Description:
TC566: Monumental three canister tea chest in figured rosewood on a mahogany carcass with mother of pearl inlay standing on turned rosewood feet having turned rosewood drop ring handles. 
The shape of this chest combines elements and influences characteristic of the early  nineteenth century. It is structured in an   ancient Egyptian architectural form combining tapered  and pyramid lines which make this caddy a strong statement of the robust and elegant style of the Regency. The composition of the top is strong. The inlaid mother of pearl inlay  panels are set off by a further stringing of white metal (pewter).  circa 1830.

Origin: UK possibly Scotland Circa: 1830  Materials: rosewood, mahogany, mother of pearl.

 

Size: It measures 14  inches wide  by 10.5  inches deep and it is 8.1 inches  high including feet: 35.5 cm wide by 26.7 cm deep by 20.6 cm high.

Condition: good overall,  working lock and key,  see images.
As each person has different criteria and antiques by their very nature have wear  please enlarge the images and ask for extra information as needed. 

The quality of materials and craftsmanship are exceptional. 

The chest has clearly been looked after carefully and has survived with its original polish which shows gentle patination.

Inside there are three lift out canisters with hinged lids. Their tops are inlaid with mother of pearl.

The chest is unusual in that it is extra deep front to back  and has three tea canisters and no sugar bowl. Perhaps the original owner  had three favourite types of tea, or perhaps he wanted to make a point of not taking sugar. Sugar, which at the time was produced using slave labour was beginning to be shunned by some people of principle.       

The interior bottom part of the caddy is lined in mahogany which is edged in rosewood.

The construction quality is exceptional. The canisters are crafted in stable quarter sawn  mahogany and veneered with thick rosewood veneers.  

The canister hinges are specially made from thin brass sheet.

 The inside of the canisters still retain traces of their original leading.

 The hinge of one of the canisters is damaged.  Restoration would involve making a new matching hinge. It would be unacceptable for any wood to be cut away because an almost right hinge was available.

 

The inlay of vines is unusual. Although there is a naturalistic looping and trailing element, the arrangement still adheres to the symmetry of neoclassicism. The escutcheon is an ingenious interpretation of a palmette made up of stylised flora.

The two flanking inlays suggest temple columns narrowing as they disappear higher up the line of vision. 

The maker uses perspective to suggest the gravitas of monumentality.

The caddy has a working lock and key. 

The strong figuring of the rosewood is clearly visible.

The inlay is beautiful in its trailing grace combined with controlled symmetry. The lyre in the centre provides a neoclassical punctuation point to the floral theme.

The central design of the two swans provides a controlled but asymmetrical note of whimsy.

Although adhering to neoclassical rules, the chest gives the impression of energy with its lively inlay and vigorous figure. 

Detail: the symmetry would have been hard to achieve. the outside depicting a trailing vine needed five separate pieces  of mother of pearl. The sawing had to be done by hand. using soap as a lubricant. Mother of pearl is brittle and would have needed a very steady hand..   The thin blades would break if the worker craftsman had even hesitated in his stroke.

Side view showing the beautiful figure and the lines of the complex structure.

Back view. The strong figure on a large area shows to advantage.

Other side.

The angle showing the clever use of the narrowing and then widening of the lines of the chest to achieve its striking form..

The chest open with the canisters in place.

The caddy has a working lock and key. 

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

The use of the word patent does not mean that the lock maker was an innovator. The patent being referred to was the use of a lever dated to the 18th C and would have expired.

 The key.

The composition of the top is strong. The inlaid mother of pearl inlay  panels are set off by a further stringing of white-metal. (pewter).

The Top has a central finely inlaid panel of rosewood framed by a solid rosewood molding and fielded by further panels of inlaid rosewood.

The symbolism of the inlay design seems to be of an united  Britain: the Thistle for Scotland, the shamrock for Ireland. 

The central panel of inlay is a work of art in itself and would have taken many hours to make. 

It seems to have been made with a piercing saw. The saw marks are just visible. The thin lines cut into the rosewood indicate the use a very fine blade used with fantastic control.

 

 The slots of the steel screws have been lined up. 

The compartment for holding the canister is lined with mahogany edged with rosewood..

The attention to detail is phenomenal.  

The caddy has turned rosewood drop handles.