Description:
WB441: Writing slope in rosewood and satinwood with mother of pearl inlay circa 1835.
This is a writing slope of exceptionally high quality. The outside is veneered in saw cut rosewood inlaid with mother of pearl. The inlay is executed with precision in two different ways: The central and corner parts have the floral patterns outlined in rosewood with the mother of pearl surrounding them; the main encircling part is made out of mother of pearl inlaid into the rosewood. On examining the rosewood patterns closely, one can see fine lines separating the leaves, a sure sign that the box retains its original finish.
The design is both elegant and robust, straddling the time between the neoclassical and the naturalistic period. The patterns are symmetrical and rendered with control of line and space. This shows the neoclassical influence. There are also neoclassical motifs such as the anthemion, acanthus leaves and palmettes. However the flowers, although symmetrically arranged and stylised, have more than a hint to naturalistic aspirations and the neoclassical motifs are integrated within the whole composition.
The garland, although controlled and defined within a perfect oval, loops and curls in fluid movement like a living trellis. 
Inside the box has a pen tray and lift up lids. The underside of the lids has at some stage been stained. There is one original inkwell with a silver plated screw on top.
The writing surface is covered in subtly embossed velvet, which we think is a later replacement, but very close to what a box of this period cud have had. 
The interior of the box continues the high standard of quality and it is veneered in satinwood.
Small crack/repair on the top part of the veneer, perceptible when the box is closely examined.
Working lock and key.

 

see: Figure 516 Antique Boxes, Tea Caddies, and Society, 1700--1880 
Antigone Clarke & Joseph O'Kelly, ISBN: 0764316885

Origin: UK

Circa: 1835

Materials:

Size: 40.5 cm by 25.3 cm by 100 (63) cm high when closed: 16.9 inches by 10 inches by inches 3.9 high when 2.5 closed.

Inside the box has a pen tray and lift up lids. The underside of the lids has at some stage been stained. There is one original inkwell with a silver plated screw on top.

The writing surface is covered in subtly embossed velvet, which we think is a later replacement, but very close to what a box of this period cud have had. 

Inside the box has a pen tray and lift up lids. The underside of the lids has at some stage been stained. There is one original inkwell with a silver plated screw on top.

The interior of the box continues the high standard of quality and it is veneered in satinwood.

Inside the box has a pen tray and lift up lids. The underside of the lids has at some stage been stained. There is one original inkwell with a silver plated screw on top.

 Although the surface rosewood of the supplementary lids looks correct for period in both finish and quality the construction wood has been stained.  These two lids may be later replacements. In our view they do not detract from the integrity and high quality of the box.

The design is both elegant and robust, straddling the time between the neoclassical and the naturalistic period. The patterns are symmetrical and rendered with control of line and space. This shows the neoclassical influence. There are also neoclassical motifs such as the anthemion, acanthus leaves and palmettes. 

However the flowers, although symmetrically arranged and stylised, have more than a hint to naturalistic aspirations and the neoclassical motifs are integrated within the whole composition.

The garland, although controlled and defined within a perfect oval, loops and curls in fluid movement like a living trellis. 

The design is both elegant and robust, straddling the time between the neoclassical and the naturalistic period. The patterns are symmetrical and rendered with control of line and space. This shows the neoclassical influence. There are also neoclassical motifs such as the anthemion, acanthus leaves and palmettes. 

However the flowers, although symmetrically arranged and stylised, have more than a hint to naturalistic aspirations and the neoclassical motifs are integrated within the whole composition.

The garland, although controlled and defined within a perfect oval, loops and curls in fluid movement like a living trellis. 

There is one original inkwell with a silver plated screw on top. The bottle has cut facets.

 The underside is covered with green baize.