differences and avoid a dull conglomerate. 

Beautifully executed building with wonderful minaret pointing to the heavens and fine gold birds flying all around.

Detail of top:

The tiny figures in the boat in the foreground look as if they are talking to each other.