Description:

SB500: Antique opulent fully fitted sewing box in ebony profusely inlaid with tortoiseshell,  engraved brass, mother of pearl and abalone. The inside has  a silk covered lift out tray retaining a set of sewing tools  including turned and carved mother of pearl spools with matching tape measure and needle cleaner. A central tray has steel tools with tortoiseshell handles. Circa 1840.

Origin: UK

Circa: 1840

Size: 30.8 cm wide by 22.8 cm by 13 cm:   inches wide by 9 inches by 5.1 inches.

Condition: good overall, working lock and key. There is a non structural crack in the bottom.

The pattern of the framing design is arranged symmetrically, but the rounded sections and the undulating leafy motifs, endow it with a voluptuousness which lifts it out of the neoclassical austerity.

The centre is lighter, with fine rounded lines spreading into the ebony. It is not completely symmetrical, but has another drooping fine inlay to the front, a concession to naturalism. This pattern is within the genre of 18th century Boulle work and hints at the designs of Jean Berain.

The corner detail showing the complicated inlay which combines brass, mother of pearl, abalone shell and tortoiseshell.

The front of the box incorporates the escutcheon within the design, rendering the keyhole unintrusive and part of the elegant flow of the beautifully controlled swirling floral pattern.

A corner showing the extraordinary quality of the shell. The colours are difficult to describe, or to really define, as the iridescence of the material causes a shift in the light which makes fleeting hues to dance on the shell. Some pieces go from greens to grays and blues, some from coral-pink, to cream. The stripes and patterns within the shell pieces are also extraordinary: the shells look as if they were cut at interesting angles.

There is a very finely inlaid edging to the box, complimentary to the bolder pattern of the larger surfaces.

The interior of the box has a tray with silk covered lids to compartments and it is fitted with mother of pearl spools and other tools.

Detail of the matching spools. Although all spools match, the four on one side are slightly taller, perhaps to allow for different threads which by this date were being supplied on reels?

 

Detail showing the two other tools, tape measure holder and needle cleaner, matched to the spools. The scissors are in cut steel and the other tools have tortoiseshell handles, which echo the tortoiseshell in the inlay.

Side view of the two round tools: tape measure holder and needle cleaner. The carved and turned tops are to the spools. The bodies are turned ivory.

Top of round tools. The manufacture involves turning carving and piercing.

Another tool, a winder or shuttle, in engraved mother of pearl. This would have been made in Canton China.

The silvered lock plate is stamped twice with "V R" and a crown, and "BARRONS PATENT".

Barrons patent which dates to 1787 improved the security of locks by adding release levers which have to be brought to correct height for the key to turn. Before  that date lock security relied solely on wards.

 

The back of the tray: when the top cushion is lifted, there are three small round, glass top boxes, containing small beads used in embroidery.
This photograph also shows the unusual robust hinges.

Under the silk covers the box is lined with silvered paper.

Picture showing the radiating pattern of the silk cover, punctuated in the centre by a mother of pearl circle matching the spools.

One of the thimbles which is silver but later than the box. Thimbles being a very personal item, change with the owner.

The silk flap opens into an envelope or document wallet. It is held closed by a mother of pearl catch.

The hinge is slightly rounded and there are no visible screws or mechanism. There is a fine inlay all around the facings which is interrupted only at the hinge and lock plate. 

The bottom part is lined in silvered paper.

Detail showing a gilded brass needle case, some long spikes (for lace/embroidery) and hand made pieces of embroidery and lace.

A side view of the box. When open, the box is slightly less than at a right angle.

Detail of the corner showing the angle of opening. The lines of inlay are immaculately matched giving a richness to every corner of the box.

The hinge mechanism is hidden.

The top of the box demonstrating the mastery of the inlay

 every element is worked with meticulous care (cut, engraved inlaid) and it is very fine in itself. However, the way the elements are combined they build up to a sumptuous whole. The addition of tortoiseshell, adds another rich layer of the depth to the symphony of colours.

 Traditional French Boulle work combined tortoiseshell with brass and other materials. 

The pattern of the framing design is arranged symmetrically, but the rounded sections and the undulating leafy motifs, endow it with a voluptuousness which lifts it out of the neoclassical austerity.

The centre is lighter, with fine rounded lines spreading into the ebony. It is not completely symmetrical, but has another drooping fine inlay to the front, a concession to naturalism. This pattern is within the genre of 18th century Boulle work and hints at the designs of Jean Berain.