Description:
SB525: A rare early Regency  shaped  fully fitted brass inlaid figured rosewood sewing box retaining its carved and turned ivory spools and other sewing tools.  The form is typical of the early Regency: perfectly proportioned drawing its inspiration from ancient architectural structures. It has turned gadrooning drop ring  handles and feet. The box retains its original  fully fitted tray covered in yellow paper with gold embossed supplementary lids. Circa 1815.

Origin: UK  London;  Circa: 1815 .

Size:  28 cm wide by 2 1.5 cm by 18 cm:   11 inches wide by  8.5  inches by  7 inches.

Condition: good overall; it is a real treat to find such an early box intact with its tools which has had a long life of being cared for. Working lock and key. See images

 

The interior retains the original yellow silk, paper and finely gold tooled leather.  Many of the details, including the embossing are almost identical to http://hygra.com/uk/sb/sb104/ 

Although this box is clearly labeled Dalton it bears similarity to boxes which are labeled Edwards.

The spools are turned and milled ivory and bone. This form of spool with  ends screwed to a former is early 19th century and rare. It was mostly discontinued after the first quarter of the century with the advent of more commercially prepared thread.

See: http://www.hygra.com/sb/sbvmop.htm 

and Figure 422 

Antique Boxes, Tea Caddies, and Society -- 1700--1880, ISBN: 0764316885  Antigone Clarke & Joseph O'Kelly, A Schiffer Book for collectors..

 

 

The box is labeled both on the inside of one of the lids and in the document lid.:

R. DALTON
Portable Writing Desk Fancy Cabinet
and Pocket Book Manufacturer
Counters 201, 202, 203, 204, 205,-
-237 and 238, Ground Floor,
BAZAAR, SOHO, SQUARE.

Ladies Toilet &Scent Bottles Fancy Cutlery  &c.

Later Dalton labels read:  

“ Dalton – Manufacturer 85 Quadrant, Regent St. London ”. Examples of Dalton’s work always bear the hallmark of quality and date mostly from the second quarter of the nineteenth century. (See figure 376 in our book Antique Boxes, Tea Caddies, and Society -- 1700--1880, ISBN: 0764316885  Antigone Clarke & Joseph O'Kelly, A Schiffer Book for collectors., also chapter 6 and Appendix Box Makers). 

 

"Bazaars owe their introduction into this country to the late Mr. Trotter, an army contractor, whose vast clothing concern in Soho Square, converted in 1815 to its present purpose, was the first establishment of the kind formed in London; it consists of several rooms hung with red cloth, and fitted up with mahogany counters, divided into stands, which are occupied by about 200 females. The various articles here exhibited for sale daily attract numerous visitors; and the Soho Bazaar, successful from its commencement, maintains its attraction, and has long been a fashionable lounge." (Mogg's New Picture of London and Visitor's Guide to it Sights, 1844)

The introduction of the Bazaar into the metropolis dates from 1816, when was opened the SOHO BAZAAR, at 4,5, and 6, Soho-square. It was planned solely by Mr. John Trotter, with a truly benevolent motive. At the termination of the War, when a great number of widows, orphans, and relatives of those who had lost their lives on foreign service were in distress and without employment, Mr. Trotter conceived that an establishment at the hands of Government would promote the views of the respectable and industrious (possessing but small means) by affording them advantages to begin business without great risk and outlay of capital. Mr. Trotter, having at that time an extensive range of premises unoccupied, without any idea of personal emolument, offered them to Government, free of expense, for several years, engaging also to undertake their direction and management on the same disinterested terms. His scheme was, however, considered visionary, and his offer rejected. Mr. Trotter then undertook the responsibility himself; the Bazaar was opened 1st February 1816, and by excellent management, the establishment has since flourished; this success being mainly attributable to the selection of persons of respectability as its inmates, for whose protection an efficient superintendence of several matrons is provided. The counters are mostly for fancy goods, and to obtain a tenancy requires a testimonial respectably signed. The success of the Soho Bazaar led to establishments formed by private individuals, but with only temporary success. (John Timbs, Curiosities of London, 1867)

See: http://www.victorianlondon.org/shops/bazaars.htm 

The six spools are turned and milled ivory and bone. This form of spool with  ends screwed to a former is early 19th century and rare. It was mostly discontinued after the first quarter of the century with the advent of more commercially prepared thread. The box also has a tape measure and a waxer.

 The thimbles are later than the box.  

Inside the lid there is a panel of rushed yellow silk framed by gold embossed maroon coloured leather.  A catch holds the panel in place. There is a document wallet behind it.

The interior retains the original yellow silk, paper and finely gold tooled leather. The lyre is a reference to the music of Rome.

 

The gold embossing is almost identical with http://hygra.com/uk/sb/sb104/

The lyre is a reference to the music of Rome. 

 The design of the inlay is of highly stylized flora, suggesting neoclassical designs hinting at palmette and (on the top) acanthus motifs. The juxtaposition of dark wood with bold brass inlay was popular in the early part of the 19th century. The wood and the bright brass were mutually enhancing. The Prince Regent (later George IV) commissioned such work for his Royal palaces. This technique, which perfected control of cutting and inlaying, required time and skill and it was very expensive at the time. It is no wonder that such work was popular at a time when excess was rife and style was given supreme social importance.

 Detail:  the gadrooning and  one of the turned and carved feet.

 The design of the inlay is of highly stylized flora, suggesting neoclassical designs hinting at palmette and (on the top) acanthus motifs. The juxtaposition of dark wood with bold brass inlay was popular in the early part of the 19th century. The wood and the bright brass were mutually enhancing. The Prince Regent (later George IV) commissioned such work for his Royal palaces. This technique, which perfected control of cutting and inlaying, required time and skill and it was very expensive at the time. It is no wonder that such work was popular at a time when excess was rife and style was given supreme social importance.

 The lock plate is stamped with a crown and GR. and the word "patent)

GR is used to indicate that George was King when the lock was made.

The lock works and has a key.