Description:
WB463: Writing slope in rosewood with brass inlay circa 1820.
This slope is an excellent example of the Regency. It is veneered in saw cut rosewood on mahogany and it is inlaid in brass. This form of inlay was inspired by French Boulle work, but was evolved into a more robust genre by English cabinet makers such as George Bullock, who was one of the Prince Regent’s/George IV favourites. The design of the inlay is symmetrical and follows neoclassical tradition, the flora being stylised and incorporating such motifs as the palmette, the acanthus and a central urn. A hint of naturalism creeps in with the flowers and the wavy movement, suggesting the next period of more life-like development. The colour and lustre of the brass contrasts nicely with the colour of the rosewood. Thomas Hope, the distinguished designer, (1807 ‘Household Furniture and Interior Decoration executed from Designs by Thomas Hope’) advocated metal inlay on dark wood ‘….that distinctness and contrast of outline, that opposition of plain and enriched parts…..’
Inside the box has lidded compartments for pens, wax etc and two screw top distinctive inkwells.
The writing surface is framed by a crosbanding in tulip wood the figure slanting symmetrically around the gold embossed leather surface. The leather is a replacement.
Working lock and key.

Origin: UK

Circa: 1820

 

See Figure 492, 66, 67, and  68.  Antique Boxes, Tea Caddies, and Society, 1700--1880 
Antigone Clarke & Joseph O'Kelly, ISBN: 0764316885

Size: 40.5 cm by 25.5  cm by 95 (65) cm high when closed:  15.9 inches by 10 inches by   3.7 (2.5) inches  high when closed.

Inside the box has lidded compartments for pens, wax etc and two screw top distinctive inkwells.
The writing surface is framed by a crosbanding in tulip wood the figure slanting symmetrically around the gold embossed leather surface. The leather is a replacement.

The design of the inlay is symmetrical and follows neoclassical tradition, the flora being stylised and incorporating such motifs as the palmette, the acanthus and a central urn. A hint of naturalism creeps in with the flowers and the wavy movement, suggesting the next period of more life-like development. The colour and lustre of the brass contrasts nicely with the colour of the rosewood.

Inside the box has lidded compartments for pens, wax etc and two screw top distinctive inkwells.
The writing surface is framed by a crosbanding in tulip wood the figure slanting symmetrically around the gold embossed leather surface. The leather is a replacement.

Two screw top distinctive inkwells. The glass would have been blown in a mold and then the facets would have been cut. 

Inside the box has lidded compartments for pens, wax etc and two screw top distinctive inkwells.

This form of inlay was inspired by French Boulle work, but was evolved into a more robust genre by English cabinet makers such as George Bullock, who was one of the Prince Regent’s/George IV favourites. The design of the inlay is symmetrical and follows neoclassical tradition, the flora being stylised and incorporating such motifs as the palmette, the acanthus and a central urn. A hint of naturalism creeps in with the flowers and the wavy movement, suggesting the next period of more life-like development. The colour and lustre of the brass contrasts nicely with the colour of the rosewood. Thomas Hope, the distinguished designer, (1807 ‘Household Furniture and Interior Decoration executed from Designs by Thomas Hope’) advocated metal inlay on dark wood ‘….that distinctness and contrast of outline, that opposition of plain and enriched parts…..’

The underside is covered in felt.