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Description:
Ref: 645WB  http://www.hygra.com/uk/n11/645WB 
A restrained figured rosewood writing box with inlaid accents  and lines in brass. The design of the inlay is of highly stylised flora, suggesting neoclassical designs hinting at palmette and (on the top) anthemion motifs. The juxtaposition of dark wood with bold brass inlay was popular in the early part of the 19^th 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 box has unusual and elaborate layered secret compartments. a side drawer and inlaid countersunk brass carrying handles.
There is also a reading stand which is attached to the top surface when the box is held at an angle with the hinged brass catch. The reading stand was very useful in a time when light was either from window or candle. A book could be arranged to maximize the available light.

Origin: UK;  Circa: 1820 ; Materials: mahogany construction with figured rosewood and brass.

Size: 45.5 cm wide by25  cm by 16.5 cm:  17.9  inches wide by 9.8  inches by 6.5  inches.

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

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The style is reminiscent of the the designs of  Thomas Hope. (1769-1831) See: http://www.vam.ac.uk/content/articles/t/thomas-hope/ 

The box opens to a sloping  green baize writhing  surface with storage for papers underneath. There are the usual compartments for inkwells and pens. 

The writing surface is unusual in that the baize covers the flaps completely. It is not framed by facings in the conventional manner.

The baize looks  original to when the box was made. It has faded across the central join. 

There is also a reading stand which is attached to the top surface when the box is held at an angle with the hinged brass catch.

The reading stand was very useful in a time when light was either from window or candle. A book could be arranged to maximize the available light.

The box enabled you to read and gather knowledge for longer.

Perhaps it inspired you to open it and start writing.

 

 

The writing surface is unusual in that the baize covers the flaps completely. It is not framed by facings in the conventional manner.

Underneath the writing surface there is a place for papers. The wood has no finish or varnish confirming the early 19th C date of the box.

The section under the top flap is divided in three sections divided by tapering divisions.

 The division  also helps to conceal that the wood underneath is in two sections  

When rotated  the join becomes visible and the piece of wood can be removed from the box.

A whole section can then be removed revealing a secret compartment.

The panel fits into a slot.

Another secret compartment can now be opened.. There is a sprung panel hiding a secret drawer. To open it press the wood as shown in the photo.

The panel now pops open.

The drawer is of dovetail construction. The spring acts as both handle and as spring for the panel. This is almost unique.

If you did not know it was there the secret drawer could easily be missed.

When the division is put back the secrets are invisible except to those in the know.

The side drawer is secured by a brass pin  inserted through the facing.

The box has a large side drawer. The dovetail construction is clear. The joiners markings are still there.

There is also a reading stand which is attached to the top surface when the box is held at an angle with the hinged brass catch.

The reading stand was very useful in a time when light was either from window or candle. A book could be arranged to maximize the available light.

The box enabled you to read and gather knowledge for longer.

Perhaps it inspired you to open it and start writing.

 

The flaps are conventionally constructed in three pieces of wood. there are two side pieces joined to a central piece with a tongue and groove. This was necessary  to increase the gluing surface. If the central piece of wood were left unflanked it would probably have split. The grain of the flanking looks as if it is cut on the quarter to maximize the strength.  

The box has both in a molded glass pounce pot. and inkwell. the Inkwell has hobnail cut decoration to the shoulders. Both have embossed gilded tops.

Later in the century it was often used for stamps.

The underside would  not normally be visible by any other than the maker. 

I cant quite read the writing.

Louth Jan 14 1826

-------------time

...."

http://en.wikipedia.org/wiki/Louth 

"Louth is the name of several locations around the world:

• County Louth, Ireland
  • Louth, County Louth, a village in the heart of the county
  • Louth (Parliament of Ireland constituency) (1692–1801)
  • County Louth (UK Parliament constituency) (1801–1885, 1918–1922), Ireland
  • North Louth (UK Parliament constituency) (1885–1918)
  • South Louth (UK Parliament constituency) (1885–1918)
  • Louth (Dáil Éireann constituency), Ireland
• Louth, Lincolnshire, England
  • Louth, Lincolnshire (UK Parliament constituency) (1885–1983), in England
• Louth, New South Wales, Australia
• Louth, Ontario, Canada"

Your guess is as good as mine!

A box veneered in beautifully figured rosewood and inlaid with brass. The design of the inlay is of highly stylised 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 19^th 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 Palmette is described in Wiapedia as:

"The essence of the palmette is a symmetrical group of spreading "fronds" that spread out from a single base, normally widening as they go out, before ending at a rounded or fairly blunt pointed tip. There may be a central frond that is larger than the rest. The number of fronds is variable, but typically between five and about fifteen."

These elements of design have the appearance of having been cast rather than fretted out. four make up this composition.  They are impeccably inlaid into the rosewood.. To achieve this accuracy is very time consuming.   

see foot note  below.

The same palmette is on the front. The brass stringing is almost showing off the mastery of craft. 

The rosewood veneer with its wild grain inspires visions of an inner world: yours will be different to mine. Rosewood even when cut into wild grain is remarkably stable which is why it was a wood of desire. The Chinese thought that they could see the spirits of their ancestors in such wood. 

Two other brass accents have been used.

 The sides are inlaid with brass lines and countersunk brass carrying handles of skeletal form. The  handles are secured to the box by steel screws ground flush with the surface. This is an early design. From about 1820 many makers used brass screws which were less likely to rust.  The skeletal handle form was also abandoned in favour  of  a fuller  shape which would have made routing  out the wood to accommodate it simpler and faster.

 Even the back has inlaid brass lines.

he  handles are secured to the box by steel screws ground flush with the surface. This is an early design. From about 1820 many makers used brass screws which were less likely to rust.  The skeletal handle form was also abandoned in favour  of  a fuller  shape which would have made routing  out the wood to accommodate it simpler and faster.

Palmette and Anthemion 

"Two typical small Palais Royal boxes with cut steel pinhead decoration.. Note the word Souvenir written in cut pinheads. Note also that the patterns on the two sides are representations of the anthemion motif (top) and the palmette (lower). These boxes were just as fine as their larger cousins, but contained fewer tools. 7.5" wide. Circa 1815. $800-1,000. (empty) $2,500-3,000. (fitted)"

See: www.hygra.com/book  page 246

See also:

http://en.wikipedia.org/wiki/Palmette