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Description:
Ref: 723JB http://hygra.com/box/723JB 

A strong example of the Regency aesthetic, this box combines many of the elements which make it an icon of the period. The box is inlaid with brass contrasting with the rosewood veneer and it is of complex architectural form. It stands on turned wooden feet and the edges are finished in gadrooning. Both the design and the quality are exceptional. Circa 1820
The inside has been relined with cotton velvet and paper and has a replacement lift-out tray.
The box has a complex form: It is inspired by the ancient monuments recently discovered and witnessed by Europeans in the Middle East, namely Egypt. The shape combines straight elements with deeply rounded concave sides on the lid and strongly protruding edges, which emphasise and delineate the contrasting surface on the top and give a finality to the base.

Origin: UK ;  Circa: 1820 ; Materials: .

Size: 31 cm wide by 24 cm by 14 cm:  12.2 inches wide by  9.5 inches by  5.5 inches.

Condition: good overall; working lock and key; see images

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This uses the idea of perspective one gets when looking up at a temple as the sides look as if they slope inwards the higher they rise. The lid is constructed to give the impression of a building top, an abstraction of a pediment. The brass work is of exceptional quality and it is executed in both premiere partie and contre partie; that is brass inlaid into the wood to form the pattern and wood inlaid into the brass. 

 

This  type of inlay is quite unusual in small pieces and in this example it is done seamlessly. It makes the centre of the box look more condensed with the stylised floral pattern undulating and swirling more freely on the outer part of the box. The escutcheon is incorporated within the central motif, which suggests the neoclassical design of a palmette. The design is rooted in the neoclassical tradition of symmetry and control with a few hints at naturalism with the leaves striving for a more robust organic growth. 

This new wave of more naturalistic neoclassical style inlay was introduced by George Bullock, who was a cabinet maker commissioned by the Prince Regent, later George IV. Such intricate brass inlays were made for a very short period during the first quarter of the 19th century, when most patrons who commissioned such work were wealthy enough to pay for it.

Corner showing the exceptionally deep concave part, the elegant way the uppermost part is edged and the qadrooning which rounds off the concave part of the lid: quite an orchestration! The cavetto molding is particularly pronounced.

The box is relined. The mahogany tray is a replacement and has been lined with velvet making the box suitable for jewelry.

 There is a document wallet in the lid; it retains the original red paper lining.

Side view. This shows the turned grooved handle on the side of the box. This view enables us to appreciate the virtuosity and skill employed in creating this amazing shape.

Back view. Good hinges.

Side view. This shows the turned grooved handle on the side of the box. This view enables us to appreciate the virtuosity and skill employed in creating this amazing shape.

Top: this is a wonderful arrangement which deceptively looks as if it is in four quarters, but which in fact allows for the extra width on the front and back by skilfully arranging the pattern of a palmette motif in the middle. The premier and contre partie inlays are to full effect. 

This  type of inlay is quite unusual in small pieces and in this example it is done seamlessly. It makes the centre of the box look more condensed with the stylised floral pattern undulating and swirling more freely on the outer part of the box. The escutcheon is incorporated within the central motif, which suggests the neoclassical design of a palmette. The design is rooted in the neoclassical tradition of symmetry and control with a few hints at naturalism with the leaves striving for a more robust organic growth. 

This new wave of more naturalistic neoclassical style inlay was introduced by George Bullock, who was a cabinet maker commissioned by the Prince Regent, later George IV. Such intricate brass inlays were made for a very short period during the first quarter of the 19th century, when most patrons who commissioned such work were wealthy enough to pay for it.

 

The top has been engraved "M. Acock"