Caskets. A casket or jewelry box is a container that is usually smaller than a chest, and in the past were typically decorated.
In recent times they are mostly receptacles for trinkets and jewels, but in earlier periods, when other types of container were rarer, and the amount of documents held by the typical person far fewer, they were used for keeping important documents and many other purposes. It may take a very modest form, covered in leather and lined with satin, or it may reach the monumental proportions of the jewel cabinets which were made for Marie Antoinette, one of which is at Windsor, and another at Versailles. Both were the work of Schwerdfeger as cabinet maker, his assistants Michael Reyad, Mitchell Stevens, Christopher Visvis, Degault as miniature painter, and Thomire as chaser.
Caskets are often made in precious materials, such as gold, silver or ivory. In ancient East Asia, caskets often made in wood, china, or covered with silk. Some of these caskets could be collected as decorative boxes.
Some examples have remained unburied from the late Roman Empire. The 4th century Brescia Casket, 8th century Franks Casket and 10th-11th century Veroli Casket are all in elaborately carved ivory, a popular material for luxury boxes until recent times. Boxes that contain or contained relics are known as reliquaries, though not all were originally made for this purpose. The house-shaped chasse is a very common shape for reliquaries in the High Middle Ages, often in Limoges enamel, but some were also secular. Reference: Wikipedia
Below are some examples of caskets decorated with butterflies including a casket with scenes from the Story of Solomon and Sheba from the 1670’s.
Casket with scenes from the Story of Solomon and the Queen of Sheba 1670s British
This casket, the largest in the Metropolitan Museum’s collection of embroidered boxes, contains a multitude of objects, from glass bottles, which were typically fitted into boxes of the period, to a large array of sewing implements and materials, including 25 paper thread winders made from folded playing cards, several ivory thread winders, a bodkin, three ivory embroidery tools, a spool of gold filé thread, a silk tassel, several loose skeins of silk thread, a silk needle case, and a piece of detached buttonhole stitch fabric. Some of the objects clearly do not match the casket’s seventeenth-century date. Thread, both dyed silk and metal varieties, was purchased by weight, and the number of objects devoted to the organization of threads speaks to the value of this material. Decorated boxes intended to store sewing implements, among other things, were known on the Continent as well as in England; several seventeenth-century Dutch cushion-shaped containers survive, and seventeenth-century genre paintings confirm their practical use as supports for sewing.
The completion of a decorated casket or cabinet would have been considered the culmination of a young woman’s education in needlework skills, and a few boxes have survived that can be firmly attributed to schoolgirls. Martha Edlin’s dated embroidered objects form the most complete record we have of one person’s output in the seventeenth century (Victoria and Albert Museum, London), although professional contributions at any point in the work would certainly have been possible. The exuberance of the decoration and the rather indiscriminate combination of materials and techniques suggest that this casket is the work of an amateur. Contrast this with the cabinet illustrating scenes from the Life of Joseph (MMA, 39.13.3a-k), which was executed in a single technique (laid and couched silk) and precisely and evenly worked on all faces of the box. This casket also lacks the consistency of theme present on most cabinets; the top of the lid shows the meeting of King Solomon and the Queen of Sheba, whereas the side panels are apparently random combinations of motifs typical of the period: heraldic animals, a castle, and a fountain, all surrounded by oversized flora and fauna. It is possible that the embroidered panels of this casket may have been applied to the wood carcass at a date significantly later than the execution of the decoration. The carcass itself is too large for the embroidered panels; the gaps where the satin foundation fabric does not cover the wood are patched with more silk and disguised with metal bobbin lace. The color and style of the lining—green silk with a padded main compartment—differ from most other boxes of the seventeenth century as well. Another casket in the Lady Lever Art Gallery collection has a similar padded interior, but the silk lining is described as the typical salmon-pink color.
Nevertheless, this casket is important for its possible association with a mirror in the Metropolitan Museum’s collection (MMA, 39.13.2a). The back of the mirror frame is marked with the initials A.P. and the date 1672, and the casket contains thread holders or winders and a metal bodkin marked with the same initials. Both of these objects were in the collection of Percival Griffiths, and early scholars assumed that they were the work of the same maker. Although the mirror frame displays a more skilled and certain command of techniques and materials, it does contain some unusual elements, such as actual shells used in the decoration of the grotto. G. Saville Seligman and Talbot Hughes mentioned “Lady Ann Paulet, who was a very accomplished broiderer” in association with these embroideries, possibly referring to a lady-in-waiting to Queen Mary II (1662–1694), but no other evidence exists to support this attribution. The uncertain date of the construction of the casket, along with the survival of various tools and accessories, speaks to the continued significance of embroidery in the lives of women beyond the seventeenth century.
Reference: The Metropolitan Museum of Art
A Continental silver-gilt mounted mother-of-pearl casket, possibly French or German, circa 1760, the mother-of-pearl probably Canton, 19th century rectangular form, the forty-nine mother-of-pearl panels engraved with birds and butterflies within foliage and flowers, wavy-edge borders and rococo style scrolling lock-plate, on four scrolling trefoil feet, with key, later French control marks 22.9cm., 9in. long
Sold for 12,500 GBP at Sotheby’s in 2018
AN ITALIAN GILT-BRONZE-MOUNTED PIETRA DURA, HARDSTONE AND EBONY CASKET ON ENAMEL-MOUNTED STAND ATTRIBUTED TO THE GRAND DUCAL WORKSHOPS, FLORENCE, CIRCA 1710-20, THE STAND PROBABLY PARIS, CIRCA 1820-30 Of magnificent scale, the rectangular top centred by an oval reserve with a cluster of naturalistically modeled apples and other fruit carved in high relief with cast and repousée worked leaves, stems and surrounded by scalloped gilt bronze panels overlaid with amethyst grapes, quince, flowers and leafy tendrils within a lapis ground and flanked by shaped panels with floral sprays and ribbons in various marble and hardstones comprising brocatella di Spagna, lapis lazuli, diaspro di Sicilia, diaspro indio, diaspro di Corsica, and diaspro di Volterra, amethyst, chalcedony and other agates, within a Belgian black marble surround, the conforming case with lapis bordered and gilt-bronze-mounted ground, the front with a drawer and central panel of a bird above a suspended fruit garland headed with flowers, flanked by panels of ribbon-tied agates carved as cherries, the sides with shaped panels with agate butterflies over lush fruit clusters of cherries and pears flanking carrying handles, the reverse with three panels of ribbon-tied cherries and other fruit, the stand with cartouche panels of blue and green enameled panels set within scrolling foliate cartouches and raised on square tapering legs headed with pendant fruit clusters and joined by a pierced interlaced stretcher on toupie feet, the olivewood drawer formerly fitted and the casket formerly with feet, the underside of the casket with oval paper label printed ‘M.255.’ 44 in. (111.8 cm.) high, 26½ in. (67.5 cm.) wide, 19¼ in. (48.7 cm.) deep, overall The casket 11¼ in. (28.5 cm.) high, 25 1/8 in. (63.7 cm.) wide, 17½ in. (44.5 cm.) deep Contact us Contact Client Service info@christies.com New York +1 212 636 2000 London +44 (0)20 7839 9060 infoasia@christies.com Asia +852 2760 1766 Elizabeth Wight ewight@christies.com +44 (0)20 7389 2357 Jamie Collingridge jcollingridge@christies.com +44 (0)20 7389 2223 Toby Woolley twoolley@christies.com +44 (0)20 7389 2227 Anne Qaimmaqami aqaimmaqami@christies.com +44 (0)20 7389 2332 Francois Röthlisberger frothlisberger@christies.com +41 (0)44 268 1025 Giles Forster gforster@christies.com +44 (0)20 7389 2146 Marcus Rädecke mradecke@christies.com +44 (0)20 7389 2342 Peter Horwood phorwood@christies.com +44 (0)20 7389 2359 Robert Copley rcopley@christies.com +44 (0)20 7389 2353 Dominic Simpson dsimpson@christies.com +44 (0)20 7752 3268 Rodney Woolley rwoolley@christies.com +44 (0)20 7752 3231 Andreas Pampoulides apampoulides@christies.com +44 (0)20 7389 2333 Donald Johnston djohnston@christies.com +44 (0)20 7389 2331 Harry Williams-Bulkeley hwilliams-bulkeley@christies.com +44 (0)20 7389 2666 Jeffrey Lassaline jlassaline@christies.com +44 (0)20 7389 2660 Literature and exhibited Lot Essay Other information
Sold for GBP 657,250 at Christie’s in 2012
A FINE HARDSTONE CASKET WITH BIRDS AND BUTTERFLIES Russian, Ekaterinburg, Imperial Lapidary Works, early 20th century Of rectangular form. The hinged lid set with malachite, rhodonite, nephrite. 23.9 cm long.
Sold for €1,300 at Hargesheimer Kunstauktionen Düsseldorf in 2018