Set of 6 Mindanao Brass Silver Betel Boxes, Philippines

PRESENTING A GORGEOUS 19C Anglo Indian Rosewood Caddy with Silver Mounts. Really nice and unusual, 19th Century Anglo-Indian Spice or Tea Caddy, from cir...

PRESENTING A LOVELY 19C Anglo Indian Highly Carved Sadeli Mosaic Inlaid Sewing Box. Made in Bombay, India, circa 1880. The box is made of sandalwood with highly carved raised teak wood panels on all sides, depicting temple scenes, animals and foliage. The box is in a sarcophagus form. It is edged in bone (and we can tell it is bone and not ivory, from the color and evidence of capillaries, which are not found in ivory), and banded with Bombay Sadeli mosaic and ebony veneer. The lid opens to reveal a removable tray with various open compartments and lidded compartments. 5 lidded compartments, 1 unlidded compartment and 8 holders for thimbles, etc The tray lifts to reveal a blue velvet (original) lined section, for storing jewelry etc, with sections for collars etc. The inside of the lid has a removable mirror (the mirror is missing on this one but can easily be replaced). Behind the mirror is the original green velvet lining. It has its original brass carry handles on the sides and sits on 4 silvered button feet (of recent origin). Some repairs to the exterior and condition issues (priced accordingly), but still a LOVELY COLLECTIBLE box! These boxes were made by superb Indian craftsmen, specifically for sale to the ruling British elite. These types of boxes, carved padouk and sandalwood, (whilst beautiful and superbly crafted) were of a lesser quality, than the more profusely and intricately mosaic inlay, tortoiseshell and ivory boxes, made for the British ‘Upper Classes’ in the areas of Bombay and Vizagapatam. These type of boxes were much more affordable back in 1880 (and indeed today) and would probably have been bought by mid-level diplomats, civil servants or visitors. Sewing boxes (in general), were in EVERY Victorian home in Britain in the 19th century and like other boxes etc were ‘status symbols’ of your place in society! The more ornate the box, the more ‘Upper Class’ you were! SADELI MOSAIC: “Anglo Indian boxes were made in India for the English residents from the early part of the 18th century. They were brought back or sent back to England usually by the people who had commissioned them. From the beginning of the nineteenth century they were imported more commercially, although not in any significant numbers until the middle decades. They were very highly valued, especially the early ones, to the extent that the designs were copied on late 19th and early 20th century tins. The ancient art of Sadeli Mosaic is said to have been introduced from Shiraz in Persia via Sind to Bombay, a long time before the Anglo Indian boxes were made. It was a technique, which required a high degree of skill and patience. It was executed very lavishly, in that the frequent cuts wasted a great amount of the precious materials used. The workmanship was however more than commensurable to the value of the materials. Ivory, silver, pewter (or other metals), wood and Horn were cut into faceted rods which were bound together to form geometric patterns. When the glue has set, the rods were sliced in transverse sections. This gave the maker a number of angled circular pieces in the original pattern. Several variations of patterns could be achieved by combining the materials in different ways. The ivory was sometimes dyed green to give an extra color. The mosaic pieces in a combination of patterns, often separated by ivory, ebony, Horn or silver stringing were used to veneer sandalwood boxes. In the early boxes, which date from the turn of the 18th to the 19th century, there are large panels of mosaic covering tops and sides of boxes. It took incredible skill to cover such large areas without any shakes or wavering of the pattern. The corners and joins on these boxes are impeccably matched. The makers (reputed to be Persian) of Sadeli mosaic made in the first two decades of the 19th century displayed a total understanding of the qualities of the different materials they used. They combined substances, which can expand and contract according to atmospheric conditions with others, which are hard and unyielding. The result was a sharp definition of the lines and patterns, which made up the whole design. On the early boxes the designs look deceptively simple. The fact is, they emerged from a culture, which had mastered geometry and understood how to generate a pattern from a set number of points. The patterns are so harmoniously combined that their incredible complexity is not immediately apparent. The earliest Sadeli boxes...

A scarce fine quality antique silver-inlaid solid brass betel nut box (Lutuan), dating to the second half of the 19th / early 20th century, hand-crafted in Mindanao, Philippines. Boxes such as this were used to store the areca nut (also known as the betel nut) which would be wrapped in a betel leaf with lime paste and other ingredients, often tobacco, for chewing. Similar to the European tea caddy, these boxes often served as a way to impress while showing off ones wealth. Betel chewing was prevalent in the southern Philippines as in much of the rest of Southeast Asia. Wealthier Maranao families on Mindanao were able to afford elaborate silver-inlaid brass betel boxes such as this example. Such boxes were used to show off to guests and from which they were offered betel and the other component such as leaves and lime to make up the betel quid. Rare large size, most extant examples of such boxes tend to measure around 5 inches in length. At slightly more than 7.75 inches the example here is larger than most. The distinctive decorative box features a very heavy strong-box like rectangular shaped chest form with canted corners, copper handles, and a conforming hinged lid, lifting open to reveal an interior divided into three compartments covered by four hinged lids. Each of these doors is inlaid with silver in stylized orchid flower patterns. Exceptionally executed throughout, the arabesque silver inlaid exterior is decorated to the top with a large orchid motif within scrolling obid-obid (stylized rope) borders. The front, back and sides are inlaid with sets of stylized tail feathers of the sari-manok bird beneath which are unusual, highly stylized whimsical zoomorphic faces that appear like cat or tiger faces. (Such stylisation is accounted for by Southeast Asian Islamic preferences to avoid the overt and this potentially idolatrous representation of animal and human forms. Designs such as these are drawn from a local design repertoire that has its origins in wood carving. Although the spread of Islam in the Philippines began in the 14th century, mostly through the influence of Muslim merchants from the western Malay Archipelago, decorative arts in this design remain exceptionally rare. This lutuan represents a fine example of Islamic metalwork from the most eastern outreach of Islamic art and civilisation: Mindanao island being significantly further east than even China – artwork from Islamic Southeast Asia remains chronically under-represented in the world’s major collections of Islamic art. PROVENANCE / ACQUISITION Acquired from highly reputable auction house, Austin Auction Gallery, established 1983, Austin, Texas. References Brownrigg, H., Betel Cutters...

Beautiful handcrafted tinned copper decorative octagonal betel box with lid and brass latch. The metal is delicately and intricately hand-hammered and repousse with floral and geometric designs. This Vintage brass box...