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Subject Item: n2:2751c333-a63f-32f4-9d47-78fa924b005a
rdf:type: ecrm:E22_Man-Made_Object
rdfs:label: 1525~, London
rdfs:comment: Object Type This box was almost certainly made in the court workshops of Henry VIII, who reigned from 1509 to 1547. It is lined with leather, which is painted with the heraldic badges of Henry and his first queen, Katherine of Aragon (1485-1536), and the royal coat of arms. The exterior of the desk is covered with shagreen (possibly sharkskin) and fitted with metal-gilt angle-mounts, loop handles and ball feet, all added during the 18th century. The interior surfaces of the compartments are lined with red silk velvet, probably added during the 19th century. The writing surface and the large compartment have been relined very crudely with a crimson silk velvet, the appearance of which is considerably older than that of the red velvet. Time The box was probably made between 1520 and 1527. The decoration includes painted heads in the style of miniature painting, which became popular after 1520. Henry began divorce proceedings against Katherine in 1527. Subjects Depicted The decoration includes both late Gothic features and early Renaissance ornament. On either side of Henry's coat of arms are figures of Mars, the Roman god of war, in armour and Venus, the goddess of love and fertility, with her son Cupid. The compartment lids are painted with the head of Christ and figures of St George and the Dragon. The front has a male and a female head in profile. The falling flap bears profile heads of figures from Greek legend: Paris, prince of Troy, and Helen, the Spartan queen whom he abducted. Ownership & Use The history of the box is uncertain. Similar boxes were listed in inventories taken at Henry's death in 1547, but this box could have been a royal gift and might have passed out of royal ownership soon after it was made. Box constructed of oak and walnut, decorated with painted and gilded leather. The box has a sloping top and a double lid, the outer enclosing a shallow tray contained in the inner lid, which opens to disclose three divisions, two with lids. The fall-down front encloses three drawers, the centre one divided into partitions and those on the side fitted with sliding lids. There is a small drawer with compartments fitted at the right side. The interior is covered with leather painted and gilt. The inside of the outer lid is decorated with interlaced strapwork, enclosing the badges of Henry VIII and Catherine of Aragon (see below for further detail). The inner lid bears the arms of Henry VIII encircled by the Garter, and with putti blowing trumpets as supporters. On either side are figures of Mars in armour, and Venus with Cupid, each under Renaissance canopies. The lids in the interior are painted with a medallion head of Christ and Saint George and the Dragon below a canopy. The front, above the three small drawers, is decorated with a male and a female profile head and scrollwork designs; the falling flap bears profile heads of Paris and Helen, inscribed 'Paris de Troy' and 'Helen de Greci' on a ground of arabesques. The rim below the outer lid is covered in parchment and bears the inscription in classical lettering (much rubbed): 'DEUS REGNORUM EC[CLESIAE] CHRISTIAN[A]E MAXIMUS PROTECTOR IMPERII DA SERVO TUO HENRICO OCT[AVO] REGI ANGLIAE DE HOSTE TRIUMPHUM M[AGNUM]. The exterior of the desk is covered with shagreen and fitted with metal-gilt angle-mounts, loop handles and ball feet, all added during the 18th century. The interior surfaces of the compartments are lined with red silk velvet, probably added during the 19th century. The writing surface and the large compartment have been relined very crudely with a crimson silk velvet, the appearance of which is considerably older than that of the red velvet. Detailed description of the underside of the outer lid (undated, from curatorial file): The outer lid is lined with gilt and painted leather decorated with badges and personal devices of Henry VIII and Catherine of Aragon. The background of the leather panel is of a tan colour with an overall pattern of interlacing four-lobed knots forming four rows each containing five circular divisions, in which are painted the badges. The arabesque pattern does not quite fit the size of the lid, and gives the impression of being a section cut from a larger piece of leather decorated with al all-over pattern. The badges are as follows: Top row, left to right: 1) On a blue ground, a lozenge in gilt with a red ground within it on which seems to be painted a pomegranate dimidiating a rose, (this area is badly rubbed). A badge of Henry VIII and Catherine of Aragon. 2) Gilt concentric circles with a palmette design outlined in black, enclosing a gold fleur-de-lis on a green ground. A badge of Edward III and Henry VII also adopted by Henry VIII. 3) On a blue ground, a gilt 8-pointed star formed of a square on a square and enclosing a gold rose on a red ground. A badge of the Tudor house. 4) As 2 5) As 1 Second row, left to right: 6) Gilt concentric circles with a palmette design as at 2 above, enclosing device consisting of the initials H and K joined by a lover’s knot. 7) On a blue ground, a lozenge in gilt as at 1 above, enclosing a sheaf of arrows on a red ground. A personal device of Catherine of Aragon. 8) A gilt circle decorated with a pattern of ‘spokes’, enclosing a gold portcullis on a green ground. A badge of the Tudor house. 9) Gilt concentric circles as at 1 above, enclosing an heraldic castle between the initials H and K. 10) As at 2 above, but with a design of decorative circles replacing the palmette pattern. Third row, left to right 11) As at 1 above 12) As at 9 above 13) An 8-pointed star on a blue ground as at 3 above, enclosing the device of a rose in a sunburst. A badge of the Tudor house. 14) As at 2 above. 15) As at 7 above. Fourth row, left to right, (all rubbed) 16) Indecipherable. 17) As at 9 above. 18) As at 8 above. 19) As at 1 above. 20) A gilt circle decorated with ‘spokes’ as at 8, enclosing the badge of initials and lover’s knot described at 6 above. Materials: A report on the materials used for the box was made by J.A. Darrah, 17/8/1976 (copy on dept. file): Oak: base, sides, drop front, probably the back and the lid, long side drawer (with walnut bottom) Walnut: interior fittings and three small drawers Shagreen dyed black (probably ray) - applied to the external surfaces Gilt-brass - fittings Interior surface of the lid, the lower surface of the writing surface, the lids of the drawers and compartments and the drawer fronts are covered with undyed, buff coloured leather. The basic design of the decoration was applied to this in gold leaf outlined and detailed with black pigment. Large background areas were then coloured blue, figures painted in flesh tints with brown hair and highlights applied to the gold leaf with red and green glazes. The pigments used are azurite (blue), vermillion (red), calcium carbonate [chalk] (white), carbon black, iron oxide(?) (brown), chalk and vermillion (pink), copper resinate (green glaze), dragon's blood(?) for red glaze. The internal surfaces of the compartments are lined with scarlet cotton velvet, not available until the 18th century, and laid onto a woodpulp cardboard (not used until the 19th century). The writing surface and the large compartment have been relined crudely with a crimson silk velvet, apparently pre-18th century. This is a rare survival of luxury furniture made by the royal workshops. Such small writing-boxes were used on tables, to hold the paraphernalia associated with writing such as ink and quills, and other small items. It does not appear to have been designed for writing on, but has the characteristic sloping lid of a desk. It was not until the seventeenth century that the desk developed as a specialist form of table with drawers. The inventory taken at Henry's death in 1547 lists similar boxes or desks with their contents. For example in a closet next to the King;s Privy Chamber at Greenwich Palace were three desks covered with leather, one of which was 'furnysshed with boxes without Counters with a penne knyfe and a payer of sisorres'. TABLE DESK. Walnut, covered with gilt and painted leather, with several drawers and divisions. Decorated with the Royal Arms and the heraldic badges of Henry VIII and Katherine of Aragon (The Portcullis, the Todir Rose, the impaled rose and pomegranate, the Fleur-de-Lys, the Castle and Sheaf of Arrows.) The figures of Mars and Venus after Woodcuts by Hans Burgkmair (about 1510). English; about 1525. Desks of this type were among the foreign novelties introduced to Britain under the early Tudors. The shagreen-covered outer cover and meral mounts are of later date. [1968] DESK ENGLISH; about 1520 Oak and walnut, covered in leather with gilt and painted decoration. The shagreen outer cover and gilt brass mounts probably added in about 1700. This desk is a unique survival of royal luxury furniture with early Renaissance ornament. It is painted with the Tudor royal arms and with badges and personal devices of Henry VIII and Catherine of Aragon. An inscription on the inner lid asks God to grant Henry victory over his enemies. The arms are flanked by figures of Mars and Venus derived from woodcuts of the Planets by Hans Burgkmair (1473 - 1531). The painting is likely to have been executed by one of the Flemish craftsmen employed by the court. Bought with the funds of the Murray Bequest. [pre October 2000] This box has many trays and compartments for writing implements. Several such boxes were recorded at Greenwich Palace when Henry VIII died in 1547. The royal arms and badges of Henry and Katherine of Aragon appear among figures and motifs based on Continental designs. The figures of the Roman gods, Mars and Venus were based on woodcuts by the German artist, Hans Burgkmair I ( 1473-1531), published in 1510. [] Writing desk constructed of oak and walnut, decorated with painted and gilded leather. British, 1525 - 1527. The decoration painted by Lucas Hornebolte.
owl:sameAs: n13:O8682
dc:identifier: W.29:1 to 10-1932
ecrm:P3_has_note: Object Type This box was almost certainly made in the court workshops of Henry VIII, who reigned from 1509 to 1547. It is lined with leather, which is painted with the heraldic badges of Henry and his first queen, Katherine of Aragon (1485-1536), and the royal coat of arms. The exterior of the desk is covered with shagreen (possibly sharkskin) and fitted with metal-gilt angle-mounts, loop handles and ball feet, all added during the 18th century. The interior surfaces of the compartments are lined with red silk velvet, probably added during the 19th century. The writing surface and the large compartment have been relined very crudely with a crimson silk velvet, the appearance of which is considerably older than that of the red velvet. Time The box was probably made between 1520 and 1527. The decoration includes painted heads in the style of miniature painting, which became popular after 1520. Henry began divorce proceedings against Katherine in 1527. Subjects Depicted The decoration includes both late Gothic features and early Renaissance ornament. On either side of Henry's coat of arms are figures of Mars, the Roman god of war, in armour and Venus, the goddess of love and fertility, with her son Cupid. The compartment lids are painted with the head of Christ and figures of St George and the Dragon. The front has a male and a female head in profile. The falling flap bears profile heads of figures from Greek legend: Paris, prince of Troy, and Helen, the Spartan queen whom he abducted. Ownership & Use The history of the box is uncertain. Similar boxes were listed in inventories taken at Henry's death in 1547, but this box could have been a royal gift and might have passed out of royal ownership soon after it was made. This is a rare survival of luxury furniture made by the royal workshops. Such small writing-boxes were used on tables, to hold the paraphernalia associated with writing such as ink and quills, and other small items. It does not appear to have been designed for writing on, but has the characteristic sloping lid of a desk. It was not until the seventeenth century that the desk developed as a specialist form of table with drawers. The inventory taken at Henry's death in 1547 lists similar boxes or desks with their contents. For example in a closet next to the King;s Privy Chamber at Greenwich Palace were three desks covered with leather, one of which was 'furnysshed with boxes without Counters with a penne knyfe and a payer of sisorres'. Writing desk constructed of oak and walnut, decorated with painted and gilded leather. British, 1525 - 1527. The decoration painted by Lucas Hornebolte. TABLE DESK. Walnut, covered with gilt and painted leather, with several drawers and divisions. Decorated with the Royal Arms and the heraldic badges of Henry VIII and Katherine of Aragon (The Portcullis, the Todir Rose, the impaled rose and pomegranate, the Fleur-de-Lys, the Castle and Sheaf of Arrows.) The figures of Mars and Venus after Woodcuts by Hans Burgkmair (about 1510). English; about 1525. Desks of this type were among the foreign novelties introduced to Britain under the early Tudors. The shagreen-covered outer cover and meral mounts are of later date. [1968] DESK ENGLISH; about 1520 Oak and walnut, covered in leather with gilt and painted decoration. The shagreen outer cover and gilt brass mounts probably added in about 1700. This desk is a unique survival of royal luxury furniture with early Renaissance ornament. It is painted with the Tudor royal arms and with badges and personal devices of Henry VIII and Catherine of Aragon. An inscription on the inner lid asks God to grant Henry victory over his enemies. The arms are flanked by figures of Mars and Venus derived from woodcuts of the Planets by Hans Burgkmair (1473 - 1531). The painting is likely to have been executed by one of the Flemish craftsmen employed by the court. Bought with the funds of the Murray Bequest. [pre October 2000] This box has many trays and compartments for writing implements. Several such boxes were recorded at Greenwich Palace when Henry VIII died in 1547. The royal arms and badges of Henry and Katherine of Aragon appear among figures and motifs based on Continental designs. The figures of the Roman gods, Mars and Venus were based on woodcuts by the German artist, Hans Burgkmair I ( 1473-1531), published in 1510. [] Box constructed of oak and walnut, decorated with painted and gilded leather. The box has a sloping top and a double lid, the outer enclosing a shallow tray contained in the inner lid, which opens to disclose three divisions, two with lids. The fall-down front encloses three drawers, the centre one divided into partitions and those on the side fitted with sliding lids. There is a small drawer with compartments fitted at the right side. The interior is covered with leather painted and gilt. The inside of the outer lid is decorated with interlaced strapwork, enclosing the badges of Henry VIII and Catherine of Aragon (see below for further detail). The inner lid bears the arms of Henry VIII encircled by the Garter, and with putti blowing trumpets as supporters. On either side are figures of Mars in armour, and Venus with Cupid, each under Renaissance canopies. The lids in the interior are painted with a medallion head of Christ and Saint George and the Dragon below a canopy. The front, above the three small drawers, is decorated with a male and a female profile head and scrollwork designs; the falling flap bears profile heads of Paris and Helen, inscribed 'Paris de Troy' and 'Helen de Greci' on a ground of arabesques. The rim below the outer lid is covered in parchment and bears the inscription in classical lettering (much rubbed): 'DEUS REGNORUM EC[CLESIAE] CHRISTIAN[A]E MAXIMUS PROTECTOR IMPERII DA SERVO TUO HENRICO OCT[AVO] REGI ANGLIAE DE HOSTE TRIUMPHUM M[AGNUM]. The exterior of the desk is covered with shagreen and fitted with metal-gilt angle-mounts, loop handles and ball feet, all added during the 18th century. The interior surfaces of the compartments are lined with red silk velvet, probably added during the 19th century. The writing surface and the large compartment have been relined very crudely with a crimson silk velvet, the appearance of which is considerably older than that of the red velvet. Detailed description of the underside of the outer lid (undated, from curatorial file): The outer lid is lined with gilt and painted leather decorated with badges and personal devices of Henry VIII and Catherine of Aragon. The background of the leather panel is of a tan colour with an overall pattern of interlacing four-lobed knots forming four rows each containing five circular divisions, in which are painted the badges. The arabesque pattern does not quite fit the size of the lid, and gives the impression of being a section cut from a larger piece of leather decorated with al all-over pattern. The badges are as follows: Top row, left to right: 1) On a blue ground, a lozenge in gilt with a red ground within it on which seems to be painted a pomegranate dimidiating a rose, (this area is badly rubbed). A badge of Henry VIII and Catherine of Aragon. 2) Gilt concentric circles with a palmette design outlined in black, enclosing a gold fleur-de-lis on a green ground. A badge of Edward III and Henry VII also adopted by Henry VIII. 3) On a blue ground, a gilt 8-pointed star formed of a square on a square and enclosing a gold rose on a red ground. A badge of the Tudor house. 4) As 2 5) As 1 Second row, left to right: 6) Gilt concentric circles with a palmette design as at 2 above, enclosing device consisting of the initials H and K joined by a lover’s knot. 7) On a blue ground, a lozenge in gilt as at 1 above, enclosing a sheaf of arrows on a red ground. A personal device of Catherine of Aragon. 8) A gilt circle decorated with a pattern of ‘spokes’, enclosing a gold portcullis on a green ground. A badge of the Tudor house. 9) Gilt concentric circles as at 1 above, enclosing an heraldic castle between the initials H and K. 10) As at 2 above, but with a design of decorative circles replacing the palmette pattern. Third row, left to right 11) As at 1 above 12) As at 9 above 13) An 8-pointed star on a blue ground as at 3 above, enclosing the device of a rose in a sunburst. A badge of the Tudor house. 14) As at 2 above. 15) As at 7 above. Fourth row, left to right, (all rubbed) 16) Indecipherable. 17) As at 9 above. 18) As at 8 above. 19) As at 1 above. 20) A gilt circle decorated with ‘spokes’ as at 8, enclosing the badge of initials and lover’s knot described at 6 above. Materials: A report on the materials used for the box was made by J.A. Darrah, 17/8/1976 (copy on dept. file): Oak: base, sides, drop front, probably the back and the lid, long side drawer (with walnut bottom) Walnut: interior fittings and three small drawers Shagreen dyed black (probably ray) - applied to the external surfaces Gilt-brass - fittings Interior surface of the lid, the lower surface of the writing surface, the lids of the drawers and compartments and the drawer fronts are covered with undyed, buff coloured leather. The basic design of the decoration was applied to this in gold leaf outlined and detailed with black pigment. Large background areas were then coloured blue, figures painted in flesh tints with brown hair and highlights applied to the gold leaf with red and green glazes. The pigments used are azurite (blue), vermillion (red), calcium carbonate [chalk] (white), carbon black, iron oxide(?) (brown), chalk and vermillion (pink), copper resinate (green glaze), dragon's blood(?) for red glaze. The internal surfaces of the compartments are lined with scarlet cotton velvet, not available until the 18th century, and laid onto a woodpulp cardboard (not used until the 19th century). The writing surface and the large compartment have been relined crudely with a crimson silk velvet, apparently pre-18th century.
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