Mastery of Design: A Snuffbox Commemorating the 1911 Coronation

Snuffbox
1911
Garrard & Co.
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

From the archives of The Royal Collection, we have this important snuffbox of gold, enamel and diamonds by Sebastian Henry Garrard (of Garrard's, as one would guess).  The snuffbox, boasting watercolor on ivory portraits of King George V and Queen Mary, was made in 1911 expressly for the coronation.  

But, it gets better.  The piece was later engraved, on the inside of the gold lid, per Queen Mary's instructions and presented by Her majesty upon the day of the coronation of her son, "Bertie," (better known to us as King George VI) in 1937.  Following the whole "Abdication Kerfuffle" (TM), I'm sure Mary was relieved to have Bertie on the throne and happily presented this handsome present to her Number 2 son.  The 1937 engraving reads:

To 

King George VI. 

in remembrance of his Coronation, 

from his devoted Mother, 

Mary R. 

May 12th 1937.

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

The hinged, oval, gold and enamel box features a lid inset with glazed oval miniatures of Their Majesties, framed with rose cut diamonds, surmounted by a diamond and enamel crown, and with a diamond-set monogram below.  Queen Mary is depicted in a white gown with Garter, and her favorite pearls.  George V is shown, facing slight left in his uniform, Garter and assorted medals and orders.

Each side of the box is dazzling as the sides are alive with blue enamel with borders of white and green foliage and flower-heads.  The reverse, or underside, shows masterful engine turning applied with a silver and enamel Garter star. 

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

To Serve and Project: The Dudley Box, 1579

This pretty little box was made in England in 1579 to hold sweetmeats. Gifts of sweetmeats, sugared fruits and candies were traditional presents at New Year in the Royal Court. Sometimes these were presented in special, and often precious, containers such as this one.

The crest of Robert Dudley, Earl of Leicester (died 1588) is inlaid im silver in the lid. Dudley was the favorite of Queen Elizabeth I, and was, therefore, a very important fella about the court. No doubt, this box must have been made especially for Dudley as a New Year's gift.

Curiously, after the box had been donated to the V&A, it was untouched for many years. In fact, it was not opened until 1968 when the crest of Dudley and inscribed date was discovered for the first time.

The box is decorated in the technique known as damascening, a process, especially popular in the Sixteenth Century, in which gold and silver ribbon is forced into a cross hatched surface of iron using a copper tool. The base iron was darkened with heat and chemicals so that it would develop a blue or black hue which would contrast with the gold and silver ornament.

Gifts of Grandeur: The Jean-Pierre Ador Snuffbox, 1762-66

Enameled Gold Snuffbox
1762-1766
This and all related images from:
The Victoria & Albert Museum

The base of this handsome snuffbox bears the arms of Baron Nicolaus von Korff (1710-66) who was a distinguished soldier in the Russian army. The, made in St. Petersburg between 1762-66, is enameled with the five chivalric orders that the baron received: the Russian Orders of St Andrew (cover) and Alexander Nevsky (right side), Prussian Order of the Black Eagle (front), Polish Order of the White Eagle (back) and Order of St Anne of Holstein (left side).

Made by Jean-Pierre Ador, the box is part of the magnificent Gilbert Collection at the V&A. The original stamped leather box remains—still lined with silk. 

Gifts of Grandeur: The Dudley Box, 1579

This pretty little box was made in England in 1579 to hold sweetmeats.  Gifts of sweetmeats, sugared fruits and candies were traditional presents at New Year in the Royal Court.  Sometimes these were presented in special, and often precious, containers such as this one.   

The crest of Robert Dudley, Earl of Leicester (died 1588) is inlaid im silver in the lid. Dudley was the favorite of Queen Elizabeth I, and was, therefore, a very important fella about the court.  No doubt, this box must have been made especially for Dudley as a New Year's gift.

Curiously, after the box had been donated to the V&A, it was untouched for many years.  In fact, it was not opened until 1968 when the crest of Dudley and inscribed date  was discovered for the first time.

The box is decorated in the technique known as damascening, a process, especially popular in the Sixteenth Century, in which gold and silver ribbon is forced into a cross hatched surface of iron using a copper tool. The base iron was darkened with heat and chemicals so that it would develop a blue or black hue which would contrast with the gold and silver ornament.  

Gifts of Grandeur: The Harrods Shoe Snuffbox, c. 1870

Snuffbox, 1870-1880
The Talbot Collection at
The Victoria & Albert Museum

In the Nineteenth Century, boots and shoes were symbols of good luck. So, it was only natural that trinkets and personal objects should take the form of footwear. This snuffbox, dating between 1870 and 1880, is an excellent example of that phenomenon. The box is made in the shape of a fashionable Victorian lady’s button-boot of the 1860s. It is even adorned with metal studs just like the real thing would have been. The top of the boot forms the container for the snuff.

It’s a sure thing that this box was made in England, but other similar examples were imported from France at the time. The lid of the box is missing, but it’s still quite attractive. While most collectible snuffboxes were made of golf, hardstone or precious metals, some—like these novelty boxes—were made of wood. The mahogany box has been carefully hand painted, partly ebonized, and adorned with brass stringing, brass nails in the sole and heel, and brass and mother-of-pearl buttons.

Now part of the V&A’s Talbot Hughes Collection, the box was originally donated to the V&A by Messrs. Harrods of London in 1913. 

Gifts of Grandeur: The Morel Snuffbox, 1819-1832

Snuffbox
Nineteenth Century
This and all images from:
The Victoria & Albert Museum

The rustic paintings of Flemish artist David Teniers the Younger (1610-90) provided endless inspiration for enamel artists of the Nineteenth Century when Dutch and Flemish paintings were particularly fashionable. This snuffbox is an excellent example of that trend. 

From the collection of Sir Arthur and Rosalinde Gilbert, this rectangular snuffbox heralds from Paris. It consists of six enameled plaques which are painted with feast scenes. The panels are mounted in gold which is chased with shells, volutes and foliate designs. With its thumbpiece of emeralds and diamonds, it is wholly indicative of the work of Gabriel-Raoul Morel, likely made between 1810 and 1832.

Gifts of Grandeur: The Balloon Snuffbox, 1785-1795

Click image to enlarge.

Snuffbox of varicolored gold.
Switzerland, 1785-1795The Victoria & Albert Museum

This nifty snuffbox features a lid which is decorated with a central trophy composed of depictions of a balloon and scientific instruments. These images are meant to represent Science, while, on the base, a a trophy of musical instruments and a score, signifies Music.

A hot-air balloon like the one pictured here was a relatively new phenomenon when this box was made, between 1785 and 1795. Notably, in 1783 France, a manned flight was achieved with both gas and hot-air balloons, and, on October 19, 1783, Joseph-Michel and Jacques-Etienne Montgolfier flew with two people on the first free flight. 

The snuffbox was made in Switzerland for export to other part of Europe. It is composed of varicolored gold which has been chased, engraved and matted. 

Mastery of Design: The Meissen Envelope Snuffbox, 1755-c.1880

Snuffbox
Meissen Porcelain, Enamel and Gold
Painted Interior--1755
Mountings and possibly exterior panels made in Nineteenth Century
This and all related images from:
The Gilbert Collection at the Victoria & Albert Museum

This unusual snuffbox is one part of a small group of Meissen boxes that were made in the shape of envelopes. The exterior of the box is rather plain, just like an envelope, but, when opened, it reveals a wondrous scene of musical entertainment beside the river Elbe—painted in enamels. Albrechtsburg, the castle outside Dresden, is visible in the scene, in the background behind the musical scene. That castle was the location of the manufacture of Meissen porcelain. Given this, it is highly possible that the scene used in this box may have been made as a souvenir of a visit to the Meissen Factory. While the porcelain and enamel scene was made in Meissen around 1755, the mounts and execution of the box came about much later—likely during the Nineteenth Century. 

The box’s mounts are of a particularly high quality. While the goldwork is rather simply, it is wholly elegant with its two flaring thumpieces and handsome sheen. The top of the box, in keeping with the envelope theme is "addressed" as any package would be.  Inscribed in enamel, the "address" reads:  “à Celui qui le Merite,” or “To the one who deserves it.” Cute.  The reverse is "sealed" in envelope style with an enamel painting of an impressed blob of red sealing wax.  It's a truly splendid piece.  

Click the images to enlarge.

The piece is part of the collection that Sir Arthur Gilbert and his wife Rosalinde amassed during their lifetimes. Theirs is one of the world's great decorative art collections. It includes treasured examples of silver, mosaics, enameled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996, leaving it to the V&A where it remains a centerpiece to this day.

Mastery of Design: The Diamond-Eyed Pug Snuff Box

Snuff Box
Crown Copyright
The Royal Collection
Images Courtesy of Her Majesty Queen Elizabeth II

Of Prussian origin, this snuff box of bloodstone takes the shape of a recumbent pug dog.  He sports diamond-set eyes and teeth, a tongue of rhodonite and the gold inlaid inscription "TOUJOURS FIDELE" on his collar.

The doggie sits upon a rectangular four-color gold base which has been chased with a scene of three hounds attacking a bull in a wooded landscape.

The box was given by George, Duke of Cambridge to King Edward VII.  Edward bequeathed the box to his son, King George V.

Gifts of Grandeur: A Tortoiseshell Box

Box
Gold, Silver, Tortoiseshell
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

An Eighteenth-Century creation of unknown origin, this cartouche-shaped box is crafted of tortoiseshell. The lid connect to the base by silver hinges on a gold band rim. Both cover and base are piqué with silver posé and foules point—essentially meaning that the adornment is slightly raised.

The cover depicts a scene of Venus seated with Cupid amongst a floral pattern. The base shows a hunting scene of hound and hare with a similar scrolling foliate border.

There’s no record in the inventory of the Royal Collection which states how or why this box came into Royal hands, but, if I had my guess, I’d say it had something to do with Queen Mary.

Mastery of Design: A Gold and Diamond Snuffbox given by Queen Victoria, 1837

Snuffbox
1837
Gold, Diamonds, Enamel
The Victoria & Albert Museum

Upon her accession to the throne, Queen Victoria made many gifts to those who had served her mother and herself while they lived in Kensington Palace. An inscription on this magnificent snuffbox of gold, diamonds and enamel records that it was given to Colonel Harcourt in 1837, “in recognition of services rendered to Queen Victoria while she resided at Kensington Palace.”

As Princess Victoria, the future long-reigning Queen lived at Kensington with her domineering mother, the Duchess of Kent. Colonel Harcourt was their equerry. The box was made in Hanau for Storr & Mortimer Goldsmiths in London, by whom it was sold to Queen Victoria. The snuffbox retains its original leather case which bears the Queen’s cipher.

The reverse of the snuffbox, while not jeweled, is equally elaborate—adorned with gold and enamel flowers. Clearly the Colonel cherished the box for it shows no evident signs of wear.

Mastery of Design: A Brooch with a Cameo of Four Georges, c. 1820

Cameo Brooch with Four Georges
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for high resolution version.

The original part of this brooch, the cameo, was made by Rundell Bridge & Rundell in 1820.  The cameo of white on brown sardonyx was lifted from the top of, as the Royal Collection archives note, a "very elegant & richly chased Snuff Box with devices & Cameo of the four King Georges of England raised on Onyx set with Brilliant Ornaments & Crown' supplied to George IV by Rundell Bridge & Rundell ... on 21 October 1821 for £364."  The cameo is set on a matted yellow gold ground and is surmounted by a diamond-set crown.

Later set in red gold with an open-back brooch mount, the reverse of the cameo is engraved with the Garter motto HONI SOIT QUI MAL Y PENSE (Shame on him who thinks evil of it): ACCESSIT GEORGE I Aug 1 1714 GEORGE II June 11 1727 GEORGE III Oct 25 1760 GEORGE IV Jan 29 1820.

The silver wreath of rose-cut diamond laurel and palm leaves which was added to the cameo matches the laurel wreaths worn by Georges I-IV in the cameo profiles.

So, how did this cameo go from snuffbox to brooch?  And, when?  

The box, as presented to George IV in 1821, does not appear in the list of George IV’s snuffboxes sold by William IV to Rundells in 1830. Given that, the snuffbox was probably given to one of George IV’s "favorites" shortly after it was presented to him. It's most likely that the snuffbox was  dismantled and the lid converted into its present form as a brooch before its presentation to Queen Mary in July of 1893 as a wedding gift by Earl and Countess Cadogan.

Mastery of Design: The Putti Snuffbox, 1750

Click images to enlarge.
German Snuffbox
Circa 1750
This and all related images from:
The Victoria & Albert Museum

I always like the snuffboxes that are constructed of different media. Typically, we see examples made of precious metals or porcelain, but every so often, we get one of shell or bone which is just lovely. This one is made of tortoiseshell—a medium which found its way into a variety of the decorative arts.

The cartouche-shaped box depicts a scene of putti playing in a fountain—as they do. It’s quite a clever use of carious precious materials. The pilasters with their scrolling decoration are made of inlaid gold while the putti themselves are rendered in ivory. Mother-of-pearl inlay forms the fountain while lapis lazuli and malachite add notes of blue and green respectively to the piece.

There’s no doubt as to the Rococo influence here. Made around 1750, this box is a nifty example of a German take on the Rococo. There’s some debate about just where in Germany the box was made. Some say Southern Germany, particularly Bavaria, while others insist that the piece was constructed in Berlin.

The sides are adorned with more putti and gold shells while the base is engraved with a gold rocaille. The reeded mount comes alive with shell and the scrolled thumb-piece adds interest to the front. Today, the box forms part of the magnificent Gilbert Collection at the V&A.