15th Century and Earlier Boxes

Rare Gothic forged iron casket, made in France in the mid-15th century, displaying remarkable ironwork and openwork decoration characteristic of the late medieval period. The rectang...

A Finely Carved and Metal Mounted Casket ‘Minnekästchen’ with original lock plate Wood, steel, vellum lining Superb colour and patina Upper Rhine Germany 14th Century Size: 11c...

This exceptional 15th-century Venetian painted casket is a rare example of early decorative art from the late Medieval to early Renaissance period in the Republic of Venice, Italy. H...

Wooden coffret, call minnekästchen, engraved with a dog, a hare and foliage with polychromy remains. During the Middle Age, the hare is a symbol of fertility, joy and represents the Christ...

Antique Textile Fragment in Sterling Silver & Hardwood Presentation Box Textile: Circa 600–1400 CE Box: Mid-20th Century A refined and historically rich presentation box housing an...

A Rare Carved and Metal Mounted Casket with Remnants of ‘Pastiglia’ Decoration retaining the original lock plate Wood, iron, polychrome Catalonia, Spain 14th Century Size: 17cm ...

Moorish incense burner from Spain, dated to 10th-12th century Spanish, 10th-12th century Measures: Burner height 20cm, width 12cm, depth 12cm Box height 23cm, width 21cm, depth 18...

Embriachi workshop marquetry casket Northern Italy, 15th century Alla certosina inlays (bone, stained bone, pewter and wood) H 28.2 x W 18 x D 14 cm This beautiful casket of rectangular form is richly decorated with the characteristic geometric patterns of the Embriachi style. The intricate geometric patterns are fashioned by juxtaposing lighter and darker pieces of wood, (colored) bone, horn and pewter. The lid and base are framed by a broad band of horn. When ivory became scarce in Europe due to disrupted trade routes, bone was substituted. The attention to Symmetry and balance created an harmonious visual effect Enhancing the overall aesthetic appeal of the casket. The application of geometrical motifs is in Italy known as marquetry ‘alla Certosina’, named after the Certosina Church in Pavia with its famous altarpiece decorated in this way. This is ‘intarsia technique’, a term derived from the Arabic 'tarsi', which means ‘incrustation' recalling ancient mosaics made from various materials. These geometric elements not only enhance the aesthetic appeal of the caskets but also demonstrate the versatility and skill of the artisans in creating multifaceted works of art. ‘Alla Certosina’ became famous through the Northern Italian Embriachi family who achieved a particularly high standard in working in this technique. Venice in particular was known for the production of these luxurious boxes. The caskets, hexagonal or rectangular, surmounted by a lid decorated in several registers constitute the secular, albeit equally renowned component of the workshop’s production, in addition to mirror frames and various everyday objects. The method of fabrication of those objects was based on two concepts that underlay pre-industrial production: standardization and modularity, thanks to a distribution of skills according to the different phases of fabrication. even the realization of the marquetry motifs (in the form of ingots from which portions of the desired size were cut) were therefore entrusted to various specialized craftsmen, as were the assembly phase. Today better known thanks to the extensive research work recently carried out by Michele Tomasi, this workshop owes its name to its founder and owner, the Florentine Baldassare Ubriachi (or degli Embriachi), a merchant and banker established in the Tuscan capital before he settled in Venice in 1395. Together with sculptor Giovanni di Jacopo, who directed the workshop, from the last years of the fourteenth century, Baldassare oversaw a production that was truly original, and still easily recognizable today, comprising monumental altarpieces and various objects, primarily triptychs and caskets. The precise location of the workshop is unknown, except that it originated in Florence and in ca. 1431 there was apparently a workshop in Venice, in the area of S Luca. They employed local workers specializing in 'certosina' (inlay of stained woods, bone and horn), and the workshop produced items carved in bone (usually horse or ox) with wood and bone marquetry. The geometric decoration of Embriachi caskets reflects the artistic complexity and attention to detail that characterized their work. this inlaid casket is a testament to the skill and artistry of the Embriachi family and serves as a stunning example of the decorative arts of the late Middle Ages. Related Literature : E. Berger, Prunk-Kassetten: Europäischen Meisterwerke aus acht Jahrhunderten / Ornamental Caskets...

Box of Chocolates Hand-Painted by Alfred Tolmer. Manufactured in Spain, circa 1960. In original condition with minor wear consistent of age and use, preserving a beautiful pati...

Thai Sawankhalok small stoneware persimmon shaped box, 15th century. Naturalistic body, carved lid & an intriguing repair to the cover which now provides a safety catch inside. Celad...

"Embriachi Game Box In Inlaid Bone, Italian Certosina, Renaissance (15th–16th Century)" A rare and authentic Renaissance games box from the Embriachi workshop or Lombard “certosina” ...

Vietnamese covered boxes with representative bird and plant designs. Both are made of cream-colored base and blue designs, typical of Annamese pottery. These shared characteristics h...

A rare wooden casket with polychrome and gilded pastiglia relief, Italy, 15th century. The box is adorned with four finely executed scenes from the life of an unknown martyr — beautifully preserved and remarkably vivid after centuries. Dimensions: 15.5 × 10.4 × 9 cm Provenance: Dutch private collection In overall good condition for its age, with minor losses to the surface and possible retouching to the polychromy. The ball feet are likely later additions. Pastiglia [paˈstiʎʎa], an Italian term meaning "pastework", is low relief decoration, normally modelled in gesso or white lead, applied to build up a surface that may then be gilded or painted, or left plain. The technique was used in a variety of ways in Italy during the Renaissance. White lead pastiglia was a north Italian speciality, produced between about 1450 and 1550. Six workshops were identified by Patrick M. De Winter, although their location remains uncertain; the Workshop of the Love and Moral Themes, whose products seem the most numerous, was possibly at Ferrara, where the painter Cosimo Tura began his career gilding caskets. Venice is also thought to have produced them. Other workshops identified by De Winter include the "Workshop of the main Berlin casket" and "Workshop of the Cleveland Casket". The subjects were typically classical, drawn from both mythology and Ancient Roman history (especially the early period covered by Livy), but biblical ones are also found. Compositions can often be shown to be borrowed from another medium, such as prints or bronze plaquettes...

These are three small lidded boxes from the Vietnamese period, specifically from the 15th century during the Le Dynasty. Each box features intricate floral designs in blue on a white...