Sewing box 

jewelry-boxes

tea caddies

Anglo-Indian

Chinese- export

penwork

Tunbridgeware

papier-mâché

Snuff boxes 

terms

Advanced Search

Youtube Channel

contents

Description:
Ref: 740SB  http://hygra.com/box/740SB 

A very rare octagonal Georgian sewing box in harewood with crossbandings in various woods, ovals in burr yew, kingwood and book matched burr wood and inlays of fine leaves and dots. The top is decorated with a hand coloured print of a classical scene and framed in shaded maple, in the form of inlaid rippled ribbon. The whole orchestration of the decoration is rooted in the neoclassical tradition of the late 18th-early19th century and it is one of the finest examples of the genre. The interior contains a wealth of finely turned original sewing tools in the original tray and pieces of its two hundred year old sewing history. This box is an early example of Tunbridge ware, when the work made in the area was more in keeping with the general taste of the country and not particular to the area. There are however pointers to the work specific to the area, such as the subtle use of particularly beautiful small pieces of wood, finely turned wooden tools, the inlay of pointed leaves and dots and the painting of lines on turned pieces. The paper is also typical, although not exclusive to Tunbridge ware boxes. 

Origin: UK ;  Circa: 1800; Materials: .

Size: 28 cm wide by 22.5 cm by 12.5 cm:  11 inches wide by  8.9 inches by 4.9  inches.

Condition: Small areas of pitting on varnish, small breaks. See pictures. Fortunately the original thick varnish remains intact as does the decoration. It has escaped “refreshment”. A rare survivor!; working lock and key; see images

Request current  list of available sewing boxes with prices.
Request current  list of available writing boxes with prices.
Request current  list of available jewelry boxes with prices.
Request current  list of available tea caddies with prices.

boxes@hygra.com

 

Overview of the box showing the complex but perfectly harmonised elements of the decoration and shape. The framing, the inlaid ovals and the inlays of stylised flora are all symmetrical and balanced. They form the background for the movement within the coloured print.

The front is framed with lines in satin birch, fruitwoods and holly which has turned slightly green as a result of a fungus attack. The satin birch escutcheon is flanked by two ovals in book-matched burr wood. It is very difficult to be certain what the wood is. It is very finely grained, so it could be a large garden shrub. Each oval is delineated with fine stringing and kingwood cross-banding. There is an oval wreath of inlaid dot and leaf, or husk, around each oval. The whole composition is very complex with line after line of inlay and yet it has the elegant deceiving simplicity of neoclassicism. The dark striations of the hare wood contrast in a complementary way with the luminosity of the satin birch and the warm colour of the kingwood. The combination of the woods as well as the contrasting curved and straight lines is a masterful composition, no doubt the work of an artist-craftsman.

The original tray contains six finely turned threat barrels a finely turned thimble, a turned clamp, turned boxes, turned spools and ribbon turner. The pink paper which covers the interior is original.

Detail showing the barrels fitting snuggly in their allotted holes in the tray. The facing of the box also shows in detail. It is inlaid with three lines of stringing, two green lines flanking a brown one. The green is brighter on the inside of the box as it has not faded and it has not been obscured by the slightly clouded external varnish.

Detail showing the thimble and one of the three wooden spools which are threaded on a thin metal rod.

Other side of tray with three more spools.

The top showing a scene in the classical tradition. The main figure appears to be looking at something and drawing. 

It is likely to be a symbolic representation of Art. 

The two putti bring a light note to the whole composition.

Detail showing the framing of the top. The “ribbon” is in maple and shaded in each section with hot sand. This gives the impression of a ripple. The ribbon is set in a band of green holly. The contrasts of the woods would have been stronger when the box was new. 

Over the last two hundred years the woods have patinated and mellowed beautifully.

 Detail showing the framing of the top. The “ribbon” is in maple and shaded in each section with hot sand. This gives the impression of a ripple. 

The ribbon is set in a band of green holly. 

The contrasts of the woods would have been stronger when the box was new. 

Over the last two hundred years the woods have patinated and mellowed beautifully.

Back view with the lid open.

Side view with the lid open. The narrow sides are inlaid with a stylised daisy trailing double leaves and seeds and concluding in a pointed single leaf. The framing is the same as the wide sides, the fine line inlay continuing the elegant neoclassical theme.

Side view with oval in kingwood. The horizontal lines of the figure and the colour, contrast pleasingly with the striations of the darker harewood.

Detail showing how well the narrow side harmonises with the ovals on the larger sides. The leaf and dot inlays provide a bonding accent.

Back side. The ovals are in burr yew and surrounded by a pattern in simple dots which relates to the dots in the wood. It is interesting that the ovals are in different woods and they are surrounded by different inlays. However the inlays are all related and harmonise with each other and the side perpendicular inlays. It is only by looking closely that one notices the variety.

Other narrow side.

Detail showing the turned thread of the box.

Detail showing the turned thread of the box.

Detail showing the thread on the top.

The barrels , boxes and thimble out of their allocated spaces. Each barrel contains a thread spool and has a tiny hole for the thread to be pulled through. The thread on the screw tops has expanded and they are a little stiff. One does not shut completely and another has lost a piece of wood on the top lip.

There are some ornaments and other things which were not supplied with the box, but as part of its history are left inside. Cushion with brooch depicting Victoria.

Back of cushion.

Clamp. This was supplied with the box. It is turned and painted with green and red lines. This is correct for the period and style of box.

The steel scissors would have been bought about the same time as the box, but made by a different maker. A master of his steel craft.

A badly torn silk square with interesting, albeit half perished images of flags and military men. 

A

Square with printed coat of arms. Damaged.

 T.   Stevens of Coventry. 

"FOR A GOOD BOY

I HAD A LITTLE DOGGY
THAT USED TO SIT
AND BEG.
BUT DOGGY TUMBLED 
DOWN THE STAIRS.
AND BROKE HIS LITTLE LEG;

OH DOGGY I WILL
NURSE YOU, AND TRY
TO MAKE YOU WELL;
AND YOU SHALL
HAVE A COLLAR,
WITH A PRETTY LITTLE BELL.

See:  http://www.stevengraphs.com/thomstevandh.html 

Using punched cards (jacquard weaving) to control the loom Thomas Stevens could produce these economically. 

A bookmarker, about 13 inches long, woven at the exhibition held to mark the opening of the Market Hall in 1867, required 5,500 cards.

It was still a lot of work